Literary criticism should arise out of a debt of love. In a manner evident and yet mysterious, the poem or the drama or the novel seizes upon our imaginings. We are not the same when we put down the work as we were when we took it up. To borrow an image from another domain: he who has truly apprehended a painting by Cézanne will thereafter see an apple or a chair as he had not seen them before. Great works of art pass through us like storm-winds, flinging open the doors of perception, pressing upon the architecture of our beliefs with their transforming powers. We seek to record their impact, to put our shaken house in its new order. Through some primary instinct of communion we seek to convey to others the quality and force of our experience. We would persuade them to lay themselves open to it. In this attempt at persuasion originate the truest insights criticism can afford.
George SteinerRelated topics
apple architecture arise art attempt borrow chair communion criticism debt domain drama experience flinging force great house image impact instinct lay love manner novel open order painting pass perception persuade persuasion poem pressing primary quality record see seen seek shaken should take transforming work yet others works doors powers cezanneRelated quotes
In schools, for example, there are courses in the criticism of literature, art criticism, and so forth. The arts are supposed to be 'not real.' It is quite safe, therefore, to criticize them in that regard -- to see how a story or a painting is constructed, or more importantly, to critically analyze the structure of ideas, themes, or beliefs that appear, say, in the poem or work of fiction. When children are taught science, there is no criticism allowed. They are told, 'This is how things are.' Science's reasons are given as the only true statements about reality, with which no student is expected to quarrel. Any strong intellectual explorations or counter versions of reality have appeared in science fiction, for example. Here scientists, many being science-fiction buffs, can channel their own intellectual questioning into a safe form. 'This is, after all, merely imaginative and not to be taken seriously.'
Robert Butts
In art, origin and value cannot be treated as independent. Those who enjoy poetry and painting must be at least dimly aware of a poet beyond the poem and a painter beyond the picture. If by some unimaginable process works of beauty could be produced by machinery, as a symmetrical colour pattern is produced by a kaleidoscope, we might think them beautiful till we knew their origin, after which we should be rather disposed to describe them as ingenious. And this is not, I think, because we are unable to estimate works of art as they are in themselves, not because we must needs buttress up our opinions by extraneous and irrevelant considerations; but rather because a work of art requires an artist. not merely in the order of natural causation, but as a matter of a-sthetie necessity. It conveys a message which is valueless to the recipient, unless it be understood by the sender. It must be expressive.
Arthur Balfour
In 1932 many dark clouds still hung round the horizon. In 1933, although the outlook was distinctly brighter, there was no settled feeling that we were about to enjoy a spell of fine weather. To-day the atmosphere is distinctly brighter. The events of the last 12 months have shown gratifying evidence that the efforts of His Majesty's Government are bearing fruit...If you look to what I might call the telltale statistics, the unemployment figures and statistics of such things as retail trade, consumption of electricity, transport, iron and steel production and house building, in every case you see a definite revival of activity...If I might borrow an illustration from the titles of two well-known works of fiction, I would say that we have now finished the story of "Bleak House" and that we are sitting down this afternoon to enjoy the first chapter of "Great Expectations."
Neville Chamberlain
The House, which was free to have decided otherwise, takes a stand for the defence of freedom and the destruction of Hitlerism and all that it implies. ... The interests of South Africa, however, are our primary concern. ... It was for the interests of South Africa that Parliament freely decided to sever our relations with Germany. We pledge our moral support for a common cause. ... The Union has no quarrel with the German people as such. Its aim is to assist in the destruction of a system which is seeking to impose on the world a domination of violence and force in international affairs – a system which, as the facts of the past two years have proved, knows no respect for good faith between nations, which does not hesitate to dishonour its plighted word, if convenient to do so, and which threatens the liberty of every state throughout the world.
Jan Smuts
I have to inform the House that the present situation is so critical that the Government are compelled to seek special powers from the House by a Bill to be passed through all its stages in both Houses of Parliament to-day. The situation is grave. ... The Government are convinced that now is the time when we must mobilise to the full the whole resources of this country. We must throw all our weight into the struggle. Every private interest must give way to the urgent needs of the community. We cannot know what the next few weeks or even days may bring forth, but whatever may come we shall meet it as the British people in the past have met dangers and overcome them. But it is necessary that the Government should be given complete control over persons and property, not just some persons of some particular class of the community, but of all persons, rich and poor, employer and workman, man or woman, and all property.
Clement Attlee
