*Assignment: M.H. Abrams – "Orientation of Critical Theories" from *The Mirror and the Lamp***
*Introduction**
**About M.H. Abrams**
Meyer Howard Abrams (1912–2015) is a towering figure in literary criticism, celebrated for his scholarly depth and innovative frameworks for analyzing literature. As a professor of English at Cornell University, Abrams contributed to the study of Romanticism and the evolution of critical theory. He edited *The Norton Anthology of English Literature*, a landmark achievement in literary scholarship. His books, particularly *The Mirror and the Lamp* (1953) and *Natural Supernaturalism* (1971), revolutionized the understanding of literary traditions.
Abrams is often lauded for his ability to contextualize literary works within the intellectual movements of their time, blending historical and theoretical approaches. His writing reflects a meticulous balance between analytical rigor and accessibility, making his ideas relevant across generations of literary scholars.
**The Century and Context**
Published in 1953, *The Mirror and the Lamp: Romantic Theory and the Critical Tradition* emerged during a transformative period in literary criticism. The mid-20th century witnessed the rise of Structuralism, New Criticism, and other formalist schools that emphasized textual analysis over biographical or historical contexts. Abrams’ work stands apart by offering a synthesis of traditional and modern approaches, grounding Romanticism within a broader critical tradition. The book is essential for understanding how Romantic theory diverges from earlier paradigms and influences contemporary critical practice.
**Introduction to *The Mirror and the Lamp***
The book’s title encapsulates two fundamental metaphors for understanding literature and art:
1. **The Mirror**: Representing the mimetic approach, where art reflects the external world.
2. **The Lamp**: Symbolizing the Romantic view of art as an emanation of the poet’s inner self.
In the opening chapter, "Orientation of Critical Theories" (pp. 3–29), Abrams outlines four primary orientations of criticism—mimetic, pragmatic, expressive, and objective. These categories offer a conceptual map for analyzing literary theories across time, underscoring the dynamic and multifaceted nature of literary criticism.
**Main Body**
**1. The Four Orientations of Critical Theories**
Abrams’ division of literary criticism into four orientations provides a comprehensive framework for understanding the evolution of critical thought. Each orientation is rooted in specific philosophical and aesthetic traditions, reflecting the shifting priorities of critics and artists.
**A. Mimetic Orientation**
- **Definition**: Mimetic criticism posits that literature reflects reality. Originating in ancient Greece, this approach emphasizes the relationship between art and the external world.
- **Historical Context**: Plato and Aristotle laid the foundation for mimetic criticism. While Plato criticized poetry for being an imitation of an imitation (diminishing truth), Aristotle defended its educational and emotional value in *Poetics*.
- **Abrams’ Insight**: Abrams highlights that mimetic theories prioritize the connection between literature and reality, forming the basis for much of classical and Renaissance criticism.
- **Example**:
- In Shakespeare’s *Hamlet*, the portrayal of human conflict, indecision, and morality reflects universal human experiences, aligning with mimetic principles.
- Aristotle’s analysis of tragedy as an imitation of significant actions designed to evoke pity and fear further exemplifies mimetic criticism.
- **Critical Quote**: Abrams writes, “The mimetic orientation considers art as a reflection of the real world, focusing on how accurately it mirrors life.”
**B. Pragmatic Orientation**
- **Definition**: Pragmatic criticism evaluates literature based on its impact on the audience, emphasizing its educational, moral, or aesthetic effects.
- **Historical Context**: This approach gained prominence during the Renaissance and Neoclassical periods, where critics like Horace and Sir Philip Sidney stressed literature’s dual purpose: to instruct and delight.
- **Abrams’ Insight**: Abrams underscores the audience-centered nature of pragmatic criticism, which measures the success of a work by its ability to move and instruct readers.
- **Example**:
- In John Milton’s *Paradise Lost*, the moral and theological lessons align with the pragmatic orientation, aiming to “justify the ways of God to men.”
- Horace’s *Ars Poetica* embodies pragmatic criticism by advising poets to balance pleasure with didacticism.
- **Critical Quote**: “The pragmatic orientation sees literature as a tool to educate and emotionally influence its audience,” Abrams notes.
**C. Expressive Orientation**
- **Definition**: The expressive approach views literature as an outpouring of the artist’s emotions, imagination, and individual creativity. This orientation reached its peak during the Romantic era.
- **Historical Context**: Romanticism marked a departure from classical and pragmatic models, placing the artist’s subjective experience at the center of artistic creation. Writers like Wordsworth and Shelley championed the poet’s imaginative vision as the source of truth.
- **Abrams’ Insight**: Abrams emphasizes the Romantic belief that art is a reflection of the poet’s inner world, transforming criticism into an exploration of the artist’s psyche.
- **Example**:
- Wordsworth’s *Tintern Abbey* illustrates the expressive orientation, blending memory, emotion, and imagination to explore the relationship between nature and the self.
- Shelley’s *A Defence of Poetry* reinforces this view, declaring poets as “the unacknowledged legislators of the world.”
- **Critical Quote**: “The expressive theory focuses on the artist as the source and center of the creative process,” Abrams asserts.
**D. Objective Orientation**
- **Definition**: The objective orientation treats literature as an autonomous entity, analyzing its structure, form, and internal coherence without reference to external factors.
- **Historical Context**: This approach aligns with Formalist and New Critical theories, which emerged in the early 20th century. Critics like T.S. Eliot and Cleanth Brooks emphasized the importance of close reading.
- **Abrams’ Insight**: Abrams highlights the self-contained nature of the objective approach, which views literary works as independent objects of study.
- **Example**:
- T.S. Eliot’s *The Waste Land* is often analyzed through its intricate structure and symbolism, emphasizing its textual unity.
- The New Critical emphasis on irony and paradox exemplifies the objective approach.
- **Critical Quote**: “Objective theories focus on the work itself, isolating it from authorial intent or audience response,” writes Abrams.
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**2. Intersections and Evolution of the Orientations**
While Abrams categorizes these orientations separately, he acknowledges their interconnectedness and evolution over time.
- **Intersections**:
- Romantic expressive theories often incorporate mimetic elements, as seen in Wordsworth’s descriptions of nature.
- Pragmatic theories frequently overlap with mimetic and expressive approaches, especially in didactic works.
- **Evolution**:
- Classical mimetic and pragmatic models gave way to Romantic expressivism, which, in turn, influenced modern objective criticism.
- Postmodern theories challenge these traditional orientations, emphasizing reader response and deconstruction.
### **Conclusion**
M.H. Abrams’ essay "Orientation of Critical Theories" in *The Mirror and the Lamp* provides a timeless framework for understanding literary criticism. By delineating mimetic, pragmatic, expressive, and objective orientations, Abrams bridges historical and philosophical perspectives, offering a comprehensive lens for literary analysis. His insights remain foundational in literary studies, emphasizing the dynamic interplay between texts, creators, and audiences. Ultimately, Abrams’ work invites scholars to engage deeply with literature’s multifaceted nature, making it an enduring cornerstone of critical theory.
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