PRACTICAL PAPERS
Practical paper 1:
Text 1
Many objections have been made to a proposition which, in some remarks of mine on
translating
Homer, I ventured to put forth; a proposition about criticism, and its importance at the present
day . . . More than one rejoinder declared that the importance I here assigned to
criticism was
excessive, and asserted the inherent superiority of the creative effort of the human spirit
over its
critical effort . . . The critical power is of lower rank than the creative. True; but in assenting
to this proposition, one or two things are to be kept in mind. It is undeniable that the
exercise of a
creative power, that a free creative activity, is the highest function of man; it is proved to
be so
by man’s finding in it his true happiness. But it is undeniable, also, that men may have the
sense
of exercising this free creative activity in other ways than in producing great works of
literature or art; if it were not so, all but a very few men would be shut out from the true
happiness of all men.
They may have it in well-doing, they may have it in learning, they may have it even in
criticising.
This is one thing to be kept in mind. Another is, that the exercise of the creative power in
the
production of great works of literature or art, however high this exercise of it may rank,
is not at
all epochs and under all conditions possible; and that therefore labour may be vainly spent
in
attempting it, which might with more fruit be used in preparing for it, in rendering it possible.
This creative power works with elements, with materials; what if it has not those materials,
those
elements, ready for its use? In that case it must surely wait till they are ready.
(This passage in reality is a conversation, in which Arnold is defending himself towards the
objection projected by those who oppose him. Criticism is an important aspect of our lives.)
You can be creative in many different ways.
Dignity to his own task as a critique (being creative).
He is doing criticism, not writing a poem.
Dignify the task of the critique. Explaining the role performed by criticism.
1. Translate into Spanish the sentences in bold type and then explain the difference
between
“critical effort” and “creative power.”
Más de una respuesta declaró que la importancia que aquí asigné a la crítica era
excesiva y afirmaba la superioridad inherente del esfuerzo creativo del espíritu
humano sobre su esfuerzo crítico.
Es innegable que el ejercicio de un poder creativo, una actividad creativa libre, es la
función más elevada del hombre; esto se demuestra por el hecho de que el hombre
encuentra en ello su verdadera felicidad.
Otro aspecto es que el ejercicio del poder creativo en la producción de grandes obras
de literatura o arte, por muy alto que pueda clasificarse este ejercicio, no es posible en
todos los períodos y bajo todas las condiciones.
In the context of the text, "critical effort" refers to the act of analyzing, evaluating,
and critiquing existing works of literature or art. It involves examining and assessing
the merits and shortcomings of these works.
On the other hand, "creative power" represents the capacity of individuals to produce
new and original works of literature or art. It involves the process of generating fresh
ideas, concepts, and artistic expressions.
The difference lies in their focus and function. Critical effort looks at what already
exists, aiming to understand and assess it, while creative power is about the act of
generating something entirely new and original. Both are valuable, but they serve
distinct roles in the realm of human expression and culture.
2. Briefly explain in your own words the general meaning of this passage.
This passage discusses the debate about the importance of criticism compared to
creative work. While creative activity is considered the highest human function and a
source of true happiness, the passage suggests that not everyone can engage in
producing great works of literature or art. People can find fulfillment in various ways,
including doing good deeds, learning, and even critiquing. Additionally, the passage
points out that creative work is not always possible due to the availability of materials
and conditions. Therefore, it's essential to prepare and wait for the right elements to
engage in creative activity effectively.
3. Which two arguments are proposed by Matthew Arnold in order to defend
literary criticism? Identify these arguments in the passage and discuss their
meaning.
Matthew Arnold proposes two main arguments in defense of literary criticism:
The Value of Creative Power: Arnold acknowledges that creative activity, such as
producing great literary or artistic works, is the highest function of humanity, leading
to true happiness. This argument underscores the supreme importance of creativity in
human life.
Diverse Avenues for Fulfillment: Arnold contends that creative activity isn't the sole
path to happiness. He suggests that people can find fulfillment in various ways,
including doing good deeds, learning, and even engaging in criticism. This argument
emphasizes that while creativity is valuable, it's not the exclusive source of human
happiness.
When art declines over history it is criticism which replaces its places.
The quality of arts is not the same during the centuries.
These arguments can be identified in the passage when Arnold discusses the "highest
function of man" being creative power, and he also acknowledges that individuals can
experience a sense of creative activity in other pursuits beyond producing great works
of literature or art. Arnold aims to strike a balance by recognizing the significance of
creative power while also highlighting that different individuals may find happiness
through different avenues, including critical engagement. Essentially, he argues for
the importance of both creative and critical endeavors in human life.
Practical paper 2:
Text 1
But criticism, real criticism, is essentially the exercise of this very quality [curiosity]. It obeys
an instinct prompting it to try to know the best that is known and thought in the world,
irrespectively
of practice, politics, and everything of the kind; and to value knowledge and thought as they
approach this best, without the intrusion of any other considerations whatever . . . The rule
may
be summed up in one word—disinterestedness. And how is criticism to show
disinterestedness?
By keeping aloof from what is called “the practical view of things”; by resolutely
following the
law of its own nature, which is to be a free play of the mind on all subjects which it
touches. By
steadily refusing to lend itself to any of those ulterior, political, practical considerations about
ideas which plenty of people will be sure to attach to them, which perhaps ought often to be
attached to them, which in this country at any rate are certain to be attached to them quite
sufficiently, but which criticism has really nothing to do with. Its business is, as I have said,
simply to know the best that is known and thought in the world and by making this known, to
create a current of true and fresh ideas . . . It must needs be that men should act in sects and
parties, that each of these sects and parties should have its organ, and should make this organ
subserve the interests of its action; but it would be well, too, that there should be a criticism,
not the minister of these interests, not their enemy, but absolutely and entirely independent of
them. No other criticism will ever attain any real authority or make any real way
towards its end—the creating a current of true and fresh ideas.
1. Translate into Spanish the sentences in bold type and then explain the meaning
of what Arnold calls “the practical view of things.”
La regla se resume en una palabra: desinterés. ¿Y cómo puede mostrar la crítica
desinterés? Manteniéndose al margen de lo que se llama "la visión práctica de las
cosas"; siguiendo realmente la ley de su propia naturaleza, que es ser un juego libre de
la mente en todos los temas que toca.
Desinterés = objetividad/ neutralidad/ imparcialidad
Ninguna otra crítica jamás alcanzará verdadera autoridad ni avanzará verdaderamente
hacia su fin: la creación de una corriente de ideas verdaderas y frescas.
Find the ideas that are worth keeping. (being the perfect judge).
Sharing the essence of our culture with other cultures, and exchanging them.
Big pillars: christians and classics (Greek).
“the practical view of things" refers to a perspective that prioritizes immediate,
utilitarian, or pragmatic concerns over intellectual or artistic pursuits. Arnold is
suggesting that criticism should not be constrained by these practical considerations
but should instead focus on freely exploring and engaging with ideas for the sake of
intellectual and creative enrichment.
2. Briefly explain in your own words the general meaning of this passage.
The passage emphasizes that true criticism is driven by curiosity and an objective
pursuit of knowledge and thought, regardless of practical or political considerations. It
suggests that the role of criticism is to explore and promote the best ideas and
knowledge in the world without getting entangled in political or utilitarian agendas.
This kind of criticism aims to create a flow of genuine and innovative ideas,
independent of sects or parties, and is essential for the advancement of intellectual
discourse.
The term “best”: (the best that is thought of and known in the world) popular,
relevant, characteristic. Not about quality.
3. According to Arnold, which is the purpose of true criticism?
According to Arnold, the purpose of true criticism is to "know the best that is known
and thought in the world" and to make this knowledge known. Its ultimate goal is to
create a "current of true and fresh ideas." In other words, true criticism seeks to
explore and promote the highest quality ideas and knowledge, independent of
practical or political considerations, in order to advance intellectual discourse and
understanding.
Criticism should be clear and objective. You should not be moved by other movements of art.
Arnold realized that western culture at that time was disintegrated.
Not all poetry can replace religion.
The power of poetry to shape society.
The right moment/time to receive the work.
Touchstone: objective method, to compare and analyze works with the masters of poetry
(quality and value).
He was pro Europe.
The British were missing things. They had to open up to European literature.
Provide education to everyone, and access to culture and literature to open up their minds.
(cultural anarchy). It was the responsibility of the state to provide that.
Arnold had a teaching position in Oxford, and then he became a school inspector.
Critics have to focus on perfection and beauty. After Arnold, the critics have also to focus on
objectivity, education.
They become educators and propagators. They have to share the best thoughts with the other
nations.
Culture was a social force that led to social progress.
Keeping some people pure to express our culture.
Philistine: a person who focuses too much on materialistic things and not in culture,
education, etc. Problem of the uneducated class with money.
(philistinism: concept)
Practical paper 3:
Text 1
We should conceive of it [poetry] as capable of higher uses, and called to higher destinies,
than
those which in general men have assigned to it hitherto. More and more mankind will
discover
that we have to turn to poetry to interpret life for us, to console us, to sustain us. Without
poetry,
our science will appear incomplete; and most of what now passes with us for religion and
philosophy will be replaced by poetry. Science, I say, will appear incomplete without it . . .
But if
we conceive thus highly of the destinies of poetry, we must also set our standard for
poetry
high, since poetry, to be capable of fulfilling such high destinies, must be poetry of a
high order
of excellence. We must accustom ourselves to a high standard and to a strict judgment . . .
For in
poetry the distinction between excellent and inferior, sound and unsound or only half-sound,
true
and untrue or only half-true, is of paramount importance. It is of paramount importance
because
of the high destinies of poetry. In poetry, as a criticism of life under the conditions fixed
for such
a criticism by the laws of poetic truth and poetic beauty, the spirit of our race will find,
we have
said, as time goes on and as other helps fail, its consolation and stay. But the consolation
and
stay will be of power in proportion to the power of the criticism of life. And the criticism of
life will be of power in proportion as the poetry conveying it is excellent rather than inferior,
sound rather than unsound or half-sound, true rather than untrue or half-true.
Poetry should replace religion.
The good and evil, death, nature, can be seen by artistics creation, in this case poetry, instead
by religion.
Appealing to art, that can be spiritual.
The importance of love, not the romantic movement, but the true human love.
Religious purpose:
1- origins (philosophical and science)
2- anxiety, consolation, comfort, uplifting (poetry)
They have to be more strict on what they publish, because at that time everyone could write.
1. Translate into Spanish the sentences in bold type and then explain what Arnold
understands as
turning to “poetry to interpret life for us.”
Pero si concebimos así los destinos de la alta poesía, también debemos poner alto el listón de
la poesía, ya que la poesía, para ser capaz de cumplir tan altos destinos, debe ser la poesía de
un alto nivel de excelencia.
En la poesía, como crítica de la vida en las condiciones fijadas para tal crítica por las leyes de
la verdad poética y de la belleza poética, el espíritu de nuestra raza encontrará, como hemos
dicho a medida que pasa el tiempo y otras ayudas fallan, su consuelo y apoyo.
Arnold's phrase "turning to poetry to interpret life for us" refers to the idea that literature,
particularly poetry, serves as a means to help us understand and make sense of life's
complexities, challenges, and emotions. It implies that literature, through its artistic and
imaginative expression, can provide insights and perspectives on the human experience that
are not easily attainable through other means.
2. Briefly explain in your own words the general meaning of this passage.
This passage by Matthew Arnold underscores the elevated role of poetry in human life.
Arnold suggests that poetry has higher purposes and destinies than what has been
traditionally assigned to it. He argues that as humanity evolves, we will increasingly turn to
poetry to interpret and make sense of life, to find comfort, and to provide support. Without
poetry, he asserts, science will seem incomplete, and much of what currently serves as
religion and philosophy will be supplanted by poetry.
Poetry can entertain and teach.
Poetry is criticism of life = teach (didactic view of poetry) Poetry shows the evil of life.
3. According to Arnold, why is a “high standard” and a “strict judgment” necessary
when
dealing with poetry?
Matthew Arnold emphasizes the need for a "high standard" and "strict judgment" when
dealing with poetry because he believes that the destinies of poetry are significant and
profound. He argues that as humanity turns to poetry for interpretation, consolation, and
sustenance in life, the effectiveness of poetry in fulfilling these roles depends on its quality.
Arnold suggests that poetry should not be taken lightly or treated as mere entertainment.
Instead, he sees poetry as a critical means through which people make sense of life and find
solace.
Because we need to replace religion with high poetry (the best quality possible).
Practical paper 4:
Text 1
Yes; constantly in reading poetry, a sense for the best, the really excellent, and of the strength
and
joy to be drawn from it (to the reader), should be present in our minds and should govern our
estimate of what we read. But this real estimate, the only true one, is liable to be
superseded, if we are not watchful, by two other kinds of estimate, the historic estimate
and the personal estimate, both of which are fallacious. A poet or a poem may count to us
historically, they may count to us on grounds personal to ourselves, and they may count to us
really. They may count to us historically. The course of development of a nation's language,
thought, and poetry, is profoundly interesting; and by regarding a poet's work as a stage in
this course of development we may easily bring ourselves to make it of more importance as
poetry than in itself it really is, we may come to use a language of quite exaggerated praise in
criticising it; in short, to over-rate it. So arises in our poetic judgments―the fallacy caused by
the estimate which we may call historic. Then, again, a poet or a poem may count to us on
grounds personal to ourselves. Our personal affinities, likings, and circumstances, have
great power to sway our estimate of this or that poet's work, and to make us attach
more importance to it as poetry than in itself it really possesses, because to us it is, or
has been, of high importance. Here also we over-rate the object of our interest, and apply to
it a language of praise which is quite exaggerated. And thus we get the source of a second
fallacy in our poetic judgments―the fallacy caused by an estimate which we may call
personal. Both fallacies are natural.
3 estimates: historic, personal and real (objective). Only one is true. The historic and personal
estimates are valids, but are fallacies (lies).
Historically, the new critics identify 4 fallacies, whereas Arnold only identifies 2.
Estimates = criteria
“They may be using…” Arnold is using rhetoric in this sentence. To contemplate a nation
historically, is very interesting, but it is not the right way to judge.
If we give so much importance to the historical stages, we may be distorting the true value of
poetry.
According to Arnold, poems should be placed out of time. Find quality regardless of age. The
idea of atemporality.
Personal estate = subjective criticism (bad criticism).
Human beings have built in our genes that the personal estimate is true as the same historical
estimate is also true, but we have to make an effort and go beyond the natural (objective, real
estimate). Use the touchstone.
1. Translate into Spanish the sentences in bold type.
Pero este criterio real, el único verdadero, está expuesto a ser superado, si no estamos
atentos, por dos otros tipos de criterios, histórico y personal, ambas de las cuales son
falaces.
Además, un poeta o un poema nos pueden afectar por razones personales. Nuestras
afinidades personales, gustos y circunstancias tienen un gran poder para influir en
nuestro criterio del trabajo de este o aquel poeta, y para hacer que le demos más
importancia como poesía de la que realmente posee en sí misma, porque para nosotros
es o ha sido de gran importancia.
2. Explain in your own words the meaning of this sentence: “by regarding a poet's
work as a
stage in this course of development we may easily bring ourselves to make it of
more
more important as poetry than in itself it really is.”
Arnold's sentence suggests that if we view a poet's work as just one step in their
artistic growth, we might mistakenly attribute greater significance to it as poetry than
it truly possesses on its own merits.
(In other words, by considering a poet's entire journey, we might overvalue individual
poems within that journey.)
In this case Arnold is complaining about the historical estimate. We are bound to
make mistakes, we must look at poets and poems out of time based only on their
quality.
3. Summarize the main points of this passage. What tentative relations can you
establish with New Critical principles?
In this passage, Arnold discusses how readers should approach poetry. He emphasizes
that when reading poetry, one should always have a sense for the best and most
excellent aspects of it, which can bring strength and joy. However, he warns against
two fallacious ways of evaluating poetry: the historic estimate and the personal
estimate.
Arnold acknowledges that both of these fallacies are natural tendencies when
assessing poetry but suggests that the only true and reliable way to evaluate poetry is
to maintain a sense of what is genuinely excellent and valuable in the work itself,
without being swayed by historical or personal biases.
(Historic Estimate: Arnold cautions that readers might mistakenly overvalue a poet's
work by viewing it solely in the context of a nation's language and literary
development. This historical perspective can lead to exaggerated praise and overrating
of a poet's work.
Personal Estimate: Arnold also highlights that personal affinities, likings, and
individual circumstances can strongly influence how readers perceive and value a
poet's work. Personal connections to a poem may lead to an exaggerated sense of its
importance as poetry.)
The passage from Arnold's writing shares some common principles with New
Criticism, a literary theory and approach to analyzing literature that emerged in the
mid-20th century.
New Critics advocated for close reading of literary texts, emphasizing the importance
of analyzing the text itself rather than considering external factors like historical
context or the author's biography. Arnold's emphasis on evaluating poetry based on its
intrinsic qualities aligns with this close reading approach.
New Critics believed that a literary work should be treated as a self-contained,
autonomous entity, separate from the author's intentions or historical context. Arnold's
warning against the "historic estimate" and "personal estimate" suggests a similar
focus on assessing poetry based on its inherent qualities rather than external factors.
New Critics aimed for objective analysis of literature, striving to identify universal
truths and meanings within the text. Arnold's call for a "real estimate" that is not
swayed by historical or personal biases reflects a similar desire for objective
evaluation.
The Fallacy of Over-Interpretation: Both Arnold and New Critics cautioned against
overinterpreting or overvaluing literature. New Critics sought to avoid subjective
interpretations, while Arnold warned against overrating poetry due to historic or
personal biases. In both cases, there is a shared concern for maintaining a balanced
and reasonable assessment of literary works.
New Critics placed a strong emphasis on the formal elements of a text, such as
imagery, symbolism, and structure. Arnold's mention of the "sense for the best" and
the "strength and joy" that can be drawn from poetry implies a recognition of the
significance of language and form in evaluating poetry.
Practical paper 5:
Text 1
The specimens I have quoted differ widely from one another, but they have in
common this: the possession of the very highest poetical quality. If we are
thoroughly penetrated by their power, we shall find that we have acquired a
sense enabling us, whatever poetry may be laid before us, to feel the degree in
which a high poetical quality is present or wanting there. Critics give themselves
great labour to draw out what in the abstract constitutes the characters of a high
quality of poetry. It is much better simply to have recourse to concrete examples; ―
to take specimens of poetry of the high, the very highest quality, and to say: The
characters of a high quality of poetry are what is expressed there. They are far better
recognised by being felt in the verse of the master, than by being perused in the prose
of the critic. Nevertheless if we are urgently pressed to give some critical account of
them, we may safely, perhaps, venture on laying down, not indeed how and why the
characters arise, but where and in what they arise. They are in the matter and
substance of the poetry, and they are in its manner and style. Both of these, the
substance and matter on the one hand, the style and manner on the other, have a
mark, an accent, of high beauty, worth, and power. But if we are asked to define
this mark as an accent in the abstract, our answer must be: No, for we should
thereby be darkening the question, not clearing it. The mark and accent are as
given by the substance and matter of that poetry, by the style and manner of that
poetry, and of all other poetry which is akin to it in quality.
This passage is a defense of the touchstones, the real estimate. It is an empirical method, a
method of comparison (comparative method). Actual comparison between poems.
Arnold is rejecting abstract methods, for example: a list of things, an abstract way to
determine great poetry.
Two parts
- First part: “The specimens…” to “...Nevertheless”. (Critics gain too much attention to
make a list, they should pay attention to the great masters.)
- Second part: “Nevertheless…” to “... to it in quality”.
Specimen: examples of fragments to compare with the masters to determine if that fragments
is great poetry (using the touchstone method).
In the fourth line: “wanting”, means lack of, missing something or absent.
Critics make great efforts in making lists to find out the greatest poetry possible.
Poetic quality is in the practical poem, not in the lists made by critics.
Duality between content and form.
1. Translate into Spanish the sentences in bold type.
Si estamos completamente impregnados por su poder, descubriremos que
hemos adquirido un sentido que nos permite, sin importar la poesía que se nos
presente, sentir el grado en que se encuentra o falta una alta calidad poética.
Ambos, la sustancia y el contenido por un lado, el estilo y la manera por otro,
tienen una marca, un acento, de gran belleza, valor y poder. Pero si se nos pide
definir esta marca como un acento en abstracto, nuestra respuesta debe ser:
No, porque de esa manera estaríamos oscureciendo la pregunta, no
aclarándola.
2. What does this sentence mean in context, “It is much better simply to
have recourse to concrete examples”? Use your own words.
The sentence suggests that when trying to understand or illustrate a point
about poetry, it is more effective and more suitable to use specific and real
examples rather than relying solely on abstract or theoretical explanations.
Using the touchstone´s method, a comparative method.
When finding great poetry, the best thing to do is to compare it with specific
examples, like the great masters of poetry.
In other words, using real examples from poetry allows for a clearer and more
practical demonstration of the ideas being discussed. Arnold is emphasizing
the importance of practical examples in the study of poetry to make concepts
more accessible and understandable.
3. Give a brief account of the meaning of this fragment.
In this passage Arnold argues that it is more effective to understand
high-quality poetry through concrete examples rather than trying to define its
abstract characteristics. He suggests that the qualities of great poetry exist in
both its substance and style, but attempting to define them in abstract terms is
not helpful. Instead, he encourages readers to experience and recognize these
qualities by immersing themselves in the work of masterful poets. Ultimately,
he emphasizes the value of direct experience in understanding the excellence
of poetry.
Opposition between abstract methods and empirical comparative ones.
Vanguardism
- Eliminate Victorianism.