Introduction: “Poetry and Beliefs” by I. A. Richards
“Poetry and Beliefs” by I. A. Richards, first published in the year 1932 as part of the collection “Principles of Literary Criticism,” holds significant importance in both literature and literary theory. In this essay, Richards explores the interplay between language, emotion, and cognition, delineating how poetry harnesses emotive language to evoke responses beyond the factual or scientific realm. His analysis provides a foundational understanding of how poetry operates on psychological and emotional levels, challenging readers and critics to reconsider the ways in which they interact with literary texts. Richards’ emphasis on the emotive versus the cognitive functions of language in poetry has profoundly influenced subsequent literary criticism, encouraging a deeper appreciation for the subjective and experiential aspects of reading and interpreting poetry. This work remains a critical piece in the study of literature, offering insights into the complex dynamics between a poem’s structural elements and its broader impacts on the reader’s beliefs and emotions.
Summary of “Poetry and Beliefs” by I. A. Richards
Emotive vs. Scientific Use of Language
- Historical Origin: Initially, all language was emotive; its scientific application developed later and became perceived as the norm due to its users often reflecting on language while employing it scientifically.
- Primary Use: Most language continues to be emotive, even though scientific use has gained prominence.
Function and Nature of Poetry
- Emotive Focus: Poetry is described as the supreme form of emotive language, differentiating statements that invoke attitudes from those that communicate scientific truths.
- Influence on Attitudes: Rather than conveying factual information, poetic statements primarily stimulate emotional and psychological responses.
Critical Misunderstanding
- Common Misinterpretation: Readers often misinterpret poetic truthfulness or falsity, believing it affects the poem’s value, whereas the actual value lies in the evoked response regardless of the factual accuracy.
- Impact of Misunderstanding: The misinterpretation leads to a misuse of poetry, diminishing its potential impact and causing stagnation in critical studies.
Interplay of Beliefs and Poetry
- Influence of Beliefs: Beliefs, whether true or not, can temporarily enhance certain attitudes but are not crucial to the emotional experience poetry aims to produce.
- Role of Reference and Belief: Poetry often uses references not for factual correctness but to foster a conducive emotional environment for the reader.
Perversion of Poetry Through Intellectualization
- Substitution by Intellectual Formula: Poetic works are sometimes reduced to intellectual constructs, which can undermine the emotive and experiential aspect that defines poetry.
- Harm of Over-Intellectualization: Overemphasis on factual or intellectual content in poetry can diminish its emotional and artistic integrity.
Distinguishing Between Scientific and Emotive Beliefs
- Definition and Differences: Scientific beliefs involve a readiness to act based on the truthfulness of information, whereas emotive beliefs are more about the readiness to feel in response to poetic or dramatic contexts.
- Relevance in Art: In artistic contexts, particularly in poetry and drama, emotive beliefs are more prevalent and crucial for the depth of experience.
Consequences of Mixing Knowledge with Emotion
- Risks of Misalignment: Confusing knowledge-based and emotive beliefs can lead to a misalignment of emotional responses and factual understanding, weakening the overall experience.
- Necessity of Distinct Separation: A clear distinction between emotive and scientific contexts in understanding poetry is essential for preserving the integrity of emotional responses.
Societal and Psychological Implications
- Cultural Shifts: The evolution from emotive to scientific perspectives in language reflects broader societal shifts and has profound implications on cultural and psychological levels.
- Impact on Human Behavior: Misunderstandings and misalignments in the interpretation of poetry and art can influence broader human endeavors and societal attitudes.
Literary Terms/Concepts in “Poetry and Beliefs” by I. A. Richards
| Literary Device/Concept | Definition/Explanation |
| Emotive Language | Language used to evoke emotions rather than to convey information or factual correctness. Richards notes, “It is the supreme form of emotive language.” |
| Scientific vs. Emotive Use of Language | Distinguishes between language used for factual, scientific purposes and language used to evoke emotional responses. Richards argues that the latter was the original use of language. |
| Subordination of Reference to Attitude | The idea that in poetry, the reference (or factual content) is less important than the attitude or emotional response it evokes in the reader. “For all that matters in either case is acceptance, that is to say, the initiation and development of the further response.” |
| Vagueness of Reference | The concept that poetic references often lack precise, verifiable scientific truth and instead focus on being emotionally resonant or evocative. “References as they occur in poetry are rarely susceptible of scientific truth or falsity.” |
| Indiscernibility of Fancy and Knowledge | Discusses the blurring lines between imagination (fancy) and factual knowledge in poetic expressions, which often leads to a twilight of understanding where both are indistinguishable. |
| Misuse of Poetry | Criticizes the common misunderstanding of poetry’s purpose, highlighting that assessing its truth or falsity is a misuse and overlooks the emotional and psychological impacts. “The people who say ‘How True!’… are misusing his work.” |
| Critical Emotive Utterances | Refers to critical statements about poetry that are emotive rather than analytical, shaping attitudes rather than providing objective critiques. “And the same is true of those critical but emotive utterances about poetry which gave rise to this discussion.” |
| Objectless Beliefs | Beliefs formed not based on direct references or facts but as a result of the emotional interplay and artistic manipulation in poetry, leading to emotive responses disconnected from factual bases. |
| Revelation Doctrines | Discusses the tendency in criticism to ascribe a false sense of revelation or profound truth to poetic works based on subjective emotional responses rather than objective truths. “One perversion…is in fact responsible for Revelation Doctrines.” |
Contribution of “Poetry and Beliefs” by I. A. Richards to Literary Theory/Theories
Establishment of Emotive Language Theory:
- Comprehensive Comments: Richards emphasizes that poetry primarily uses language emotively rather than cognitively, stating, “It is the supreme form of emotive language.” This perspective challenges traditional views that prioritize factual accuracy in literary works, urging a reevaluation of how emotional responses are elicited through poetic expressions.
Differentiation Between Emotive and Scientific Uses of Language:
- Comprehensive Comments: He clarifies the distinction between the scientific and emotive uses of language, explaining, “Originally all language was emotive; its scientific use is a later development.” This differentiation underpins much of contemporary literary theory, which often investigates the emotional versus the rational elements of texts.
Influence on Reader Response Theory:
- Comprehensive Comments: Richards contributes to the foundation of Reader Response Theory by illustrating how a poem’s impact is less about its literal truth and more about the response it invokes in readers. He asserts, “For all that matters in either case is acceptance, that is to say, the initiation and development of the further response.” This idea foregrounds the reader’s engagement with the text, prioritizing personal interpretation over objective analysis.
Critique of Over-Intellectualization in Poetry:
- Comprehensive Comments: By critiquing the over-intellectualization of poetry, Richards warns against the dangers of basing emotional responses on intellectual constructs rather than genuine emotive engagement, noting, “This substitution of an intellectual formula for the poem or work of art is of course most easily observed in the case of religion, where the temptation is greatest.” This critique has influenced theories that favor a more nuanced approach to interpreting literary texts, recognizing the complexity of human emotional and intellectual interactions.
Implications for Literary Criticism:
- Comprehensive Comments: Richards’ work challenges critics to reconsider their approaches, especially concerning the validity and relevance of critical analysis. He argues that much literary criticism fails to appreciate the emotive power of poetry, suggesting, “Too much inferior poetry has been poured out as criticism, too much sack and too little bread.” This call for a reevaluation of critical methods has encouraged a broader, more inclusive approach to literary studies.
Examination of the Psychological Effects of Poetry:
- Comprehensive Comments: Richards delves into the psychological impact of poetry on the reader, exploring how beliefs and attitudes are influenced by poetic expressions. He discusses the concept of ‘objectless beliefs,’ which are significant in shaping the psychological states induced by poetry, stating, “It is often held that recent generations suffer more from nervous strain…the strain imposed by the vain attempt to orient the mind by belief of the scientific kind alone.” This examination contributes to an understanding of literature’s deep and varied effects on human psychology.
Examples of Critiques Through “Poetry and Beliefs” by I. A. Richards
| Literary Work | Critique through “Poetry and Beliefs” |
| “Ode to a Nightingale” by John Keats | Richards might critique this poem for its deep emotional resonance which surpasses factual or scientific interpretation. He would likely appreciate how Keats uses the emotive power of language to evoke a profound sense of escapism and melancholy, embodying his idea that, “Poetry is the supreme form of emotive language.” |
| “The Waste Land” by T.S. Eliot | In Richards’ view, Eliot’s work exemplifies the complexity of references and beliefs interwoven into poetry. He would discuss how the poem’s obscure allusions and fragmented structure challenge the reader’s emotive and intellectual responses, reflecting his thought that, “No one can understand such utterances about poetry…without distinguishing the making of a statement from the incitement or expression of an attitude.” |
| “Song of Myself” by Walt Whitman | Richards might analyze how Whitman’s expansive, inclusive lyrical style invites readers to engage emotionally rather than seek factual correctness. This approach aligns with Richards’ assertion that, “The emotions and attitudes resulting from a statement used emotively need not be directed towards anything to which the statement refers.” Whitman’s work would be seen as an illustration of poetry that transcends scientific validation to touch upon universal truths through emotive expression. |
| “Daddy” by Sylvia Plath | Through Richards’ perspective, Plath’s poem could be critiqued for its intense emotive language that powerfully conveys personal trauma and complex emotional states. He would likely focus on how the poem uses emotive expressions to provoke a response that is not dependent on the veracity of the references but on the emotional impact, illustrating his idea that, “Only references which are brought into certain highly complex and very special combinations, so as to correspond to the ways in which things actually hang together, can be either true or false, and most references in poetry are not knit together in this way.” |
Criticism Against “Poetry and Beliefs” by I. A. Richards
Overemphasis on Emotive Language
- Neglect of cognitive elements: Critics argue that Richards oversimplifies poetry by reducing it solely to emotive language, ignoring the cognitive and intellectual dimensions.
- Underestimation of meaning: By focusing excessively on emotional response, Richards is accused of downplaying the importance of meaning and understanding in poetic interpretation.
Reductionist View of Belief
- Oversimplified dichotomy: Critics contend that Richards’ distinction between scientific and emotive belief is overly simplistic and fails to account for the complex interplay between the two.
- Ignoring the role of belief in meaning-making: Richards’ emphasis on the emotional impact of poetry leads to a neglect of the role of belief in constructing meaning.
Neglect of Context and Historical Factors
- Ahistorical approach: Critics argue that Richards’ analysis is ahistorical, failing to consider the historical and cultural contexts in which poetry is produced and received.
- Ignoring the social and political dimensions: By focusing primarily on the individual reader’s response, Richards overlooks the social and political implications of poetry.
Overreliance on Psychological Explanation
- Reduction of poetry to psychology: Critics contend that Richards’ attempt to explain poetic experience through psychology reduces poetry to a mere stimulus-response mechanism.
- Ignoring the aesthetic dimension: By prioritizing psychological factors, Richards is accused of neglecting the aesthetic qualities and formal elements of poetry.
Ambiguous and Overly Broad Concepts
- Vague terminology: Critics argue that Richards’ use of terms like “belief,” “attitude,” and “emotion” is often ambiguous and lacks precise definition.
- Overgeneralization: Richards’ claims about the nature of poetry are seen as overly broad and applicable to a wide range of literary works, leading to a lack of specificity.
Implications for Poetic Practice
- Negative impact on poetic creation: Some critics argue that Richards’ theory could lead to a focus on emotional manipulation rather than genuine poetic expression.
- Limited critical framework: Richards’ approach is seen as providing a limited framework for analyzing and evaluating poetry, as it neglects important aspects such as form, language, and intertextuality.
Suggested Readings: “Poetry and Beliefs” by I. A. Richards
- Greene, Roland, et al., editors. “B.” The Princeton Encyclopedia of Poetry and Poetics: Fourth Edition, STU-Student edition, Princeton University Press, 2012, pp. 114–72. JSTOR, http://www.jstor.org/stable/j.ctt2tt8jz.10. Accessed 12 Aug. 2024.
- VENDLER, HELEN. “TEACHING I: I. A. Richards.” The American Scholar, vol. 49, no. 4, 1980, pp. 499–503. JSTOR, http://www.jstor.org/stable/41210668. Accessed 12 Aug. 2024.
- Cohn, Jan. “The Theory of Poetic Value in I. A. Richards’ ‘Principles of Literary Criticism’ and Shelley’s ‘A Defence of Poetry.’” Keats-Shelley Journal, vol. 21/22, 1972, pp. 95–111. JSTOR, http://www.jstor.org/stable/30212743. Accessed 12 Aug. 2024.
- Brooks, Cleanth. “I. A. Richards and ‘Practical Criticism.’” The Sewanee Review, vol. 89, no. 4, 1981, pp. 586–95. JSTOR, http://www.jstor.org/stable/27543909. Accessed 12 Aug. 2024.
- Winterowd, W. Ross. “I. A. Richards, Literary Theory, and Romantic Composition.” Rhetoric Review, vol. 11, no. 1, 1992, pp. 59–78. JSTOR, http://www.jstor.org/stable/465880. Accessed 12 Aug. 2024.
- Brown, Stuart C. “I. A. Richards’ New Rhetoric: Multiplicity, Instrument, and Metaphor.” Rhetoric Review, vol. 10, no. 2, 1992, pp. 218–31. JSTOR, http://www.jstor.org/stable/465482. Accessed 12 Aug. 2024.
- Shafer, Robert E. “The Practical Criticism of I. A. Richards and Reading Comprehension.” Journal of Reading, vol. 14, no. 2, 1970, pp. 101–08. JSTOR, http://www.jstor.org/stable/40012942. Accessed 12 Aug. 2024.
Representative Quotations from “Poetry and Beliefs” by I. A. Richards with Explanation
| Quotation | Explanation |
| “It is the supreme form of emotive language.” | Richards refers to poetry as the highest expression of emotive language, which prioritizes emotional response over factual or logical clarity. This underscores the primary function of poetry—to evoke feelings and attitudes, rather than to convey information or argue rationally. |
| “Only references which are brought into certain highly complex and very special combinations… can be either true or false, and most references in poetry are not knit together in this way.” | This quote emphasizes the notion that poetic references typically do not adhere to the standards of factual truth or falsehood because they are not intended to be verifiable but are designed to enhance the emotive and aesthetic experience of the poem. |
| “The people who say ‘How True!’ at intervals while reading Shakespeare are misusing his work.” | Richards critiques readers who seek factual accuracy or literal truths in poetry, arguing that this approach misses the essence of poetic expression, which is to invoke a deeper, emotional, or contemplative response rather than to confirm empirical truths. |
| “No one can understand such utterances about poetry… without distinguishing the making of a statement from the incitement or expression of an attitude.” | Here, Richards points out the necessity of distinguishing between literal statements and the emotional or attitudinal effects intended by poetic language. Understanding poetry requires recognizing its primary function to affect the reader’s emotions and thoughts, rather than to state facts. |
| “Too much inferior poetry has been poured out as criticism, too much sack and too little bread.” | Richards laments the quality of much poetic criticism, suggesting that it is often as emotively charged and unsubstantial as bad poetry. This metaphor criticizes literary criticism that fails to offer substantive insights, instead indulging in the same stylistic excesses as the texts it critiques. |
| “But it is easy, by what seems only a slight change of approach, to make the initial step an act of faith, and to make the whole response dependent upon a belief as to a matter of fact.” | This quote warns of the danger in poetry and criticism of turning emotive responses into rigid dogmas or beliefs, which can distort the intended artistic experience. It highlights the subtle but significant shift that can lead to misinterpretations and misuse of poetic works by overly literal readings. |