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Andhrasahityavim025942mbp PDF
Andhrasahityavim025942mbp PDF
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ANDHRA SAHITYA VIMARSA ANGlA PRABHAVAMU -
By Dr. G. V. SUBRAHMANYAM.
90
: &o&& 0^5*08,
14-1-1963
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(Jo3JOoei)b^ CPU S.
14-1-1983
. Si
ScrgCoco
& iSofl
) "We must
decide what is useful to us and what is not; and it is
KJ-
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11
irt'o^o
[op^fS M. H. Abrams SCPCP
Sf^-Si
o .S^S' ^<^o ^oJ?"iajiib.
[jSes^W
"The book deals, for the most part, with the original
and enduring critics of the time, rather than with
the run-of-the-mill reviewers who often had a more
immediate, though short-lived influence on the gene-
ral reading public" 2 .
Sjto^ioiS \
Aotnofl.
wS^Sff o>sSo, 1^(8080,
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8
. es ^opiib o's'o laS^T'SPuff eiS'S 2l3(^Sj^ iSJB'SSo g'o'S
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14-1.1988 ^. o).
1.
a&j^ a3jfo . 1
11
3. c&urr*e - o^n'ew 28
86.,
42.,
62
71.,
-l 14, '
B
1
5^06" 1^5"- 121.
i^S- 40,
16
161, j
SSfio-oa-214, ^
9*0^0-218, d. 2. fc.
^cp4-222,
225, 6".i^. cSiosed&rf
(6otftf^o-228,
.259,
Soodi) 6 -
- 270,
7. ca - ajTVew 302
eJQe- 303,
o
325
8.
(INDEX)
"Criticism is the last reward of consummate
scholarship. It is harder to be a critic than to be a poet.
At twenty one can afford to be a poet but it is only at
1
forty one can achieve criticism"
Abercrombie
ST'lb,
s-3a;
wo
o
3_flo*3t)
S o cX) S J o ,
s
^T tio3B );
3~5
^o rr-S), ^I
COOT? 1
ao^J
a&chT
o3
^Sdfibeo ^S
&B
gt^Cbo^olb S'^^s^iSdipij o
1i raftS*
s-S.
B
, f3&>ig'dortotr !0
n-0
S'S.esfi
^6377^5"
"li
s
cor? &"
(jScSprveo
On
aoitf
s
J3ooas!r d5r>033.
"2>
"SbSiS
^J6
J6sSg,
0>'.Q*
d^CS"
"500^63
^ftofi.
"3&e
erso_3_&*:5too3tf
a' 3 3
>
"
n* IDSSoS.
. Sod32
-e "SDccooO ycJSr*
TodS SSSiraiS
e^go .
(jj^g'dxS)S SOLES' SDea
(*o5oCT<bo sSy^Ss-a^Eso . a ScoSioSir 1
a Coo^eSb
.
f^
aotf
2
10
*i$:$tfireS'oSb
s.S'S
3'gofflgo.
i^e^eo ^^eji^eaoJiiot) ^"fb lao'Sb^a). o
^g 3
. tsS oJxiS S^rv.
12
5?d3 Oao^oSb
f 4.
8,3'
^_53 5
sSg
.
od&os'Oa,.
80'
.
-eg
IjS
5? a ^>^ s & o eg r*
a- $3-o 3 ^o^af^tfO 3^0
i^di)on
ci
doioaoa. &<S
SodoSboQ. m^eas
|jS5';So'32)cS
43.
3-0 of*
IS
"Scotfto
SB .
".
a.3
(KSfottF
aoaa
17
fia^o-lb
?jiie
31
a ^. esfi
'
g'C'eso pfia;
3
18
ao^tf
-^dfs'^o
8.SS)
Stfsiifcy,
S" cSiort'oS^ u
IOrSoi3B t>.
"0^
if & e> So
1' 19
(^053* JS^ETSO
rSja-v 3 s oar* a
-1 G
^67- U
a
20
1
a logoff
do(gr'
^Creative
misunderstanding) tsot^fib. J935 ^otfoS^ "336
^Valery)
Breton)
oe31'o5
s}fl
^ S3 1
77 &< coo o a dioo <*:&).
go
Q
aCj>oO, tfDBBo js^tftfo^a ef
i3g
Sou
fctfoootfcn
60^
sag
3-
^65*S5ofir
t^SSo ?JC?Oe31 )SJl , COT8 r? G Sj*
jjS
' 1 /
<
Z$^r
AocrO.
esoS'o
e^;
'
2.
, cr JO
"S)oeSio
3.
.22
4.
'iofiTJl^tftf tfs-g _
Oii'^co
5.
(ioiSbcars-a
es IS SS 5j-
;j _5
Qoiotflb,
CXOCP-
0*11
. -Ss
24
"^flb 3 da
, KS-fc^d&S"
16 Is
)
25
eJ
c" ^
3 d3b o So
(K5r>o&, S'A^S^oiT Bcoi'u
1
(jS [
a*
. a s5S"^o 53-433
11 lei' oS
4
26
ofi
2S6'ip)o
ao S^fin'^'asitfSb SCPO-
Eas-IQ5
&oa. H'eog, |jSqsS^aioSS3bot)
2^:3*
To
tflto
23-53^3
27
ef?5 ^
into is more important than what they are made out of and
the good books are those which outgrow the works they
28
grow out of".
Harold chernis.
3
>
=';
EJ
"Scofi'S
(*-^
"Soo^"
d'fl i
wo(j$
JSoesoaoaoa.
B-0.
. wtftf6ld6S6
31
tfeT^OSfg
S^Cotftoo
rr-S S
), srdlbtf
-S's
"Sdito
S52r>oii'430 ^sSb^i'
of applied
(Emergence criticism)
r P <"* g r 3 o
oto
6 o 5 dio o efSbCa SitS
32
I7b0
S'S&co
t)o
ej iSajS
S'Soocr
cSj" r? exi
(j5
1
*
o Poors' fib. 5?3
"isoft;^ eg
"Sodo
"SaadS"
-iSo&e&rreb
S&fc,
35
"So^cdb,
D iJ^iifiboo, Siooo^D
. eaciioS
(Biographical criticism)
e;^) 3"ltiOv),
^_ Ijaqr'^
:^ (Historical
method of
criticism)
"B
aJ
(Comparative criticism). r S'5r j
2. 3.
U$s^_fi, 33^"^SS^sJ-.
4. epfieS^ a&5 tfSio, 5.
S^3, i3
Sera-
e>oaovi?S
crn S'to^boO
of evaluative
criticism)
, srfib
fill)
. a
37
i!j?oo
-oo
unit V of P' ot
(^Imagination ( )
e; ^ es J7 3^ Oc en
SS o ~ o fl o tj'fc o
ao
1
Impressionistic
;riticism
Aocrofe "t
ax>o''&&*
Sco^Seo
SOAJS
rfcoa. s-a,
(Anatole France)
""(The
adventures of a soul among masterpieces) r
so. i /
'Practical criti-
cism'.
(Objective method)
17
. Cox and Dysen gj*bv5* "(Practical criticism)
is an opening up of the poem for what it can really be
for us: a unique and fascinating experience, carefully
&l55oa StfjjeslbStf
^^0
Practical criticism Sb
ED
SgoBS-eon"
gto&oOS75
400-0.
iotSirg
'"30^ ^IbcS
aoo/6
tftf^en "Beofib
a.
-
tsoii^o^ aa BOOST'S' "Bto
^Sbocr.
42
KT c3b So to rt-
<*o_5oO.
rS
, 5P<3 ^^n-eon',
- Jjo
43
s
. "5'orp'><5'
. tsfi3
wooociSo??' ^^"3
. a
44
es&lo crews'
o^go.gea,
01/0(5*
wfib
<3fc) TV to -COT1 77 CO 45
niii
5- 5
Sofi^S fc
Scr-iEao.
^ 5 ETC
O
^-p
^"*
5orJo,
.s-tftoo sSoT
AotfA-.
4 I
w*go*
503-
. ^^93-,
89 a rfsr^ s >7 ^o
a^ss -^^,3030^003.
B-S>
-43
-0^
Scr-cr.
. s-a
odac>^'a3(& a
43
0-3S
sjr$o,>a sSJs^a.
"31)35
esoftD
"BDd&Sbocr
Q
. ts43a
j>
SCT-CF
w^oiT O'os'co
S'C'eao ^'S
oorTT'eo 49
. S'ejftpS'
t9cS"(53
r<
ej<S 3^^(53.
i'* So o cr
(3^^ .
SjS
Ph.D., fli
>-
Aco
^0(1400^^3
. -Si
E.M. Forster
J. D. Baird
"A
thesis written to satify an academic requirement,
not to instruct the world of letters. The investigation need
not be published, of course, normally it should not be"
:
Bateson
Francis M. Kelly
Forely Clinton
/"\o~i&
c \da o
esoS'o.
52
esosfo. 8,2"
"ico^^8
&s5o-j5
rS
D
rao ^p^^go r
;r'&gej 3o&>T'to<5
6o^toto cfibd^otftoo
esfio-Sogc^
'
o^go-
iofl.
6
. 55 o "I, |$btf ^sSES'e^eo ij^esodT ^3-0 o
F3-(b^exr,
3
54
~2>i3
iyijrc.ov)
rveo
dr t :
fT ei3 55
^archetype)
Jv g ^3 S ea b)
S to ^Soxi'ii) -S's
2/J
(a)
>
n-a-j)?T
J3\S
oe)
SFotftfo tf 3
>
)6!d3;ioc^i ^Sia
Scfo&ao
r
ee^^crv ^ufi
n SSr-Ba^-^tfsSbB".
J cO (^-
\ 3U5)
/
3. "-- '
Materialistic Criticism)
(Dialectical
56
t> 306
fiftfrfff*
-e
D' a d& K? cS
, -e
cisio 77 o> - cor r? 03
1
57
to
806-307)
?3*an'cki)E3CPS2)rT'Cb 5^
n-3
311-312)
58 oo
sj)to 3H-3I5)
Ss ^od'i
, s3 o
. S)69
^ i? Ob
"2005"
DotPif.
Q
^SB-IDS
59
a ^d& 1
oo. ST3
, .on-o^o
o
"1>^"S ^ogo."3of^C3'^oS 3
Siowgo. Siij^^tf^Oif*
ts^ 6o<S ej(5u
o .
'o ^06
635?^ a
n-!0 iOBtfp'Sio S to ^ if do. tsoi^^o^ T5d3
r? SSOoS;
a-SCb fi. 2.
8,^633
60 ts o i S
c 55 JSs 2r o 5
j^f
: 484 ;
485)
Ooatf
S{ k
S5 53_tfo^5
3
(Journalism) ^S
"We shall certainly continue to read the best of its
kind, of what our time provides; but we must tirelessly
criticize it according to our own Principles, and not
merely according to the Principles admitted by the
writers and by the critics who discuss it in the Public
Press" 27
-- T. S. Eliot.
"A theory of art will not be able to get along with-
out at least two key terms-to stand in partial opposition
to each other and to keep the theory from collapsing into
(J3_30;S
G3
.
er.
i ;$3*fc>a>
s*fiji2>.
oo
Sb S"boc(3
5
ears- ia rCdoO^^ fifla<3>.
Sjfl.
. tscoosr,
a. 575^
. S". .18s5
i ea3on *oa.
criticism)
. t3X>o
o esSAoa.
. -S's
o__
.
u
1800-1825 s5D^ AB^OO/T ^AoS.
; 1901
e-6'wooa:6 1832
S5083&
Stfotoo
eg
66
<y
sSbtfg
tfo&tfra )tf^3oa. 3*0,
a&tf
("Aristocracy)
(Idealist
Romantic approach).
5*0' el materialistic
(Positivist approach).
^Biographical critical method)
(Sainte-Beuve).
^jb;'& So Q S^8 1 o 7 Co .
sfa-g
atSbS^ oabef^so asFtfdfcorr SO^oa. Os-0
1890
;
"33go, "S&tfgo
S3
5',)
^00) ^"
(Analytical criticism),
(Psychological criticism); ts>g_S Sjsi6'^ (Expressionistic
criticism); sfro^&i a^5^ (Marxist criticism); 3^ir$zS
asSoC^ (Naturalists* criticism); jj^^S'S^S )&B^ (Symboli-
sts' -j))CSb^
criticism); a&tf.j (Impressionistic criticism);
j_5E3 Ss3o5^ (
Textual 3 tfatf
criticism);
Ss3bi'^(Biographical criticism);
i.
^Af. od5",
16i5 V.
4. sar irlbgir
<vi
a&^d&tfo - MIsS
-a\
Vo-S)
o
o
- 1800-
.5.
g-crjSS SXSfctf^dStorto (.19*5 tfirg
.
^5'^tfo :
1825)
&* sS To
'53.cseo'
1 '.
^T , 6i
I ^ ci5r c 1
'^ax).
for life's
("Art sake)
6
M Ib^T yd^T5 i^j-a^u^oi^ 'Theory of Ideas', 'Theory
n .
*~
of Imitation' \t:.
-- o .
odSbeo
^as o~>
70 ojj3
oS
.
Sjp. 384
'The
n
S' 'ea
71
(fear)
-^s
^^ (J.W.H Atkins)
-
!!*:.
cftotfo
Jntfg asfco'^J* tstfJj^" (Augustan Era)
. 31 &o<S U
'Epistles' ~do&
, "SoifsS
Poetica
s'Ssr Ton-
"By at
72 yo^S
W
t>
^r 2'^c3'\
__o u 06
fbjo ccotr- sf)S-Ml;-"lt
ot-
may indeed be said that
"Soca>owa &.
'200
7r3
o Co
essentials of art"
(Ecstasy)
w. e
n-S
6a
10 ,
"Style, for Longinus, is the life and blood, the very
spirit of a work and of the personality of its author. He
was the first to assert that style is the man- 13
:? Si ft J^BJSS* uo. ^
e Vulgari
if
Saintsbury
"No ancient eritlc couldhave made such 6 suryey as lie
makes of the different languages of Europe; no ancient, critic
did make such survey of the dialects of Greek as he makes
of the dialects of Italian.- 15 e^bS* 'fl&tt
>f
C3-o~&.
Feltre
Uurentius Valla, Politian, Vergerius, Vjttormo da f
Roger Ascham.
i$x>rtbo> t^S^JSor?
. a 0^5" O'OoOS *Art of Rhetoric'
(SDcSa^r*
s-sr'bfc.
Tudor critics
77
(Stephen Gosson).
The School of Abuse' <a sS&'o^-Q
w^cSS;roSb
1T
(1554-
.
'Apology for
Poetr
"So&errY .
Appologie for Poetries, The Defence
of Poesie
5D ex
eo?T
s- fib
&otfSj*i!f')53 43a
11
aSotftio crlD
won-eo
tf
V^oO -"A tragedy is tied to the laws of Poesy, and not
of history; not bound to follow the story, but having
liberty either to feign a quite new matter, or to frame
the history to the most tragical conveniency- 1 &
n-*3
Sp- "The
ancient marked the quantity of each syllable, and according
to that framed his verse; the modern observing only number
with some regard of the accent, the chief life of it standeth
in that like sounding of the word, which we call
22
rhyme"'
ud'S)
2 sb^rT o^ors-
rl
?3*&33' -&is't)OiS
fftfg "^^Sddbco
r'
3*toS'^:$|Jd&
(1564-lfilfi)
tf I) cJio^oiS^ "Sd^Cb. S^ci SCPO-
(1.573-1637)
"Gohver-
Drummond', piscoveries' ^^ Timber'
4
sations with
Day id Daiches
"A critic who
endeavours to develop his theory and practice
on the basis achievements of the great Greek and Latin
of the
writers and whcj tries to systematize classical practice and
classical critical ideas into a set of rules for the guidence of
23
modern writers*'/ ..
. ?T. 17sS
- 3
' 33"& 'Father of English criticism'??
a.
'. g0ao
iTJir', "Sco^fiofi. ejdi)J6 L5!J5^ 'Essay cf Dramatic
r^i
Poesy (1668)
<atfo3'
^Esbdi^^a. ^to^ufib
SsSbtfj
6
e>aAJ5
u'cr^Sir'SSorr.
lir'Si^
SSocrg^sr eCpSroa^
-Crites
. Lisideius
.
Eugenius . Neandar
3
. Grites
; Eugenius 3
K? to 5*w "4
Lisideius Neandar
i"^3 o O ^ o "&
KT5r >
C' Neandar
t.g ^63*00.
epo3
6^077 ^8,o?3-aa,
11
spt>> jS^edJdSpco. "The secret of
3-3-
cor
1
W. P. Ker
a_; a<^
S^^iSs- "His virtue is
i
SCT- s?a^dab^a 'E3J5
that at a time when literature was pestered and cramped with
formulas he found it impossible to write otherwise than
freely. He is sceptical, tentative, disengaged,
where most of
his contemporaries, and most of his successors for a hundred
25
years, are pledged to certain dogmas and principles".
JOSSbtf^ff*
SStfjo
5*1243 2
ffon-. aon-. 60- oon- 6
ptfgl
6srjifi
fi.5.
^s^^
(1672^1719)
rf^ofl.
'
. Taste is "that
"203(3" iSo'S'o .
'' 30
O'S'o.
. wcr-T^
87
53*3
*5 (1G88.I744)
, 3-433
w^Corv
w
(1709-1781).
"ti"
i 80
" 1
ption-
wO
osfip.
and indfe-
(fundamental
12
80 a
i
right only because it is established; that he may neither
violate essential principles by a desire of novelty, nor debar
himself from attainment of beauties within his view by a
tftftf S"
*4
To judge rightly of an author we must transport oursel-
"Johnson is an unambiguously
historical critic, and the true father of historical criti-
39
cism in English."
-.
n-S
to instruct 41
by pleasing.'
. 3.
I>^oors
^ OoCftoo,
CPU
ff*cS^w ^g_|^^S ficoS c
"i
<5"^i:
"He has not merely flourished and vapoured
critical Abstraction, but has us a solid reasoned hobby of
left
, TS"^,
"Poetry must try to raise Its arbitrsrfy signs ttr natural sigfis;
93
Tfi - criti-
(Goethe) a&tfjff* a'tf^oS'S' 3&ig (Destructive
cism), 3aS5-s'33:fc^ (Productive criticism) &3 ~do&
>?&> &"30&p ^*T* ^sr^Sc
*4
The former is very easy
: :
did th^e author set out to do? Was his plan reasonable and Sen-
sible ? and how far did he succeed in carrying It out ? If these
questions dte answered with discernment and sympathy, W4
may be of real assistance t& the author in his fetf %vorks/'* 5
(Schiller)
gf {tiirti S_S
o **In experience the poet begins with the
18si
esolfb cres 11
^ Sorx^: ff'trs'j
4
S^Sd iSSi^zSork
^
1
^er [3:5
Nfc.
SSofi
D pO
S^O&r
_D
c3"3os~ (Reni-
X
13*^
95
a)
- "SootfS ^ ^ 0^"2oJ6
B
eso^ej^a.tpS wSOoiT'fib, 3*3
&? C$3 ^ CQ
(J^
(Liberty). Siss^o, (Equality)
(Sculling)
*.-
ifoq-.qJ&?
97
6"
J Q
SSdfco
I
[70- I
8511)
(
taotf 3B
o^r
Lyrical Ballads & yd&3 |jr^^ Lssco (1798 &od 1815
aSd^ &oij5ra
"3^13^032.
co
'spontaneous'
. 'Powerful' t9o"
o dap- 3 3^ Ob.
98
tjo|j$
s^S'
55 scjSbort* ao
-S*
(Joaa
<
s*g wwD
S^3ea. "Humble and rustic life was generally chosen,
because, in that condition, the essential passions of the heart
find a better soil in which they can attain their maturity, are
less under restraint, and speak a plainer and more emphatic
language; because in that condition of life our elementary
feelings co-exist in a state of greater simplicity, and conse-
99
Sib.
; <&>
.
"Every author, as far as he is great and at the
same time original, has had the task of creating the taste
o-
o
dr'^Oi3'&. d.
^3o"Sj S^oC^Sb (j'dbexi
-" Coleridge, with his authority due to his great
2. 'A poat brings the w'lole soul of man into activity, with
the subordination of its faculties to each other, according
to their relative worth and dignity/
4. 'A poem of any length neither can be, nor ought to be, all
Poetry/
JSojjtsj'orv
3 d^oo~&-" Genius like imagination, is
5$^rfa"So!$ c-^odQB^
r<2r-i-ors-
w^ig" Jsso^. i^i5\ 3 &, o'tfoootf ^^ ^ eft 55"
1
3*2 Ci'tfJSe' doadao 5)0
^55s5o. sSsprf^oileBO S'S
Imagination.
-r s rfrz^
j LJ & _
Fancy
Uoabrtbri
r'
aiS^a.
Ti
s^efi B-jstftf^sr&M
f Psychological
criticism^ So^cr s)f&
"Metaph/sics and Psychology have long been my hobby.
horse" esS
"
a. As a descriptive critic, his achievement is
..
Percy Bysshe Shelley
(-17,82-1?^)
A Defence of Poetr
14
106 w
fis-S"
(Thomas Love Peacock)
&ScSj* 'The Four Ages
of Poetry
ajer-
'Defence of Poetry
'
1. "Poets are the unacknowledged legislators of the world'
107
S)CcrLoCT >
&. 'Reason
$ Sfe
(Reason and Imagination) iScs-S^
~5}t> &z3ol5oi3
O
8
&i. <a>#> tfN&S^-'A Poet participates
r~ r in the
rv> e>0
eternal,the infinite, and the, one; as far as it relates to
his conceptions, time and place and number do not''
JSooozyS.^ rto
(conception)sb, es)gjj (expression)gb
it) .8ser
(T)
w;yj&-
X
"The former is as a mirror which
cloud which enfeebles^he light of which
reflects the later as a
both are mediums of communication. "^3^ (js5d3re3S3 a^ >
?T 5^803&.
"*
Sr "Poetry makes immortal
"2x6
M
T -
. t
'
'
\ ' I
,
} .
fr
(1795-1821). "I am
Certain of nothing but of the holiness of the Hoait's affections
ind the truth of Imagination. What the Imagination seizes as
leauty must be truth- whether it exists before or not for I
vave the same -Idea .of all our passions as of Love; They
ire all, in their sublime, creative essential Beauty"
18.18 5j|j3Sa
27s
'Negative capability' w3
go* D^-Doo&- "When man is capable of
Hazlitt
[William (1778-1830)]
"*
Lectures on English Poets
S";5
*
?c!5 epo~ (1775-
1834)5o j3llg$5to$ sSaJS^a. fc9&tfrar*tfo ^S ts^S
sStfcS^I)
33^0 ^irs^D^pSa slPo&efr' ao'Sa." Among the romantic
l 5*tfo tfo-a^
6ofi, S&SaO e$atfb>&o6
sipa'ai Irfia
srgS (Light essay) sSgSS tftfj_3
tsodorv Aoclfi*, of
o _e p
"Very much of his quality arises
ight)
-sa
(Left)^4a&o!b'oo&^^o!.o-S"da
2)53
Sfa-tg*.
"The Hegelian Left showed more
J15
R.^o'tfSSb
Sainte. Beuve.
"In
3jf*ad&.5'
^533
3 SPECKS'*
iocs*
_
5 l
3ov?'iSj. ^bS'
D.
117
t9<51p&ci&
"A Poetry of revolt against moral ideas
is a Poetry of revolt
against life: A
Poetry of indifference towards moral ideas is a
Poetry of indifference towards life"
o
6
tscxo"^, eixS'S tf&'oef !b3>
a
'
j
s
tr&. "Without Poetry, our science
will appear incomplete: and most of what now passes with
us for religion and phijosphy will be replaced by Poetry"
O n ca
63000
S'QAo^
S 3$>o&
every thing else will follow"-
o-Off*
S'ss-g&totfofi*
(j$
3 ^ fi> o3 5 'Imaginative
reason' ,
^"igs'orr "^S^vlStfAoa. "The main element of
-S'S' c
a
o e3" Sr 6 zr 3ot>
ro
*
"Arnold has a manner and style rather
u$ srsS off*.
fig- 3^
S^sStfo; tftfrtf^
(Art for Art's sake)
tftf
S'Sef
O o
"Arnold, almost single-handedly, pulled English criticism out
of the doldrums into which it had fallen after the great
Romantic Age." 71
tfbtfo
tT'otftfgo Sxowgo.
16
122 UQ($
Studies in the
3-fti
Sotftfa. ITS), 33
De Quincey ^^ B
ggS^ Literature of power <a!b, Lite
^
Imaginative forms eslb unimaginative forms a
_
- 'The MIND in style
writer's
(infusion of personality).^ "3o5od3 ti^&z-o&i jS&o
"tit) 5" '*& ^DOCT- 'ao&Styeorp' p"2DnB <&- good art and
"A good artist says to the reader. "\ want you to see preci-
sely what see.' Where his style succeeds in doing this, it
I
(Impressionistic method)
"3) t> 5" "His method is that impressionism which
Hazlitt and have brilliantly illuminated. His intuition,
Lamb
no less acute, is still more personal than theirs, in so far as
it is more limited, exclusively governed by the feeling of his
own powers; in so far, too, as it readily utilizes semi-cons-
124
cious states, the dim regions of the inner world, and his
judgements more often are a deviation of the obscure parts
and of the reverse side of the souls". 73 - w^Cazamian 3Sx>^
go Lj*A$eotfs5fifc)-
"If a Poet's
3 '/Sr6 3bo4j-=Co.
2G
a Co^ a
S'S), n-i>
^63
S^_3 (comparison)
5S3bip'erceo.SDCi)'\Sb
srlb,
128 a
'Objective correlative*
eafirvO.
S:a?5joa.
C)cr JS'tfj^
tJ5on (&.
i>
"From time
to time, every hundred years, it is desirable that some critic
shall appear to review the past of our literature, and set the
poets and poems is a new order. This taste is not one of the
revolution but of re-adjustment."
SOjtf ^sS
129
more false/'
30.
tjS: The
Foundation of Aesthetics (1922)( C. K. Ogden. James
WoodST* g"e^^^^ ^odio^ 0"el?3).
The Meaning of Meaning
1
K. OgdenS" D> j^^oa). SiDAO^ xr>& Otf
(1923) (C.
^cu ^stfS) ^r-oti' (jSt5btfrae5-
.eD-The Principles of Literary
Criticism (1924), Practical Criticism Coleridge
(1929),
on Imagination (1 935),
Co*
SSji^jo^S ^3-^<& "A few conjectures, a supply of
admonitions, many acute isolated observations, some bril-
liant guesses, much oratory and applied poetry, inexhaustibel
confusion, a sufficiency of dogma, no small stock of pre-
judices, whimsies and crotchets, a profusion of mytsicism, a
little genuine speculation, sundry stray inspirations, preg-
nant hints and random APERQUS; of such as these, it may
be said without exaggeration, is extant critical theory com-
8*
posed" ts
''Criticism, as |
understood it, is the endeavour to discrimi-
nate between experiences and to evaluate them. We can-
not do this without some understanding of the nature of ex-
perience or without theories of valuation and communica-
tion. lmQS
fib
6oiroco.
(appetencies^
a
. a
132 wo
0/D 0*5430
er ""5
O
21*000^?,
Sir (system)
(poise) 3gs5;o&>
/value")/ w3 eo
V
'
=
2^cSoi3 <Sb.
8
"Anything is
(communication)-
138
the words because the iriTe-cst which the situation calls into
play combine to bring them, just in this form, into his
consciousness as a means of ordering, controlling, and conso-
lidating the whole experience. The experience itself, the tide
of impulses sweeping through the mind, is the source and tha
sanction of the words."
the* scientific use of language. Bur it may also be used for the
sake of the effects in emotion and attitude produced by the
jeftience it occasions. This is the EMOTIVE use of languages"
134
Intention, bd
meaning.
- 'He must be an
tP 0(54oo
d3fc
CSS^oO s^
1E30O CJ~
|j$
ccLr* .voif
experiments) d
loT 5
B^SJ-^O 3^o<5. 3.&3 So^-a^oa^ ^CQ^fiJ$ 'The
Calendar of Modern Letters. -Towards Standard of Criticism
(193^)
ts 13
^^oOio
-
^cr^^S dp^'Sfflco afio. New
Bearings in English Poetry (1932), For Continuity (1 933) ,
Revaluation (1936). Education and the University (1944).
The Great Tradition (1948), The Common Pursuit (1952),
D. H. Lawrence : Novelist (1-55) sa'S>
/ but systemati-
cally- over the whole field of English Literature" and the
Scrutineers proceeded by 'a minute and brilliant examination
by a scrutiny-of actual passages." Scrutiny tso"&
37
^
a<)
, o
. s^JO
wtfgd&So
18
188
sdSflr
^.go^-Enactment..' .Realisation,
Reality, Sincerity, Moral, Tradition "The word
^g^SS.
'enactment' implies that good poetry embodies, enacts a
valuation of a reality at once inner (spiritual) and outer
(social and sensuous). To enact a valuation is to realise
whatever is evaluated; it is to bring us into an immediate and
living relation with reality."
(New Criticism)
44
pattern,- wfitfsS
3s5b<tyfeGD
Cleanth Brooks
3^00*
The Poem has be read as a poem-that what it /says' is
to
a question for the critic to answer,
and that no amount of
determine what the
historical evidence as such can finally
95
poem says/'
HO
tfgSfr!C)^
S5s53^&. 0*3^ Chicago School
Lionel
'Table'
s5g_lg'5oi3'&.
"The chair is not wood
but wooden; Poetry is not words but verbal. In one sense,
141
ea
foe;
e-S'
bo<2>.
ufis'o
\s
d33 assumptions wlb. attitudes tsS tico^joij-=ob
),
2. Emotional assumption
3. Expressionistic assumption (esOSi'g 5
4. Transcendents I is
m(^&o>jSc& efj^Stf^jS <^5^tfo). 5. con
4. TRANSCENDENTALISM is a special of
type
Emotional assumption, which makes the excellence of any
work of art dependent on the intensity with which it evokes
the special type of mystical emotion which we have called
Revelatory. Since different peop'e experience such emotions
in contact with different objects, and at different intensities,
this assumption .also leads to a subjective standard of
criticism.
, "ScoJ
oodw
-t/B "Sodcp
"What we have
therefore, is two disciplines and not one discipline. On the
one hand is literary or aesthetic criticism which assesses or
describes works of respect of the qualities in virtue of
art in
which they are good or bad as works cf art. On the other side
the criticism of ideas and attitudes ...... If you describe or
assess the extractable, paraphrasable 'content' of work of
literature,ycu are dealing with something which is not
peculiar to it. If you assess or describe its quality of organic
unity, the compactness of its organization, you are dealing
with that is unique to it; you are dealing with it as an
aesthetic object and not with an abstracfon taken from it.
Theie need be no confusion between these two disciplines,
both of wh'ch are commendable." 101 ^^ "Zcotftf SXP-OO s?^
141
izs-o" "tr*:!.,^
(Stanley Edgar Hyrhan)
^Jsa "The organisied use of non- literary
S"o"23
^- (^ ^_Q
Bibliographical
sS.03
i^oo.S.-r- ^sjg Ssi^Sb ^^So'Ob, R. p.
Blackmur ^^ ^-L
"Upon scholarship all other forms of criti-
-
"Literature, the literary product
is for me indistinguishable from the whole organization of the
man. I can enjoy the work itself, but find it difficult to Judge
I
Lucan,plutarch
ipcr il?*db. 's^rj^J3(^ -S^ 'The Lives of the
^^Sd3bJS)
19
146
Poets'
tf*
L3*3-aa &>* a-*, Sainte-Beuve.
3.
.ofe&Q..a5S).gj.qoA;S>gf Impressionistic or Aesthetic
criticism
. Anatole France
t) aa>ff
;
Aab. -Gentlemen. am going o
I
impressionistic
critic brings home to us the fact of his own
existence and
you must not ask him any
himself" wtf
"" other aim than the perfecting of
147
E-S
9S 203
^o-g^j fSti&zjitio&jfr
I
. d3.si.
;$
0*0^:0^ David Daiches
"Mere impressionism, the falling back on autobiographical
chatter about personal likes anj dislikes and the thrill one
gets out of this or that work, is fatal to any critical order or
critical method and when it is rampant, literature suffers. \f
literature is valuable, its value must be demonstrable, and if
there is good and bad literature there must be some reason-
ably objective method of distinguishing the one from the
other l07
4. school
sSb^S'l^s't*^ Ssfctf; (Psycho-analytical
of criticism)
(Collective unconscious)
Sort- "So&
as
Sa 3 to 3 o rf &P -&B
artist other than the fact that he made certain works of art
may be used as data from which to draw inferences about
the works of art which he made. In the one case the purpose
of the investigation is to know more about the mentality of
the artist as a man and in the other is to know more about
D
the work of art as a wcrk of art"i s5o3Foatfb
so. <i.
Leo
[Historical method of
criticism)
3otf<3
IBs
n '
11
150
"SfoS'* Sir-cr
atf^S), ^3^"^ ^^H.^
)fc, s^
ScSbotf i
3'
8.
(jS^as-tf asbs^:- (Naturalist Movement in
Criticism).
?13,S~
OM^ 3 ^esPsSba'tfo
(Theory of evolution)
Cfc&u*
(Zola)
t93 ^T'o'S JS^aj is" Sir- ^0^3
Cg
S J^Ea"2oJ5a.
a
^3'^dSp3' (
j >
S ^as's'5 tf tf
ZtioS* &'6
u,
. 3*3,
152 &o\
7.
ejes'SYe ja-|jfoaiovj
""
ficr a> a (Sa ?5^a . gS>
1
5? s
55^
"
1. Symbolism is an attempt by carefully studied means a
complicated association of ideas represented by a medley of
mitaphors to communicate unique personal feelings '.
<ytf<T
n-JO
W. B.
Bf
. ^6
(jS
c& Q^o a S . tso&F'tfSb s-fio
20
154
(obscurity)
-5-a 9
H). dfio.
8.
sja^g3 3^c^ (Marxist Criticism),
'
rra
^sjp 3 ^" a ^ ^tf
(Dialectical
Materialism) tjQ-doTT
1
state.
goo
43 S
^j'Ob^co.S'43
, tftfco
3-gcSb ^gSj^S,
ts ^
(i
ci5j
9s5
rftf^rfo
158
tfoflotf^exi
ceive."! 30
Herald Osborne,
"A clear consciousness of a scheme of relationships
between methods is in itself a remedy against mental
confusion, even though the individual may elect to com"
bine several methods." 1
Rene Wellek and Austin Warren.
_, b
r>003. -^
"S>T* ?? iir ex
15
.
160 wo^tf &*Sj*&i S&o'^-wog
. woo
(1880-
2^)
19-51)
2
.
- &J)Ji)
tsJ6o0 ^I)J6
S&^^ID 45(3
*
asio^ ssAoas
p
L~3>tf
E3 S
5 D a- S3 o ID o $
21
162
. y (J^Q-FFgSS era
tf 3
. 3 3-3 a > 1ono85
g
n-a
tso
w.
(1896)
'
(1899)
E. 5*
" 63 ID
.
18120*
10
S'dSb.
o, crS) ^
1. "The most striking in the Romantic criticism
thing
is its note of freedom. The Romantic criticism is remarkably
fresh and original in its approach towards all the
problems
connected with Poetry and poetic creation. In the
c
eighteenth
entury criticism the poet was not given any liberty; he was
supposed to follow the ancients
rigidly, almost slavishly, the
chief feature of Poetry But the Romantics
being imitation.
discarded all the rules and restrictions and allowed free
play
to the imagination of the Poet/' 13
-&adoa
165
rS
^c3jr! oe ^sSg^
l
i d
8995*3. 3:5^3)3
o'r' ^ ,
o S5e5
. a-SJ
Q
1914 ^
166 wo^tf d-pS'g&oi-tJotf
1. 'srsSsrlf d&tfrr
ii
i
3.
f'n)
aS^^SS^eo (s*tfg
S'CeaSboo
. (Sir:
O S'^otT'iSioco. ^3) r5
,
9.)
'
4.
.
0)
38)
1
6. S?^'^
^^ cSi^S' S33d3boo
"203^43(^3.
s$**o ^
Atf g &-a,.A^ .
yog
Imagination
emotions
(Imagination),
o
(Fancy)
B-0. ec^ dton-* a-dS'
. I8s5
a ^> i o 3* & .
188
O "The shaping
and modifying power' /T&P,
^5^^^ "The aggregative and
associative power" rs?Sp
O^OotJ'as
ex>r3'
{ ^cx5D
. e^S: 1) Imagi-
nation in its real sense devotes the working of a poetic mind
upon eternal objects-objects present before the
physical eye,
or visible to the eyes of the mind. 2) Imaginative process
sometimes confers additional properties upon on
object, and
sometimes abstracts from it some of the properties and
qualities possessed by it. imagination thus transforms an
object, into something new, and thus enables it to react upon
the mind. (3) Apart from acting upon individual the
image,
Faculty of imagination also connects, modifies and
juxtaposes
different images. (4) Imaginative activity not only modifies
the objects and creates new objects, it also 'consolidates
numbers into unity' and 'dissolves and separates unity into
7
numbers.'^
grstotf
.
'5-&30C tfg^to Soc^oCS tfps<:$ Sfcoofio
ae^
cJfcc&ga a^JoS # S3tf&.
s^tfJoS <*orao srsssj-^S '
4
(3.
5?s5j6So SS
a Primary *>
Secondary w
70), '^d'o^
-'(^ 137)
Fancy
22
170
). o-O a S'C'eao,
esgo
55^
i)dAeTe;Sb
^^ SD S er- TV
Q. 18. 19sS
S^O'^Soeo
''Two Kinds of protests against poetic diction have occurred;
that of the classicists, hostile to pedantry and affectation,
appealing to polite spoken word; and that of romantics, hos-
tile to same things, but appealing to the primitive, the native
the directly passionate," 22 A<3brt:>
I?"u3
I f
A3 6808300 Sb
.
o o tfoSb ff
(Ja
Otf L^^&OJ
'
J, ta s; o511
>
^ Sb o So ^a SSr 1
^ Si S3a rf s
iji
9'
^ 3 S S) ^i5
;\
o* ^ S"3 "So c6 "i^CT^a.' (z$. 15)
'
3.
So-Co^ofi
S
.
17)
atf^ijSs'Stfo'^on
1
Poetry is ever accompanied
S'^bSD
, a
So'&
r
'JO ^oefiDOS" a
o, ^ffafisSofl
/Interpretative
'
:
Ci*i-;a;' (Evaluative critfcisrn
s
;
c*D1
-
i*.. CM? - C.' c^ .
176 woitf iCP-S
o)Soe:c3 ^
^;j, 70)
Do
! o i3
(comparative study)
i 3'Sico I ^S'
?3*
177
-
(4). 88) gi3D^od3 a&tf} Oo&Sb
Oo'lfidcCco S3*'
F3^o<^oc rr^
sSr-SSa'lbSM ? we ^?5^o^ OA-tfsSo S'd)'. 55 D
23
178
yo^S
"3eo?t>
t)
Q
'Emotive Expenence'Sb
O'^Sia
,
^. 132)
87
. SET dS>&43
(^3. 42)
. "Great
3-5
classic^ .
ro Q __D ^
S'ci,
^P^U^ES^SI ^ioSboO S3bS"o
STUBS' es otf1
DSbo'jSbuo
179
tfo
Criticism)
'' ' B
lStfsS
(Sociological
<"""> 3
CT-,
S'o^SS'
"3ojpSj, "So
^(6^5"
43 3 "^o;\t)0 Uco?i>,
yo^S
^ SsSb^ff*
180
a'^ifc.
"The main defect of words-
worth as a critic is that he shows a lack of balance in his
critical approach.He constantly overstates in everything.
It is true that wordsworth was confronted with the task
of demolishing outmoded beliefs and principles and, of
course, nobody can criticise a dogma without himself be-
coming a little dogmatic"
30 -
5=9^ a^nc^S"
8
&3^ s.6"
^^
"The first is his lack of wide study and knowledge of things.
He had read only English literature and was ignorant of all
other literatures. The second thing is his ill temper and
31 Sta&o3z'& sr-'oS^or?.
extra-literary prejudices"
. *rs 'Qt5' 1 b,
"3 OD ^2 Si 5^ go
/J
this criticism survives, as it vigorously does, it is not
lf
by
virtue of what it demonstrates but by what it abundantly su-
ggests, for no English critic has so excelled at providing
profitable points of departure for twentieth-century critics" 3
a
s
~ Sir-too) r o"8<S
2
sjoA&fcT
n
1
ioeS"
wSotf
tf^g tfCf^ (1893-1979)
O'So'Sfl
Q (v 1897-1947)y rv^eo cre5^3b.
e
^
(^Literary Aesthetics) &
dil
3^0 iP fib .
-Ss
SP'otftfg
[3e5o
03^0^^=00 STStao
Ibsfrotf
(I863-1952)
.
(J809
\
- 18mx
tion-
a- flo
183
es IS Sr
g
sa ,
t
dabtib"i3 J6(io
(^" c
1
rf
g
J^o Jii a 43
0,
, vT
1
^^
CD
sSa<5S
a
337S33; rr'^
, d'to.
63;
'
9
. SoA-^o
SuA
BoO
cSto e* o Cb .
3i3
185
&
SSr><6J553*g^5'Sioo
tfo
en ,
(J^didJCi Rococo
cs-S.
So
31*30
rfeorfrtfrorfifc. sj
* ^
tfoefi
24
180 wojjS
"3D
c6o(j3n-dS)o
, 'Biographia Literaria'
}^ "3 5
^^O ^ S^iCJ^
1.
"0^-
187
g.
S
.
10-U)
.
(Sj. 15)
oci5;pas5j;Sa&
16)
".
(si. 39)
(^. 40)
(vii)
^). 41-43.
fviii)
"tso^^oo^ ^o^SiooorT 1
SD^^oCito,
188
(ixj
63S"t)
(^. 50)
2.
^). 6J).
77).
tfS,
E?bco
T sfod
ISO
. ejo i^iScidb
33^;3^co exxS
SDtfjj
T'Ob. ^SjpcL^&'Sdj'^sso'
v ^^fib. o >
[^J333 ':iDj 1 922
* 3 oS"* S
190
uo^tf ;3'2r3'g3s5btfj-tJort'
tion of beauty
ss
'
esb.
cs-a
201) a
"5S
55 a
>to.
43)
191
tsfi
(4). 44)
'Beauty is truth, truth Beauty
fl/T-ob.
Q
O, a>
i. "00^0(3^ JS
(jSStr_jS
d&itf
i^err-
S> fir
2.
8..
s5^
35
4. e-
^os5aocirs otoj (
s
sr >
6.
7.
S.
9.
10.
25
94
. Si
"Sfi
C3
tfsfc
so. i.
Boa,
&$ S^o'.;,
Sjcr-^oS^ Sen 1
^ IS
^
d o ^
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: s)
1939)
Lyrical Poetry 5 3^3
"The Lyric has the function of revealing, in terms of pure art*
the secrets of the inner life, its hopes, its fantastic joys r its
4lJ
sorrows, its delirium". 3 #
tso "^
SSr-jjil:.
wot),
e.S' aa-Q
tf er
- o 5 $'
SOAo^J
^:S ^0^,30
Agao- s'fi^S ^Sx^Aoi3-ab. "In his
theoretical writings Matthew Arnold was concerned with
soc.al, educational, religious, cultural as well as
literary
improvements. He saw the degradation into
which the
society had fallen in his age and it
grieved him deeply n |
(P. 5lT)
2. "The beauty
of which he takes account is essentially
of a religious kind; draws the mind to the further issue, the
it
1
ad ^"SosSsjoa doooa. s'k&oa * 9*3 a>D ai 3" s
S
1
softs' if
5oo3.
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a^s-aJ "Sld^w^ i^D'iSo. 3-ib,
s *S <; ao o i3" e? c3 ;\
203
O
.
(Romantic Movement)
So<5oa,
oer-Oa,
wot), a-
204
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2155
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8. s"wg^ot5Sio. 9.
&o^&
II. What is Ramayana to me. 333*$
j*eo -^63(iaoo &ua
c'S'
Chios'
27
210 oojjS d2ptfg)s5btfj.ao
962^
55*^^)0(5^
(L970)
, 5743
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Si q? S3" co-^3 Sato 21
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^ "Bco^i
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csc&oS Sa^SSff*
(I960 sirS^-e3'S_.
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(1972) sSgsrtf^e&ea
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Jd& o^ea ^o^o tslSdao
jjS sSgs-tf^S
sjfi "2oiJrf
^060, e S'Obs-d
^00
d^ 567"
S \rSju OESDtS
Realism, Emotionalism,
Expressionism, Transcendentalism
~>3 Transcendentalism
Sb^o
/^^So^^ti)^. "Realism regards
itas the function of the artist to make
reproductions of the
externaJ appearances of things, because he and his critics are
keenly interested in appearances. Emotionalism holds that it
SSbo^Sbco Expressionism^
^S Transcendentalism &
3-3
"Instinctively in-
j-tjofi'
i
tsoo*
^oSaa>r?5
tf^tf^s-en
tfgtoo.
Aotaofi. oft
215
(circle)
216
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23 ft #?$ wk
tfo-rtoff*
^
g. e
4. . r. 18.63.1870 Stfso, 8
(&sfe.ab Son)
5.
I 970
28
21
(1894-1972)
E?toeo I^S
sS6i3fib. ^Sb'ocxS^ Seo^oSb
Ki Bf-
(1952)
Seo^S'iSoS,
7*043
"2aoS*
SS^otfto^o SP&OOV ao ^5 SSfco^SoSb
(1966)
(1S74) I960
53-S
S'^g^bo.
w
archtype).
^^^ CJ^&Q (Significant Form),
5fcS*tftf f*^s5bo
(Idea), (Psychology),
-20
ocSb ifktf
(Harmonyj, (Rhythm), ^Jj^J* (objective
sfrSS
attitude), SrfgS5 (Truth). S>ijSdBb (Reaction), Sr*
(Poetic justice), asSgtfc^J&o (Vision Divine),
so
(Feeling), srs^s g-stf
5J"S5&o
,
(Emotion), (Imagina-
tion). g"agrftfs5b3_;S tfj^sSneo (Elements of Poetry). <j*i&
(Poetry), a
"S tfoo",
IJCfc. B ~5o&o3
..SSjS
^"'
(Emerson)
i>: "Great Poets are judged by the frame of mind
03
they induce in us".
srO
222 eso'
;5;5<3:&bo>. Ss^rs-tf
"NS'e
i)0b
'5*s5gstfe6'(l 944)atosSod3
tb^ro^ ^o^o. tfrfjj
tftfoxtf
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1)5
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1)80 o-oaoaob&PCo'
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n-tfe,
j
225
a-JDST*.
'
(1967)
29
'The classical Tradition in Poetry
i2o>3 'Convention and Revolt in Poetry
tr
[jSc ?S(jS^j'K
T
eo?T i
>
(J\2r
ot?&. "The new comes
and takes its place beside the old, and we welcome it.
But it is not wise to give up too soon the old for dead.
i7
'SooSoS' liSA^C. go
Romanticism^Sb
Lyrical Ballads
r co
227
950-60
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cni "djfisio
otfo
P27-)
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2)
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ko 3d3bgtio
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4)
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6) ^g^^b^sg tf>j^tfo
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(Coined)
tf S&^O
irafipeb
i .
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3. &
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tfoS* S^
(Dialectical
Matrialistic Criticism V ^i "*oo&oO
So5
.
335 So^roff* (Instances)
(Objective) ^D- ^S (3oc^^_ (Subjective] ;$;$
i5i_tf
^^(ar 1
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84
Antlytical Outlook)"
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Marxist^. Marxism is an article of
18
Suco
S'CS'eso. ^3 Stfor?
246 wotf d-fiprfasfce- worf Ser s>o
s-^tfestf.
*)o-;teo tsoti
ESTS-
I. '1962 64 tfosS
S"
32)^8
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4
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247
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. s'JO, S'A^'o
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. 1343
ttotf lSS55*S5o
V- ro _ o 53
xps 11
!"^
sier-
"^^^.s?^. 'Socialist huma-
nism is the core of Marxist aesthetics and of the materialist
conception of history. Contrary to bourgeois preconceptions
reinforced by the gross, anti-dialectical conception of history
of vulgar Marxism, this materialist conception, which probes
universally to the roots, doesnot deny the aesthetic beauty of
249
"Social humanism
accomplishes the unification of
historical and purely knowelecfge within Marxist
artitistic
inseparable."
^530^0
32
250 wo
1969s*
eoor?
crn "."3.
^Socialist Realism), ^ D
_^as'tr^i IjiSaoaotf
SJ^CT s
dCbroE3to
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251
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'^So S3S3e3olto^ ti
>,
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wtf'dfco
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(^). 126)
s-Ob
(S3>. 60)
10, 'S
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^ 60-61)
tftfcjoatfjSa^
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conservative rr
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ts^gdfi^o
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4)
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JOS^^S&'toor? SsS^too
S3* eo
(^ 53 S58$boa 26
-^ 3oa ea
"57 ^g_|^5^oo. I. 'Marxism
never answers the question of the degree of dependence
of literature on Society... There is great literature which
has little or no social relevance; social literature is only
one kind of literature and is not central in the theory
of literature, unless one holds? the view that literature is
primarily an 'imitation' of life as it is and of social life in
pefticular. But literature is no substitute for sociology or
39
politics. It has its own justiffoation and end"*
:
ow*
aesthetic value
So^'sSba,
262 ao
3e
1
tftf^o
'
Seaors-
(1877).
^3
>
Ss'^an gocSi)o3*ob "Literary criticism
E3eo "Marxist
criticism, for example, explores the social and ideological
implications of a work of art, and though it swears by
'realism' and 'truth', never asks what really and truly is the
nature of literatue. Criticism without a theory of literature is
not much rewarding. Psychological criticism also occupies
itself with peripheral questions- with hunting for the subcous-
cious or unconscious meaning, sex symbols, and things (ike
these revealing a simple faith that the value of literature Ifes
primarily in being a handy evidence of our sub-conscious
life The Freudian theory of the Oedipus Complex can, for
them, explain the complex character of Hamlet, thus reducing
Hamlet to not much more than a mere type. Myth criticism,
similarly, cannot do more than demonstrate literature as an
unexpected conveyer of myths, primordial images, or
'archetypal patterns'. No body should question the importance
in its own way of the discovery of the subconscious or un-
conscious of man's mind as a store house of the inherited
images of the divine father, rebirth, descent into hell or the
sacrificial death of god, and of the discovery that these
archetypes are the organizing principles of any meaningful
work of literature. But, this must not be confused with a
11
comprehensive critical method."
1 '
|jSio 00*60.)
SOD'S ^D.
^0^)0 d
a gfco )oa>
. .
34
26G
oft.
So,
es gi^^ a ^00*0- SS n5
"l"txo i
n-SDS
jjoSS^rT SeOoS. Z3-JJ5
sSor? syg
r-g
Sj*
r?0
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rr-0
(1967) *|ytfg
*&iS (1968)
:3j-4oc
1. "sab BSbjtf
2. ""3a
ao
(I;
5Ssr*L5Ja'p:Sff
e'. '^cajs
n-SD Ib
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269
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1
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3"35
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(23. 16)
3. "^6^e 1
i^Sr-^tforioJ ^>^j^g' 3 cT^o S'Cb
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co77' -^
O Q
dear5
273
wfi
1
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jSfrj' S}rg<3sr^eo
j S'Oi.
^e30W_i". (^). 14)
eatfo
.... SS'fifo
1'
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(SB- 128,129)
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(sg. 29).
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($. 26)
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, S5SO"
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(53. 34)
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>
Sc ence
'
(
of
Aesthetics)
^2iT^ era^T" s?d3S ^o^rf SS^o^ (jS J d3b en n-
(^). 319)
eb,
. -^s 55jtooo
'
1)
_e"^go.
w^ 'Perfected Sensibility
(^ 22)
4) "ea&igp Sr-B-glSoS* ws ^.
1
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5)
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54).
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(sj. 149)
8.
154}
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(sj). 213).
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221).
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1
SOtfSo ^S^ofi; S^ 'S'^?: ^firoC
278 ao
SS&I^dSb
. CPU
(Transcendentalism)
(Expressionistic assumption),
(Configurational assumption) s'Ss-S"
(^5-53*00 -SSB'Sbcn 279
eoss^on.
J. T. Shaw
"An author may introduce the
influence of a forein author into a literary tradition, and then,
as in the case of the Byronic tradition, in Russia, it may
proceed largely from the influence of the native author (i. e.
Pushkin)- But, as the tradition continues, it may be enriched
by another native author (who goes) back to the forein author
for materials
or tonalities or images or effects which are not
adopted by the first author/' 157 &* r*fc>ei> ^23-^S "oS" _a
uo^fiS
3*!!),
*
Influence and Literary Fortune' ta^ ^o^o^* Anna
Salakian (jaersS
^5oS ^DSS^cr-S^ "laS^^^i^a "One is
cnoej"
naMty." 1 "
280
(ji3e?5g_Stf$o (Originality)
*
otftf^
ifr* oitoo
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^ S'8(^'"I
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3
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V-
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Georg Lukacs
6
I. A. Richardt
, a- 01)
ljroaooO
Ij6f68oaco;
38
282
t
(Modernism)^
3) rraS rf&^dbofl.
(1862-1915)
B-
s.S'
^ti
|j38$Go5
ao-con- S^So^p^ :
"First, 'Modern art is that is
[Jo[_ScCo
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3.
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gi {_ | 5 (Robert Bridges)
&S 'Testament of Beauty
1
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1
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5.
t
tior?tfc& &
288
iaofi; Sesozr
o B3
) 'The new
impressions modify the impressions received from the
objects already known, An impression need to be
S* ^poxr
^Cb [TjZrr
Bioorv
290
aa-fi
Cbiiex)' Sj.
(tf^p^g'S). 87)
tftfo
2.
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tfo.
I
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,
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292 &o[
n-0
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jjSdjg'on-
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n-fl li
(1897.. 1980)
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,
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a* So.
294
^
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&\&
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*- ~ *
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tfoo.
e ^3**
fcso&tf 57-55
t^ Sf_
^" 5
tfoo. ix
"the precious
life- blood of a master spirit."
, struggle, rebellion-
artist
3 &,"053" &>.
1
4.
'^S^g^eo^f ^o^ fi"^ ?T S^SiijotSj, Si
dSbSi,
*2yrfga&tf}_aorf jSj
,
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estf
aisj-^o^ L?d6^o, cm Oa-Sb^ofl,
tfSj^. 3-^53-^ ^ fl
(1910-1963j
0-0-
-50- sg
-tfo
(Matter), ao'ga^g'
53>n^
^a-^^fl &;S&^ (C on-
^Ts)
& fl
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298 iS5o:5
1965
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g'i'Sbd
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sjS>oO
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801
E. F. Carrit.
"Every generation is privileged to stand on. the
shoulders of its predecessors, and it is taller by
what accomplished." 1
-Brander Mattews.
ea
(jSiJdtfrgVyyfO^ n*JO,
S
|Jj(_5cCoto.
e$otr>o.
3ea^> SO^COD
3-0
(1768.1821)S
ssa^s>-j6
(Biographical Sketchs
of Deccan
Poets)
304
&{&. ^o^d"^
_^^ (sublime), (Beautiful)
es&
Se-SS
oL
a .
1898
,
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6. 'If all truths are period products, then our own standards
offer no secure basis for passing judgement on those former
10. 'A critic is one whose watch is set five minutes in advance
of others' Sainte-Bueve.
11. 'Criticism may be regarded as having two different
functions that of interpretation and that of judgement'
W. H. Hudson, ITSEL p. 267.
SPE. p, 102
7. 'Mutual borrowing and commerce, makes the common
riches of learning, as it does of the civil government, A
discourse concerning the original and progress of Satire
25-26
(1693) Essays of John Dryden. Ed., Ker. Vol. 2., p.
8. 'Influence, n. orig. a term in astrology, the power virtue
supposed to flow from planets upon men and things'.
Chambers' Etymological Dictionary of the English
language.
9. 'Writers -flow into each other like waves, gently rather
than tidally' Richard Ellman Eminent domain (New-
York 196) p. 3.
p. 153.
11. 'Influence as inundation, influence as whetstone the two :
'
- S& : 295.
26.
o o) or
.^. 8.
B
. cr. iS. S.
: 294-295.
vii
x-
1. Literary criticism- A short history., Introduction, p.
2. a of order: It classifies
"Theory of geners is principle
literature and leterary history not by time or place (period
of
or national language) but by specifically literary types
and
organization or structure" Rene Wellek
Austin Warren TO L., p. 226.
(1981 J
viii-xvi.
V1I1
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(c)
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(d)
(e)
,
d. 3.
S).
. 2. 1981.
S. C.
3. &*< :
Principles and History of Literary Criticism by
Muodra and S. C. Agarwal., p. 524.
4
4. "tifi moo
n r> L. o
"There are many tables in the world, but there is one idea
or form (Platonic Idea) a carpenter
of a table. When
makes a table he produces a mere semblance of this idea
which is the one 'real table lying beyond all the tables
which have been or can be made; so that the Idea, for our
present very general purpose, is out side the world alto-
gether. And when the artist sits down in front of the
carpenter's table to paint a picture of it, the picture that
results Js acopy of some thing which is itself a kind of
shadow of the real object. Thus the artifact is removed
at two stages from reality". The Republic., Book X.
5. "Poetry fed and watered the passions instead of drying
them up and let them rule ingtead of ruling them as they
aught to be ruled, with a view to the happiness and virtue
of mankind" The Republic., Book X.
6.
Principles and history of Literary Criticism-r, p. 205.
7. "The Poetics is Aristotle's counter blast to plato's cele-
brated condemnation of poetry on the persuit unworthy
of main's intellectual dignity and radically vicious in its
effect" Prof. Abercrombie: Ibid. 206.
9. Ibid: p. 235.
Literary criticism of Antiquity., Vol. I.
Ibid. p. 283.
Ibid. p. 287-
Ibid. p. 291.
Ibid. p. 295-296.
to an
31. "His recognition of it, however, pointed the way
its
aesthetic approach to literltore to 'it* enjoyment by
to the imagination rather th'an by its promotion ot
appeal
a moral or social or observance of formal rules-both
and,
considered important then"-B. Prasad-AIEC. p. 130-131.
century Introduction p. 6.
footnote.
ment, the for the break with the age of neo- classi-
signal
cism. AHMC. II. the Romantic Age p. 130.
- $fc -, 519-620.
AIEC. p. 221.
PHLC. p. 520.
Ibid. p. 521.
83.
Principles of Literary criticsm, p. 1.
114, A. C. $. 815
123 ,
Marx and Angels. Selected Correspondence
BOO
(Moscow). 5.
124. Illusion and Reality. $. 813
1.
Theory of Literature
2.
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. 87.
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AgrgtfSa-n^Ki&offl
17. P.H.L.C, ^. 486.4S7
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SO^^B. ^.
19. rT^^ 3-SS&). ^. 86.
P.H.L.C. ^. 418
i
XIX
. 30
. tfao
_asrt)&3a "^^g-a^
P.H.L.C. . 440
Ibid. &. 480, 481
Ibid. ^. 462
H.L.A.A. Preface $. 1
Aesthetics and Criticism. :&. 141
'
$. 49.60
Ibid. . 64
Ibid. 3. 251.254
A. H. M.C. Vol. Ill- The Age of Transition.
. 165-156
55". 4.
a
41. H.L.A.A-Max 1. Baym. $ 63
42. Lyrical Poetry :
Encyclopaedia Britannica.
43. &as*o|tf ^S^e^a fSo.ii. ^.802-803
1940
XX
46.
jjj-^&da&j*^. $. 7u
46. P.H.L.C. $. 495
47. A.H.M.C. Vol. iv, $. 166
48. $doo ae& $jtc5 . Mimdra &. Agarwal - Pri-
61. Ibid. ^. 21
62. Triveni
(occ.-Dce. 1971) Dr. Viswanatha Special
Number - Intervicv with A. S. Raman -
16-11-1871)
55.
56.
Ibid. 3. 80
Ibid. 3. 81
Ibid. 3. 8
Conventidri and Revolt in Poetry-L L. Lowes,
3 70
Ibid. 3- 188
Ib d, 3.. 852
3 P ^. 2Bis
- 18S
Ibid. 3. 181.182
Ibid. 3. 74
Ibid. 3. 181
Ibid. 3 179 ;
Ibid. 3. 173
$. 4
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88 -
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108
104-
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106.
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109.
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xxiii
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88
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26. i3jdil: i^S^tfi? i^<Sya3^o-. S.
6 J>SS'o3 -
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29. ,
SO. ^"2ptf|
sSatfd&o
(1375.1976)
Sj. 237
181. ^^ o^tf^ .
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XXIV
8
88. eCo^S" ^Sp^cff S&Sa-tfo M.3>.a.3", Sk 201
(n-g),
99. Theory of Literature $. 109
Ibid. %. 14
. 238
Ibid. $ 30-31
Ibid. EDS* ^. 12
^tetfrac
. 2
Ibid.
(33^3 B?5ia 1973 ^o&\ %. 4
tir'rfo :
Comparative Literary Studies - An
Introduction-by S.S. Prawer., ). 69
&-db; Ibid. $. 73
- $. 468-472
9. fp^: ^cfs'^.ss^^g'^
(spg)
-
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S^o-SD; 3). 477
18. cfr&:
^^(g, tfiSrfo - ^Sr^o - Sj. 175-185
19.
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^T'&'flrgo^ tf^tis-ea
XXVI
21. r$
ruDJ SlT* ft'NrO oj rO 3 O - ^). oOL)
3. BsoKi
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- $ '66
4. 1-bid. ^. 167
5. 3ex>r\3S*
^-SpiJg SS)^ - wSo'tfra Ss-^iDeo., ^. 258
6. IbiJ. -Sj.2F8-69
7. t)^rSo^o So&to :
S5^[_^
^5o^ - $. 254
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ctf^ Spfl^so (wo|_o^53^o) ).
12. ^^ SDtf -
sC[_^d6
^fla' - &. 91-92
13. T. S. Eliot - Selected Prose - g. 28
14.
15,
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^
'
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- &. 841-842
12, 603
20. ibid. $. 605, 606
21. Ibid. >. 606
22.
(1
2.
:
^e^e8|ona ''fe^ ifsSo'
(I960),
(1930J 3-,S_^5 j^ogrexi.
1972), tf^Fg
(198P
X &&&&&>
(1980), (1972)
&&: ^jp^g ^J6S (1978)
28. ^r.^: SOD^J s^j6^^ T^cCS n-#eo SSS^jS
(1977), (1979)
29. &*&:
iQB$&*[&a (1981)
80. Literature and citicism. Sj. IB
:
Hudson, W,H., An Introduction to the study of English Litera-
1977.
Seshendra Sarmi, G., On Form and Lsnguaga in Poetry.,
Bangalore: Prasaranga; Bangalore University : 1980.
Shipley, J.T. (Ed.) ADictionary of World Literature
-Srinivasalyengar, K.R., and Prema Nandakuamar., Introduction
to the Study of English Literature., Asia Publishing
House, 1969.
Triveni, (Editor) Bhavaraju Narasimha Rao, Golden Jubilee
Number. Vol. 46. No. 4, Jan March 1978 Machilipat-
nam: Triveni Publishers.
Vis wans iHLJi s K p<
iy. in Cjjtbism a^d Comparative Poetics:
=
Edition. 1974.
XXXI
1978
(^S.
^. 1854J
tfotfo, o-u,
,
1979.
. fin. 1955
1963]
19BO.
- SSoil
: 1967
:
0*^30 sftrSo^ SS3i3, 1978
,
1931
, 1930
1980.
XXXH
: 1976
o^a, 1930.
1
^ Sbo^ fi ^S
(3boij_6 Moa^daMua).,
f5^*g; 1977
B
(3^83.^0
|J3 (zp
: 1939
o :
O^ptfb
^o55Do : 19T6
: 1958
tfao ^ofl
Sbo-gdo^
ofoSo'tfS, 1975
5*^0, B.CPII.,
: 1981
: 1971
,
J968
ctfoc*tfe, 1977
(Literary Criticism],
1977
S'Ser-
: 1978
. 1987 :
.- 1974
f
^S"o
,
1965
, CT-II.
,
1981
,
1980
: 530. 1
^P .
693-^11), 1975
(jS.
liss-i'S'
ift, 1981
xxxiv
,
"i. ".,
tfo
(1900-1947
1979.
"
Ssxi^eo - tftfoxitfo
., ^3o(S'cp e3(i)
|
; d^iiej'iS'Q, 1970
,
1969
sS.2;
gj
^oo, 1970
io&eo-f
.- 1972
^2jat)i. l
5, 1975
&
*0g' > Si^o^eo : Sexrib
d"
So-^o L_tebo, 1974
,
1975
o!S)ii'oin"'3&
,
1980
,
3979
_ a^S"
- a- O
: 1947
XXXV
,
S't&cfl, . S3- ^fio :
a-g^cesfl, ~*
: 1947
3
^*5T*0, 1981
, 1974
ifl.,
, 1928
([jS.&a. 1974)
(Literary Criticistn],
([Si.
a.
, 1980
: STo^
., ^-
, 1968
.
u * ,
L
533., a^a-Os'S
3j6
"lo^s, 1981
Da-^5; 2/
j^5a, 1981
: 1976
tf^
: 1940
XXXVI
: 1977
: 1963
SOoSSS c^^^^e
e
- 1980
,
1981
6t5oSbo
(1876-1976).
,
1978
,
1981
: J981
^S'o'
1*11 CT^rdl BffldBC) 23fic3*^ jSfO
1
^30^00, 1981
, 1972
XS^ti&rrd
,
1964
,
1970
.
[S).
&. 653 B tfS3D I
1977
, ^o^do, CPU.,
Sb-v.
-i
1961
xxxvii
$fc)inXrfr'o : 1915
L
a, StfSotf, (cSo. I
, 1968
0. 1972
., tf&tioS
1079
: 1978
,
1980
6,
(1947^-72)
1972
,
1925
1981.
(INDEX)
l~
ay . 7
Buchhurst, Lord., 81
Baird, J. D., 60 Burns, Robert., 284
Balakian, Anna., 279 Byron, George Gordon., 296
XXXIX
160 - - '
, . HJA
Crane, Ronald S., 14U ,,, i /-^ ici
^ao Flaubert, Gustave., Ibl
Croce, Benedetto., ^93 Q1 ,
Fletcher, John., 81
FoTSter, E. M ,
50
ght, Wilson G ,
148
Heracleitus., 88,
Hermogenes., 04
Homer., 68, 75, 118, 807 Lamb, Charles., 05, 1J9,
114, 147, 328
Horace., 71, "72, 87, 04
Howard, Robert, Sir., 81 Lawrence, D. H., 2S2, 296
Laurentius Valla., 75,
Hudson, W., H. 219
Leavis, F. R., 136, 137, 1F8
Hulme, T. E., 189, 147
Huneket, James., 147 Leland, John., 149
Lemairre, Jules., 147
Huxley, Aldous., 49, 68
Leain., 56
Hyman, Stanley Edgar., 144
Leonardo Bruni., 75
Leopardi, Giacomo., 114
.Me n
-KX i.- n -j T u 78, 222, 287
Cutchion, David John;
'
'olygnotus.,
Milton, John., 64, 118, 295,
308 Pope, Alexander., 65, 88,
180
Webster., 808
Wellek, Rene, 94, 96, 97,
828,
., S19, 824.
., 29]
ago-., 246.
(S)-.
323.
,,
817.
, 299.
323
rfoifiTfotfo^, ^dSbSj'e., 239.
^Ccteo.,' 85. ^ **.* = S, oot
ooo, roa^-fi 3o^t>., 282,291,
oo
., 211.
293.296, 299, 800.
5'
(Sboii
258, 256,117.
a caces^cSiDooV,
J
^
,.< c
x
*'
. .
*" & 53l
^ ,_-
^^2"
ono
292
fl., 57,
247, 249-258. (atfiofl^o-caoeo., 191, 287
., 826
tf^tfo., 187-,
808.
, ^0^6. , 266, 288.
rf. S,, 69, 60, 222,
,
irvfreb, ^0^6., 216, 287,
228, 224, 289, 291, 296, 299.
xLv
i
3 11 323.
., .'
&^sSo'Jg), 3^& t>. 1
_., 17,
1."w, 250.
i>
. {fo/<i3*g c7^co l
fl^.0^0.,
324. a^a^, iS.S., 23, 83, 160,
., 240. 179, 304.
., 823. o'&'D-^, 3&3., 67,288, 241,
281. 246-248, 258, 260, 281.
., 322.
,
S|L'.,
809, 328. D'Si^fi,
<^^3., 180, 181,
, Sss-O., 204, 805. 1 32, 188, 189, 190, 191,
194, 2 4.
..
-
2o6,
fi
o^^raa'$),
o^s-otfo,
a So^?., '
q 1
166,167,168,169,170,
171,172,178,174,176,
xLvii
_rfS$g., (8),
22, 226,^804.
,
qpo
V C)& m J$.A5o*i5), ex>|ov,
LM
163, 164. '
ogq '
~i& oiOlr?fo.2 ,
1*^3 C d3J fio . , 58 Jil6,
Us 6 '
.
20 .
202 283,265,
., 186,323, -
7
,
266.276, 3)5, 816, 317,
824 '
23, 31, 8 S, 88, 34, 85.
36, 187, 214, 235, 231, &****it ajo^ofl., 257.
^g^o-dficD., 808, 818.
282, 288, 305,806,819,
'
a^u.j^ QC (BrAtOaJ'iOu^^),
^^^
3 C7*uOO., Jo 1, QUO
flj ^'Tf ^J . '
O
'V .
* .ft. \__^._>^. ftxCvr
237
opo
**o& .
,
,
;
.
d,
^P*^L>oxa* ^-* &jfl., 358.
igfVQ ti)(^) l^UtMlU (WJMaJ-pJU-q^) I., 56,
67, 226, 286, 237, 239,
e> ^ ' '
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260, 266, 257, 260, 288,
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., 829.
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168.
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S22. 162.
186.
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., 297.
21
(12)
(13)
1 criticism criticism
7 discrestion discretion
F.N. critcism criticism
2 6
26
27
8 16
22
6 8
7 18
IB 22
16 27
17 22
23
20 9 SP
26 17
21
82 S
15 7
16
160
ins
15 rnent merit
Lii
Lin
subcouscious subconscious
it is
Johan John
meanning meaning
Possed Possessed
wrekage wreckage
Godess Goddess
3_
different
different
disassociated dissociated
that is
that
ushprecedented unprecedented
fundemental fundamental
17
12
27
Liv
Lv
', '1)25'
Lvi
3.
1.
I960.
2. 1962.
9.
1978.
4. 1970.
6. 1978
6.
1973.
7. xj^Esi 1974.
1975-
1980.
10.
^
1982.
11.
Es)
1983.
12. ^ea
1983
2.
3.