New Criticism and the Art of Textual Interpretation

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.

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.

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.

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.