“The Formalist Critic” by Cleanth Brooks was first published in 1947 as part of the influential collection The Kenyon Review. This essay is a cornerstone of New Criticism, a literary movement that emphasized close reading and formal analysis of a text, independent of authorial intent or historical context. Brooks’s exploration of the formalist approach in this essay has had a profound impact on literary criticism and continues to be widely studied and debated.
Summary of “The Formalist Critic” by Cleanth Brooks
Role of Literary Criticism:
Literary criticism is primarily concerned with “a description and an evaluation of its object,” focusing on the literary work itself. The main issue for critics is “the problem of unity”—how the various parts of a work contribute to creating or failing to create a cohesive whole. This perspective emphasizes that criticism should not just describe but also evaluate the effectiveness of this unity in the literary piece.
Form and Content Unity:
In literature, “form and content cannot be separated,” as “form is meaning.” This principle highlights the idea that the structure of a work is not just a vessel for content but is integral to the work’s overall meaning. A successful literary work achieves a seamless fusion of form and content, making them indistinguishable from one another.
Focus on the Work Itself:
The formalist critic is “concerned primarily with the work itself,” rather than the author’s life, intentions, or the reactions of various readers. The critic’s task is to analyze the structure and unity of the literary work, avoiding distractions from external factors such as “biography and psychology” or “the history of taste.” This focus allows for a more precise and objective analysis of the literary piece.
The formalist critic assumes that “the relevant part of the author’s intention is what he got actually into his work.” This means that the critic does not prioritize what the author consciously tried to achieve or what the author recalls about the writing process. Additionally, the critic uses the concept of an “ideal reader” to maintain a central point of reference, focusing on the “structure of the poem or novel” rather than the spectrum of potential interpretations by various readers.
Criticism of Popular Value Tests:
Formalist criticism rejects the idea that the value of a work can be determined by the author’s “sincerity” or “the intensity of the author’s feelings as he composed it.” For example, Ernest Hemingway’s claim that his last novel was his best is dismissed as “pathetically inept” in determining the novel’s actual value. Similarly, subjective reactions, such as A. E. Housman’s “bristling of his beard at the reading of a good poem,” are considered irrelevant unless they come from a reader whose critical judgment is already trusted.
Criticism’s Modest Role:
The role of the critic is described as “modest,” focusing on assessing whether a literary work “has succeeded or failed.” Critics offer only “negative help” to practicing artists, as literature is “not written by formula,” and thus, the critic has no formula to offer. The critic’s function is not to prescribe but to provide feedback that might inform, but not dictate, artistic creation.
Distinction Between Literary Criticism and Other Analyses:
Literary criticism is distinct from other types of analysis, such as reducing a work “to its causes” or estimating “its effects.” While acknowledging that a literary work “mirrors the past” and “may influence the future,” formalist criticism focuses on the work itself rather than its external influences or consequences. Good literature is considered “more than effective rhetoric applied to true ideas,” and thus, literary criticism must go beyond simply evaluating rhetoric or philosophical content.
Misunderstandings and Objections:
Formalist criticism often faces the criticism that it “cuts loose” the work from its author and audience, making the analysis seem “bloodless and hollow.” However, the formalist critic argues that distinctions between the work and its external context are “necessary and useful and indeed inevitable” for effective criticism. By focusing on the “structure of the thing composed,” formalist critics maintain that they are not denying the humanity of the author or the reader but are instead striving for a more precise and objective understanding of the literary work itself.
Literary Terms/Concepts in “The Formalist Critic” by Cleanth Brooks
A critical approach that focuses on the text itself, emphasizing its structure, language, and literary devices, rather than external factors like authorial intent or historical context.
Close Reading
A detailed analysis of a text to uncover its meaning and significance.
Unity
The harmonious integration of various elements within a literary work to create a cohesive whole.
Form and Content
The inseparable relationship between the structure of a literary work and its meaning.
Figurative language used to create deeper layers of meaning in a text.
Concrete and Particular
A focus on specific details and images to convey universal ideas.
Moral Problem
The central ethical or philosophical issue explored in a literary work.
Ideal Reader
A hypothetical reader who can fully appreciate the complexities and nuances of a text.
Sincerity
The authenticity of an author’s emotions and intentions, often mistakenly used as a measure of literary value.
Document
A literary work as a historical record, reflecting the time and culture in which it was created.
Contribution of “The Formalist Critic” by Cleanth Brooks to Literary Theory/Theories
Pioneering Close Reading: Brooks significantly advanced the critical method of close reading, emphasizing the intrinsic analysis of a text.
Form as the Core of Meaning: His insistence on the inseparability of form and content redefined the understanding of literary meaning.
Autonomy of the Literary Work: Brooks contributed to establishing the literary text as an independent entity, distinct from its author and reader.
Rejection of Extrinsic Criticism: He challenged the dominance of biographical, historical, and sociological approaches, advocating for a focus on the text itself.
Foundational Role in New Criticism: Brooks’ essay was instrumental in shaping the New Critical movement, a significant force in twentieth-century literary criticism.
Enduring Influence: His ideas continue to be a cornerstone of literary analysis, informing contemporary critical discourse.
Clarification of Critical Boundaries: Brooks delineated the scope of literary criticism, distinguishing it from other modes of inquiry.
Redefining the Critic’s Role: His conception of the critic as an objective analyst has had a lasting impact on critical practice.
Examples of Critiques Through “The Formalist Critic” by Cleanth Brooks
Literary Work
Formalist Critique
“Hamlet” by William Shakespeare
Focus on the unity of the play, where the internal conflict of Hamlet is reflected in the structure. The formalist critic would examine how soliloquies, plot developments, and symbols like Yorick’s skull contribute to the overarching theme of death and indecision. The critic would avoid speculation on Shakespeare’s personal life or the historical context of Elizabethan England.
“Moby-Dick” by Herman Melville
A formalist critique would analyze the novel’s intricate structure, particularly the use of symbolism and recurring motifs (such as the white whale) to explore themes of obsession, fate, and the human condition. The formalist critic would focus on how these elements create a cohesive narrative, rather than Melville’s intentions or readers’ interpretations.
“The Waste Land” by T.S. Eliot
Emphasis would be placed on the poem’s fragmented form and how its structure reflects the theme of cultural disintegration. The use of literary allusions, shifting voices, and symbolism would be analyzed as part of the poem’s unity. The formalist critic would avoid delving into Eliot’s personal experiences or the poem’s reception history.
“Pride and Prejudice” by Jane Austen
The formalist approach would focus on the novel’s use of irony, dialogue, and character development to build its thematic unity around issues of class, marriage, and morality. The critic would examine how Austen’s precise use of language and narrative techniques contribute to the novel’s form, without exploring Austen’s biography or societal impacts.
Criticism Against “The Formalist Critic” by Cleanth Brooks
Neglect of Historical and Social Context: Critics argue that formalism’s emphasis on the text in isolation ignores the crucial influence of historical and social factors on literary production and interpretation.
Authorial Intent Dismissed: Formalism’s disregard for authorial intent is seen as limiting, as understanding the author’s purpose can enrich interpretation.
Reader Response Overlooked: By focusing solely on the text, formalism fails to account for the diverse and subjective experiences of readers.
Limited Scope of Analysis: Critics contend that formalism’s narrow focus on textual elements restricts the range of critical inquiry and interpretation.
Elitism and Impracticality: Some argue that formalism’s emphasis on complex analysis makes it inaccessible to a wider audience, rendering it elitist and impractical.
Overemphasis on Unity and Coherence: Critics point out that not all literary works strive for perfect unity, and formalism’s insistence on coherence can overlook the value of fragmentation and ambiguity.
Ahistorical Approach: Formalism’s neglect of historical context can lead to a distorted understanding of literary works and their significance.
Ignoring the Political and Ideological: By focusing on formal elements, formalism often overlooks the political and ideological dimensions of literature.
Suggested Readings: “The Formalist Critic” by Cleanth Brooks
“The primary concern of criticism is with the problem of unity – the kind of whole which the literary work forms or fails to form, and the relation of the various parts to each other in building up this whole.”
This statement emphasizes the core concern of formalist criticism: understanding how the different elements of a literary work come together to create a unified whole.
“In a successful work, form and content cannot be separated.”
This quote underlines the fundamental belief of formalism that the structure and meaning of a literary work are inextricably linked.
“Literature is not a surrogate for religion.”
Brooks here distinguishes literature from other forms of expression, particularly religious ones, emphasizing that literature has its own unique function and purpose.
“The formalist critic is concerned primarily with the work itself.”
This statement clearly defines the focus of formalist criticism: the literary text as an independent object of study.
“The intensity of his reaction has critical significance only in proportion as we have already learned to trust him as a reader.”
This quote reveals Brooks’ skepticism towards subjective responses to literature, arguing that critical judgment should be based on rigorous analysis, not personal taste.
