CHAVDA KHUSHI ( major 15)

CHAVDA KHUSHI 

TYBA SEM 6

MAJOR 15

FOUNDATION OF LITERARY CRITICISM

                • HOME ASSIGNMENT •

● Definition and Scope – What is literary theory and criticism?

Definition of Literary Theory and Criticism

Literary theory refers to a set of ideas,  principles, and frameworks used to understand,

interpret, and analyze literary texts. It provides different perspectives or lenses such as

formalism, feminism, Marxism, psychoanalysisthrough which literature can be studied.

Literary criticism is the practical application of literary theory. It involves the evaluation,

interpretation, and judgment of literary works to understand their meaning, structure, style,

and value.

Scope of Literary Theory and Criticism

The scope of literary theory and criticism is broad and multi-dimensional. It includes:

1. Interpretation of Texts

It helps readers understand deeper meanings in literary works by examining themes,

symbols, imagery, and language.

2. Evaluation of Literary Works

Criticism assesses the artistic merit, originality, and effectiveness of a text.

3. Understanding Literary Forms and Genres

It studies different genres such as poetry, drama, fiction, and prose, and their distinctive

features.

4. Historical and Cultural Context

Literary criticism connects literature with its social, political, historical, and cultural

background.

5. Author, Text, and Reader Relationship

Different theories focus on:

● the author (biographical criticism),

● the text itself (formalism, structuralism),

● or the reader (reader-response criticism).

6. Development of Critical Thinking

It sharpens analytical skills and encourages multiple interpretations rather than a single fixed meaning.

7. Influence on Other Disciplines

Literary theory intersects with philosophy, psychology, sociology, gender studies, and cultural studies.

#Conclusion

Literary theory and criticism deepen our understanding of literature by offering systematic methods of analysis and interpretation. They enrich reading by revealing layers of meaning and broadening perspectives.

               • CLASS ASSIGNMENT •

Poetics by Aristotle (Concept of Tragedy)

•Aristotle’s Poetics – Concept of Tragedy

Aristotle’s Poetics is a foundational text of literary criticism in which he defines and analyzestragedy as the highest form of dramatic art.

Definition of Tragedy According to Aristotle:

“Tragedy is the imitation of an action that is serious, complete, and of a certain magnitude; in language embellished; presented in the form of action, not narration; through pity and fear

effecting the proper catharsis of these emotions.”

#Explanation of the Definition

1. Imitation (Mimesis)

Tragedy is an imitation of human action, not of people. It represents life, human behavior,

and moral choices in an artistic form.

2. Serious Action

The action must be serious and meaningful, dealing with important issues such as fate,

suffering, moral responsibility, and human limitations.

3. Complete and of Certain Magnitude

A tragic action must be whole and well-proportioned, having a beginning, middle, and end. The magnitude should be neither too short nor too long, allowing emotional impact.

4. Language Embellished

The language of tragedy is elevated and artistic, including rhythm, harmony, and song,

especially in the choral parts.

5. Dramatic Form

Tragedy is presented through action and dialogue, not narration.

6. Catharsis

The ultimate aim of tragedy is to arouse pity and fear and then purify or relieve these

emotions in the audience.

•Six Elements of Tragedy

Aristotle identifies six constituent elements of tragedy, arranged in order of importance:

1. Plot (Mythos) – Most Important

● Plot is the soul of tragedy.

● It is the arrangement of incidents.

● A good plot should have unity of action.

● Events must follow the principle of probability and necessity.

Important Parts of Plot:

→Peripeteia (Reversal) – sudden change from good fortune to bad.

→Anagnorisis (Recognition) – discovery or realization, often linked with reversal.

→Catastrophe – final tragic outcome or downfall.

2. Character (Ethos)

Characters give life to the plot.

According to Aristotle, characters should be:

Good (morally purpose-driven)

Appropriate to their role

Lifelike

Consistent

Tragic Hero:

● A person of high status or noble birth.

● Neither perfectly virtuous nor evil.

● Suffers downfall due to hamartia (tragic flaw or error of judgment).

3. Thought (Dianoia)

Thought refers to the ideas, themes, and moral reasoning expressed in the play, often

revealed through speeches and arguments.

4. Diction (Lexis)

Diction is the choice and arrangement of words. It should be appropriate, clear, and

elevated, enhancing the emotional and artistic effect.

5. Melody (Melos)

Melody includes musical elements such as the chorus, songs, and rhythm, contributing to

emotional depth.

6. Spectacle (Opsis) – Least Important

Spectacle refers to visual aspects like scenery, costumes, and stage effects. Aristotle

considers it the least artistic element because it depends more on stagecraft than poetry.

The Tragic Hero and Hamartia

The tragic hero:

● Is a respected and influential figure.

● Commits an error or makes a wrong decision (hamartia).

● Faces suffering that is disproportionate to the mistake.

● His fall evokes pity and fear in the audience.

Catharsis: Purpose of Tragedy

Catharsis means the emotional purification or purgation of pity and fear. By witnessing tragic

suffering, the audience experiences these emotions and emerges emotionally balanced and enlightened.

#Conclusion

Aristotle’s concept of tragedy in Poetics presents tragedy as a carefully structured art formdesigned to imitate serious human actions and evoke deep emotional responses. His

emphasis on plot, tragic hero, hamartia, and catharsis has had a lasting influence on

dramatic theory and literary criticism.

                             • ESSAY •

●Preface to the Plays of Shakespeare

by S. Johnson

Samuel Johnson (1709–1784) was a very important English writer and critic of the

18th century. He became famous through many works, especially his Dictionary, and

his life was written by his friend James Boswell. Johnson believed that old (ancient)

writers should be respected because their works have lasted for many centuries, and

long-lasting popularity proves true greatness. He said that if a writer is admired by

future generations, it shows real talent and merit. He gave the example of Homer

and said that ancient writers are honoured not just because they are old, but because their ideas are still true and meaningful. He then said that Shakespeare also deserves this honour because his works have survived beyond his own century and are still respected, so Shakespeare can be considered as great as the ancient writers.

Samuel Johnson’s Preface to Shakespeare has two main parts. In the first part, he gives a critical analysis of Shakespeare as a dramatist, and in the second part, heexplains how he edited Shakespeare’s plays. Johnson says that people usually respect old writers more than modern ones, but ancient writers are honoured

because their ideas have lasted through time. He says Shakespeare also deserves this honour because his works are still admired after many years. Johnson studies Shakespeare from many angles: he calls him timeless and universal, but also a writer of his own age. As a Neoclassical critic, he both praises and criticizes Shakespeare. He explains that some customs in Shakespeare’s plays are old and not interesting to modern people. Johnson also says Shakespeare’s plays teach practical wisdom, show many human emotions (not only love), and reflect real human life, so his plays are like a mirror of life.

According to Samuel Johnson, Shakespeare is admired not because he described the customs of his own time, but because he showed universal human nature.

Johnson says that only those works last long which show general truths about human life. He calls Shakespeare a poet of Nature because his characters—kings, Romans, Danes, and common people—show the same human feelings and behavior that all people have. Johnson praises Shakespeare for creating characters that are universal but also different and unique. He also likes that Shakespeare

shows many emotions, not only love. Johnson rejects the criticism that Shakespeare makes noble people look foolish; he says such criticism is childish. He explains that Shakespeare focuses on the main human nature, not on small differences of country or class. He compares Shakespeare to a strong rock that time cannot destroy.

Johnson also defends Shakespeare for mixing tragedy and comedy, saying real life also has happiness and sadness together, so tragic-comedy is more realistic and teaches and entertains people. Samuel Johnson says Shakespeare’s plays mix tragedy and comedy, just like real life has both joy and sorrow. Even though this breaks classical rules, Johnson

supports Shakespeare because realism is more important than strict rules. He says  poetry should teach and entertain, and Shakespeare’s mixed drama does both.

Johnson especially praises Shakespeare’s comedy, saying comedy came naturally

to him. His comic scenes are based on everyday life, so the language is simple,

natural, and still popular today.Johnson says Shakespeare’s history plays are not

tragedy or comedy, so they don’t need to follow classical rules. Shakespeare only

keeps characters natural and consistent, and his plots are well-organized with a clear beginning, middle, and end.

Samuel Johnson praises Shakespeare but also points out his faults. He says Shakespeare sometimes cares more about pleasing the audience than teaching moral lessons. Johnson thinks a writer should clearly show that good is rewarded and evil is punished, but Shakespeare does not always do this. For example, he criticizes Shakespeare for killing Cordelia in King Lear, because he feels virtue

should not suffer. Johnson believes literature should make people morally better.

However, he also admits that Shakespeare’s tragicomedy (mixing tragedy and comedy) does not spoil the effect, because real life has both sorrow and joy, and variety gives pleasure. He concludes that Shakespeare had great power to move people to both laughter and tears. Samuel Johnson criticizes Shakespeare’s plots, language, and style. He says Shakespeare’s plots are loose, endings are weak, and he often mixes time and place

wrongly. He also dislikes Shakespeare’s coarse jokes and says his tragedies are sometimes too long and wordy. Johnson strongly criticizes Shakespeare’s love for puns and wordplay, which he thinks spoils serious scenes. Overall, he believes Shakespeare is great but not perfect.

Johnson says Shakespeare sometimes fails to fully use his great talent, but this criticism comes from admiration. He defends Shakespeare for breaking the classical

unities of time and place. While other critics saw this as a fault, Johnson says history

plays must change time and place, and theatre is anyway an illusion. The audience knows it is not real and can imagine changes in place and time. Shakespeare still follows unity of action with a clear beginning, middle, and end. So, Johnson believes breaking the unities is not a serious problem.

Johnson says drama gives pleasure because it reminds us of real life, not because it iss real. He says Shakespeare used popular stories so common people could understand his plays. Johnson believes Shakespeare did not follow the unities of time and place, but this does not matter because theatre is an illusion and the

audience can imagine changes in time and place. He says only unity of action is

important, so Shakespeare was right to ignore the other two unities.