IGNOU MEG-05 Literary Criticism and Theory Notes | Block-wise Summary & Important Questions

These IGNOU MEG-05 Literary Criticism and Theory notes are designed for MA English students. The notes provide block-wise summaries, major literary critics, important theories, key concepts, and exam-oriented questions. If you are looking for IGNOU MEG 05 notes, Literary Criticism notes IGNOU, or MEG-05 revision material, these study notes will help you prepare effectively for your examinations.

Block 1 – An Introduction

Unit 1 – Literature, Criticism and Theory

Introduction

Literature, criticism, and theory are three closely related areas in literary studies. Literature refers to imaginative writing that expresses human experiences, emotions, and ideas. Criticism studies and evaluates literary works, while theory provides conceptual frameworks that shape how literature is interpreted.

Literary studies moved from simply appreciating texts to systematically analysing them through different intellectual approaches. Today, literature is not studied as an isolated artistic object but as something connected with culture, language, politics, psychology, and society.

What is Literature?

Literature is broadly understood as written or oral artistic expression that uses language creatively.

Common features of literature:

Imaginative and creative use of language
Representation of human experience
Emotional and intellectual engagement
Multiple meanings and interpretations
Cultural and historical significance

Types of literature:

Poetry
Drama
Fiction
Non-fiction
Oral traditions

Different scholars define literature differently:

Some view literature as artistic language.
Others see it as cultural expression.
Modern approaches treat literature as a social and ideological product.

What is Literary Criticism?

Literary criticism is the disciplined study, interpretation, and evaluation of literary texts.

Functions of criticism:

Interpret meaning
Analyse structure and style
Evaluate literary value
Connect literature with society and history

Major critical activities:

Description
Interpretation
Analysis
Evaluation

Criticism evolved from personal appreciation into a systematic academic discipline.

What is Literary Theory?

Literary theory refers to principles and concepts used to understand literature.

Theory asks questions such as:

What makes a text literary?
How does meaning emerge?
Who controls interpretation?
What is the role of readers?

Theory provides methods rather than fixed answers.

Examples:

Marxist Theory → literature and class relations
Feminist Theory → gender representation
Structuralism → language systems
Psychoanalysis → unconscious desires

Relationship Between Literature, Criticism and Theory

Literature	Criticism	Theory
Creative work	Interpretation	Framework
Produces text	Examines text	Explains methods
Artistic expression	Evaluation	Conceptual analysis

Literature creates meaning, criticism interprets meaning, and theory explains how interpretation becomes possible.

Development of Literary Studies

Traditional literary study focused on:

Author’s intention
Moral lessons
Beauty of language

Modern literary studies expanded to include:

Language
Reader response
Cultural context
Political influences
Social structures

Major Questions in Literary Theory

What is literature?
Can meaning remain fixed?
Is author intention important?
Does the reader create meaning?
How does language influence understanding?

Literature as Representation

Literature has often been viewed as representing reality.

Major ideas:

Mimetic Theory → literature imitates life
Expressive Theory → literature expresses emotions
Objective Theory → literature as self-contained art
Pragmatic Theory → literature affects readers

Conclusion

Literature, criticism, and theory together form the foundation of literary studies. Literature provides artistic texts, criticism analyses and interprets them, and theory supplies intellectual tools for understanding how texts produce meaning. Modern literary studies combine all three to create richer and more complex readings.

Unit 2 – Overview of Western Critical Thought

Introduction

Western literary criticism developed through a long intellectual tradition beginning in ancient Greece and continuing into modern theoretical approaches.

Classical Criticism

Plato

Plato considered literature an imitation of reality.

Main ideas:

Art imitates appearances rather than truth.
Poetry may mislead people emotionally.
Literature should support moral education.

Contribution:
Introduced philosophical discussion of literature.

Aristotle

Aristotle defended literature and established systematic criticism.

Major concepts:

Mimesis (imitation)
Plot structure
Character
Catharsis

According to Aristotle:
Tragedy purifies emotions through pity and fear.

Roman Criticism

Horace

Focused on:

Pleasure and instruction
Artistic discipline
Balance and decorum

His principle:
Literature should delight and educate.

Renaissance Criticism

Features:

Revival of classical ideals
Humanism
Individual creativity

Literature became associated with human potential and artistic freedom.

Neoclassical Criticism

Characteristics:

Order
Rationality
Rules
Balance

Literature was expected to maintain discipline and universality.

Romantic Criticism

Reaction against strict rules.

Key beliefs:

Imagination
Emotion
Creativity
Individual experience

Poetry became viewed as spontaneous expression.

Victorian Criticism

Focused on:

Moral responsibility
Social function
Cultural values

Literature became connected with education and civilization.

Modern Criticism

Attention shifted toward:

Textual analysis
Language
Reader participation
Social ideology

Conclusion

Western critical thought evolved from moral and philosophical concerns toward sophisticated theories of language, society, and interpretation.

Unit 3 – Twentieth Century Developments

Introduction

The twentieth century transformed literary criticism into theory-driven analysis.

Formalism

Focus:

Literary form
Structure
Technique

Idea:
Literature should be studied independently.

New Criticism

Key principles:

Close reading
Unity
Ambiguity
Internal analysis

Text became central.

Structuralism

Influenced by linguistics.

Ideas:

Meaning emerges through systems.
Language structures thought.

Post-Structuralism

Challenges:

Stable meaning
Fixed interpretation

Meaning becomes fluid.

Marxist Criticism

Examines:

Class
Ideology
Power structures

Literature reflects economic conditions.

Feminist Criticism

Studies:

Gender inequality
Representation
Patriarchal structures

Psychoanalytic Criticism

Uses ideas about:

Desire
Identity
Unconscious motivation

Reader Response Theory

Meaning develops through interaction between:

Reader
Text

Conclusion

Twentieth-century criticism transformed literary studies into a multidimensional discipline.

Unit 4 – The Function of Criticism

Introduction

Criticism serves as a bridge between literary works and readers.

Major Functions

Interpretation

Explains meanings and themes.

Evaluation

Judges artistic effectiveness.

Clarification

Makes difficult texts understandable.

Historical Placement

Connects texts with contexts.

Education

Develops literary awareness.

Objective and Subjective Criticism

Objective:

Focus on text

Subjective:

Reader experience

Role of the Critic

A critic:

Interprets
Analyses
Evaluates
Encourages deeper understanding

Modern Understanding

Criticism no longer imposes final meaning but opens possibilities of interpretation.

Conclusion

Criticism creates dialogue between literature and readers.

Unit 5 – Indian Aesthetics

Introduction

Indian aesthetics studies beauty, artistic experience, and emotional response.

Rasa Theory

Developed by Bharata.

Rasa means aesthetic experience.

Major Rasas:

Śṛṅgāra (love)
Hāsya (humour)
Karuṇa (compassion)
Raudra (anger)
Vīra (heroism)
Bhayānaka (fear)
Bībhatsa (disgust)
Adbhuta (wonder)
Śānta (peace)

Dhvani Theory

Developed by Anandavardhana.

Central idea:
Suggested meaning creates artistic depth.

Alankara Theory

Focus:
Figures of speech and ornamentation.

Vakrokti Theory

Emphasises:
Creative and indirect expression.

Aucitya Theory

Focus:
Appropriateness and harmony.

Indian View of Literature

Literature aims at:

Emotional experience
Spiritual insight
Artistic pleasure

Conclusion

Indian aesthetics emphasises aesthetic experience and emotional fulfilment rather than only formal analysis.

Unit 6 – Resistance to Theory / How to Read a Reader

Introduction

This unit examines debates about literary theory and methods of reading critical texts.

Resistance to Theory

Some scholars argued:

Theory complicates reading.
Interpretation becomes excessively abstract.
Literary experience may be ignored.

Others argued:

Theory expands understanding.
Every reading already uses assumptions.

Reading Critically

A reader should:

Identify arguments
Examine assumptions
Analyse evidence
Recognise methodology

How to Read a Critical Essay

Identify main idea
Understand terminology
Locate evidence
Examine conclusions
Compare perspectives

Active Reading

Critical reading involves:

Questioning
Interpreting
Evaluating
Connecting ideas

Theory and Interpretation

Theory does not replace reading; it guides interpretation.

Conclusion

Resistance to theory highlights tensions between direct literary experience and analytical interpretation, while critical reading develops deeper engagement with texts.

Block 2 – Classical Criticism

Introduction

Classical criticism refers to the earliest systematic discussions about literature and art that emerged primarily in ancient Greece and later influenced Western literary traditions. Classical critics attempted to answer fundamental questions: What is literature? What purpose does art serve? How should literary works be judged?

Two major thinkers dominate classical criticism—Plato and Aristotle. Their ideas laid the foundation for almost all later literary theories.

Unit 1 – Features of Classical Criticism

Introduction

Classical criticism developed during Greek civilization and established the first organized principles for understanding literature. It focused not only on artistic beauty but also on ethics, truth, reason, and social responsibility.

Meaning of Classical Criticism

Classical criticism refers to literary principles developed during ancient Greek and Roman periods that attempted to define:

Nature of literature
Function of art
Role of poets
Standards for evaluating literary works

The Greek tradition especially shaped later European criticism.

Major Features of Classical Criticism

1. Emphasis on Reason

Classical criticism valued rational thinking over emotional excess.

Literary works were expected to:

follow logic,
maintain order,
express universal truths.

2. Importance of Imitation (Mimesis)

One of the most important ideas.

Literature was viewed as:

imitation of reality,
representation of human action.

Plato and Aristotle interpreted imitation differently.

3. Moral Function of Literature

Literature was expected to:

educate,
cultivate virtues,
improve society.

Art was judged partly by ethical standards.

4. Universality

Classical critics believed literature should represent:

universal human experiences,
enduring truths.

5. Order and Structure

Art was expected to possess:

balance,
harmony,
proportion.

6. Objective Standards

Literary criticism aimed to establish:

rules,
principles,
criteria for judgment.

Greek Contribution to Literary Criticism

Greek criticism contributed:

systematic literary analysis,
classification of genres,
study of dramatic structure,
theories of representation.

Significance of Classical Criticism

Classical criticism remains influential because it:

introduced literary theory,
shaped Western aesthetics,
influenced later criticism.

Conclusion

Classical criticism transformed literary appreciation into intellectual inquiry and established foundational concepts that remain important today.

Unit 2 – Plato on Imitation and Art

Introduction

Plato was among the first philosophers to discuss literature systematically. His ideas about art appear mainly in The Republic. He approached literature from philosophical and ethical perspectives.

Plato’s View of Reality

Plato developed the Theory of Forms.

According to him:

Three levels exist:

Ideal Form (ultimate truth)
Physical world (copy of truth)
Art (copy of copy)

Thus, art becomes distant from truth.

Plato’s Theory of Imitation (Mimesis)

Plato argued:

Art imitates appearances rather than reality.

Example:

A carpenter makes a chair.
The painter paints the chair.

The painting becomes imitation of an imitation.

Plato’s Objections to Poetry

1. Poetry Distorts Truth

Poetry represents appearances, not ultimate reality.

2. Poetry Encourages Emotion

Excessive emotions weaken rational judgment.

3. Poetry May Corrupt Society

Plato believed literature influences public morality.

Plato’s View of the Poet

According to Plato:

poets create emotional influence,
they may lack true knowledge.

Therefore poets should be controlled in an ideal society.

Positive Contribution of Plato

Although critical of poetry, Plato:

initiated literary criticism,
connected literature and philosophy,
raised questions about artistic responsibility.

Conclusion

Plato treated literature as ethically powerful but philosophically problematic because imitation moved people away from truth.

Unit 3 – Aristotle’s Theory of Imitation

Introduction

Aristotle responded to Plato and defended literature. His ideas appear in Poetics, one of the most influential works of literary criticism.

Meaning of Mimesis

For Aristotle:

Imitation is natural and creative.

Art does not merely copy reality.

Instead, literature:

selects,
organises,
recreates experience.

Difference Between Plato and Aristotle

Plato	Aristotle
Art copies appearances	Art creatively represents reality
Art distances truth	Art reveals universal truth
Distrusted poetry	Valued poetry

Characteristics of Aristotelian Imitation

Creative Representation

Artists transform reality.

Universal Meaning

Literature shows general truths.

Human Learning

People learn through imitation.

Literature and Probability

Literature need not reproduce exact facts.

Events should appear:

believable,
logically connected.

Value of Poetry

Aristotle argued:
Poetry can express deeper truths than historical facts.

Conclusion

Aristotle transformed imitation into a positive artistic process and gave literature intellectual legitimacy.

Unit 4 – Aristotle’s Theory of Tragedy – I

Introduction

Aristotle regarded tragedy as the highest literary form because it represents serious human action.

Definition of Tragedy

According to Aristotle:

Tragedy is an imitation of serious action presented dramatically and producing emotional purification.

Elements of Tragedy

Aristotle identified six elements:

1. Plot

Structure of events.

Most important element.

2. Character

Moral qualities of individuals.

3. Thought

Ideas expressed.

4. Diction

Language and style.

5. Music

Rhythm and sound.

6. Spectacle

Visual presentation.

Plot Structure

Plot should have:

Beginning
Middle
End

Unity of Action

A tragedy should focus on one complete action.

Conclusion

Aristotle emphasized structure and dramatic coherence as central to tragedy.

Unit 5 – Aristotle’s Theory of Tragedy – II

Introduction

This unit examines emotional and structural aspects of tragedy.

Catharsis

Catharsis means purification or emotional release.

Audience experiences:

pity,
fear.

This emotional experience produces insight.

Hamartia

Hamartia means tragic error or mistake.

The tragic hero:

is neither perfect nor evil,
suffers due to error.

Peripeteia

Meaning:
Reversal of fortune.

Example:
Success turning into disaster.

Anagnorisis

Meaning:
Recognition or discovery.

Character understands truth.

Tragic Hero

Characteristics:

noble position,
human weakness,
moral complexity.

Emotional Effect

Tragedy allows audiences to:

reflect,
understand suffering,
gain emotional balance.

Significance of Aristotle’s Tragedy

Influenced:

drama,
criticism,
theatre traditions.

Conclusion

Aristotle’s theory explains how tragedy transforms human suffering into meaningful artistic experience.

Unit 6 – Criticism as Dialogue

Introduction

Classical criticism is not merely judgment; it is intellectual dialogue between ideas, texts, and interpretations.

Meaning of Critical Dialogue

Criticism involves:

questioning,
interpretation,
discussion.

Critics engage with:

literature,
previous critics,
readers.

Dialogue Between Plato and Aristotle

Plato:
Art may mislead.

Aristotle:
Art educates through representation.

Their disagreement became foundational to literary theory.

Criticism as Interpretation

Criticism:

explains texts,
generates meaning,
encourages reflection.

Reader and Critic

Readers actively participate in understanding literature.

Criticism becomes conversation rather than authority.

Classical Legacy

Classical criticism introduced:

analytical reading,
reasoned interpretation,
intellectual engagement.

Conclusion

Criticism as dialogue shows that literary understanding develops through continuous interaction between texts, readers, and critical perspectives.

Block 2 – Classical Criticism

Introduction

Two major thinkers dominate classical criticism—Plato and Aristotle. Their ideas laid the foundation for almost all later literary theories.

Unit 1 – Features of Classical Criticism

Introduction

Meaning of Classical Criticism

Classical criticism refers to literary principles developed during ancient Greek and Roman periods that attempted to define:

Nature of literature
Function of art
Role of poets
Standards for evaluating literary works

The Greek tradition especially shaped later European criticism.

Major Features of Classical Criticism

1. Emphasis on Reason

Classical criticism valued rational thinking over emotional excess.

Literary works were expected to:

follow logic,
maintain order,
express universal truths.

2. Importance of Imitation (Mimesis)

One of the most important ideas.

Literature was viewed as:

imitation of reality,
representation of human action.

Plato and Aristotle interpreted imitation differently.

3. Moral Function of Literature

Literature was expected to:

educate,
cultivate virtues,
improve society.

Art was judged partly by ethical standards.

4. Universality

Classical critics believed literature should represent:

universal human experiences,
enduring truths.

5. Order and Structure

Art was expected to possess:

balance,
harmony,
proportion.

6. Objective Standards

Literary criticism aimed to establish:

rules,
principles,
criteria for judgment.

Greek Contribution to Literary Criticism

Greek criticism contributed:

systematic literary analysis,
classification of genres,
study of dramatic structure,
theories of representation.

Significance of Classical Criticism

Classical criticism remains influential because it:

introduced literary theory,
shaped Western aesthetics,
influenced later criticism.

Conclusion

Classical criticism transformed literary appreciation into intellectual inquiry and established foundational concepts that remain important today.

Unit 2 – Plato on Imitation and Art

Introduction

Plato was among the first philosophers to discuss literature systematically. His ideas about art appear mainly in The Republic. He approached literature from philosophical and ethical perspectives.

Plato’s View of Reality

Plato developed the Theory of Forms.

According to him:

Three levels exist:

Ideal Form (ultimate truth)
Physical world (copy of truth)
Art (copy of copy)

Thus, art becomes distant from truth.

Plato’s Theory of Imitation (Mimesis)

Plato argued:

Art imitates appearances rather than reality.

Example:

A carpenter makes a chair.
The painter paints the chair.

The painting becomes imitation of an imitation.

Plato’s Objections to Poetry

1. Poetry Distorts Truth

Poetry represents appearances, not ultimate reality.

2. Poetry Encourages Emotion

Excessive emotions weaken rational judgment.

3. Poetry May Corrupt Society

Plato believed literature influences public morality.

Plato’s View of the Poet

According to Plato:

poets create emotional influence,
they may lack true knowledge.

Therefore poets should be controlled in an ideal society.

Positive Contribution of Plato

Although critical of poetry, Plato:

initiated literary criticism,
connected literature and philosophy,
raised questions about artistic responsibility.

Conclusion

Plato treated literature as ethically powerful but philosophically problematic because imitation moved people away from truth.

Unit 3 – Aristotle’s Theory of Imitation

Introduction

Aristotle responded to Plato and defended literature. His ideas appear in Poetics, one of the most influential works of literary criticism.

Meaning of Mimesis

For Aristotle:

Imitation is natural and creative.

Art does not merely copy reality.

Instead, literature:

selects,
organises,
recreates experience.

Difference Between Plato and Aristotle

Plato	Aristotle
Art copies appearances	Art creatively represents reality
Art distances truth	Art reveals universal truth
Distrusted poetry	Valued poetry

Characteristics of Aristotelian Imitation

Creative Representation

Artists transform reality.

Universal Meaning

Literature shows general truths.

Human Learning

People learn through imitation.

Literature and Probability

Literature need not reproduce exact facts.

Events should appear:

believable,
logically connected.

Value of Poetry

Aristotle argued:
Poetry can express deeper truths than historical facts.

Conclusion

Aristotle transformed imitation into a positive artistic process and gave literature intellectual legitimacy.

Unit 4 – Aristotle’s Theory of Tragedy – I

Introduction

Aristotle regarded tragedy as the highest literary form because it represents serious human action.

Definition of Tragedy

According to Aristotle:

Tragedy is an imitation of serious action presented dramatically and producing emotional purification.

Elements of Tragedy

Aristotle identified six elements:

1. Plot

Structure of events.

Most important element.

2. Character

Moral qualities of individuals.

3. Thought

Ideas expressed.

4. Diction

Language and style.

5. Music

Rhythm and sound.

6. Spectacle

Visual presentation.

Plot Structure

Plot should have:

Beginning
Middle
End

Unity of Action

A tragedy should focus on one complete action.

Conclusion

Aristotle emphasized structure and dramatic coherence as central to tragedy.

Unit 5 – Aristotle’s Theory of Tragedy – II

Introduction

This unit examines emotional and structural aspects of tragedy.

Catharsis

Catharsis means purification or emotional release.

Audience experiences:

pity,
fear.

This emotional experience produces insight.

Hamartia

Hamartia means tragic error or mistake.

The tragic hero:

is neither perfect nor evil,
suffers due to error.

Peripeteia

Meaning:
Reversal of fortune.

Example:
Success turning into disaster.

Anagnorisis

Meaning:
Recognition or discovery.

Character understands truth.

Tragic Hero

Characteristics:

noble position,
human weakness,
moral complexity.

Emotional Effect

Tragedy allows audiences to:

reflect,
understand suffering,
gain emotional balance.

Significance of Aristotle’s Tragedy

Influenced:

drama,
criticism,
theatre traditions.

Conclusion

Aristotle’s theory explains how tragedy transforms human suffering into meaningful artistic experience.

Unit 6 – Criticism as Dialogue

Introduction

Classical criticism is not merely judgment; it is intellectual dialogue between ideas, texts, and interpretations.

Meaning of Critical Dialogue

Criticism involves:

questioning,
interpretation,
discussion.

Critics engage with:

literature,
previous critics,
readers.

Dialogue Between Plato and Aristotle

Plato:
Art may mislead.

Aristotle:
Art educates through representation.

Their disagreement became foundational to literary theory.

Criticism as Interpretation

Criticism:

explains texts,
generates meaning,
encourages reflection.

Reader and Critic

Readers actively participate in understanding literature.

Criticism becomes conversation rather than authority.

Classical Legacy

Classical criticism introduced:

analytical reading,
reasoned interpretation,
intellectual engagement.

Conclusion

Criticism as dialogue shows that literary understanding develops through continuous interaction between texts, readers, and critical perspectives.

Block 3 – Romantic Criticism

Introduction

Romantic criticism emerged during the late eighteenth and early nineteenth centuries as a reaction against classical and neoclassical literary principles. Classical criticism emphasized order, reason, rules, and discipline, whereas Romantic criticism valued imagination, emotion, freedom, individuality, and creative expression.

Romantic critics argued that literature should not be restricted by rigid standards. Instead, poetry and art should arise naturally from human experience and imagination.

Major Romantic critics include:

William Wordsworth
Samuel Taylor Coleridge
Percy Bysshe Shelley

Their ideas transformed literary criticism by shifting attention from rules of composition to the creative power of the human mind.

Unit 1 – Romanticism

Introduction

Romanticism was an intellectual, literary, and artistic movement that developed mainly in Europe during the late eighteenth century. It emerged partly as a response against the rationalism of the Enlightenment and the strict literary rules of Neoclassicism.

Romantic writers believed that human imagination and emotional experience are central to understanding life and literature.

Historical Background

Romanticism developed under the influence of:

Industrial Revolution
Political revolutions
Social change
Growth of individual consciousness

Writers began questioning established authority and celebrating personal freedom.

Meaning of Romanticism

Romanticism refers to a literary movement that emphasizes:

emotion,
imagination,
subjectivity,
nature,
creativity.

Literature became a medium for expressing inner experience.

Features of Romantic Criticism

1. Importance of Imagination

Romantics viewed imagination as the highest creative faculty.

Imagination:

transforms experience,
creates new meanings,
produces artistic originality.

2. Emphasis on Emotion

Romantic literature values:

feelings,
emotional truth,
personal experience.

Emotion became more important than strict logic.

3. Individualism

The individual mind became central.

Writers emphasized:

personal vision,
unique experience,
self-expression.

4. Nature as Inspiration

Nature was viewed as:

living,
spiritual,
emotionally meaningful.

Nature became a source of creativity.

5. Rejection of Classical Rules

Romantic critics opposed:

excessive regulation,
artificial forms,
imitation of older models.

6. Poetry as Organic Creation

Poems were seen as:

naturally growing artistic forms,
unified expressions of imagination.

Romantic View of the Poet

The poet became:

visionary,
creator,
interpreter of human experience.

Poetry was treated as imaginative insight rather than technical imitation.

Contribution of Romantic Criticism

Romantic criticism:

expanded literary freedom,
emphasized creativity,
influenced modern literary theory.

Conclusion

Romanticism shifted literary criticism from external rules toward imagination, emotion, and artistic individuality.

Unit 2 – Wordsworth:

Preface to Lyrical Ballads

Introduction

The Preface to Lyrical Ballads is one of the foundational texts of Romantic criticism. Originally attached to Lyrical Ballads (1798), it became Wordsworth’s explanation of his poetic principles.

The Preface challenged established literary traditions and introduced a new understanding of poetry.

Background of

Lyrical Ballads

Wordsworth and Coleridge collaborated to publish Lyrical Ballads.

The collection represented:

new poetic language,
ordinary subjects,
emotional sincerity.

Wordsworth’s Definition of Poetry

Wordsworth described poetry as:

“the spontaneous overflow of powerful feelings.”

However, emotions are shaped through reflection.

Poetry emerges from:

feeling,
memory,
contemplation.

Poetry and Emotion

According to Wordsworth:

Poetry originates from:

emotional experience,
recollected feeling.

The poet reflects and transforms experience into art.

Language of Poetry

Wordsworth rejected artificial poetic language.

He argued that poetry should use:

ordinary speech,
simple expression,
natural language.

This was revolutionary because earlier poetry often used elevated diction.

Subject Matter of Poetry

Wordsworth focused on:

common people,
rural life,
everyday experience.

Ordinary life reveals universal emotions.

The Poet

Wordsworth considered the poet:

a sensitive observer,
emotionally responsive,
capable of expressing shared human experience.

The poet speaks to humanity.

Imagination and Creativity

Although rooted in experience, poetry transforms reality through imagination.

Significance of the Preface

The Preface:

established Romantic criticism,
democratized poetry,
changed literary language.

Conclusion

Wordsworth redefined poetry as emotional and imaginative expression grounded in ordinary human life.

Unit 3 – Coleridge:

Biographia Literaria

Introduction

Biographia Literaria is Coleridge’s major contribution to literary criticism. Published in 1817, it combines autobiography, philosophy, and literary theory.

Coleridge developed complex ideas about imagination and poetic creation.

Purpose of

Biographia Literaria

The work attempts to:

explain poetic creativity,
examine literary principles,
discuss Wordsworth’s ideas.

Theory of Imagination

Coleridge’s most influential contribution.

He divided imagination into:

Primary Imagination

Primary imagination:

operates naturally,
allows perception,
enables understanding.

It is universal.

Secondary Imagination

Secondary imagination:

belongs to artistic creation,
reshapes reality,
produces literature.

It consciously transforms experience.

Fancy and Imagination

Coleridge distinguishes:

Fancy

mechanical combination,
arrangement of existing materials.

Imagination

creative transformation,
organic unity.

Imagination is superior.

Organic Theory of Poetry

A literary work develops organically.

Poetry:

grows naturally,
achieves internal unity.

Symbol and Meaning

Coleridge valued symbolism because symbols connect:

particular experience,
universal significance.

Criticism of Wordsworth

Coleridge admired Wordsworth but questioned:

overuse of ordinary language,
excessive simplicity.

Contribution to Literary Theory

Coleridge influenced:

modern criticism,
symbolism,
theories of creativity.

Conclusion

Biographia Literaria established imagination as the foundation of poetic creation and literary criticism.

Unit 4 – P.B. Shelley:

A Defence of Poetry

Introduction

Percy Bysshe Shelley’s A Defence of Poetry is a major Romantic critical essay written as a response to arguments that poetry lacks practical value.

Shelley strongly defended literature and elevated the role of poets in society.

Purpose of the Essay

Shelley argued:

poetry is necessary,
imagination shapes civilization,
literature transforms society.

Shelley’s Concept of Poetry

Poetry is not limited to verse.

Poetry represents:

imagination,
creative insight,
intellectual vision.

Poetry and Imagination

Imagination:

expands human understanding,
creates empathy,
connects people.

For Shelley, imagination is essential for moral development.

Poet as Creator

Shelley viewed poets as:

creators of culture,
visionaries,
agents of change.

“Poets are the Unacknowledged Legislators of the World”

This famous idea means:

Poets influence:

values,
consciousness,
social transformation.

Even without political authority, literature shapes society.

Poetry and Society

Shelley believed poetry:

develops ethical awareness,
encourages freedom,
enlarges human sympathy.

Defence Against Utility-Based Criticism

Shelley rejected the idea that usefulness must be measured economically.

Poetry matters because it enriches:

thought,
imagination,
civilization.

Importance of

A Defence of Poetry

The essay:

strengthened Romantic criticism,
defended artistic freedom,
emphasized literature’s cultural role.

Conclusion

Shelley presented poetry as a powerful human activity that shapes imagination, morality, and society. His defence of poetry remains one of the strongest statements of literature’s importance.

Block 4 – New Criticism

Introduction

New Criticism emerged during the early twentieth century and became one of the most influential approaches to literary study. Unlike historical or biographical criticism, New Criticism argued that literary works should be examined as independent artistic objects.

New Critics believed that meaning exists primarily within the text itself and should be discovered through close and careful reading.

Major concerns of New Criticism:

textual analysis,
unity of form and meaning,
close reading,
literary language,
rejection of external factors.

Major critics include:

I.A. Richards
T.S. Eliot
F.R. Leavis
John Crowe Ransom
Cleanth Brooks
W.K. Wimsatt

Unit 1 – I.A. Richards

Introduction

I.A. Richards played a major role in establishing modern practical criticism and became one of the intellectual foundations of New Criticism.

He attempted to make literary criticism more systematic and scientific.

Richards’ Approach to Criticism

Richards argued that literary criticism should:

analyse responses carefully,
focus on textual details,
avoid unsupported interpretation.

He emphasized how readers experience literary language.

Practical Criticism

Richards introduced the method known as Practical Criticism.

Method:

students read texts without information about authors,
interpretation depends on close engagement with language.

Purpose:

reduce prejudice,
improve interpretation.

Theory of Meaning

Richards proposed that language functions in different ways.

He identified aspects of meaning:

Sense

Literal meaning.

Feeling

Emotional attitude.

Tone

Relationship between speaker and audience.

Intention

Purpose behind expression.

These aspects work together in literary language.

Scientific and Emotive Language

Richards distinguished:

Scientific Language

Communicates facts.

Emotive Language

Creates emotional responses.

Poetry belongs mainly to emotive language.

Value of Poetry

Richards believed poetry:

balances emotions,
creates psychological order,
enriches experience.

Contribution

Richards contributed:

practical criticism,
reader-oriented analysis,
systematic literary study.

Conclusion

I.A. Richards transformed literary criticism into disciplined textual interpretation and laid foundations for close reading.

Unit 2 – T.S. Eliot

Introduction

T.S. Eliot was both a major poet and an influential critic. His essays shaped twentieth-century criticism and strongly influenced New Critical approaches.

Eliot emphasized literary tradition, impersonality, and objective analysis.

Tradition and the Individual Talent

This is Eliot’s most influential critical essay.

According to Eliot:

Tradition is:

historical continuity,
literary inheritance,
collective cultural memory.

Writers must engage with previous literature.

Historical Sense

Historical sense means:

understanding present literature through the past,
recognizing literary continuity.

Theory of Impersonality

Eliot argued:

Poetry is not direct personal expression.

Instead:

emotions become transformed into artistic form.

The poet’s personality should not dominate the work.

Objective Correlative

One of Eliot’s most famous ideas.

Objective correlative means:

Emotions should be expressed through:

situations,
images,
events.

Readers experience emotion indirectly.

Literary Evaluation

Eliot preferred:

discipline,
structure,
intellectual depth.

Contribution

Eliot influenced:

textual criticism,
literary modernism,
formal analysis.

Conclusion

Eliot shifted criticism toward literary objectivity and emphasized literature as an artistic tradition.

Unit 3 – F.R. Leavis

Introduction

F.R. Leavis became one of the most influential English literary critics of the twentieth century.

His criticism focused on:

seriousness,
moral awareness,
close reading.

Literature and Life

Leavis believed literature develops:

ethical understanding,
cultural sensitivity,
human awareness.

Literature should enrich life.

The Great Tradition

Leavis introduced the concept of The Great Tradition.

He identified certain novelists as major literary figures because of:

seriousness,
moral intelligence,
artistic excellence.

Critical Method

Leavis emphasized:

close textual attention,
detailed analysis,
linguistic precision.

Criticism and Culture

Leavis believed criticism protects cultural standards.

Literature contributes to:

civilization,
intellectual growth.

Opposition to Mass Culture

Leavis worried that industrial society weakens literary quality.

He defended:

serious reading,
literary education.

Contribution

Leavis connected:

literary criticism,
moral values,
cultural evaluation.

Conclusion

Leavis treated criticism as a serious intellectual activity connected with culture and ethical understanding.

Unit 4 – John Crowe Ransom and Cleanth Brooks

Introduction

John Crowe Ransom and Cleanth Brooks became central figures in developing New Criticism as a formal literary movement.

John Crowe Ransom

Ransom formally introduced the term New Criticism.

He argued:

Criticism should focus on:

text,
structure,
internal relationships.

Ontological Criticism

Ransom viewed literature as:

an independent verbal object.

Texts should be analysed without depending on:

biography,
history.

Literary Structure

Ransom emphasized:

complexity,
unity,
formal organization.

Cleanth Brooks

Brooks became one of the strongest advocates of close reading.

Language of Poetry

Brooks argued:

Poetry creates meaning through:

tension,
paradox,
irony.

Poetic language differs from ordinary language.

Concept of Paradox

Paradox became central in Brooks’ criticism.

Paradox means:

apparently contradictory ideas creating deeper truth.

According to Brooks:
great poetry often depends on paradox.

Organic Unity

A literary work achieves unity through interaction of all parts.

Contribution

Ransom and Brooks helped establish:

close reading,
textual autonomy,
formal criticism.

Conclusion

Their work made New Criticism one of the dominant literary approaches of the twentieth century.

Unit 5 – W.K. Wimsatt

Introduction

W.K. Wimsatt contributed significantly to New Criticism through his arguments about interpretation and literary meaning.

Intentional Fallacy

This is Wimsatt’s most influential concept.

Intentional Fallacy means:

interpreting literature through author intention is misleading.

Meaning should come from:

the text itself.

Reasons for Rejecting Author Intention

Author intention:

may be inaccessible,
may not determine meaning.

The text becomes independent after publication.

Affective Fallacy

Wimsatt also introduced Affective Fallacy.

Meaning should not depend only on reader emotions.

Personal reactions alone cannot determine interpretation.

Text-Centred Reading

Wimsatt promoted:

objective analysis,
textual evidence,
close reading.

Literary Objectivity

Interpretation should rely on:

language,
structure,
internal meaning.

Contribution

Wimsatt strengthened:

autonomy of texts,
critical discipline,
formal interpretation.

Conclusion

Wimsatt established important limits on interpretation by emphasizing textual evidence over intention and emotional response.

Unit 6 – Conclusion

Overview of New Criticism

New Criticism transformed literary studies by emphasizing:

close reading,
textual unity,
formal analysis,
objective interpretation.

Shared Principles of New Critics

Text-Centred Approach

Meaning exists within the text.

Close Reading

Detailed analysis is essential.

Literary Autonomy

Texts function independently.

Organic Unity

Parts create integrated meaning.

Strengths of New Criticism

systematic analysis,
careful reading,
academic discipline.

Limitations

Later critics argued New Criticism sometimes ignored:

history,
politics,
society,
reader participation.

Legacy

Despite criticism, New Criticism remains influential in:

literary education,
textual analysis,
academic interpretation.

It established methods that continue to shape literary studies.

Block 5 – Marxist View of Literature

Introduction

Marxist literary criticism studies literature in relation to society, economics, class relations, and ideology. It originates from the ideas of Karl Marx and Friedrich Engels, who argued that social life is shaped largely by material conditions and economic structures.

Marxist criticism does not treat literature as isolated artistic creation. Instead, literature is understood as a social product influenced by historical conditions, class interests, and systems of power.

Central concerns of Marxist criticism:

class relations,
economic structures,
ideology,
social conflict,
historical change,
literature as cultural production.

Unit 1 – Marxism and Literature

Introduction

Marxism provides a framework for understanding how literature reflects, reproduces, or challenges social realities.

Literature becomes part of social production rather than purely individual creativity.

Foundations of Marxist Theory

Marxism developed from the writings of:

Karl Marx
Friedrich Engels

They argued that human societies develop through material and economic conditions.

Basic Concepts of Marxism

Materialism

Material conditions influence social development.

Economic life shapes:

institutions,
culture,
ideas.

Class

Societies contain groups with unequal access to resources.

Examples:

ruling class,
working class.

Class struggle becomes a force of historical change.

Production

Society organizes:

labour,
ownership,
distribution.

These structures influence culture.

Literature in Marxist Thought

Marxist criticism views literature as:

socially produced,
historically situated,
ideologically shaped.

Literature may:

support dominant values,
challenge existing structures.

Reflection Theory

Literature often reflects social conditions.

However, reflection is not mechanical.

Writers:

select,
interpret,
reshape reality.

Literature as Social Practice

Literary works:

emerge from historical contexts,
participate in cultural debates.

Contribution of Marxist Literary Criticism

Marxist criticism expanded literary studies by connecting:

literature,
politics,
economics,
society.

Conclusion

Marxism views literature as part of broader social processes and examines how texts interact with historical realities.

Unit 2 – Society and History: Marxist View

Introduction

Marxist criticism places society and history at the centre of literary interpretation.

Literature cannot be separated from the historical conditions in which it is produced.

Historical Materialism

Historical materialism is the Marxist explanation of social development.

According to this view:

Social change results from:

economic forces,
production systems,
class relations.

Society as Historical Process

Marxism rejects the idea that society is fixed.

Society changes through:

conflict,
transformation,
economic development.

Literature and Historical Context

Literature reflects:

social conditions,
historical struggles,
changing values.

Texts become historical documents as well as artistic works.

Class Conflict

Marxist criticism examines:

Questions such as:

Who possesses power?
Who is excluded?
How are inequalities represented?

History and Consciousness

Human understanding develops within social conditions.

Ideas and beliefs often emerge from material realities.

Literary Interpretation

Marxist reading asks:

What historical forces influence the text?
What class interests appear?
What social tensions become visible?

Conclusion

The Marxist view treats literature as historically produced and socially meaningful.

Unit 3 – Representing and Critiquing Society: Superstructures

Introduction

One of the central Marxist ideas is the relationship between economic foundations and cultural institutions.

This relationship is explained through the concepts of base and superstructure.

Base and Superstructure

Base

Economic structure:

production,
labour,
ownership.

Superstructure

Includes:

politics,
education,
law,
religion,
culture,
literature.

Relationship Between Base and Superstructure

Economic conditions influence cultural forms.

However:

Culture is not merely passive.

Literature may:

reinforce social systems,
resist social systems.

Literature as Representation

Literature presents:

values,
conflicts,
ideologies.

Texts reveal social tensions.

Literature as Critique

Literary works may:

expose inequality,
question authority,
imagine alternatives.

Cultural Production

Marxist criticism studies:

who produces culture,
whose interests are represented.

Relative Independence

Later Marxist thinkers argued that literature has some independence from economic systems.

Art can influence society.

Conclusion

Literature functions within cultural structures and can both reproduce and critique social realities.

Unit 4 – Commitment in Literature

Introduction

This unit examines whether writers should remain detached observers or actively engage with social issues.

Marxist criticism generally supports socially committed literature.

Meaning of Commitment

Commitment refers to:

the writer’s conscious engagement with:

society,
politics,
injustice.

Literature and Social Responsibility

Committed literature attempts to:

expose inequality,
encourage awareness,
inspire change.

Art and Social Change

Marxist critics argue:

Literature can:

influence consciousness,
challenge dominant beliefs.

Commitment and Creativity

Commitment does not eliminate artistic quality.

Effective literature combines:

artistic expression,
social engagement.

Debates About Commitment

Some argue:
literature should remain independent.

Others argue:
all literature reflects social positions.

Political Dimensions of Literature

Literature often addresses:

labour,
identity,
inequality,
power.

Conclusion

Commitment in literature emphasizes the writer’s relationship with society and the ethical dimensions of artistic practice.

Unit 5 – Autonomy in Literature

Introduction

Autonomy refers to the degree of independence literature possesses from politics, economics, and society.

This question became important within Marxist criticism.

Meaning of Literary Autonomy

Autonomy means literature has:

artistic integrity,
internal structure,
creative freedom.

Marxist Debate on Autonomy

Two major positions emerged:

Literature as Determined by Society

Literature reflects material conditions.

Literature as Relatively Autonomous

Literature:

interacts with society,
maintains creative independence.

Relative Autonomy

This concept argues:

Literature is influenced by society but not completely controlled by it.

Writers can:

question dominant values,
create new perspectives.

Artistic Form

Marxist criticism recognizes that:

meaning depends not only on content but also on form.

Literature Beyond Propaganda

Literary works should not become simple political messages.

Art requires:

complexity,
imagination,
aesthetic value.

Conclusion

Autonomy allows literature to remain socially meaningful while preserving artistic freedom.

Unit 6 – Literature and Ideology

Introduction

Ideology is one of the most important concepts in Marxist criticism.

Literature plays a significant role in producing and questioning ideology.

Meaning of Ideology

Ideology refers to:

systems of beliefs, values, and assumptions that shape how people understand society.

Literature as Ideological Practice

Literature may:

support dominant values,
naturalize inequality,
challenge existing beliefs.

Hidden Ideologies

Marxist critics examine:

what ideas appear normal,
whose interests are protected.

Ideology and Representation

Texts construct meanings through:

characters,
language,
narratives.

Reading Literature Ideologically

Questions include:

What worldview is presented?
Who benefits from this representation?
What social assumptions remain invisible?

Counter-Ideology

Some literary works:

resist dominant ideas,
imagine alternative possibilities.

Importance of Ideological Criticism

It helps readers:

question assumptions,
understand power relations,
interpret literature critically.

Conclusion

Marxist criticism views literature as deeply connected with ideology and explores how texts shape and contest social consciousness.

IGNOU MEG 05 Notes
MEG-05 Literary Criticism and Theory
Literary Criticism Notes IGNOU
Literary Theory Notes IGNOU
IGNOU MA English Notes
MEG-05 Important Questions
MEG-05 Summary
Literary Criticism Study Material

IGNOU MEG-05
Literary Criticism
Literary Theory
IGNOU Notes
MA English
MEG-05 Notes
English Literature
IGNOU Study Material