“The Function of Criticism” by Matthew Arnold: Summary and Critique

Introduction: “The Function of Criticism” by Matthew Arnold

“The Function of Criticism” by Matthew Arnold first appeared in 1864 as part of his collection Essays in Criticism. This seminal work is considered one of Arnold’s most important contributions to the field of literary criticism. Arnold emphasizes the critic’s role in fostering intellectual growth and guiding public opinion, arguing that criticism is not merely a passive reflection on art but an active, creative force that shapes cultural development. He highlights the importance of disinterestedness, suggesting that critics should approach literature with objectivity, free from personal bias or emotional attachment. Arnold’s ideas significantly influenced later critical theories, advocating for criticism as a crucial tool in understanding and elevating literature, making it essential for the broader progress of society.

Summary of “The Function of Criticism” by Matthew Arnold

• The Role of Criticism in Literature: Arnold begins his essay by asserting the essential role of criticism in literature. He argues that criticism should be an “endeavour to see the object as in itself it really is.” For Arnold, the goal of criticism is to approach literature and art with intellectual objectivity and detachment, avoiding personal bias or immediate practical concerns. As he says, “the critical power is of lower rank than the creative,” but nonetheless necessary to prepare the intellectual foundation upon which great literary works are built. He stresses that criticism must analyze ideas disinterestedly, separate from personal or political motives. Arnold laments that English literature lacks this depth of criticism, in contrast to French and German literature, which actively engage in this intellectual pursuit.
• The Relationship Between Criticism and Creative Power: Arnold makes a case that while creativity is the highest form of literary achievement, it relies on a foundation of ideas that criticism provides. He explains that “the creative power works with elements, with materials” and without these materials, literary creativity is often stunted or misdirected. For Arnold, the critic’s task is to ensure that these intellectual materials—ideas, philosophical or social understandings—are refined and available. He illustrates this with the comparison between Byron and Goethe, noting that Goethe’s work endured because it was supported by critical reflection, whereas Byron’s lacked such a foundation. “The creation of a modern poet… implies a great critical effort behind it,” Arnold argues, emphasizing the inseparable link between criticism and literary creation.
• Criticism as an Intellectual Necessity: Arnold presents criticism as an intellectual endeavor that serves society by fostering a climate of “the best ideas” and enabling cultural progress. Criticism’s ultimate goal is to establish “an order of ideas,” allowing for creative literary genius to flourish. He contrasts eras of great literary production with those of intellectual barrenness, linking this to the presence or absence of robust criticism. For Arnold, criticism is a process of intellectual preparation: “Labour may be vainly spent in attempting it, which might with more fruit be used in preparing for it, in rendering it possible.”
• Criticism and Disinterestedness: Arnold emphasizes that true criticism must be disinterested, or free from political, religious, or social biases. It must aim to create “a current of fresh and true ideas,” without being swayed by practical, polemical, or partisan motives. He critiques English criticism for often being polemical, serving the needs of particular factions rather than engaging with ideas on a purely intellectual level. For Arnold, the essence of criticism is a “free play of the mind on all subjects it touches,” an unencumbered intellectual activity that exists solely to illuminate truth.
• Criticism as Preparation for Future Creative Epochs: Finally, Arnold suggests that criticism is the precursor to great creative periods. Without the groundwork of criticism, creative genius lacks the “atmosphere” or “intellectual situation” necessary for its full development. He argues that England’s creative stagnation during the 19th century was due to a lack of such critical preparation. He concludes with an optimistic vision that criticism, if properly practiced, will eventually lead to a new era of literary creation, saying, “Criticism first; a time of true creative activity, perhaps—hereafter.”

Literary Terms/Concepts in “The Function of Criticism” by Matthew Arnold

Term/Concept	Definition	Explanation in Arnold’s Context
Criticism	The practice of analyzing, evaluating, and interpreting literature, art, or ideas.	Arnold views criticism as an intellectual effort to see things as they truly are, rather than through personal biases.
Disinterestedness	Objective and impartial analysis, free from political, religious, or personal motivations.	A central tenet of Arnold’s argument, where he asserts that criticism should focus on truth and not serve ulterior ends.
Creative Power	The ability to create original works of literature or art.	While Arnold acknowledges the superiority of creative power, he argues that it depends on a foundation of critical thought.
Intellectual Atmosphere	The prevailing ideas, culture, and intellectual environment that influence creativity.	Arnold believes that creative power thrives only in an atmosphere rich with well-developed ideas, established by critics.
Epochs of Expansion	Periods in history characterized by intellectual and artistic growth.	Arnold argues that these creative periods are rare and result from thorough critical preparation and intellectual groundwork.
Intellectual Preparation	The role of criticism in cultivating ideas and refining intellectual materials for future creative work.	Criticism, according to Arnold, must precede and prepare the way for significant creative achievements.
Synthesis vs. Discovery	The act of combining existing ideas to form new, harmonious creations (synthesis) rather than uncovering new ideas (discovery).	Arnold emphasizes that literature often synthesizes ideas already present, rather than inventing new ones, unlike philosophy.
Objective Truth	A reality that exists independent of individual perceptions, emotions, or political motives.	Arnold insists that criticism’s role is to pursue and reflect objective truth, devoid of personal or partisan agendas.
Polemical Criticism	Criticism that serves a political or ideological purpose, often aggressive or controversial.	Arnold critiques this form of criticism as being too narrow and focused on practical concerns, rather than on intellectual ideals.
Best Ideas	The highest and most valuable intellectual concepts and insights that should prevail in society.	For Arnold, the critic’s task is to promote these “best ideas” by evaluating and spreading them through society.

Contribution of “The Function of Criticism” by Matthew Arnold to Literary Theory/Theories

• Foundation for Modern Literary Criticism
  • Arnold’s work is a cornerstone for later developments in literary theory, especially emphasizing the importance of criticism in understanding and shaping literature. His notion that criticism should be a disinterested intellectual activity laid the groundwork for literary analysis as a serious academic discipline. He writes that criticism’s role is to “learn and propagate the best that is known and thought in the world.”
• Development of Disinterested Criticism
  • Arnold introduced the concept of disinterestedness in criticism, meaning that criticism should be objective and free from personal or political bias. This idea influenced later theoretical approaches, such as New Criticism, which emphasized the importance of examining texts without external influence. Arnold states, “The rule may be summed up in one word—disinterestedness.”
• Influence on New Criticism
  • Arnold’s emphasis on the critic’s duty to focus on the text itself, to see it “as in itself it really is,” foreshadowed New Criticism’s focus on close reading and intrinsic analysis of literary works, without reference to historical or biographical context. His critique of “practical” or “polemical” criticism also anticipated the New Critics’ rejection of external social or political concerns in literary analysis.
• Literature as a Moral and Social Force
  • Arnold argued that literature has the capacity to shape society and that criticism plays a role in ensuring that the best ideas prevail. This perspective influenced later theories, such as moral and ethical criticism, that see literature as a vehicle for social change. He writes, “It tends to establish an order of ideas, if not absolutely true, yet true by comparison with that which it displaces; to make the best ideas prevail.”
• Preparation for Creative Power
  • Arnold’s idea that criticism prepares the way for creative power influenced structuralist and poststructuralist theories, which argue that texts are built on the foundation of pre-existing structures, ideas, and critical reflection. He asserted that “the creative power works with elements, with materials,” which are provided through the efforts of critical thought.
• Criticism as a Cultural Force
  • Arnold’s work contributed to cultural criticism by suggesting that criticism helps shape intellectual and cultural life. His view that criticism not only evaluates literature but also aids in the intellectual progress of society prefigured cultural studies and critical theory, which see literature and criticism as intertwined with broader cultural and ideological forces.
• Criticism and Intellectual Climate
  • Arnold’s argument that literary creation depends on the intellectual atmosphere provided by criticism had a strong impact on later thinkers in the field of literary theory, especially in terms of how criticism creates a space for ideas to flourish. His statement that “the grand work of literary genius is a work of synthesis and exposition, not of analysis and discovery” highlights the relationship between criticism and creative work.

Examples of Critiques Through “The Function of Criticism” by Matthew Arnold

Literary Work & Author	Critique Through Arnold’s Lens & Key Arnoldian Concept Applied
“The Prelude” by William Wordsworth	Arnold would critique The Prelude for its deep personal insights but might argue that Wordsworth’s isolation from intellectual currents limits its breadth. “Wordsworth cared little for books,” Arnold notes, implying that his poetry could have been richer with more critical reflection on the intellectual atmosphere of the time. Key Concept: Intellectual Preparation – Criticism supplies ideas and perspectives necessary for deeper literary expression.
“Don Juan” by Lord Byron	Arnold would likely critique Byron’s Don Juan for its energy and wit but argue that it lacks lasting depth due to Byron’s detachment from critical ideas and intellectual preparation. Byron, Arnold claims, “had not those materials” from criticism to work with, resulting in a work that “had so little endurance in it.” Key Concept: Criticism as Intellectual Atmosphere – Byron’s work lacked the intellectual context and critical groundwork for enduring literary value.
“Faust” by Johann Wolfgang von Goethe	Arnold would praise Faust for its integration of critical thought and creative power. Goethe’s immersion in intellectual and philosophical criticism allowed Faust to be a profound and lasting work. Arnold admires Goethe’s work, saying “Goethe knew life and the world… much more comprehensively and thoroughly than Byron.” Key Concept: Synthesis of Criticism and Creation – Faust exemplifies the successful integration of creative genius with critical ideas, enriching its value.
“Prometheus Unbound” by Percy Bysshe Shelley	Arnold might critique Prometheus Unbound for its incoherence, despite its lyrical brilliance. He would argue that Shelley’s lack of engagement with the critical environment resulted in a work that lacked the intellectual grounding to support its lofty aspirations. As Arnold says, “Shelley… so incoherent.” Key Concept: Creative Power and Criticism – Shelley’s work illustrates Arnold’s view that creative efforts unmoored from criticism risk incoherence.

Criticism Against “The Function of Criticism” by Matthew Arnold

Representative Quotations from “The Function of Criticism” by Matthew Arnold with Explanation

Quotation	Explanation
“The critical power is of lower rank than the creative.”	Arnold acknowledges the higher status of creative genius but emphasizes that criticism still plays a vital role in shaping and preparing creativity.
“The endeavor, in all branches of knowledge, to see the object as in itself it really is.”	This defines Arnold’s concept of disinterestedness, where criticism seeks to understand literature and ideas objectively, without external bias.
“Without criticism, there is no satisfactory creation.”	Arnold argues that great creative works are often dependent on a foundation of ideas and intellectual atmosphere developed through critical thought.
“To make the best ideas prevail.”	The critic’s task, according to Arnold, is to identify and promote the highest intellectual and moral ideas, which ultimately influence society.
“The grand work of literary genius is a work of synthesis and exposition, not of analysis and discovery.”	Arnold views the role of literature as synthesizing and presenting ideas, while criticism’s role is to analyze and refine those ideas beforehand.
“Our English poetry of the first quarter of this century, with plenty of energy, plenty of creative force, did not know enough.”	Arnold criticizes early 19th-century English poetry for lacking intellectual depth and critical grounding, which weakened its long-term impact.
“Two powers must concur, the power of the man and the power of the moment.”	For Arnold, great literary works emerge when the creative genius of the individual aligns with the intellectual and cultural conditions of the time.
“The best that is known and thought in the world.”	Arnold emphasizes that criticism should aim to identify and propagate the most valuable and enduring ideas, ensuring they shape cultural and intellectual life.
“Disinterestedness is the essential condition of criticism.”	Arnold insists that critics must remain impartial, detached from practical or political considerations, to pursue truth in literature and ideas.
“The business of criticism is simply to know the best that is known and thought in the world, and to make this known.”	Arnold sees criticism as an intellectual pursuit that spreads the highest forms of knowledge, contributing to the moral and cultural improvement of society.

Suggested Readings: “The Function of Criticism” by Matthew Arnold

1. Knickerbocker, William S. “Matthew Arnold’s Theory of Poetry.” The Sewanee Review, vol. 33, no. 4, 1925, pp. 440–50. JSTOR, http://www.jstor.org/stable/27533919. Accessed 8 Oct. 2024.
2. Whipple, Edwin P. “Matthew Arnold.” The North American Review, vol. 138, no. 330, 1884, pp. 429–44. JSTOR, http://www.jstor.org/stable/25118379. Accessed 8 Oct. 2024.
3. TAYLOR, MARK. “The Lower Criticism.” Representations, no. 150, 2020, pp. 32–60. JSTOR, https://www.jstor.org/stable/27213534. Accessed 8 Oct. 2024.
4. WHALLEY, GEORGE. “England / Romantic – Romanticism.” “Romantic” and Its Cognates: The European History of a Word, edited by HANS EICHNER, University of Toronto Press, 1972, pp. 157–262. JSTOR, http://www.jstor.org/stable/10.3138/j.ctt1vgw865.6. Accessed 8 Oct. 2024.
5. Kenneth Allott. The Modern Language Review, vol. 63, no. 2, 1968, pp. 465–67. JSTOR, https://doi.org/10.2307/3723269. Accessed 8 Oct. 2024.