Research by scholars into the literary past began almost as soon as literature itself—as soon as the documents accumulated—and for many centuries it represents almost all the scholarship that has survived. The most extensive text of the Sumerian Epic of Gilgamesh, the first of the world’s great classics, is a late Assyrian synthesis that must have required an immense amount of research into clay tablets, written in several languages going back to the beginning of Mesopotamian civilization. Many Egyptian poems and the philosophic creation myth known as the “Memphite Theology” survive in very late texts that carefully reproduce the original language of the first dynasties. Once the function of the scribe was established as essential, he invented literary scholarship, both to secure his position and to occupy his leisure. The great epoch of literary scholarship in ancient times centred on the library (and university) of Alexandria from its foundation in 324 bc to its destruction by the Arabs in ad 640. Hellenistic Greek scholars there developed such an academic and pedantic approach to literary scholarship and scholarly literature that the term Alexandrine remains pejorative to this day. To them, however, is owed the survival of the texts of most of the Greek Classics. Roman literary scholarship was rhetorical rather than analytic. With the coming of Islam, there was established across the whole warm temperate zone of the Old World a far-flung community of scholars who were at home in learned circles from India to Spain. Judaism, like Islam, was a religion of the book and of written tradition, so literary scholarship played a central role in each. The same is true of India, China, and later Japan; for sheer bulk, as well as for subtlety and insight, Oriental scholarship has never been surpassed. In a sense, the Renaissance in Europe was a cultural revolution led by literary scholars who discovered, revived, and made relevant again the literary heritage of Greece and Rome. In the 19th century, literary scholarship was dominated by the exhaustive, painstaking German academician, and that Germanic tradition passed to the universities of the United States. The demand that every teacher should write a master’s thesis, a doctor’s dissertation, and, for the rest of his career, publish with reasonable frequency learned articles and scholarly books, has led to a mass of scholarship of widely varying standards and value. Some is trivial and absurd, but the best has perfected the texts and thoroughly illuminated the significance of nearly all the world’s great literature. Literary criticism
Literary criticism, as distinguished from scholarly research, is usually itself considered a form of literature. Some people find great critics as entertaining and stimulating as great poets, and theoretical treatises of literary aesthetics can be as exciting as novels. Aristotle, Longinus, and the Roman rhetorician and critic Quintilian are still read, although Renaissance critics like the once all-powerful Josephus Scaliger are forgotten by all but specialized scholars. Later critics, such as Poe, Charles-Augustin Sainte-Beuve, Hippolyte Taine, Vissarion Belinsky, Matthew Arnold, Walter Bagehot, Walter Pater, and George Saintsbury, are probably read more for themselves than for their literary judgments and for their general theorizing rather than for their applications (in the case of the first three, for instance, time has confounded almost all the evaluations they made of their contemporaries). The English critics have survived because they largely confined themselves to acknowledged masterpieces and general ideas. Perhaps literary criticism can really be read as a form of autobiography. Aestheticians of literature like I.A. Richards, Sir C.M. Bowra, Paul Valéry, Susanne Langer, and Ernst Cassirer have had an influence beyond the narrow confines of literary scholarship and have played in our time something approaching the role of general philosophers. This has been true on the popular level as well. The Dane Georg Brandes, the Americans James Gibbons Huneker, H.L. Mencken, and Edmund Wilson—these men were social forces in their day, proving that literary criticism can play a role in social change. In Japan, the overthrow of the shogunate, the restoration of the emperor, and the profound change in the Japanese social sensibility began with the literary criticism of Moto-ori Norinaga. The 19th-century revolution in theology resulted from the convergence of Darwinian theories of evolution and the technical and historical criticism of the Bible. For many 20th-century intellectuals, the literary quarterlies and weeklies, with their tireless discussions of the spiritual significance and formal characteristics of everything from the greatest masterpiece to the most ephemeral current production, can be said to have filled the place of religion, both as rite and dogma. In the last decades of the 20th century, though, Anglo-American literary criticism was criticized for its failure to be “literature” and for its dependence on jargon. Kenneth Rexroth The Editors of Encyclopaedia Britannica
Citation Information
Article Title: Literature
Website Name: Encyclopaedia Britannica
Publisher: Encyclopaedia Britannica, Inc.
Date Published: 22 February 2019
URL: https://www.britannica.com/art/literature
Access Date: August 21, 2019
Additional Reading General works
Kenneth Burke, The Philosophy of Literary Form, 2nd ed. (1967); I.A. Richards, Practical Criticism: A Study of Literary Judgment (1929, reprinted 1968) and Principles of Literary Criticism (1924, reprinted 1961); George Saintsbury, A History of Criticism and Literary Taste in Europe from the Earliest Texts to the Present Day, 3 vol. (1900–04, reprinted 1961); Nowell C. Smith (ed.), Literary Criticism (1905); Konstantin Kolenda, Philosophy in Literature (1982). Ancient to modern
A Translation of the Latin Works of Dante Alighieri (1904), see Letter X to Can Grande; Charles Sears Baldwin, Ancient Rhetoric and Poetic, Interpreted from Representative Works (1924), Medieval Rhetoric and Poetic to 1400, Interpreted from Representative Works (1928, reprinted 1971), and Renaissance Literary Theory and Practice (1939); Edward H. Blakeney (ed.), Horace on the Art of Poetry (1928); Cecil Maurice Bowra, Primitive Song (1962); S.H. Butcher, Aristotle’s Theory of Poetry and Fine Art, with a critical text and translation of the Poetics, 4th ed. (1907; reprinted with corrections, 1932); Ingram Bywater, Aristotle on the Art of Poetry (1909), reprinted in Aristotle’s Poetics and Longinus on the Sublime, ed. by Charles Sears Baldwin (1930); Pierre Corneille, Oeuvres, 3 vol. (1862), containing the “Discourse on Dramatic Poetry” and “Discourse on the Three Unities”; Albert S. Cook (ed.), The Art of Poetry (1892, reprinted 1926), containing a translation of Horace’s Art of Poetry; J.D. Denniston, Greek Literary Criticism (1924, reprinted 1971), translations, beginning with Aristophanes; Dryden’s Essays on the Drama, ed. by William Strunk (1898); Allan H. Gilbert (ed.), Literary Criticism: Plato to Dryden (1940); Edmund D. Jones (ed.), English Critical Essays (Sixteenth, Seventeenth, and Eighteenth Centuries) (1922); Ben Jonson: Timber, Discoveries, and Conversations with Drummond of Hawthornden in his Works, ed. by C.H. Herford and Percy Simpson, 11 vol. (1925–52); Longinus, On the Sublime, Greek text with an English translation by W. Hamilton Fyfe (“Loeb Classical Library,” 1927); Plato, trans. by Lane Cooper (1938), contains the Phaedrus, the Symposium, the Ion, the Gorgias, and parts of the Republic and the Laws; George Puttenham, The Arte of English Poesie, ed. by Gladys D. Willcock and Alice Walker (1936); Paul Radin, Primitive Man as Philosopher (1927); Sidney’s Apologie for Poetrie, ed. by J. Churton Collins (1907); G. Gregory Smith (ed.), Elizabethan Critical Essays, 2 vol. (1904); Gay Wilson Allen and H.H. Clark (eds.), Literary Criticism: Pope to Croce (1941 and 1962); Matthew Arnold, Essays in Criticism, 2 vol., First and Second Series complete (1902), and Essays in Criticism, with an introduction by E.J. O’Brien, Third Series (1910); Edwin Berry Burgum (ed.), The New Criticism: An Anthology of Modern Aesthetics and Literary Criticism (1930); Samuel Taylor Coleridge, Biographia Literaria, or Biographical Sketches of My Literary Life and Opinions, 2 vol., reprinted from the original plates (1907); Benedetto Croce, The Defence of Poetry, Variations on the Theme of Shelley, trans. by E.F. Carritt (1933); T.S. Eliot, Selected Essays, 1917–1932 (1932); Hazlitt on English Literature: An Introduction to the Appreciation of Literature, ed. by Jacob Zeitlin (1913, reprinted 1970); E.R. Hughes (trans.), The Art of Letters: Lu Chi’s “Wen Fu,” A.D. 302 “Bollingen Series XXIX” (1951); Thomas Ernest Hulme, Speculations: Essays on Humanism and the Philosophy of Art, ed. by Herbert Read (1924); James Gibbons Huneker, Essays (1929); Edmund D. Jones (ed.), English Critical Essays of the Nineteenth Century (1922); Phyllis M. Jones (ed.), English Critical Essays: Twentieth Century (1933); William Paton Ker, Collected Essays, 2 vol. (1925, reprinted 1968); Karl Marx and Friedrich Engels, Sur la littérature et l’art, ed. and trans. by Jean Freville (1936); H.L. Mencken, A Mencken Chrestomathy (1949); Paul Elmer More, The Demon of the Absolute (1928) and Shelburne Essays, 11 series (1904–21); Friedrich Nietzsche, Ecce Homo and The Birth of Tragedy, trans. by Clifton Fadiman (1927); Horatio, Works, 10 vol. (1910); Georgy V. Plekhanov, Art and Society, trans. by Alfred Goldstein (1936), a Marxist analysis; Edgar Allan Poe, Selections from the Critical Writings of Edgar Allan Poe, ed. with an introduction by F.C. Prescott (1909); Ezra Pound, ABC of Reading (1934) and Literary Essays (1954); Herbert Read, Reason and Romanticism (1926); Charles Augustin Sainte-Beuve, Causeries du lundi, 15 vol. (1852–62; Eng. trans., 8 vol., 1909–11), contains “What Is a Classic?”. Shelley’s Literary and Philosophical Criticism, ed. by John Shawcross (1909); Leo Tolstoy, What Is Art?, trans. by Aylmar Maude (1932); Leon Trotsky, Literature and Revolution, trans. by Rose Strunsky (1925, reprinted 1957); Paul Valery, Littérature (1929) and Variété, trans. by Malcolm Cowley (1927); William Carlos Williams, In the American Grain (1925); Edmund Wilson, Axel’s Castle (1931) and The Triple Thinkers, rev. ed. (1952 and 1963); Emile Zola, The Experimental Novel and Other Essays, trans. by Belle M. Sherman (1893). Contemporary