Introduction: “Lyric Words, not Worlds” by Jonathan Culler
“Lyric Words, not Worlds” by Jonathan Culler, first appeared in Journal of Literary Theory in 2017 (Vol. 11, Issue 1, pp. 32–39), challenges the prevalent notion that lyric poetry creates a fictional world akin to narrative fiction, a model that risks misrepresenting the genre’s distinctiveness. Culler argues that lyrics should not be primarily interpreted as fictional constructs but rather as forms of epideictic discourse—akin to oratory—that assert truths about our world through poetic form. Highlighting the tension between fictional elements (e.g., characters, minimal plots) and the ritualistic dimensions of lyric, Culler proposes that the ritualistic, characterized by performative and iterative features, holds structural priority in lyric poetry. By emphasizing brevity, rhythmic patterning, and the capacity for reiteration, Culler situates lyric as an event itself rather than a representation of events. His insights reinvigorate discussions in literary theory by advocating for a framework that appreciates the lyric’s unique authority, distinct from the narrative or fictional modes. This work has significantly influenced debates on lyric’s nature, especially in reassessing its relationship with mimesis, speaker dynamics, and the formal conventions that empower its claims to truth and universality.
Summary of “Lyric Words, not Worlds” by Jonathan Culler
- The Misapplication of Fictional World Theory to Lyric Poetry
Culler critiques the trend of interpreting lyric poetry through the lens of narrative fiction, where poems are said to construct fictional worlds. He asserts that this approach risks trivializing lyric poetry by reducing its universal claims to the subjective expressions of a fictional persona (Culler, 2017, p. 33). He highlights the inadequacy of this framework for understanding the authority and intent of lyric poetry. - Lyric as Epideictic Discourse, Not Mimesis
Drawing on classical theories, Culler aligns lyric poetry with epideictic discourse, a rhetorical form focused on praise or blame, rather than mimesis or imitation (Culler, 2017, p. 34). He argues that lyric poetry often strives to function as an event in itself, rather than as a representation of events. - The Role of Fictional Elements in Lyric
While acknowledging the presence of fictional elements, such as personas or minimal narratives, Culler maintains that these are secondary to the ritualistic and performative dimensions of lyric poetry. The authority of a lyric stems from its form, not from the creation of a fictional speaker or world (Culler, 2017, p. 35). - The Ritualistic Dimension of Lyric Poetry
Culler emphasizes the ritualistic aspects of lyric, including its iterative nature, performative unity, and ceremonial elements. These features invite readers to occupy the position of the lyric “I” and make the poem’s language memorable and repeatable (Culler, 2017, pp. 35–36). - Critique of the Dominant Lyric Model
Culler challenges the dominance of the dramatic monologue model in lyric pedagogy, which posits that the speaker is always a constructed persona. He argues that this model obscures the unique qualities of lyric poetry, particularly its focus on rhythm, linguistic patterning, and ritual (Culler, 2017, p. 37). - Tension Between Fictional and Ritualistic Modes
Drawing on Roland Greene’s analysis, Culler describes the interplay between fictional and ritualistic modes in lyric sequences, such as Shakespeare’s sonnets. While some sequences create a semblance of narrative, the ritualistic elements often dominate in isolated lyrics (Culler, 2017, pp. 36–37). - Lyric’s Brevity and Authority
Culler underscores the brevity of lyric poetry, which resists narrative elaboration and fosters a focus on memorable language and epiphanic moments. This brevity supports the lyric’s authority, derived from its sensuous form and conventions rather than fictional coherence (Culler, 2017, p. 38). - Rejecting the Fictional World Hypothesis for Lyric
Culler questions the utility of framing lyric as generating a fictional world, given its brevity and lack of narrative depth. Instead, he advocates for treating lyrics as assertions about our world, which are authorized by their poetic form (Culler, 2017, p. 38).
Theoretical Terms/Concepts in “Lyric Words, not Worlds” by Jonathan Culler
| Term/Concept | Definition/Explanation | Context in the Article |
| Lyric as Epideictic Discourse | A rhetorical mode focused on praise or blame, distinct from mimesis (imitation of action). | Culler positions lyric poetry closer to oratory than fiction, emphasizing its intent to assert truths about the world (Culler, 2017, p. 34). |
| Fictional World Theory | The notion that lyric poems generate fictional worlds akin to narrative fiction. | Culler critiques this approach as inappropriate for understanding the unique authority of lyric poetry (Culler, 2017, p. 33). |
| Ritualistic Dimension | Elements of lyric that emphasize performance, repetition, and ceremonial qualities. | Ritualistic elements are central to lyric, inviting readers to occupy the position of the lyric “I” and fostering the poem’s reiterative nature (Culler, 2017, pp. 35–36). |
| Iterability | The quality of being repeatable or reproducible, a key feature of lyric poetry. | Culler highlights iterability as fundamental to the ritualistic function of lyric poetry, differentiating it from narrative (Culler, 2017, p. 37). |
| Sensuous Form | The aesthetic and formal qualities of a poem, such as rhythm, rhyme, and linguistic patterning. | According to Culler, the sensuous form of a lyric is a primary source of its authority and memorability (Culler, 2017, p. 38). |
| Lyric as an Event | The concept that a lyric seeks to be an occurrence or experience itself, not just a representation of an event. | Culler contrasts this with narrative, which relies on plot and fictional worlds (Culler, 2017, p. 34). |
| Tension Between Fictional and Ritualistic | The dialectical interplay between fictional elements (e.g., speakers, plots) and ritualistic qualities (e.g., repetition, performance). | Culler uses this tension to analyze lyric sequences, such as sonnet cycles, while noting that ritualistic elements often dominate in isolated lyrics (Culler, 2017, pp. 36–37). |
| Authority of Poetic Form | The legitimacy or weight of claims made by lyric poetry, derived from its form and conventions rather than fictional constructs. | Lyric poems derive authority from their form, enabling them to make universal claims without reliance on fictional worlds (Culler, 2017, p. 38). |
| Lyric Present | The focus on the immediate act of enunciation within a poem, often subsuming past events. | Exemplified in ballads and other forms, where refrains and apostrophic addresses foreground the present of enunciation (Culler, 2017, p. 37). |
| Overheard Address | The pretense that the poet is speaking to someone else, not the reader, creating an “I-Thou” dynamic. | Culler draws on Northrop Frye’s concept to explain lyric’s indirect, ritualistic communication style (Culler, 2017, p. 37). |
| Epiphany in Lyric | Moments of insight or revelation presented in brief, often symbolic forms. | Lyric poetry’s brevity and resistance to narrative allow it to focus on epiphanic moments, as seen in haikus and symbolic imagery (Culler, 2017, p. 38). |
Contribution of “Lyric Words, not Worlds” by Jonathan Culler to Literary Theory/Theories
1. Critique of Fictional World Theory in Lyric Poetry
- Culler challenges the application of fictional world theory to lyric poetry, arguing that this approach trivializes the genre by reducing its universal assertions to subjective claims made by fictional personas (Culler, 2017, p. 33).
- This critique refines how literary theory differentiates between narrative and non-narrative forms, redirecting focus toward the unique rhetorical and formal qualities of lyric poetry.
2. Revival of Classical Epideictic Discourse
- By framing lyric poetry as a form of epideictic discourse, Culler aligns it with rhetorical traditions that emphasize praise and blame rather than mimesis (Culler, 2017, p. 34).
- This contribution broadens the theoretical understanding of lyric by situating it within rhetorical and performative traditions, challenging the dominance of mimetic frameworks in literary theory.
3. Integration of Ritualistic Theory in Lyric Studies
- Culler foregrounds the ritualistic dimension of lyric poetry, emphasizing its iterative, performative, and ceremonial nature (Culler, 2017, pp. 35–36).
- This approach intersects with theories of ritual and performativity, providing a framework that highlights the communal and reenactive qualities of lyric poetry.
4. Authority of Poetic Form Over Narrative Constructs
- He argues that the authority of lyric stems from its poetic form, rhythm, and conventions rather than from the creation of fictional speakers or worlds (Culler, 2017, p. 38).
- This insight contributes to formalist and structuralist theories by reinforcing the idea that form itself carries meaning and legitimacy in literature.
5. Expansion of Reader-Response Theory in Lyric
- Culler’s emphasis on the lyric’s invitational structure, where readers adopt the voice of the lyric “I,” adds a performative layer to reader-response theory (Culler, 2017, pp. 35–36).
- This perspective advances the understanding of how readers engage with lyric texts as active participants rather than passive interpreters.
6. Reassessment of Speaker and Persona in Lyric
- Culler critiques the dominant pedagogical model that treats every lyric as a dramatic monologue with a constructed persona, arguing that this framework limits the genre’s interpretive scope (Culler, 2017, p. 37).
- This reassessment informs narrative theory by differentiating between the roles of speaker, persona, and lyric “I.”
7. Contribution to Short Form Theories
- By emphasizing the brevity and epiphanic potential of lyric poetry, Culler situates the lyric within theories that prioritize conciseness and symbolic intensity (Culler, 2017, p. 38).
- This perspective complements and enriches theories that analyze shorter literary forms, such as haikus, aphorisms, and epigrams.
8. Enrichment of Performative Theories
- Culler conceptualizes the lyric as an event rather than a representation, integrating performative theories with poetic analysis (Culler, 2017, p. 34).
- This aligns lyric poetry with broader discussions of performativity in literature and the arts.
9. Tension Between Fictional and Ritualistic Dimensions
- Culler identifies the dialectical tension between fictional and ritualistic elements in lyric poetry, particularly in lyric sequences (Culler, 2017, pp. 36–37).
- This tension provides a nuanced model for analyzing hybrid poetic forms and extends the scope of structuralist and post-structuralist debates on genre.
Examples of Critiques Through “Lyric Words, not Worlds” by Jonathan Culler
| Literary Work | Critique Through Culler’s Framework | Key References from Culler |
| Philip Larkin’s “This Be the Verse” | Culler critiques reading the poem as a fictional speaker’s complaint about personal experiences, arguing that such interpretations trivialize its universal assertions about human relationships and generational flaws. The poem should be treated as a ritualistic utterance with claims about the real world, not a fictional construct (Culler, 2017, p. 33). | “Accounts of lyric as fiction make little allowance for such poems… they claim to cast values in a new light, to disclose aspects of the world” (Culler, 2017, p. 33). |
| W. B. Yeats’s “Crazy Jane Talks with the Bishop” | Although attributed to the persona of Crazy Jane, the poem’s assertions are ultimately about universal truths, such as the tension between love and morality. Culler’s perspective challenges the view of this as merely fictional discourse, advocating instead for its treatment as a ritualistic and performative statement authorized by the poet (Culler, 2017, p. 34). | “We ultimately take the statements of the poem as about our world… not some special textual world, and treat them as authorized by the poet” (Culler, 2017, p. 34). |
| Shakespeare’s Sonnets | Culler’s analysis of lyric sequences identifies a tension between ritualistic and fictional dimensions. While the sonnets create a semblance of a plot and speaker, their primary appeal lies in their ritualistic aspects, including the iterative and ceremonial qualities of their language (Culler, 2017, pp. 36–37). | “The tension between the ritualistic and the fictional is clearly central, but lyrical sequences with reconstructable plots are relatively rare” (Culler, 2017, pp. 36–37). |
| Baudelaire’s Les Fleurs du Mal | Culler argues that despite the ubiquity of first-person narration, there is no consistent fictional speaker or plot in this collection. Instead, the attraction lies in its ritualistic and sensuous depiction of the grim and seductive aspects of our world, which the poems render memorable and authoritative through their form (Culler, 2017, p. 38). | “The collection’s attraction lies especially in the range of attitudes… as readers accede to a distinctive vision of the world – not a fictional universe but our world” (p. 38). |
Criticism Against “Lyric Words, not Worlds” by Jonathan Culler
1. Oversimplification of Fictional Elements
- Critics may argue that Culler downplays the importance of fictional elements in lyric poetry, such as personas and narratives, which are integral to many readers’ engagement with the genre. His dismissal of these aspects risks neglecting the complexity and diversity of poetic expression.
2. Limited Scope of Epideictic Model
- While emphasizing the epideictic nature of lyric, Culler’s framework might be criticized for being overly restrictive, as it overlooks other rhetorical and narrative functions that lyric poetry can fulfill, such as personal confession or political commentary.
3. Neglect of Reader-Response Variability
- Culler’s focus on ritualistic and performative aspects may undervalue the subjective experiences of individual readers, who might interpret lyrics through personal, fictionalized, or narrative lenses, contrary to his theoretical priorities.
4. Insufficient Attention to Modern Lyric Trends
- The emphasis on classical and formalist traditions in Culler’s analysis could be seen as neglecting contemporary lyric forms that incorporate multimedia, fragmented structures, or overt fictionalization, thereby making his framework less applicable to modern developments.
5. Underestimation of Hybrid Genres
- Culler’s strict delineation between lyric and narrative could be challenged for failing to accommodate hybrid genres, such as narrative poems or prose poetry, which deliberately blur these boundaries.
6. Questionable Rejection of Fictional Speaker Model
- Some theorists might dispute Culler’s rejection of the fictional speaker model, arguing that it remains a valuable interpretive tool for understanding the complexities of voice, identity, and perspective in lyric poetry.
7. Overemphasis on Ritualistic Priority
- By asserting the ritualistic over the fictional, Culler risks privileging form and performance at the expense of content, potentially reducing the interpretive richness of lyrics that rely heavily on narrative or character-driven elements.
8. Lack of Empirical Validation
- Culler’s theoretical arguments rely heavily on abstract principles without substantial empirical evidence from a broad range of lyric traditions, which could weaken the universality of his claims.
9. Potential Misinterpretation of Poetic Authority
- Culler’s insistence on poetic authority derived from form may be seen as limiting, as it disregards the ways in which social, historical, and cultural contexts also shape the reception and legitimacy of lyric poetry.
Representative Quotations from “Lyric Words, not Worlds” by Jonathan Culler with Explanation
| Quotation | Explanation |
| “The notion that a lyric poem generates a world seems derived from the analysis of narrative fiction and risks setting the study of lyric poetry on the wrong track.” | Culler critiques the application of narrative-based frameworks to lyric poetry, arguing that such approaches misrepresent its unique form and function. |
| “The positing of a fictional world created by a lyric poem and including a fictional speaker or persona risks trivializing lyric poems.” | He suggests that framing lyrics as fictional constructs undermines their ability to make universal claims and diminishes their poetic authority. |
| “A superior default model for thinking about lyric, then, is the classical concept of lyric as epideictic discourse, closer to oratory than to mimesis.” | Culler proposes epideictic discourse as a more fitting framework for understanding lyric poetry, emphasizing its rhetorical nature over its mimetic elements. |
| “The lyric characteristically strives to be itself an event rather than a representation of an event.” | This redefinition positions lyric as a performative and experiential form, differentiating it from narrative genres that rely on representation. |
| “Those who are interested in knowing what Larkin felt about his family and families in general can undertake biographical research, but the poet is responsible for the assertions of a poem.” | Culler emphasizes that the claims of a lyric poem transcend the poet’s personal experiences, directing focus on the universal and authoritative nature of the poetic form. |
| “To treat this poem as the discourse of a fictional speaker is to set aside as marginal everything that distinguishes this language from the rant of a drunk in a bar.” | He critiques the fictional speaker model for failing to account for the carefully constructed nature of lyric poetry, which grants it significance and authority. |
| “Lyric is utterance uniquely disposed to be re-uttered, offering a performative unity into which readers and auditors may enter at will.” | Culler highlights the ritualistic quality of lyric poetry, focusing on its performative and reiterative aspects that invite reader participation. |
| “Most lyrics are encountered either in isolation or in a collection where there may be little plot to reconstruct.” | This emphasizes the contrast between the narrative demands of fiction and the focus on affects, rhythms, and verbal techniques in lyric poetry. |
| “A novel derives its authority from the texture, the richness of the world it posits, but a poem derives authority from its sensuous form and from the conventions of the genre.” | He underscores the importance of poetic form and genre conventions as the primary sources of authority in lyric poetry, in contrast to the narrative richness of fiction. |
| “The concept of ritual encourages concentration on the formal properties of lyric utterance, from rhythm and rhyme to other sorts of linguistic patterning.” | Culler draws attention to the formal and ritualistic elements of lyric poetry that distinguish it from prose and narrative fiction, emphasizing its aesthetic and performative dimensions. |
Suggested Readings: “Lyric Words, not Worlds” by Jonathan Culler
- McHale, Brian. “Beginning to Think about Narrative in Poetry.” Narrative, vol. 17, no. 1, 2009, pp. 11–30. JSTOR, http://www.jstor.org/stable/30219288. Accessed 18 Dec. 2024.
- CULLER, JONATHAN. “Introduction: Critical Paradigms.” PMLA, vol. 125, no. 4, 2010, pp. 905–15. JSTOR, http://www.jstor.org/stable/41058288. Accessed 18 Dec. 2024.
- Culler, Jonathan. “Lyric Words, not Worlds.” Journal of Literary Theory 11.1 (2017): 32-39.