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"And Heard Great Argument"

"And Heard Great Argument" "AND HEARD GREAT ARGUMENT" An Essay in the Practical Criticism of Arabic Poetry I A favourite preoccupation with English poets and critics of the nineteenth century was the establishment, in a variety of ways, of a basic opposition between poetry and science. As Arnold phrased it: "It is not Linnaeus or Cavendish or Cuvier who gives us the true sense of animals, or water, or plants, who seizes their secret for us, who makes us participate in their life; it is Shakespeare ... it is Wordsworth ... it is Keats." 1 It would be a false dichotomy, how- ever, which would seek to oppose poetry and criticism in the same way, and which would construe the critical impulse as an extension of the scientific spirit into the poetic. Poetic creation and critical analysis cannot be separated in this way. Nor was this the point of the original opposition in the nineteenth century, which was designed specifically to emphasise that poetry was derived from, and was addressed to man as spiritual and imaginative being. It was designed as a defence against the encroachments of a dominant materialist and scientific philosophy. When Wordsworth dismisses the "meddling intellect," he is not http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Arabic Literature Brill

"And Heard Great Argument"

Journal of Arabic Literature , Volume 1 (1): 49 – Jan 1, 1970

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Publisher
Brill
Copyright
© 1970 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0085-2376
eISSN
1570-064X
DOI
10.1163/157006470X00064
Publisher site
See Article on Publisher Site

Abstract

"AND HEARD GREAT ARGUMENT" An Essay in the Practical Criticism of Arabic Poetry I A favourite preoccupation with English poets and critics of the nineteenth century was the establishment, in a variety of ways, of a basic opposition between poetry and science. As Arnold phrased it: "It is not Linnaeus or Cavendish or Cuvier who gives us the true sense of animals, or water, or plants, who seizes their secret for us, who makes us participate in their life; it is Shakespeare ... it is Wordsworth ... it is Keats." 1 It would be a false dichotomy, how- ever, which would seek to oppose poetry and criticism in the same way, and which would construe the critical impulse as an extension of the scientific spirit into the poetic. Poetic creation and critical analysis cannot be separated in this way. Nor was this the point of the original opposition in the nineteenth century, which was designed specifically to emphasise that poetry was derived from, and was addressed to man as spiritual and imaginative being. It was designed as a defence against the encroachments of a dominant materialist and scientific philosophy. When Wordsworth dismisses the "meddling intellect," he is not

Journal

Journal of Arabic LiteratureBrill

Published: Jan 1, 1970

There are no references for this article.