Whilst acknowledging that both Ruskin and Swinburne had already articulated similar ideas concerning the ideal aspirations of criticism, Wyzewa accepts that Intentions is interesting because it portrays a particular contemporary English perspective on literature, centred on Oxford and characterized by the tendency to reject conventional views of art and morality The whole system underlying Intentions is derived again from Gautier.
Earlier in the nineteenth century both Gautier and Baudelaire had used the term positively, as a synonym for the type of aestheticism which emphasized the pleasure in artistic creation and appreciation. Her suggestion that Wilde was interested in improvising his life rather than systematizing it also points to the affinity with contemporary French criticism that forms the subject of the present essay Prewitt Brown xix.
Then he sends them packing. His intelligence is absolutely free. Anatole France, in an article on M. He dismisses these impressions as mere tastes and preferences of limited interest, whereas his concept of objective criticism aims to interest and instruct a wider audience by basing its discussion on a belief in value judgements, literary history and the hegemony of the canon. He was to meet both of them in Paris in the early s, but his knowledge of their critical works in the s is hard to establish.
Here of course the subject under discussion is fiction rather than criticism, and literary realism in particular. Nay, more, I would say that the highest Criticism, being the purest form of personal impression, is in its way more creative than creation, as it has least reference to any standard external to itself, and is, in fact, its own reason for existing, and, as the Greeks would put it, in itself and to itself, an end.
Wilde c, But Wilde takes it even further, arguing through the mouthpiece of Gilbert that criticism adds to the original work, enhancing it; the highest form of criticism transcends the individual work of art to criticize beauty itself.
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Gilbert states that the critic can pass from impression to analysis, if he or she chooses, and crucially here the personality of the critic enhances the interpretation, as it does with any performer. This enables Gilbert to emphasize that all creation is inevitably subjective and that any attempt at objectivity is in fact itself subjective. The critic is he who can translate into another manner or a new material his impression of beautiful things.
The highest as the lowest form of criticism is a mode of autobiography. Wilde , How are we to interpret this? Or does introduce a caveat, suggesting that subjectivity alone is insufficient to produce high criticism, and that the critic must have the right temperament? Dilettantism is not simply the combination of second-hand aestheticism and meretricious comic paradox; it is a serious philosophical position.
For Wilde, the paradox enables him to combine an idea with its opposite, to posit a truth while simultaneously subverting it and questioning its status, leaving it in a state of ambiguity.
An analogy can be made with the use of the dialogic form, which enables Wilde, as Socrates, Plato, Diderot and Renan had done before him, to combine differing ideas. Sans date. Saint Paul. Tome IV 4 seul! Seller Inventory L More information about this seller Contact this seller From: Gyan Books Pvt. Delhi, India. About this Item: Leather Bound. Condition: New. Reprinted in with the help of original edition published long back .
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Renan, Ernest (1823–92)
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« Qu’est-ce qu’une nation ? » de Ernest Renan
Histoire et parole. Oeuvres Diverses. Delhi, India Seller Rating:. Tome X: Correspondance