Matthew Arnold's Principles of Literary Criticism Explained

Judging Literature

Arnold prefers a comparative method of judging literature, a topic he addresses in "The Study of Poetry." According to Arnold, historical and personal grounds can often confound comparison. Therefore, it is important to remain as unbiased as possible, or at least to acknowledge one's biases when judging literature. It is important neither to overestimate nor to underestimate the relevance or importance of a piece of literature simply because one has a special affection for it or finds it relevant to a historical issue. Arnold also draws attention to the ways in which judging literature is constrained by historical context and prevailing attitudes. The merit of a work on a personal level will inevitably differ from that work's merit for a broader audience. The comparative method helps to eliminate such biases as much as possible.

The Function of Criticism

Literary criticism functions in several distinct ways. Arnold first notes that the main function of criticism is to see and understand a work of literature exactly as it is — as objectively and rationally as possible. In practice, however, this can be difficult. Arnold distinguishes between the intellectual approach to literature and criticism on the one hand, and the creative approach on the other. He also reiterates his appreciation for the art of comparison between works. Through criticism, literature can reach a kind of transcendence, in which the work rises above both its moment in time and its cultural context. Seeing a work in its entirety, and with as honest a perspective as possible, is the primary goal of literary criticism.

The Need for a Cosmopolitan Attitude in Criticism

Cosmopolitanism refers to being an open-minded person who is aware of the wider world rather than being self-centered or xenophobic. In the context of literary criticism, having a cosmopolitan attitude means possessing the ability to identify universal truths from a broad body of cross-cultural literature and to incorporate works from other cultures into one's own critical repertoire. Arnold's view is that English speakers have so much material to work with that they are at serious risk of neglecting or failing to recognize the value in literary works from other cultures. A cosmopolitan attitude in criticism conscientiously corrects this bias.

Conclusion

Matthew Arnold's critical theory applies both to poetry and prose, although it is apparent at times that he favors poetry for its elevated qualities. Arnold presents eleven central principles of literary criticism, which derive from his extensive investigations of literature from different cultures and epochs. He begins by addressing the importance of subject when conducting literary criticism — specifically, the author's choice of subject or content, and how that subject is treated and developed. From this first principle, Arnold moves to the proper relation of form to content in a general sense, before later favoring poetry and exploring its particular implications. The form of a piece — whether poem or novel — should ideally reflect its content, and criticism must take this relationship into account.

Moreover, Arnold looks for a pleasing final effect. The reader should be left asking questions, thinking more deeply about the subject, and invited into further dialogue or discourse. From there, Arnold addresses the distinct advantages of objective representation in both criticism and literature: a work should be rendered and appreciated objectively rather than filtered through the reader's subjective preferences. The fifth principle focuses on the importance of correct form in poetry specifically. Given the tremendous variation in poetic styles, Arnold urges greater critical inquiry into the choice of form and whether free verse is truly warranted. Sixth, Arnold discusses what he calls the Grand Style — the cornerstone of his theory of criticism. Throughout all eleven principles, Arnold continually stresses the importance of form and style, of content and subject, and of an objective and open-minded attitude toward literature.