New Criticism and the Art of Textual Interpretation
In the previous blog, we discussed Formalism. In this blog, we are going to
examine a new theory: New Criticism. New Criticism left a lasting mark on the
literary world from the 1940s to the 1960s and New Criticism was a movement in
literary theory that dominated American literary criticism.; however, it is
rarely used by writers today, so we can no longer consider it a contemporary
theory. It changed how literature was taught, helped define English Studies,
and was a starting point for critical theory in the 20th century. However, it
was unusual because it wasn't led by a single critic, had no manifesto, and no
clear aims or membership. The term “New Criticism” was first used in 1941 by
John Crowe Ransom in his book. Ransom's book was more about the need for a
certain type of critic than defining New Criticism. The critics he examined
rejected the label, and those now called New Critics were hardly mentioned by
Ransom. Matterson, S. (2006). The New Criticism. In P. Waugh (Ed.), Literary theory and criticism: An Oxford
guide. Oxford University Press. I am going to show you shortly, and then we
will set out on a journey in this literature adventure.
I am going to show you
shortly, then we will set out a journey in this literature adventure:
When you read a story, you are
just trying to understand what is happening in the story itself without
thinking about the outside world or the author’s life. In this kind of
criticism, the beauty and meaning of the story are hidden in the words,
sentences, and the way it’s told. So, you try to understand it by focusing only
on the story. It is like a puzzle. You are paying attention to each piece to discover
how it all fits together.
New Criticism is a type of
critique that focuses solely on the work itself to understand it. In this approach, the work is examined
based on its language, structure, and form, without connecting it to external
factors such as the author’s life or its social and historical context. In
other words, to find the meaning and value of a work, we pay attention to the
elements within the text itself. Every word, sentence, and structural detail
contributes to the overall meaning of the work, so we analyse it in its own
completeness. In this context, when we evaluate a text, we should take into
account some points. Extrinsic analysis,
which involves examining elements outside the text to uncover its meaning,
should be avoided. Instead, the critic's job is to understand how a poem
functions as a self-contained, self-referential object. This means focusing
solely on the text itself and its internal elements to interpret its meaning.
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It used to be common to
interpret a literary text by studying the author's life and times to understand
the meaning the author planned. People would look through the author's letters,
diaries, essays, autobiographies, biographies, and history books for clues. In
its most extreme form, biographical-historical criticism focuses more on the
author's context than on the text itself. Most of us expect to hear about the
author's personal and intellectual life: his family, friends, enemies, lovers,
habits, education, beliefs, and experiences. We may be curious about things
that affected the author before reading. Moreover, we may wonder about the
period when the work was written. However, For New Critics, the focus was
entirely on the text itself. They believed that the poem, or any literary work,
should be analysed as a self-contained object. This means that the meaning and
value of the work are found within the text itself, without needing to consider
the author's intentions, historical context, or external factors.
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New Criticism emphasizes that
a literary work is a self-contained, timeless entity. Its meaning is as fixed
and objective as the words on the page. This meaning can't be fully captured by
paraphrasing or translating it into another language. Literary language is
distinct from scientific or everyday language, with its form and content being
inseparable. The text's meaning and how it conveys that meaning are one and the
same. The work is seen as an ideal, organic unity where all elements contribute
to its overall complexity, often resulting from multiple and conflicting
meanings.
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The Great Gatsby as a reflection of the Jazz
Age and its social commentary can indeed overshadow its formal elements. New Criticism would argue that we
should examine the text, structure, language, and literary devices to uncover
its deeper meanings. By doing so, we might find that the novel's complexity
and richness go beyond its historical context, revealing layers of meaning
embedded in Fitzgerald's precise use of words and narrative techniques. This approach can offer a new and
different perspective on a well-known classic.
To analyze *The Great Gatsby*
through New Criticism, we’ll focus solely on the text itself, looking at
language, structure, imagery, and the interactions of characters, without
considering the historical context or F. Scott Fitzgerald's life.
Imagery and Symbols
In The Great Gatsby, some of the key symbols include:
1. The Green Light: Positioned at Daisy’s dock, the green light symbolizes Gatsby's dreams
and hopes for the future. However, it’s always out of reach, which reflects the
nature of his ambitions. The green light also serves as a symbol of Gatsby’s
longing and the impossible nature of his dreams.
2. The Eyes of Doctor T.J. Eckleburg: The billboard with the large, staring eyes represents
an unseeing, god-like presence watching over the moral decay of society.
3. Colors:
Fitzgerald’s use of colour imagery, such as the bright yellows of Gatsby’s car
and the gold in Daisy’s dress, represents wealth, luxury, and the facade of
happiness, which contrast with darker images of grey in the Valley of Ashes,
suggesting despair and poverty.
Language and Style
New Criticism emphasizes the close reading of language.
Fitzgerald's prose in The Great Gatsby
is poetic and symbolic, often using lyrical language to emphasize the
characters' emotions. For instance:
1. Gatsby’s Speech Patterns: Gatsby’s formal, almost rehearsed way of
speaking—especially his repeated phrase, “Old sport”—highlights his constructed
identity and his attempt to fit into the wealthy, upper-class society.
Structure and Form
New Criticism also looks at
the structure of the narrative and how it affects meaning:
1. Unreliable Narration: Nick Carraway’s perspective shapes the novel’s events.
Nick’s narration invites the reader to question his own biases, revealing
layers of ambiguity in the way Gatsby and other characters are perceived.
2. Non-linear Timeline: Fitzgerald’s non-linear timeline, where the story
begins in the present and then recounts Gatsby’s past, underlines the theme of
memory and desire. This structure reflects Gatsby’s inability to move forward,
reinforcing the novel’s tragic tone.
Themes Explored Through Textual Analysis
New Criticism focuses on themes
found in the text:
1. The American Dream: Through the perspective of New Criticism, the text reveals the
illusion of the American Dream. Gatsby's wealth and lifestyle appear glamorous,
but his inability to truly achieve his dreams exposes the corruption of this
pursuit. The text's language underlines this theme.
2. Illusion vs. Reality: Gatsby’s life is a carefully crafted illusion, from
his backstory to his parties. The contrast between appearance and reality is
portrayed through language, like Gatsby's description as an “Oxford man” and
the rich details of his mansion, which ultimately reveal little about his true
self.
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