At the beginning of The Principles of Literary Criticism I. A. Richards complained of the chaos of critical theories—a complaint that we hear pretty often, generally from theorists about to add to it, each making his small contribution. Richards' own contribution was a plan for reckoning the merit of poetry in terms of the more or less organised psychological state that it serves to induce in its readers: for poetry, he held, organises our ‘attitudes’—a term that may be taken in (...) different ways. The theoretical picture that Richards connects with it, a vivid enough picture in its way, is of a kind of stock exchange of neural impulses; but perhaps in his practical criticism the word reverts to its ordinary sense. And surely the practical criticism, not the neurological speculation, is what has served to keep Richards' work alive. This is the aspect, at least, to which I shall confine my attention here; my concern is with the use of these and similar concepts in the practical business of criticism. For here we have critical approach, a technique and an orientation, that has in point of fact increasingly established itself. And the fact is one, surely, that aesthetics cannot ignore; a general theory should take notice of practice. But if this is only to add still more to the notorious chaos, I cannot see any alternative course short of abandoning the subject altogether; and that alternative, at least for those who are instinctive theorists and generalisers, is an impossible one. (shrink)

David Pole; II*—The Excellence of Form in Works of Art, Proceedings of the Aristotelian Society, Volume 72, Issue 1, 1 June 1972, Pages 13–40, https://doi.org/1.

David Pole; II*—The Excellence of Form in Works of Art, Proceedings of the Aristotelian Society, Volume 72, Issue 1, 1 June 1972, Pages 13–40, https://doi.org/1.

Still waters, they tell us, run deep; as for philosophy, one who aims at anything like depth cannot always hope to move briskly. Let it excuse my beginning ploddingly, with familiar distinctions. We commonly distinguish what we call mere fact-gathering, however copious, from anything like real understanding; and again, superficial mental quickness from deeper processes, processes, to repeat the truism, that may run comparatively slowly. Philosophers have begun to distinguish too, but barely more than begun, understanding as a performance—I mean (...) an overt linguistic or other behavioural performance—from something else that sometimes happens inwardly. Something happened, presumably, to the Wedding Guest, who on visible evidence only ‘went as one who has been stunned’, but also, presumably, understood. (shrink)

Philosophers almost by profession are minders of other people's business, that is their intellectual business; which, though a necessary trade, is not always a popular one. So Socrates found long ago. Discretion may therefore seem called for, and still more so in writing of Dr Leavis. Leavis is, so to speak, a hot subject; and not only so in himself, hence to be taken up with caution, but a cause that heat is in other men. Nor is that all; other, (...) harder obstacles remain. It would seem that Leavis explicitly shuts the door on any philosophical approach. Philosophers, broadly speaking, deal in abstractions . Leavis wrote long ago, at the start of Revaluation , ‘No treatment of poetry can be worth much that does not keep very close to the concrete’. That ruling, which might debar my whole enterprise, I can take instead as raising immediately its main theme. (shrink)

“The pattern is new,” T. S. Eliot has written, “at every moment”: for our past and the history of our culture forms a pattern for us, and each new step that we take implies a revaluation of all that has gone before. Professional philosophers are no longer much given to sayings of this sort; they leave it to poets to make them. Yet surely if these words apply anywhere they apply to the history of Philosophy. A new philosophy or a (...) new position in Philosophy, genuinely new, involves the adoption of different categories, a new orientation; it involves the re-writing of its history and a changed outlook on a whole landscape of problems. The perspective is altered, we find; the masses re-group themselves and the relations fall differently into place. (shrink)

The author's purpose is to distinguish and characterize the various distinctive experiences that are associated with the appreciation of art. the author is especially concerned with the variousness of such experiences "and the folly of a monopolistic view on the part of aestheticians as to the things we are to permit ourselves to value as aesthetic." (staff).

D. Pole, whose Later Philosophy of Wittgenstein appeared in 1958, here makes a new attack on the problem of value-judgement by taking it out of its limited ethical context. Beginning with an examination and criticism of current views that base all moral and other principles on personal choice or decision, he finds a point of departure for his own account of the problem in the claim that rational inquiry of any sort rests on the possibility of evaluation. The place of (...) the one process within the other is then worked out in some detail; and an attempt is made to show how inquiry, as a collective undertaking, involves the progressive search for and establishment of new principles. (shrink)

D. Pole, whose Later Philosophy of Wittgenstein appeared in 1958, here makes a new attack on the problem of value-judgement by taking it out of its limited ethical context. Beginning with an examination and criticism of current views that base all moral and other principles on personal choice or decision, he finds a point of departure for his own account of the problem in the claim that rational inquiry of any sort rests on the possibility of evaluation. The place of (...) the one process within the other is then worked out in some detail; and an attempt is made to show how inquiry, as a collective undertaking, involves the progressive search for and establishment of new principles. (shrink)

“The pattern is new,” T. S. Eliot has written, “at every moment”: for our past and the history of our culture forms a pattern for us, and each new step that we take implies a revaluation of all that has gone before. Professional philosophers are no longer much given to sayings of this sort; they leave it to poets to make them. Yet surely if these words apply anywhere they apply to the history of Philosophy. A new philosophy or a (...) new position in Philosophy, genuinely new, involves the adoption of different categories, a new orientation; it involves the re-writing of its history and a changed outlook on a whole landscape of problems. The perspective is altered, we find; the masses re-group themselves and the relations fall differently into place. (shrink)

The work of artists is to make works of art, and of theorists theoretical works. In our ordinary dealings with such things, elusive as ontologists may find them, we seem to know well enough in either instance how we should regard and handle them. Ontological questions are none the less raised: what species of entity may they be? It is a question, I confess, to which I could never respond with much enthusiasm. My own interest in art is more ordinary; (...) I care about paintings and poems, about what serves to make them good or bad, about how we should look at or read them. Yet it may prove after all that the two issues are not wholly unrelated. (shrink)

The work of artists is to make works of art, and of theorists theoretical works. In our ordinary dealings with such things, elusive as ontologists may find them, we seem to know well enough in either instance how we should regard and handle them. Ontological questions are none the less raised: what species of entity may they be? It is a question, I confess, to which I could never respond with much enthusiasm. My own interest in art is more ordinary; (...) I care about paintings and poems, about what serves to make them good or bad, about how we should look at or read them. Yet it may prove after all that the two issues are not wholly unrelated. (shrink)