Page 34 - DENG501_LITERARY_CRITICISM_AND_THEORIES

Literary Criticism and Theories

Notes Ornate, refined diction is to be used with caution, for it tends to obscure character and thought.
Hence. it should be used only when there is a pause in action, and no thought or character is being
expressed. Aristotle’s plea is for simplicity and clarity in the use of language.
Ch. XXV: Objections of Critics and Aristotle’s Answer to such Criticism
In this chapter, Aristotle examines a work of art from the reader’s or critic’s point of view, and not
from the point of view of the Artist, as he had been doing so far. He first examines the objections
of critics one by one, and then proceeds to answer such criticism. The chapter is highly technical, and
of little significance from the examination point of view.
In the last paragraph of the chapter, Aristotle says that he has given twelve answers to five kinds
of censure. The five are: impossibility, irrationality (or improbability), immorality, contradiction
and lack of technical correctness.
Aristotle answers these charges as follows:
1. Answers to the charge of impossibility
(i) Although one should generally avoid impossibilities, they are sometimes justified when
they support, “the goal of imitation”. As an example, Aristotle cites Homer’s depiction of
the pursuit of Hector. We know from Chapter XXIV that this is, “marvellous”, and is
justified in Homer because it is not represented on the stage, where it would seem ludicrous.
Since, “the marvellous”, is desirable in poetic art, it is justified.
(ii) Some impossibilities are “accidental” rather than essential. Aristotle cites the example of
a representation of a hind without horns. This is impossible according to the art of zoology;
but it does not violate poetic truth. It is, therefore, not of much consequence.
(iii) The impossibility may be caused by the poet’s wish to present a character, “as he ought to
be” rather than, “as he is”. Sophocles tended in this direction, whereas Euripides as more
realistic. This defence, of course, echoes both Chapter II and the requirement of goodness
laid down in Chapter XV.
2. Answers to the charge of irrationality
(i) The charge of irrationality may be met by reference to received opinion. Men often believe
what is false the Furies who pursue Orestes in the Eumenides are examples; and the poet
can use such beliefs without making any artistic error.
(ii) The charge can also be met by pointing out that many things that seem irrational in one
period were common practice in earlier periods. Homer’s statement that the Greeks held
their spears, “upright on their spikes”, would have seemed erroneous to a contemporary
of Aristotle, but the practice was customary in Homeric times.
3. An answer to the charge of immorality
Only one answer is given to the charge of immorality. The critic, says Aristotle, must consider
not only the statement or deed but also its context. In particular, he should decide, “whether
the object is to achieve a greater good or to avoid a greater evil.” Striking a person, for example,
is an evil in itself; but to strike an assassin in order to prevent him from killing someone is
clearly good.
4. Answers to the charge of lack of correctness
(i) The first answer is that the poet was using a strange word or metaphor. As we know,
poets do not use such devices of their own free will, they are obliged to use them by the
necessities of poetic art. Aristotle here devotes major emphasis to explaining strange words.
(ii) The poet may have used poetic license, creating a difficulty that can be resolved by changing
the accent.
(iii) Poetic syntax is sometimes ambiguous, and difficulties may be resolved by changing the
punctuation.
(iv) Poetic language is sometimes ambiguous.
(v) Poetic language often incorporates common usages that involve misuse of standard words.

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