Is there an alternative course to one which sets up hypotheses as to the nature of poetry and then proceeds to illustrate them? Happily, there is. Rather than beginning with the hypothesis we may begin with the fact, and let what may emerge. That is, rather than beginning with some notion of the nature of poetry, we may begin with individual poems and discover what we may of their nature or form. This procedure evidently involves four phases: examination of the (...) characteristics of individual poems, discovery, by comparison with other poems, of likenesses and differences, decision as to which of these likenesses and differences are relevant to poetic form, and the statement of form itself. Once we have discovered a given form, we shall be in a position to discuss the principles underlying the construction of such form, the various possibilities of such construction, and what constitutes excellence in a given form. Elder Olson, poet, critic, and Distinguished Service Professor in the department of English at the University of Chicago, is the author of six volumes of verse, including Collected Poems and Olson's Penny Arcade, and of numerous works of literary criticism. His previous contributions to Critical Inquiry are "The Poetic Process" and "On Value Judgments in the Arts" , the title essay on his most recent collection of criticism. Among the many awards which he has received are the Academy of American Poets award, the Longview Foundation award, the Emily Clark Balsh award and, for Olson's Penny Arcade, the Society of Midland Authors award. Both his poetry and his criticism are the subject of a book by Thomas E. Lucas. Part II of "A Conspectus of Poetry" will appear in the Winter 1977 issue of Critical Inquiry. (shrink)

When the activity depicted in a poem involves a succession of moments, it may take one of two possible forms: simple or complex. A simple activity is like a straight line; that is, it involves progression in a single direction, then in another. This changing of course, so to speak, is called a turning point or reversal. Every complex activity contains at least one such turning point; and it is possible to have a good many turning points if the action (...) is long enough, as in an epic like the Odyssey, which in fact is full of reversals, for Odysseus or his men or those whom they encounter are always getting into danger and then out of it, or else doing something and having to produce an opposite effect to the one intended; and of course all such things are reversals. . . . Generally speaking, we feel emotions more powerfully when they come upon us unexpectedly. Unexpected good fortune seems even better than it is, unexpected misfortune even worse, by comparison with what we had expected: consequently we respond with greater emotion. Since reversals always involve something of the unexpected, the complex form of activity offers more possibility of emotional power than the simple. The reversal must be unexpected if it is to be effective, and also...it must be probable; the complex activity must therefore always contain an apparent or on-the-surface probability, which founds our expectation, and the real probability, which defeats it. The real probability must be more probable than the apparent, for otherwise we should not accept it; and it must be hidden , for otherwise we should expect it as the more probable. Part I of a "Conspectus of Poetry" appeared in the Autumn 1977 issue of Critical Inquiry. Elder Olson's contributions to Critical Inquiry are "The Poetic Process" and "On Value Judgments in the Arts". (shrink)

Is there an alternative course to one which sets up hypotheses as to the nature of poetry and then proceeds to illustrate them? Happily, there is. Rather than beginning with the hypothesis we may begin with the fact, and let what may emerge. That is, rather than beginning with some notion of the nature of poetry, we may begin with individual poems and discover what we may of their nature or form. This procedure evidently involves four phases: examination of the (...) characteristics of individual poems, discovery, by comparison with other poems, of likenesses and differences, decision as to which of these likenesses and differences are relevant to poetic form, and the statement of form itself. Once we have discovered a given form, we shall be in a position to discuss the principles underlying the construction of such form, the various possibilities of such construction, and what constitutes excellence in a given form. Elder Olson, poet, critic, and Distinguished Service Professor in the department of English at the University of Chicago, is the author of six volumes of verse, including Collected Poems and Olson's Penny Arcade, and of numerous works of literary criticism. His previous contributions to Critical Inquiry are "The Poetic Process" and "On Value Judgments in the Arts", the title essay on his most recent collection of criticism. Among the many awards which he has received are the Academy of American Poets award, the Longview Foundation award, the Emily Clark Balsh award and, for Olson's Penny Arcade, the Society of Midland Authors award. Both his poetry and his criticism are the subject of a book by Thomas E. Lucas. Part II of "A Conspectus of Poetry" will appear in the Winter 1977 issue of Critical Inquiry. (shrink)

When we discuss the value of a work of art we are confronted immediately with two difficulties: the terms we use, and the peculiar character of art. No one, to my knowledge, has ever doubted that an artist produces a form of some kind, and that in any discussion of art as art that form must somehow be considered; but the terms we use generally have no reference to form. We miss the form in various ways We use terms that (...) are nonartistic—that is, terms that refer to something external to the work, as when we speak of the subject of a painting, of what was depicted rather than the depiction of it, though we know full well that what we respond to is not what was depicted but the depiction of it. "This is a play about Oedipus— what does that tell us of the diverse forms produced by Sophocles, Seneca, Dryden, Voltaire, Gide, Cocteau? Or again, we use terms which are analogical, for example, the "rhythm" of a painting; the difficulty with these is that they are ambiguous and also that, while they may relate to the work, they can designate it only insofar as there is similarity between it and the analogue. Again, we use terms which seem to designate a single form when in fact they refer to forms of the utmost heterogeneity, as when we speak of "the novel"; this usually arises out of the indiscriminate application of the term over some considerable span of history, so that the "historical slippage" of meaning is gradual and goes unnoticed. As the term broadens in meaning to include more and more heterogeneous forms, the essence of each is lost, and the term comes to apply only to accidental analogies between the forms. In the end very little can then be said, involving only the most abstract and general accidents of likeness. Henry James' The Art of Fiction, Percy Lubbock's The Craft of Fiction, and E.M. Forster's Aspects of the Novel illustrate this condition perfectly. The complaint that it is impossible to discuss tragedy because the term has been diversely employed and its proffered justification stem from this condition. The complaint and the justifications are both trivial, and the solution of the difficulty is simple. All that is necessary is to distinguish the different senses of the term by distinguishing the different things to which it is applied. Language is ambiguous, and we use it ambiguously; this in no way implies that the ambiguities cannot be cleared up. Finally, we may use terms which indeed have reference to the form of the work but place the part for the whole; that is, terms which are elements in its definition but do not constitute the complete definition. Thus we designate something, not through the form proper but through the device or method used, as in "drama," "sculpture," "etching," "collage," or through the means or medium, as in "charcoal sketch," "watercolor," "oil painting." The point is not that the object is not, say, a drama or a watercolor; of course it is. The point is rather that these terms do not as such refer to the form and refer to it completely. If in fact they stipulated form, all charcoal sketches would be alike in form, and all oil paintings, and all dramas. One consequence of speaking in such a fashion is that we are likely to confuse the method with the form and talk of, say, "the nature of drama" as though all drama were of the same "nature," whereas the dramatic method is used in a wide variety of forms; or to confuse the medium or means with the form and to assure that the work can have no properties beyond those of its medium, as though artists did not exist and all art were simply nature.Elder Olson, poet and critic, has received numerous awards for his verse . Among his many works are Tragedy and the Theory of Drama, and The Theory of Comedy. His contributions to Critical Inquiry are "The Poetic Process"" , Part 1 of a "Conspectus of Poetry", and Part 2 of a "Conspectus of Poetry". (shrink)

In general, discussions of the poetic process have tended to fall into one of three classes. The first of these, generalizing the process, analyzes the faculties or the activities supposedly involved and arranges these in their logical order, to produce distinct stages or periods of the process. The second kind describes the working habits of an individual poet in terms of characteristic external or internal circumstances or conditions. The third kind gives us, in the same terms, the history of the (...) composition of a particular poem. To illustrate these in reverse order: W. D. Snodgrass' essay The Finding of a Poem tells us how he discovered the meaning—for him—of the elements entering into a particular poem; Paul Valéry's essays on his own poetry—Poésie et pensée abstraite, for example—generally describe his working habits and his experiences while at work; and the following passage gives a typical account of the poetic process as a series of logically ordered stages: "There is, first, a period of hard thinking, during which the mind explores the problems; then a period of relaxation, during which the rational processes of the mind are withdrawn from this particular problem; then the flash of insight which reveals the solution, organizes the symbols, or directs the thinking, during which the formula is tested, the work of art shaped and developed...Graham Wallas calls the four stages Preparation, Incubation, Illumination, and Verification..." [Wilbur L. Schramm, "Imaginative Writing," 1941] Elder Olson, poet and critic, has received numerous awards for his work. He is the author of, among other works, Penny Arcade, a collection of poetry, and of criticism, On Value Judgment in the Arts and Other Essays. His contributions to Critical Inquiry are "On Value Judgments in the Arts" , Part 1 of a "Conspectus of Poetry" , and Part 2 of a "Conspectus of Poetry". (shrink)