First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world. Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time. Volume Two focuses on Neo-Classical criticism and covers Medieval themes, the Sixteenth Century, English Neo-Classicism, late seventeenth-century themes, rhetoric and Neo-Classic wit, poetry as pictures, genius, emotion, and association, and Samuel Johnson.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world. Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time. Volume Three focuses on Romantic criticism and covers poetic diction, German ideas, imagination, rhapsodic didacticism, the Arnoldian prophecy, art as propaganda, art for art’s sake, expressionism, and the Historical Method.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world. Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time. Volume One focuses on Classical criticism, exploring Socrates and the Rhapsode, poetry as structure, tragedy and comedy, Roman classicism, and some Medieval themes.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world. Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time. Volume Four focuses on Modern criticism and covers tragedy and comedy, symbolism, I. A. Richards' critical theory, the semantic principle, Eliot and Pound, fiction and drama, and myth and archetype.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world. Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time. Volume Three focuses on Romantic criticism and covers poetic diction, German ideas, imagination, rhapsodic didacticism, the Arnoldian prophecy, art as propaganda, art for art's sake, expressionism, and the Historical Method.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world. Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time. Volume Two focuses on Neo-Classical criticism and covers Medieval themes, the Sixteenth Century, English Neo-Classicism, late seventeenth-century themes, rhetoric and Neo-Classic wit, poetry as pictures, genius, emotion, and association, and Samuel Johnson.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world. Divided into four volumes, each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time. Volume One focuses on Classical criticism, exploring Socrates and the Rhapsode, poetry as structure, tragedy and comedy, Roman classicism, and some Medieval themes.

First published in 1957, Literary Criticism: A Short History traces our aesthetic heritage from its classical origins up to the contemporary state of criticism in the English-speaking world. Comprising four volumes, books in this series cover Classical criticism, Neo-Classical criticism, Romantic criticism, and Modern criticism. Each book adopts a fair and objective position in the presentation of various critical positions, and each critical theory is considered not only in competition with other critical theories, but also in vital dialectic with the creative literature of its own time.

This study presents the revolutionary thesis that English poetry and poetic theory were deflected from their richest line of development by the scientific rationalism that came with Hobbes and has continued its restrictive influence to the present day, when such poets as Yeats and Eliot have begun the reestablishment of the earlier line of development. Originally published in 1939. A UNC Press Enduring Edition - UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

UNDERSTANDING DRAMA EIGHT PLAYS CLEANTH BROOKS ROBERT B. HEILMAN Yale University University of Washington i-ost Graduate of An Commerce, 0. c. HENRY HOLT AND COMPANY NEW YORK CONTENTS LETTER TO TEACHER AND STUDENTS IX PART ONE Problems of the Drama 1. DIALOGUE AND ACTION 3 j. Types of Dialogue 3 Courtroom Dialogue 3 The Conversation 5 The Difference between the Conversation and Drama 7 2 The Meaning of Action 8 Shooting-Script for The Great McGinty 8 The Script and the Com pleted Movie 9 Action and Character n The Relation of Dialogue to Action 12 2. DRAMA AND OTHER LITERARY FORMS 13 i Drama and Eiction 13 A Sum in Addition, William March 13 The Method of the Story 15 The Story as Drama 16 The Difference between Story and Play 17 Another Story 18 2. Drama and Poetry 19 To a Mouse, Robert Burns 19 The Method of the Poem 20 The Climax 22 The Poem Compared with Other Forms 23 3. The Elements Common to Drama and Other Forms 24 4. The Difference Between Drama and Other Forms 24 3. SPECIAL PROBLEMS OF THE DRAMA 27 Iroblerns of Scope 27 The Dramatic Situation 27 Number of Characters 28 Place 29 roblems of Dialogue 29 Progression 29 Exposition 30 The Use of Informative Devices 30 Plausibility 31 Naturalness Poetic Drama 32 Tempo 33 4. HOW THE PROBLEMS ARE MET 34 i. Lady Windermeris Fan Oscar Wilde 34 Act I 35 Notes on Act I 43 Characterization 43 111 IV CONTENTS Exposition 43 Motivation and Pro gression 44 Concentration 45 Act II 46 Notes on Act II 54 The Structure of Act II 54 Evidences of Melo drama 56 Act III 57 Notes on Act III 63 The Rhythm of Act III 63 The Melodramatic Tendency Motiva tion 64 The Mother-Daughter Coincidence 65 Act IV 66 Notes on Act IV 73 Wildes Problem Fur therMelodramatic Effects 73 Mrs. Erlynnes in Act IV Part The Play as a Whole The Limitations The Symbolic Situation The Authors Attitude The Treatment of Society Treatment of Mrs. Erlynne The Theme Other Evidence The Epigrammatic Style The Nature of Comedy The Authors Choice The Well-Made Play The Problem Play Other Questions 73 74 74 75 75 76 76 77 78 78 7 79 80 81 81 PART TWO Simpler Types 1. INTRODUCTION 2. EVERYMAN NOTES ON Everyman 1. The Nature of Parable The Problem of the Para able-Writer the Re lationship of Theme and Form How We Become Aware of the Meaning 2. Theme and Drama in Everyman Characterization Structure Parti 86 IOO IOO 101 102 103 103 104 105 Part II Part III Part IV. The Compli cation of Theme The Growth of Every mans Character Significant Variation Summary 3. Everyman as Tragedy Questions 106 107 107 1 08 1 08 109 3. PLAUTUS, THE TWIN MENAECHMI 112 NOTES ON The Twin Me naechmi 136 I. The Nature of Farce 137 CONTENTS 2. The Quality of Plautuss Farce 140 Conventions 141 Variety 141 Climactic Arrangement 142 Language 142 Probability 142 Conclusion 144 Questions 145 4. LILLO, THE LONDON MERCHANT 146 Act I 147 Questions on Act I 153 Act II 154 Questions on Act II 160 Act III 1 60 Questions on Act III 166 Act IV 167 Questions on Act IV 173 Act V 173 Questions on Act V 179 NOTES ON The London Mer chant 1 80 1. Lack of Focus 180 2. Multiplicity of Objectives 181 3. The Treatment of Barn well 184 Barnwells Language 185 The Problem of Acts IV and V 187 Conclusion Questions 188 189 PART THREE More Mature Types 1. INTRODUCTION 193 2. SHERIDAN, THE SCHOOL FOR SCANDAL 194 Act I 196 Questions on Act I 203 Act II 204 Questions on Act II 211 Act III 212 Questions on Act III 221 Act IV221 Questions on Act IV 232 Act V 232 NOTES ON The School for Scandal 243 7. Sheridan and Other Drama tists Structure and Mechanics 244 Theme and Form 244 Characterization 244 Focus 245 Sheridan and Farce 245 Melodramatic Ten dencies 246 2. Sheridans Attitude Theme The Sentimental Tendency 248 Sir Olivers Reward 249 The Treatment of Charles 249 3. Other Influences on the Tone 252 Summary 254 Questions 254 3...

Fundamentals of Good Writing A HANDBOOK OF MODERN RHETORIC Cleanth Brooks Robert Perm Warren Harcourt, Brace and Company New York COPYRIGHT, 1949, I95O, BY HARCOURT, BRACE AND COMPANY, INC. All rights reserved, including the right to reproduce this book or portions thereof in any form. TO DAVID M. CLAY CONTENTS Introduction THE MAIN CONSIDERATIONS 1 THE MOTIVATION OF THE WRITER 3 THE NATURE OF THE READER 5 THE RELATIONSHIP BETWEEN READER AND WRITER 5 THE FUSION OF MEDIUM, SUBJECT AND OCCASION 6 YOUR BACKGROUND FOR SUCCESSFUL WRITING 7 1. SOME GENERAL PROBLEMS FINDING A TRUE SUBJECT 11 UNITY 13 COHERENCE 15 EMPHASIS 19 THE MAIN DIVISIONS OF A DISCOURSE 23 PROPORTIONING THE MAIN DIVISIONS 25 1HE OUTLINE 26 2. THE KINDS OF DISCOURSE THE MAIN INTENTION 29 THE FOUR KINDS OF DISCOURSE 30 MIXTURE OF THE KINDS OF DISCOURSE 30 OBJECTIVE AND SUBJECTIVE DISCOURSE 31 x CONTENTS 3. EXPOSITION INTEREST 38 THE METHODS OF EXPOSITION 41 IDENTIFICATION 41 EXPOSITORY DESCRIPTION TECHNICAL DESCRIPTION 42 THE RELATION BETWEEN THE TECHNICAL-SUGGESTIVE DISTINCTION AND THE OBJECTIVE-SUBJECTIVE DISTINCTION 53 THE USES OF TECHNICAL AND SUGGESTIVE DESCRIPTION 55 EXPOSITORY NARRATION 57 ILLUSTRATION 57 COMPARISON AND CONTRAST 61 CLASSIFICATION AND DIVISION 67 DEFINITION 83 EXTENDED DEFINITION 91 ANALYSIS THE TWO KINDS 98 ANALYSIS AND STRUCTURE 99 ANALYSIS RELATION AMONG PARTS 100 ANALYSIS AND EXPOSITORY DESCRIPTION 101 EXPOSITORY METHODS AND THEIR USES 119 SUMMARY 120 4. ARGUMENT THE APPEAL OF ARGUMENT 125 ARGUMENT AND CONFLICT 125 ARGUMENT AND THE UNDERSTANDING 127 WHAT ARGUMENT IS ABOUT 128 THE PROPOSITION TWO KINDS 131 THE STATEMENT OF THE PROPOSITION 131 HISTORY OF THE QUESTION 134 ISSUES 135 PROPOSITIONS OFFACT 146 EVIDENCE 148 CONTENTS xi KINDS OF EVIDENCE FACT AND OPINION 148 REASONING 154 INDUCTION GENERALIZATION 155 DEDUCTION 159 FALLACIES 167 FALLACIES AND REFUTATION 170 THE IMPLIED SYLLOGISM 170 EXTENDED ARGUMENT THE BRIEF 172 ORDER OF THE BRIEF AND ORDER OF THE ARGUMENT 183 PERSUASION 183 SUMMARY 189 5. DESCRIPTION RELATION OF SUGGESTIVE DESCRIPTION TO OTHER KINDS OF DISCOURSE 195 THE DOMINANT IMPRESSION 200 PATTERN AND TEXTURE IN DESCRIPTION 200 TEXTURE SELECTION IN DESCRIPTION 211 DESCRIPTION OF FEELINGS AND STATES OF MIND 220 FIGURATIVE LANGUAGE IN THE DESCRIPTION OF FEELINGS AND STATES OF MIND 223 CHOICE OF WORDS IN THE TEXTURE OF DESCRIPTION 226 SUMMARY 229 6. NARRATION MOVEMENT 237 TIME 238 MEANING 239 NARRATIVE AND NARRATION 240 NARRATION AND THE OTHER KINDS OF DISCOURSE 242 PATTERN IN NARRATION 250 EXAMPLES OF NARRATIVE PATTERN 255 PROPORTION 262 xii CONTENTS TEXTURE AND SELECTION 264 POINT OF VIEW 267 SCALE 273 DIALOGUE 275 CHARACTERIZATION 281 SUMMARY 285 7. THE PARAGRAPH THE PARAGRAPH AS A CONVENIENCE TO THE READER 290 THE PARAGRAPH AS A UNIT OF THOUGHT 291 THE STRUCTURE OF THE PARAGRAPH 292 SOME TYPICAL STRUCTURAL PRINCIPLES 294 LINKING PARAGRAPHS TOGETHER 299 USE OF THE PARAGRAPH TO INDICATE DIALOGUE 302 SUMMARY 302 8. THE SENTENCE RHETORIC AND GRAMMAR 304 THE FIXED WORD ORDER OF THE NORMAL SENTENCE 307 POSITION OF THE MODIFIERS 311 GENERAL PRINCIPLES OF SENTENCE STRUCTURE 318 SENTENCE LENGTH AND SENTENCE VARIATION 323 SUMMARY 327 9. STYLE GENERAL DEFINITION OF STYLE 329 THREE ASPECTS OF LITERARY STYLE 330 STYLE AS AN INTERPLAY OF ELEMENTS 331 THE PLAN OF THE FOLLOWING CHAPTERS ON STYLE 332 10. DICTION DENOTATION AND CONNOTATION 335 LANGUAGE GROWTH BY EXTENSION OFMEANING 342 CONTENTS xiii THE COMPANY A WORD KEEPS COLLOQUIAL, INFORMAL, AND FORMAL 348 HOW CONNOTATIONS CONTROL MEANINGS 349 WORN-OUT WORDS AND CLICHES 353 SUMMARY 359 11. METAPHOR METAPHOR DEFINED 361 IMPORTANCE OF METAPHOR IN EVERYDAY LANGUAGE 362 THE FUNCTION OF METAPHOR 371 METAPHOR AS ESSENTIAL STATEMENT 374 WHAT MAKES A GOOD METAPHOR 378 METAPHOR AND SYMBOL 385 METAPHOR AND THE CREATIVE IMAGINATION 386 SUMMARY 388 12...

In this volume Cleanth Brooks pays tribute to the language and literature of the American South. He writes of the language's unique syntax and its celebrated languorous rhythms; of the classical allusions and Addisonian locutions once favored by the gentry; and of the more earthbound eloquence, rooted in the dialect of England's southern lowlands, that is still heard in the speech of the region's plain folk. It is this rich spoken language, Brooks suggests, that has always been the life blood of southern writing. The strong tradition of storytelling in the South is reflected in the tales told by Joel Chandler Harris's Uncle Remus and in the obsessive retellings that structure William Faulkner's novels and stories. But even more crucially, the language of the South????????????????????????????????????????????????firmly rooted in the land but with a tendency to reach for the heavens above????????????????????????????????????????????????has shaped the literary concerns and molded the complex visions to be found in the poetry of Robert Penn Warren and John Crowe Ransom; the stories of Flannery O'Connor, Peter Taylor, and Eudora Welty; and the novels of Warren, Allen Tate, and Walker Percy.

UNDERSTANDING DRAMA EIGHT PLAYS CLEANTH BROOKS ROBERT B. HEILMAN Yale University University of Washington i-ost Graduate of An Commerce, 0. c. HENRY HOLT AND COMPANY NEW YORK CONTENTS LETTER TO TEACHER AND STUDENTS IX PART ONE Problems of the Drama 1. DIALOGUE AND ACTION 3 j. Types of Dialogue 3 Courtroom Dialogue 3 The Conversation 5 The Difference between the Conversation and Drama 7 2 The Meaning of Action 8 Shooting-Script for The Great McGinty 8 The Script and the Com pleted Movie 9 Action and Character n The Relation of Dialogue to Action 12 2. DRAMA AND OTHER LITERARY FORMS 13 i Drama and Eiction 13 A Sum in Addition, William March 13 The Method of the Story 15 The Story as Drama 16 The Difference between Story and Play 17 Another Story 18 2. Drama and Poetry 19 To a Mouse, Robert Burns 19 The Method of the Poem 20 The Climax 22 The Poem Compared with Other Forms 23 3. The Elements Common to Drama and Other Forms 24 4. The Difference Between Drama and Other Forms 24 3. SPECIAL PROBLEMS OF THE DRAMA 27 Iroblerns of Scope 27 The Dramatic Situation 27 Number of Characters 28 Place 29 roblems of Dialogue 29 Progression 29 Exposition 30 The Use of Informative Devices 30 Plausibility 31 Naturalness Poetic Drama 32 Tempo 33 4. HOW THE PROBLEMS ARE MET 34 i. Lady Windermeris Fan Oscar Wilde 34 Act I 35 Notes on Act I 43 Characterization 43 111 IV CONTENTS Exposition 43 Motivation and Pro gression 44 Concentration 45 Act II 46 Notes on Act II 54 The Structure of Act II 54 Evidences of Melo drama 56 Act III 57 Notes on Act III 63 The Rhythm of Act III 63 The Melodramatic Tendency Motiva tion 64 The Mother-Daughter Coincidence 65 Act IV 66 Notes on Act IV 73 Wildes Problem Fur therMelodramatic Effects 73 Mrs. Erlynnes in Act IV Part The Play as a Whole The Limitations The Symbolic Situation The Authors Attitude The Treatment of Society Treatment of Mrs. Erlynne The Theme Other Evidence The Epigrammatic Style The Nature of Comedy The Authors Choice The Well-Made Play The Problem Play Other Questions 73 74 74 75 75 76 76 77 78 78 7 79 80 81 81 PART TWO Simpler Types 1. INTRODUCTION 2. EVERYMAN NOTES ON Everyman 1. The Nature of Parable The Problem of the Para able-Writer the Re lationship of Theme and Form How We Become Aware of the Meaning 2. Theme and Drama in Everyman Characterization Structure Parti 86 IOO IOO 101 102 103 103 104 105 Part II Part III Part IV. The Compli cation of Theme The Growth of Every mans Character Significant Variation Summary 3. Everyman as Tragedy Questions 106 107 107 1 08 1 08 109 3. PLAUTUS, THE TWIN MENAECHMI 112 NOTES ON The Twin Me naechmi 136 I. The Nature of Farce 137 CONTENTS 2. The Quality of Plautuss Farce 140 Conventions 141 Variety 141 Climactic Arrangement 142 Language 142 Probability 142 Conclusion 144 Questions 145 4. LILLO, THE LONDON MERCHANT 146 Act I 147 Questions on Act I 153 Act II 154 Questions on Act II 160 Act III 1 60 Questions on Act III 166 Act IV 167 Questions on Act IV 173 Act V 173 Questions on Act V 179 NOTES ON The London Mer chant 1 80 1. Lack of Focus 180 2. Multiplicity of Objectives 181 3. The Treatment of Barn well 184 Barnwells Language 185 The Problem of Acts IV and V 187 Conclusion Questions 188 189 PART THREE More Mature Types 1. INTRODUCTION 193 2. SHERIDAN, THE SCHOOL FOR SCANDAL 194 Act I 196 Questions on Act I 203 Act II 204 Questions on Act II 211 Act III 212 Questions on Act III 221 Act IV221 Questions on Act IV 232 Act V 232 NOTES ON The School for Scandal 243 7. Sheridan and Other Drama tists Structure and Mechanics 244 Theme and Form 244 Characterization 244 Focus 245 Sheridan and Farce 245 Melodramatic Ten dencies 246 2. Sheridans Attitude Theme The Sentimental Tendency 248 Sir Olivers Reward 249 The Treatment of Charles 249 3. Other Influences on the Tone 252 Summary 254 Questions 254 3...

Fundamentals of Good Writing A HANDBOOK OF MODERN RHETORIC Cleanth Brooks Robert Perm Warren Harcourt, Brace and Company New York COPYRIGHT, 1949, I95O, BY HARCOURT, BRACE AND COMPANY, INC. All rights reserved, including the right to reproduce this book or portions thereof in any form. TO DAVID M. CLAY CONTENTS Introduction THE MAIN CONSIDERATIONS 1 THE MOTIVATION OF THE WRITER 3 THE NATURE OF THE READER 5 THE RELATIONSHIP BETWEEN READER AND WRITER 5 THE FUSION OF MEDIUM, SUBJECT AND OCCASION 6 YOUR BACKGROUND FOR SUCCESSFUL WRITING 7 1. SOME GENERAL PROBLEMS FINDING A TRUE SUBJECT 11 UNITY 13 COHERENCE 15 EMPHASIS 19 THE MAIN DIVISIONS OF A DISCOURSE 23 PROPORTIONING THE MAIN DIVISIONS 25 1HE OUTLINE 26 2. THE KINDS OF DISCOURSE THE MAIN INTENTION 29 THE FOUR KINDS OF DISCOURSE 30 MIXTURE OF THE KINDS OF DISCOURSE 30 OBJECTIVE AND SUBJECTIVE DISCOURSE 31 x CONTENTS 3. EXPOSITION INTEREST 38 THE METHODS OF EXPOSITION 41 IDENTIFICATION 41 EXPOSITORY DESCRIPTION TECHNICAL DESCRIPTION 42 THE RELATION BETWEEN THE TECHNICAL-SUGGESTIVE DISTINCTION AND THE OBJECTIVE-SUBJECTIVE DISTINCTION 53 THE USES OF TECHNICAL AND SUGGESTIVE DESCRIPTION 55 EXPOSITORY NARRATION 57 ILLUSTRATION 57 COMPARISON AND CONTRAST 61 CLASSIFICATION AND DIVISION 67 DEFINITION 83 EXTENDED DEFINITION 91 ANALYSIS THE TWO KINDS 98 ANALYSIS AND STRUCTURE 99 ANALYSIS RELATION AMONG PARTS 100 ANALYSIS AND EXPOSITORY DESCRIPTION 101 EXPOSITORY METHODS AND THEIR USES 119 SUMMARY 120 4. ARGUMENT THE APPEAL OF ARGUMENT 125 ARGUMENT AND CONFLICT 125 ARGUMENT AND THE UNDERSTANDING 127 WHAT ARGUMENT IS ABOUT 128 THE PROPOSITION TWO KINDS 131 THE STATEMENT OF THE PROPOSITION 131 HISTORY OF THE QUESTION 134 ISSUES 135 PROPOSITIONS OFFACT 146 EVIDENCE 148 CONTENTS xi KINDS OF EVIDENCE FACT AND OPINION 148 REASONING 154 INDUCTION GENERALIZATION 155 DEDUCTION 159 FALLACIES 167 FALLACIES AND REFUTATION 170 THE IMPLIED SYLLOGISM 170 EXTENDED ARGUMENT THE BRIEF 172 ORDER OF THE BRIEF AND ORDER OF THE ARGUMENT 183 PERSUASION 183 SUMMARY 189 5. DESCRIPTION RELATION OF SUGGESTIVE DESCRIPTION TO OTHER KINDS OF DISCOURSE 195 THE DOMINANT IMPRESSION 200 PATTERN AND TEXTURE IN DESCRIPTION 200 TEXTURE SELECTION IN DESCRIPTION 211 DESCRIPTION OF FEELINGS AND STATES OF MIND 220 FIGURATIVE LANGUAGE IN THE DESCRIPTION OF FEELINGS AND STATES OF MIND 223 CHOICE OF WORDS IN THE TEXTURE OF DESCRIPTION 226 SUMMARY 229 6. NARRATION MOVEMENT 237 TIME 238 MEANING 239 NARRATIVE AND NARRATION 240 NARRATION AND THE OTHER KINDS OF DISCOURSE 242 PATTERN IN NARRATION 250 EXAMPLES OF NARRATIVE PATTERN 255 PROPORTION 262 xii CONTENTS TEXTURE AND SELECTION 264 POINT OF VIEW 267 SCALE 273 DIALOGUE 275 CHARACTERIZATION 281 SUMMARY 285 7. THE PARAGRAPH THE PARAGRAPH AS A CONVENIENCE TO THE READER 290 THE PARAGRAPH AS A UNIT OF THOUGHT 291 THE STRUCTURE OF THE PARAGRAPH 292 SOME TYPICAL STRUCTURAL PRINCIPLES 294 LINKING PARAGRAPHS TOGETHER 299 USE OF THE PARAGRAPH TO INDICATE DIALOGUE 302 SUMMARY 302 8. THE SENTENCE RHETORIC AND GRAMMAR 304 THE FIXED WORD ORDER OF THE NORMAL SENTENCE 307 POSITION OF THE MODIFIERS 311 GENERAL PRINCIPLES OF SENTENCE STRUCTURE 318 SENTENCE LENGTH AND SENTENCE VARIATION 323 SUMMARY 327 9. STYLE GENERAL DEFINITION OF STYLE 329 THREE ASPECTS OF LITERARY STYLE 330 STYLE AS AN INTERPLAY OF ELEMENTS 331 THE PLAN OF THE FOLLOWING CHAPTERS ON STYLE 332 10. DICTION DENOTATION AND CONNOTATION 335 LANGUAGE GROWTH BY EXTENSION OFMEANING 342 CONTENTS xiii THE COMPANY A WORD KEEPS COLLOQUIAL, INFORMAL, AND FORMAL 348 HOW CONNOTATIONS CONTROL MEANINGS 349 WORN-OUT WORDS AND CLICHES 353 SUMMARY 359 11. METAPHOR METAPHOR DEFINED 361 IMPORTANCE OF METAPHOR IN EVERYDAY LANGUAGE 362 THE FUNCTION OF METAPHOR 371 METAPHOR AS ESSENTIAL STATEMENT 374 WHAT MAKES A GOOD METAPHOR 378 METAPHOR AND SYMBOL 385 METAPHOR AND THE CREATIVE IMAGINATION 386 SUMMARY 388 12...

Cleanth Brooks has deeply influenced the course of letters and literature in America. As coauthor (with Robert Penn Warren) of ""Understanding poetry"", he has helped bring poems to life for many thousands of students. His subsequent studies, including ""Modern poetry and the tradition"" and ""The well-wrought urn"", have been praised by students and scholars like and have established him as a critic of stature. His ""Historical evidence"" indicates how sadly he has been misrepresented as a kind of ""formalist"" who has no concern for biography land history. This series of case studies examines the degree and extent to which some dozen particular 17th century poems deal with the history of the time out of which they came. With the exception of those by Andrew Marvell, they are the work of minor poets, such as Henry Ling, Richard Corbett, James Shirley, Richard Lovelace, Aurelian Townshend, Richard Fanshawe, and Edward, Lord Herbert of Cherbury. Yet the poems were not chosen merely in the interest of advancing an idea. They are highly interesting in themselves. What Brooks has done with each of these 17th century poets is what he's spent a lifetine doing - bringing their poems to life for a 20th century reader. This book responds to the terrible ills that have befallen our approach to literature. Without waving flags or hurling abuse at a real or imagined foe, Brooks makes it clear how important a knowledge of history and culture may be to the reader of literature. Brooks provides original readings of specific poems and poets. This book should interest students of 17th century poetry in particular and among appreciators of literature in general.

In this companion volume to "William Faulkner: The Yoknapatawpha Country, " Cleanth Brooks takes an in-depth look at Faulkner's early poetry and prose as well as his five non-Yoknapatawpha novels -- "Soldiers Pay, Mosquitoes, Pylon, The Wild Palms, " and "A Fable." Brooks also offers relevant clarification of some of his earlier interpretations of Faulkner that have been challenged -- most notably in the case of Faulkner that have been challenged -- most notable in the case of "Absalom, Absalom , " which he considers Faulkner's greatest novel.

Recognizing that the creative and imaginative center of Faulkner's art is Yoknapatawpha County, Brooks examines the merits of each of the works set beyond these boundaries and explores how these writings complement Faulkner as an artist. He sheds light on the literary sources that influenced Faulkner's early work and the technical innovations and general themes Faulkner was to develop in his later writing. The notes and appendixes with which Brooks concludes "Toward Yoknapatawpha and Beyond "serve only to amplify this comprehensive study.

Hailed by critics and scholars as the most valuable study of Faulkner's fiction, Cleanth Brooks's "William Faulkner: The Yoknapatawpha Country "explores the Mississippi writer's fictional county and the commanding role it played in so much of his work. Brooks shows that Faulkner's strong attachment to his region, with its rich particularity and deep sense of community, gave him a special vantage point from which to view the modern world.

Books's consideration of such novels as "Light in August, The Unvanquished, As I Lay Dying, "and "Intruder in the Dust "shows the ways in which Faulkner used Yoknapatawpha County to examine the characteristic themes of the twentieth century. Contending that a complete understanding of Faulkner's writing cannot be had without a thorough grasp of fictional detail, Brooks gives careful attention to "what happens: In the Yoknapatawpha novels. He also includes useful genealogies of Faulkner's fictional clans and a character index.

It seems appropriate, if not inevitable, that one of our best critics should be the foremost authority on one of our best novelists. Cleanth Brooks, the author of three seminal studies of William Faulkner, has been a serious student of that master craftsman's fiction for more than four decades. In this new collection, Brooks considers many of the important characteristics of Faulkner's work. He focuses more specifically than he has in the past on certain questions and in some instances offers rebuttals to what he considered unfair assessments of Faulkner.

In the first essay, Brooks challenges the notion that Donald Davidson, John Crowe Ransom, Robert Penn Warren, and other members of the Fugitive-Agrarian movement at Vanderbilt University were slow to recognize Faulkner's achievements. Indeed, Brooks provides clear evidence not only that the Fugitives were early supporters of Faulkner but that Faulkner and the Fugitives shared many concerns and ideas about their region. Brooks also writes about Faulkner's personal beliefs and demonstrates how the virtues Faulkner held in highest esteem -- such as courage and honor -- are embodied in his fiction. In two essays, "Faulkner and the Community" and "Faulkner's Two Cities," Brooks analyzes the importance of a closely knit world -- specifically the hill region of north Mississippi and the cities of Memphis and New Orleans -- to Faulkner's works.

Brooks considers Faulkner's serious regard for the chivalric tradition, as well as his amusement in Gavin Stevens' exemplification of it in "Intruder in the Dust" and "Requiem for a Nun." Faulkner's treatment of women characters, especially in "Light in August" and "The Hamlet," is discussed, as are his ideas about the American Dream.

These essays are vintage Brooks. The prose is, as always, felicitous, the manner modest and winning, the thought pertinent and rigorous. Despite the thematic diversity of the essays, the emphasis is ultimately the same: reading and rereading the novels of William Faulkner is a continuing pleasure and an enduring challenge.

In this clear-sighted and enjoyable book, Cleanth Brooks, acknowledged to be "the best critic of our best novelist," introduces the general reader to Faulkner's most important novels and stories: The Sound and the Fury; As I lay Dying; The Hamlet; Go Down, Moses; Light in August; and Absalom, Absalom! Brooks focuses on theme, character, and plot as well as on Faulkner's world-the fictional Yoknapatawpha County that provides a unique setting for Faulkner's tragicomic vision.

The clarity of style for which Mr. Brooks has long been noted is displayed to advantage in this newest book of his criticism. Originally delivered as lectures at a faculty conference of people interested in theology, the critical studies have special importance for all readers who would like a fresh perspective on five distinguished literary figures whose Christian commitment has been regarded as nonexistent or nebulous. Mr. Brooks believes that whatever a writer has to say about mankind, Christianity, or culture in general is most significantly explained through his achievements as an artist, and for that reason the critic here deals with the characteristic literary work of each author, rather than with his theology or philosophy.

A classic that has been widely used by several generations, this book consists of detailed commentaries on ten famous English poems from the Elizabethan period to the present. Index.