Historical Background of Literary Criticism
The history of literary criticism is closely connected with the history of human thought. From its earliest beginnings, criticism has emerged whenever writers and philosophers reflected on the nature, function, and value of literature. Literary criticism did not develop as a separate academic discipline overnight; rather, it evolved gradually through philosophical debates, cultural shifts, and changing views about art and society.
The earliest systematic literary criticism appears in ancient Greece. Plato is the first major figure to address literature critically in a philosophical context. In The Republic, he treats poetry as a form of mimesis (imitation) and famously condemns it for being morally and intellectually misleading. He argues that poetry is “thrice removed from the truth” because it imitates appearances rather than reality. Plato’s concern was ethical and political. He feared that poetry appealed to emotions rather than reason and could corrupt the moral order of the state. This marks an important starting point for criticism, as literature is judged in relation to truth, morality, and social responsibility.
Aristotle, Plato’s student, provides the first sustained and systematic work of literary criticism in The Poetics. Unlike Plato, Aristotle defends poetry and treats it as a serious intellectual activity. He defines tragedy as “an imitation of an action that is serious, complete, and of a certain magnitude” and emphasizes its structured form. Aristotle introduces key critical concepts such as plot, character, hamartia, and catharsis. His approach is analytical rather than moralistic, focusing on how literary works function internally. Aristotle’s influence on later criticism is immense, particularly in shaping ideas about form, genre, and aesthetic unity.
During the Roman period, criticism became more practical and rhetorical. Horace’s Ars Poetica emphasizes balance, decorum, and artistic discipline. His famous statement that poetry should combine instruction and delight — “to teach and to please” — became a guiding principle for later critics. Roman criticism thus bridges classical philosophy and later neo-classical ideals.
In the medieval period, literary criticism largely served religious and moral purposes. Literature was interpreted allegorically, especially biblical and classical texts. Works were valued less for aesthetic pleasure and more for moral instruction. St. Augustine’s writings influenced this approach, as literature was often read symbolically to uncover spiritual truths. As a result, formal literary criticism stagnated, though interpretative practices continued.
The Renaissance marked a revival of classical critical ideas. Critics returned to Aristotle and Horace, emphasizing order, harmony, and imitation of classical models. Sir Philip Sidney’s An Apology for Poetry (1595) represents a major moment in English criticism. Sidney defends poetry against moral attacks and argues that poetry is superior to history and philosophy because it combines truth with imaginative power. He claims that poetry “never affirmeth, and therefore never lieth,” suggesting that poetic truth operates differently from factual truth.
In the seventeenth and eighteenth centuries, literary criticism became more formal and rule-bound. This period, often called the Neo-Classical age, emphasized reason, clarity, and decorum. Critics believed literature should follow fixed rules derived from classical models. John Dryden and later Samuel Johnson contributed significantly to English criticism. Johnson’s Preface to Shakespeare balances respect for classical principles with an appreciation of Shakespeare’s originality. Johnson argues that the purpose of literature is moral instruction, stating that writers should help readers “better to enjoy life, or better to endure it.”
The Romantic period marks a major shift in the history of criticism. Romantic critics reject rigid rules and emphasize imagination, emotion, and individual genius. William Wordsworth’s Preface to Lyrical Ballads challenges neo-classical diction and celebrates ordinary language and personal feeling. Coleridge further develops criticism by introducing philosophical depth, especially in his discussion of imagination and organic form. In conclusion, the historical background of literary criticism shows a continuous dialogue between literature and philosophy, morality, aesthetics, and society. From Plato’s moral suspicion to Aristotle’s formal analysis, from neo-classical rules to Romantic freedom, literary criticism reflects changing ideas about what literature is and why it matters. This historical development provides the foundation upon which modern critical theories are built.
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