Cleanth Brooks - Brooks and New Criticism

Brooks and New Criticism

Brooks was the central figure of New Criticism, a movement that emphasized structural and textual analysis—close reading—over historical or biographical analysis. Brooks advocates close reading because, as he states in The Well Wrought Urn, "by making the closest examination of what the poem says as a poem" (qtd. in Leitch 2001), a critic can effectively interpret and explicate the text. For him, the crux of New Criticism is that literary study be "concerned primarily with the work itself" (qtd. in Leitch 2001). In "The Formalist Critics," Brooks offers "some articles of faith" (qtd. in Leitch 2001) to which he subscribes. These articles exemplify the tenets of New Criticism:

• That the primary concern of criticism is with the problem of unity—the kind of whole which the literary work forms or fails to form, and the relation of the various parts to each other in building up this whole.

• That in a successful work, format and content cannot be separated.

• That form is meaning.

• That literature is ultimately metaphorical and symbolic.

• That the general and the universal are not seized upon by abstraction, but got at through the concrete and the particular.

• That literature is not a surrogate for religion.

• That, as Allen Tate says, "specific moral problems" are the subject matter of literature, but that the purpose of literature is not to point a moral.

• That the principles of criticism define the area relevant to literary criticism; they do not constitute a method for carrying out the criticism (qtd. in Leitch 2001).

New Criticism involves examining a poem’s "technical elements, textual patterns, and incongruities" (Leitch 2001) with a kind of scientific rigor and precision. From I. A. Richards’ The Principles of Literary Criticism and Practical Criticism, Brooks formulated guidelines for interpreting poetry (Leitch 2001). Brooks formulated these guidelines in reaction to ornamentalist theories of poetry, to the common practice of critics going outside the poem (to historical or biographical contexts), and his and Warren’s frustration with trying to teach college students to analyze poetry and literature (Leitch 2001).

Brooks and Warren were teaching using textbooks "full of biographical facts and impressionistic criticism" (Singh 1991). The textbooks failed to show how poetic language differed from the language of an editorial or a work of non-fiction. From this frustration, Brooks and Warren published Understanding Poetry. In the book, the authors assert poetry should be taught as poetry, and the critic should resist reducing a poem to a simple paraphrase, explicating it through biographical or historical contexts, and interpreting it didactically (Singh 1991). For Brooks and Warren, paraphrase and biographical and historical background information is useful as a means of clarifying interpretation, but it should be used as means to an end (Singh 1991).

Brooks took this notion of paraphrase and developed it further in his classic The Well Wrought Urn. The book is a polemic against the tendency for critics to reduce a poem to a single narrative or didactic message. He describes summative, reductionist reading of poetry with a phrase still popular today: "The Heresy of Paraphrase" (Leitch 2001). In fact, he argued poetry serves no didactic purpose because producing some kind of statement would be counter to a poem’s purpose. Brooks argues "through irony, paradox, ambiguity and other rhetorical and poetic devices of his or her art, the poet works constantly to resist any reduction of the poem to a paraphrasable core, favoring the presentation of conflicting facets of theme and patterns of resolved stresses" (Leitch 2001).

In addition to arguing against historical, biographical, and didactic readings of a poem, Brooks believed that a poem should not be criticized on the basis of its effect on the reader. In an essay called “The Formalist Critics,” he says that “the formalist critic assumes an ideal reader: that is, instead of focusing on the varying spectrum of possible readings, he attempts to find a central point of reference from which he can focus upon the structure of the poem or novel” (qtd. in Rivkin, 24). While he admits that it is problematic to assume such a reference point, he sees it as the only viable option. Since the other options would be either to give any reading equal status with any other reading, or to establish a group of “‘qualified’ readers” and use those as a range of standard interpretations. In the first case, a correct or “standard” reading would become impossible; in the second case, an ideal reader has still been assumed under the guise of multiple ideal readers (Rivkin 24). Thus, Brooks does not accept the idea of considering critics’ emotional responses to works of literature as a legitimate approach to criticism. He says that “a detailed description of my emotional state on reading certain works has little to do with indicating to an interested reader what the work is and how the parts of it are related” (Rivkin 24). For Brooks, nearly everything a critic evaluates must come from within the text itself. This opinion is similar to that expressed by W. K. Wimsatt and Monroe C. Beardsley in their famous essay “The Affective Fallacy,” in which they argue that a critic is “a teacher or explicator of meanings,” not a reporter of “physiological experience” in the reader (qtd. in Adams, 1029, 1027).