The Evolution of Criticism in the 19th Century
Matthew Arnold, John Ruskin, Walter Pater, and Oscar Wilde were 19th century writers who all had one belief in common: that the criticism of works of art is at least as important as the works of art themselves. In 1865, Matthew Arnold stated that the function of criticism is “to see the object as in itself it really is.” In 1891, Oscar Wilde expressed that his view of the role of criticism was “to see the object as in itself it really is not.” This essay seeks to determine how and why one definition of criticism could evolve to a definition in complete opposition to it in such a relatively short period of time. It examines the viewpoints of four closely related literary minds and what each of them felt was the definition, and purpose, of true art. Through this examination, the essay also seeks to determine what theory of criticism and relationship to the art object results in the most meaningful connection to works of art.
Matthew Arnold was first a poet and later became a critic of English society and literature. Much of Arnold’s poetry is characterized by a sadness and disappointment in the quickly changing societies of the modern world. In his poem “Dover Beach,” Arnold describes a world in which “the Sea of Faith” is quickly retreating, symbolizing the loss of faith and spirituality due to the evolution of the world into an industrial society (1368). This unhappiness and disappointment is evident in most of Arnold’s poetry. Thus Arnold was dissatisfied with the melancholy tone of his poetry, as by his own definition good poetry must bring joy to the reader. T.S. Eliot once wrote “in one’s prose reflections one may be legitimately occupied with ideals, whereas in the writing of verse, one can deal only with reality” (1352). As Arnold’s ‘reality’ was largely characterized by a melancholy morbidity, he abandoned poetry in order to express his ideals of what art and society should be through prose, thereby enabling himself to adopt a more purposeful character in
Matthew Arnold was first a poet and later became a critic of English society and literature. Much of Arnold’s poetry is characterized by a sadness and disappointment in the quickly changing societies of the modern world. In his poem “Dover Beach,” Arnold describes a world in which “the Sea of Faith” is quickly retreating, symbolizing the loss of faith and spirituality due to the evolution of the world into an industrial society (1368). This unhappiness and disappointment is evident in most of Arnold’s poetry. Thus Arnold was dissatisfied with the melancholy tone of his poetry, as by his own definition good poetry must bring joy to the reader. T.S. Eliot once wrote “in one’s prose reflections one may be legitimately occupied with ideals, whereas in the writing of verse, one can deal only with reality” (1352). As Arnold’s ‘reality’ was largely characterized by a melancholy morbidity, he abandoned poetry in order to express his ideals of what art and society should be through prose, thereby enabling himself to adopt a more purposeful character in
Cited: Arnold, Matthew. “The Function of Criticism at the Present Time.” The Norton Anthology of English Literature. Ed. Steven Greenblatt. 8th ed. New York: Norton, 2006. Print. “Modern Painters.” John Ruskin. The Norton Anthology of English Literature. Ed. Steven Greenblatt. 8th ed. New York: Norton, 2006. Print. Pater, Walter. “Studies in the History of the Renaissance.” The Norton Anthology of English Literature. Ed. Steven Greenblatt. 8th ed. New York: Norton, 2006. Print. “The Stones of Venice.” John Ruskin. The Norton Anthology of English Literature. Ed. Steven Greenblatt. 8th ed. New York: Norton, 2006. Print. Wilde, Oscar. “The Critic as Artist.” The Norton Anthology of English Literature. Ed. Steven Greenblatt. 8th ed. New York: Norton, 2006. Print.