Affective Fallacy

The Affective Fallacy
Author(s): W. K. Wimsatt Jr. and M. C. Beardsley

Source: The Sewanee Review, Vol. 57, No. 1 (Winter, 1949), pp. 31-55
Published by: The Johns Hopkins University Press
Stable URL: http://www.jstor.org/stable/27537883 .
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THE
AFFECTIVE
By W.
K. WIMSATT,
M.
We
C.
as well
might
FALLACY
BEARDSLEY
study
ting drunk?Eduard
and
JR.,
the
of wine
properties
Hanslick,
get
by
in Music.
The Beautiful
that of
the title of this essay invites comparison with
AS
an earlier
and
to assert
may be relevant
to be exploring
ent
from
the psychological
relativism.
The
causes
it had
sionism
far
stronger
or
specifically
however,
which,
In
The
from
poetry.
the poem and its origins,
as
the Genetic
of
our
emotive:
effects
and
in biography
is a confusion
between
ends
though
the overall
criticism
The
of
of
forms
skepti
the standard of criticism
the poem
in impres
the In
of either Fallacy,
the Affective,
is that the poem
itself, as an object
tends to disappear.
critical
judgment,
Mr. Ren? Wellek

purely
ob
a
it does),
special
as
advanced
usually
skepticism,
than
claims
the psychological
and relativism.
"Most
feared
Fallacy
it is and what
(what
It begins by trying to derive
tentional
of
of
of the poem
Affective
the poem and its results

case of epistemological
from
conveni
have
and
criticism
ourselves
It begins by trying to derive the standard of criticism
Fallacy.
cism.
to offer
between
is a confusion
Fallacy
case of what
to philosophers
is known
a special
if
believe
seemed
usually
it
1946),
that we
and
acknowledged
both
criticism,
Intentional
Summer,
Review,
at this point
which
have
"The
ours,
the
objective
led away
actually
tentional
and
roads
to
stacles
from
two
around
detours
Sewanee
(The
Fallacy"
of
essay
parallel
in literature
and
in one of his English

it judges
and
ends
the
arts,"
outcome
works
of
art
complains
Institute essays, "is still

in terms
of
their

emo
THE
32
. . . and
tional
effect
gested
moods."1
AFFECTIVE
this
describes
are
We
effect
not
perhaps
sug
by exclamations,
so pessimistic
as Mr.
about the pervasiveness of the critical method which he
Wellek
but we believe
there
describes,
of the method
is well-founded.
tures
FALLACY
entitled
The
can be no doubt
Mr.
Abolition
of Man
C.
that his mistrust
S. Lewis
in three
has
turned
lec
what
recently
to be a discomforting
on the doctrine
judge
scrutiny
as it appears
of emotive
com
relativism
in textbooks
of English
use
for
in schools.
Mr.
in a chap
position
John Crowe Ransom
we
should
ter of his New

Critic,"
claims
has
Criticism,
the
done
"I. A. Richards:
like
some
for
of neuro-psychological
poetics.
the Psychological
the more
of
In
the present
sophisticated
essay, we
would discuss briefly the history and fruits of affective criticism,

some
of
its correlatives
in cognitive
and
criticism,
of poetry which
have made
characteristics
cognitive
ticism plausible.
tive
criticism,
We
pseudo-philosophic
mainly
that
would
as they
observe
appear
also
disciplines of wide
certain
affective
the premises
in certain
today,
hence
cri
of affec
philosophic
and
influence. And first and
of "semantics."
1
The
separation
urged
very
years
ago
of
emotive
persuasively,
in the earlier
it will
works
was
meaning
about
twenty
remembered,
of Mr.
I. A. Richards.
The
from
types of meaning which were defined

and
in the Meaning
ards
created,
referential
be
in his Practical Criticism
of Messrs.
and Rich
Ogden
with
the aid of direct
of Meaning
partly
by suggestion,
partly
a
clean
"antithesis"
between
and emotive
statement,
"symbolic
use of language."
In his Practical
Criticism Mr. Richards
spoke
or
of "aesthetic"
we
"projectile"
by which
words?adjectives
at
themselves
innocent
of
project
feelings
objects
altogether
or of any qualities
these feelings
to
them.
And
corresponding
in his succinct Science
and Poetry,
science
is statement,
is
poetry
pseudo-statement
which
plays
the
important
role
of making

us
AND
WIMSATT
better
feel
about
under
Richards?and
Aristotelian
Messrs.
Mr.
as it is more
which,
be taken
may
as most
the
non
Korzybski's
semantic
of
school
and Lee.
Most
recently
an
has given
and Language
than the others,
and explicit
careful
clearly
Mr.
After
would.
Sanity?came
Chase, Hayakawa,
Walpole,
C. L. Stevenson
in his Ethics
account
33
too of Count
influence
and
Science
statements
than
things
the
BEARDSLEY
their
pleading
re
best
cause?and
its weakness.
vealing
One
the most
of
in Mr.
Stevenson's
points
emphatic
a word means
what
and what
between
system
it sug
in a given
the distinction
case, one applies what
gests. To make
in tradi
the semiotician
rule"
calls a "linguistic
("definition"
to
the role of which
is to stabilize
tional terminology),
responses
a word. The word
mean
to
one
said
"athlete"
be
interested
may
is the distinction
a tall young
to suggest
in sports, among
other things, but merely
man.
are
inter
is
that
The
rule
"athletes
necessarily
linguistic
or may not be tall."
All
in sports, but may
this is on the
ested
side
of what
tion
of words.
be
may
is no
emotive?there
is, the
words?that
For
the descriptive
func
(or cognitive)
main
second
and separate
function
of
called
in Mr.
responses
and,
therefore,
distinction
between
and
parallel
meaning
lize
the
term
of
his
changes
scriptive
Thus,
in descriptive
meaning
meaning.
are
said
but
opposite
And
to
have
words
very
with
(or
cognitive)
survive
sharp
the same de
different
and
for example,
"liberty,"
in some contexts
the same
emotive
"meanings."
the main
is something
"meaning"
of descriptive
independent
emotive
is said to
"meaning"
"License"
"meanings."
venson
to have
believes
meaning,
emotive
is
which
"meaning"
of a sign,"
to and
non-correlative
meaning.
is that
argument
no
system,
suggestion.
Although
is recommended
meaning"
emotive
"quasi-dependent
Mr.
Stevenson
for a kind of emotive
by
to the cognitive
"conditional
suggestiveness
drift
to stabi
rule
linguistic
Stevenson's
Finally,
emotive
Mr.
Ste
descriptive
there are
3

THE
34
words
he
which
decided
emotive
But
a certain
appear
forerunners?is
FALLACY
no
to have
believes
yet a
meaning,
descriptive
are expletives
sorts.
of various
and an important
one, which
in those of his
system?nor
these
"meaning":
further
not
does
AFFECTIVE
distinction,
Stevenson's
in Mr.
use of the word

by his persistent
and emotive
functions
language
ing" for both cognitive
the
emotive
of
his
from
careful
distinction
the absence
and
invited
It
"suggestion."
"emotive
meaning,"
"mean
and
by
between
is a fact worth
upon
insisting
by Mr.
Stevenson,
as used by Mr.
term "feeling,"
cautious
and the more
Richards
to refer to one of his four types of "meaning,"
do not refer to
as
that
such
any
meaning
cognitive
conveyed
by the name of an
or "love."
these key terms refer to
emotion?"anger"
Rather,
"meaning"
that the
term
as used
states which Messrs.

of emotive
Stevenson
and
expression
to be effected
Richards
believe
certain
words?for
by
instance,
hence
"license,"
"liberty,"
"beautiful,"
"pleasant,"
"ugly"?and
the
also
to the
emotive
As
hearer.
the
these words
which
response
to
has been traditionally

and use
"meaning"
or
the cognitive,
functions
of
descriptive,
have been well
if these writers
had employed,
assigned
it would
language,
some less
in such contexts,
term.
pre-empted
a happy
have been
choice.
Such differentiation
fully
in a
evoke
may
term
"Import"
might
in vocabulary
would have had the merit of reflecting a profound difference

linguistic
tion and
meant
function?all
emotions
by words
the difference
or what more briefly might

words
between
themselves,
and what
is evoked
by
what
of
in
emo
grounds
is immediately
the meaning
of words,
be said to be the "import" of the
themselves.
Without
to examine Mr.
pausing
no
have
pletives
descriptive
meaning,
in passing
that these words
at any
emotive
between
import,
something
raw,
(surprise and related feelings),
Stevenson's
belief
we
are
content
rate
have
only
unarticulated,
"Ah!"
that
to observe
the vaguest
imprecise.
(regret),
ex
"Ugh!"

"Oh!"
(dis
WIMSATT
It takes
a more
quiet
central
she
taste).
"In
ing.
a more
AND
BEARDSLEY
that
would
for Mr.
re-emphasis
forerunners
to
reference
descriptive
Ah!
reposes.
35
the
specify
I did too."
feel
But
Stevenson's
position?and
Richards?seems
re
including
a
in semantic writings:
fact scarcely mentioned
quired by
namely,
area of emotive
that a large
and obvious
di
import
depends
for
that
of his
Mr.
of
words
(either with or without
a person
when
is
and
be
says
the execution
of 50,000
civilian
upon descriptive
meaning
ethical
explicit
valuation)?as
X
ordered
lieved:
"General
rectly
or "General
X
is guilty
of the murder
of 50,000
hostages,"
a
And
civilian
the
that
fact
hostages."
great deal
secondly,
by
not
on de
of emotive
thus directly
does
import which
depend
on
does depend
Here
scriptive meaning
descriptive
suggestion.
we have
the "quasi-dependent
emotive
of Mr.
Ste
meaning"
venson's
system?a
a role.
This
slight
to which
"meaning"
is the kind
of
surely
too
assigns
we
should
he
emotive
import,
in descriptive
appears
change
meaning
a similar
emotive
the
Com
preserve
yet
"meaning"?when
munists
take over the term "democracy"
some
to
and apply
it
say, which
when
thing
else, preserving,
a government
of, by,
very
word
descriptive
meaning
different
descriptive
series in Bentham's
manity,
avarice."
tion:
descriptive
It appears
suggestion,
in pairs of
one may
(as
suggestions.
classic
carry
certainly
doubt),
one might
cite the
Or
"Catalogue
of Motives":?"hu
good-will,
Or
the
partiality,"
"frugality,
pecuniary
other
of
emotive
standard
examples
women
sweat, men
perspire,
glow."
"Animals
art
thou
firm,
"There
should
experimenter
Marx
(and
(and
the old
however,
and for the people.
like "liberty" and "license," which even if they have the
words
same
words
provokes
he
obstinate,
be a revolution
in emotive
arouses
is pigheaded."
every
attaches
responses
suspicion),
twenty
now
that
Or
the
interest,
insinua
"I
sentence,
to which
years,"
now the name
of Thomas
applause).

am
the
Karl
Jefferson
THE
36
AFFECTIVE
FALLACY
to the numerous
conspicuously
applies
principle
offered
by the school of Messrs.
Hayakawa,
Walpole,
seem
in what may
In the interest
of brevity,
though
The
of
the warnings
of this school against
to which
semanticist
alization?according
(1)
defiance
is not
(2)
(3), and so forth?we

Habits
in Human
Language
to Mr.
and VIII.
According
semanticist
Lee's
Irving
VII
Chapters
that anyone
sense
of words.
but
unread,
No
it later
accepts
imite says "Sibboleth"

man
says he
gener
semanticist
to Mr.
call attention
Affairs,
but
erroneously
worded
not
particularly
every mistake
title.
events.
telegram
One would
that
says
The
Ephra
his
have thought
son
is dead.
that with
Lee's
have broken
example
simplifying
might
prejudice
a man who
?that
is misinformed
son
that his
is dead may
to drop dead without
leave himself
emotive
incantation.
for
ground
that the use
the
Or
that
the
inference
that
it
of phonetic
principles
it
events
describing
man
an
receives
Another
which
returns
and is slain. A
words
four-letter
Basil
permitted.
Monster,
a different
under
by
the
by
shock is fatal.
The
entitled
instead of "Shibboleth"
is offended
in a novel,
The
is not
are
distinctions
a scenario
handed
Rathbone,
unindexed
Lee,
in acting,
since in some direct or remote
or thought
to lan
is related
language
(which
a kind
to "bad
ascribed
of
habits,"
language
be
may
misuse
magic
a quixotic
ever makes
it involves
guage),
examples
and Lee.
this
down
have
being thought a victim of

title
of
scenario
is a Grade-B
in choosing
horror
a
is some
movie;
is rea
password
were
and "lullabye"
"lollapalooza"
used against
infiltration
tactics on Guadalcanal;
that four-letter
words may ascribe to events
a reader him
certain qualities which
son
rather
self
finds
to
ascribe
anomalous
a word
does
than magic?as
it distasteful
them.
None
"Sibboleth")
to a person
to
and would
rather
not
contemplate
these examples
the utterly
(except
offers any evidence,
in short, that what
of
is to be ascribed
to anything
except

what
AND
WIMSATT
or
it means,
if this
connection
BEARDSLEY
is not
37
at the most
apparent,
and
a little
with
it suggests.
reflection,
by what
about
to objects
the
relation
of language
of emo
question
a
tion is
and index of another
shadow
about the cogni
question,
tive status of emotions
themselves.
It is an entirely
consistent
as the floruit
that within
cultural
the same period
phenomenon
A
of
one
semantics
attack
the
upon
or more
kind
of
relation
specifically,
the times and
through
treatise
of Westermarck
has
anthropology
of the objects
upon
parallel
to emotions,
their
relations
themselves
the
of
constancy
of human
societies.
places
on Ethical
In
that
of
the
tribes
exposing
classic
for ex
learn,
and unproduc
we
Relativity
of eliminating
the aged
certain primitive
among
that the custom

ample,
tive has been practiced
races.
madic
Other
customs,
delivered
no
and
that
babies,
of
that
suicide,
of showing
to strangers?or
the con
hospitality
of eating
the
the
of
rather
them,
reception
Cyclops
of Alcinous?seem
to have
in some cultures
enjoyed
custom
trary
than that
a degree
of approval
even Westermarck2
But
unknown
has
in different
"largely
or at
noticed
responses
difference
qualities
rather
to his
even
emotions,
or
actions, may yet
objects
or functions?to
the edibility
comeliness
or manliness.
the
at El
alien
be
on
cognitive
grounds
of Odysseus
and
cunning
Alamein.
There
may
of
own.
emotion
emotions
for
be
the
of
though
they
be responses
of Odysseus
converse
is the fact that for different objects in different

may
in our
of knowledge,
based on
in
and
be
different
conduct,
to similar
to different
than
that
unusual
measures
originates
of the consequences
of
experience
to
liefs."
That
is
say, the different
are
least
of
this
cultures there
similar
strategy
a functional
quality?for
of Montgomery
for any
analogy
Were
it otherwise,
object of emotion.
indeed,
no
be
of understanding
and describing
alien
way
basis on which
the science of the cultural
relativist
there would
emotions,
might
ceed.

no
pro
THE
38
AFFECTIVE
FALLACY
not
to frame
discourse
any formal
upon
pretend
never
At
the
laws
of
this
affective
emotion.
psychology,
point,
some generalities
to rehearse
about objects,
theless, we venture
ca
it is true, has a well-known
and words.
emotions,
Emotion,
to
to
to
and
inflame
grow upon
pacity
fortify
opinion,
cognition,
We
shall
in surprising
itself
proportions
psychosis,
and all the
mob-psychology,
anxiety"
floating
states
of apprehension,
may
tives
tion
have
even
verge
upon
of very generalized
or
misconception.
and
"sensitivity"
"affective
"Le
consider
these
vaguely
or
But
and
and
are
They
of
patterns
objects,
general
a less
At
affective
intensely
on
the
other
hand
have
the prevailing
elation,
to remember
it is well
or vague
inchoate
what
has
by that fact
the correla
of concep
level, we
been
called
is the well-known
la raison
sensitivities
and
inchoate
the unconscious.3
There
stupidity."
a ses raisons que
coeur
"free
understood
depression,
or cheer.
of melancholy
states are indeed
complexions
that these
to grains
We
of reason.
and
We
neurosis.
have
and
ne
"raisons"
saying of Pascal:
conna?t pas."
to
But
as special
areas
of
sense than to refer them to

response
knowing
a
of knowing.
we
"Moral
take it,
special
faculty
sentiments,"
are a part of
We
the
eighteenth-century
history.
have,
again,
and
of
forms
emotion.
"He
popular
self-vindicatory
confessing
makes me boil."
"It burns me up."
Or
in the novels
of Eve
makes
better
a social event
or a person
is "sick-making."
But
lyn Waugh
an extension
these
locutions
involve
of the strict operational
or
or
of
make
a poison
A
causes pain or
food
meaning
effect.
death,
cause.
but
We
for an emotion
have,
as Mr.
we
have
Ransom
a reason
or an
object,
not
out, not unspecified

points
men with machine
or
guns
fear, but fear of something

fearful,
the day of doom.
are ever connected
If objects
by "emotional
as
in
the
association
of
this
congruity,"
psychology
J. S. Mill,
can mean
that similar
emotions
to various
attach
only
objects
because
of similarity
in the objects
or in their relations.
What

AND
WIMSATT
BEARDSLEY
one
makes
is something
angry
painful,
an
call it
The
angry
thing.
does
not
far
from
tinction
verbally
Love,
the same, are almost

being
even
when
holds
the name
of
39
or unjust.
One
insulting,
and its correlative,
feeling
the dis
And
opposites.
the
is
quality
to loving.
it has
that which
correlative
that of
with
lovable
the emotion,?as
to make
clear, loves
cognate
as Plato
is at pains
not.
The
tourist
a waterfall
said
who
was
lent
the
lime
as Mr.
while
of Coleridge,
disgust
won
his approval.
This,
same as
was
not
the
observes,4
the
of
semanticists
merely
likely
has
emotive
so well
S. Lewis
tourist
had
said,
meaning
propounded
to offer a scientific
basis
seemed
in poetics?the
say either "liberty"
relativism
affective
person
context
of
doctrine
if the
C.
"I
feel
had thought, "No, I feel quite well."
sick," and Coleridge

The
the si
provoked
said it was
sub
pretty
other who
can correctly
recently
by
for one kind
That
personal.
is, if a
or "license"
in a given
of
the
context,
quality
of the cognitive
independently
or from
at will
it follows
that a reader may
emotion,
or "cold"
"hot"
or
feel either
and report
"bad"
either
on reading
either
"good"
or
a
Keats
limerick.
by
of one
the doctrines
Similarly,
far to fortify
or
"liberty"
The
sequence
another
kind
of
licenses
school
of anthropology
affective
relativism,
of
an
license"?either
ode
is endless.
have
the
gone
cultural
or historical,
the measurement
of poetic value
of
by the degree
era. A different
felt by the readers of a given
feeling
psycholo
as we noted
that
author's
in our ear
gical criticism,
by
intention,
lier essay,
is consistent
both with
for the poet
and with
piety
antiquarian
curiosity
and has
been
torical
heavily
supported
by the his
So affective
in
criticism,
though
form
it meets
with
strong dislike
scholar and biographer.

or impressionistic
its personal
from scholars, yet in its theoretical
support
much
from
interested
the
same
in his
quarter.
own
personal
or scientific
The
form
historical
responses
or
finds
scholar,
in those

strong
if not
of his
THE
40
AFFECTIVE
is intensely
interested
students,
about those of any member
of
FALLACY
can
in whatever
be
discovered
audience.
Shakespeare's
II
Plato's
ample
tharsis
and watering
of the passions5 was an early ex
of ca
and Aristotle's
theory,
counter-theory
feeding
of affective
was
theories
another
of
"relief"
of
"transport"
soul
great
thusiasm
intentionalistic
(with modern
and "sublimation").
There
in
the
audience
Peri Hupsous
the
the poet),
of
and
this
had
among
eighteenth-century
Longinians.
the
of Tolstoy
recently
theory
contagion
tionalistic
in the emotive
analogue
expressionism
or
of Lipps
and related
Einf?hlung
empathy
or
more
yana: "Beauty
An affinity
for
comic
during
to
less
in
the
the
(matching
or en
of passion
have had
We
echoes
more
either
analogues
was
also
its inten
(with
of Veron),
the
pleasure
the
of
theories,
Santa
tending
"objectification"
as the quality
is pleasure
of a thing."
regarded
these theories
is seen in certain
theories
of the
the
same
the
era,
of Mr.
Max
relaxation
of Pen j on, the

theory
In their Foundations
Eastman.
laughter
theory
Messrs.
and Wood
listed sixteen
of Aesthetics
Ogden,
Richards,
of
aesthetic
of
at
seven
which
least
be de
types
theory,
may
as
scribed
affective.
these
the theory
of Synaesthesis
Among
an
is
what
was the
of
(Beauty
produces
equilibrium
appetencies)
one
Mr.
they themselves
espoused.
Richards
in his Principles
theories
The
to one
branch
the
self
into
theory
the
enargeia,
of vividness
or
the
so often
phantasiai
and
at length
empathy,
its vital meaning
a
as
the main
that
of
object,
rather with
belongs
experience,
the
affective
theory,
imaginative.
figure
was
developed
Criticism.
of Literary
be considered
may
just mentioned
of affective
criticism,
emotive?unless
the
This
with
its
and
belonging
one,
the
transport
of
enrichment
in Chapter
of
and equally
ancient
is represented
by the
in the
rhetorics?eficacia,
parallel
This
mentioned
by
XV
of
Peri

Hupsous.
WIMSATT
if we mistake
This
are
which
is an
garten,
in the
statement
has
theory
not is the imagination the "Pleasures"
by Addison
in the
implicit
in his
Richards,
whose
Literary
theories
series
of
of Leibniz
of
It
Spectators.
and Baum
or sensuous,
but confused,
ideas;
on
in his Essay
that the se
Pope
. . .
true poetry."
constitutes
pictures
chiefly
the emotive
or affective
form of psychologistic
lies
in clear
its most
found
so
41
of Warton
of "lively
time, as
our
BEARDSLEY
celebrated
imagination
that beauty
lection
In
AND
in Mr.
I. A.
impressive
champion
form
has
in
Mr.
Max
imaginative
Eastman,
Mind
and Enjoyment
to
have
much
of Poetry
the
or heightened
realizations
consciousness.
say about vivid
can be made
But an important
distinction
those who
between
what
to others
have
does
and those
investigated
poetry
coolly
who
have
intention
has
what
testified
it does
to themselves.
The
of
theory
earlier
essay,
or
as we noted
in our
author-psychology,
the intense
conviction
of poets
themselves,
and since the Romantic
Keats, Housman,
era,
been
worth,
Words
of young
and soul
interested
in poetry,
the introspective
amateurs
persons
In a parallel
cultivators.
affective
has often
way,
theory
a
of literature
less a scientific
view
than
prerogative?that
the soul
the
poetic
adventuring
radiator?a
Quiller-Couch,
has approximated
among
masterpieces,
magnetic
aWilliam
Lyon
tone of
rhapsodic
been
of
the contagious
teacher,
a
a
Ion,
Saintsbury,
Criticism
Phelps.
the Buchmanite
on
this
theory
the
confession,
revival
"To
be
meeting.
quite
says Anatole
frank,"
France,
to say:
"the critic ought
am
I
to
'Gentlemen,
going
speak about
.
. .' "6 The
of
of Racine.
apropos
myself
apropos
Shakespeare,
an
of the critic becomes
sincerity
issue, as for the intentionalist
the sincerity
of the poet.
"The mysterious
the Grand
called
entity
says Saints
Style,"
the
. . .
bury.
"My definition
the Longinian
Sublime."
Whenever
. . .
this perfection
[of
it] would
of
expression
. . . come
acquires

nearer
such
to
force
THE
42
AFFECTIVE
FALLACY
or
the subject
and transports
the hearer
so
then
there
the
Grand
and
for
Style
exists,
reader,
long,
as the transmutation
and in such degree,
of the one and the
of the other lasts.
transportation
it transmutes
that
if we follow him further in his three essays on the subject

Grand
in Dante), we dis
(the
Style in Shakespeare, inMilton,
And
cover
as impossible
to describe,
is nearly
meticulously,
as
to
of its grandeur
that of the majesty
describe
"It
that
the constituents
sun
of the
itself."
The
fact is . . . that this Grand
is not easily
tracked
Style
or discovered
unless
you
by observation,
up
give
yourself
primarily to the feeling of it.
With
the white
is pure magic:
the
This
is
grand
style,
criticism.
A
affective
"It
Dante,
grand
style."
nineteenth-century
has been
style which
day reviewing
connected
with
and
in our
heard
from
of style and
magic
the emotive
style,
somewhat
is like
ing about
of
resonant
columns
of Saturday
and Sun
more
is
explorers
closely
of vividness
by
sponsored
our
literary
and the kind
imagism
Mr.
Eastman.
In the Book-of-the-Month
to the power
Canfield
testifies
of a new
book
less
of
Club
News
novel:
"To
an experience
rather
than
living
through
so a poem,"
it."7 "And
says Hans
Zinsser,
Dorothy
read this
just
read
means
to me unless
it can carry me away with
the
nothing
or
over obstacles
of
pace of its emotion,
gentle
passionate
. . . The
into meadows
and covers of illusion.
sole
reality
criterion
for me
is whether
it can sweep me with
it into
or
emotion
illusion
of beauty,
or
even
terror,
tranquillity,
disgust.8
It is but
of
a short
affective
Century,
step
to what
criticism.
is small
and
we may
Beauty,
curved
said
and
call
the physiological
form
Burke
in the Eighteenth
smooth,
clean
and

fair
and
WIMSATT
it "acts
mild;
quoted
BEARDSLEY
the solids
by relaxing
the side of
on
recently,
AND
system." More
the oft
have
of the whole
testimony,
personal
a
of
in
letter
experience
goose-flesh
43
we
Emily
Dickinson,
and the top of her head taken off; the bristling of the skin while
was
Housman
in "the
tion
cerned
by
Lawrence
evidence.
it here"
his
shaving,
pit of the
the "shiver
stomach."
the sensa
the spine,"
has been dis
if poetry
said D. H.
scientists,"
down
And
"All
these tests, truth also.
...
care about
to Aldous
I don't
"are liars.
Huxley,
to me.
I don't
feel
Evidence
doesn't mean
anything
on
two
hands
"he pressed
his
reports Huxley,
And,
solar
plexus."9
even more
An
advanced
seem
would
hallucination,
about
classic conviction
a modified
the unities
of
continuation
a "willing
and may
faith,"
about
suspension
be found
this
has
form
the
of
affective
played
of time
existence
that of
theory,
neo
in
the
part
and
place,
of
in phrases
and
of disbelief"
today
some
in some
was
given
Coleridge
a "temporary
half
textbooks.
The
hyp
Snyder might doubtless be invoked in
notic hypothesis of E. D.
As
its support.
in detail,
retical
grade
to have
of
affective
least
is the
theory
the
and makes
least
theo
least
claim
content,
it is in its most
not
concrete
instances
intelligence,
or
a
no
a
In
a theory
fact?of
critical
fiction
but
significance.
a right view
of the
the Eighteenth
conveys
Century
Fielding
of Part
in his comic description
of drama
hallucinative
power
on
so
critical
scene
"O
act the ghost
in Hamlet.
la!
seeing Garrick
.
.
.
You
I am not the only person.
If I was frightened,
sir. ...
man
there up
if you will;
but if that little
call me coward
may
saw
man
never
on the stage is not frightened,
I
any
frightened
ridge
in my
the
life."
is today found perhaps

less often among
theater
than among
the myriad
audience
It is said, and no doubt
that during
reliably,
Partridge
at the
sophisticates
of movie
and
the war
Stefan
convincingly
radio.
Nazi
played
numerous
that he received
Schnabel
roles
letters
in radio
of
dramas
complaint,

so
and
THE
+4
AFFECTIVE
one from a
in particular
lady
him to General
MacArthur.10
FALLACY
who
that
said
she
had
reported
Ill
to deal
the
critic professes
affective
systematic
if at all, with his own experiences,
but with
search for evidence
his most
resolute
general,
As
the dreary
of
effects
and
antiseptic
and
triangles
suggested
by
attendant
discharges
motor
in
of persons
lead him into
will
to testing with Fechner

to inquiring
what
kinds
laboratory,
are
colors
those
not merely,
rectangles,
a line of Keats,
or
to measuring
it.11 If animals
upon
reading
the affective
read poetry,
critic might make
discoveries
to those
B. Cannon
of W.
about
Bodily
Changes
Fear
and Rage?the
liberation
increased
of
Hunger,
the
the
liver,
affective
critic
secretion
of adrenin
from
the adrenal
the
of
the
could
analogous
in Pain,
sugar
from
The
gland.
to measure
is today
if he wishes,
able,
actually
reflex"
to a given
of
persons
"psycho-galvanic
subjected
as a recent writer
on Science
and Criti
moving
But,
picture.12
out: "Students
cism points
an
have
'emotion'
sincerely
reported
the
at the mention
of
the word
no bodily
change
at the mention
emotion
indicated
no
a definite
nometer
came
out
gave
of a movie
in support
is a cold soliere."14
incident
In a similar
little
the galva
although
Mann
and a friend
Mann
weeping
copiously?but
of his view
that movies
between
general
affective
of
by the very
implications
author
actual criticism.
The
at the points where
or
are the palliatives
is weakest
limity
way,
have
They
'prostitute,'
kick."13
Thomas
The
a galvanometer
also reported
although
of
gap
and the perception
experience
or not.
in the laboratory
logical
whether
has,
'mother,'
whatever.
are
various
of
theory
not Art.
the
the
"Art
levels
of physio
remains
wide,
value
at the
its program,
of
narrates
ancient
literary
produced
Peri
he
that passion
explains
excuses
(alexipharmaka)

level
very
Hupsous
and sub
of
bold
WIMSATT
and
metaphors,
lenitives
that
AND
The
on transport
are the
verge
in speech as
of such audacities
has
the his
catharsis
dealt with
(panakeia)
of
literature
theoretical
cal or a lustratory
45
which
passions
or remedies
hyperbole.
torical and
BEARDSLEY
whether
question
the genitive
whether
metaphor,
a medi
meant
Aristotle
which
follows
katharsis is of the thing purged or of the object purified.
Even
the early critical practice

I. A. Richards
had little to do
of Mr.
his theory of synaesthesis.
Practical
Criticism
His
depended
on
two
constructive
of
criticism
mainly
important
principles
which Mr.
has realized
Richards
and insisted
that
upon?(1)
with
if direct,
and poetic
of emotion)
rhythm
(the vague,
expression
are intimately
in general
form
connected
and interpreted
with
more
other
and
that
of
by
parts
precise
poetic meaning,
(2)
or
is inclusive
and hence
poetic meaning
multiple
sophisticated.
The
latter
of poetry
quality
state
of the affective
relative
there
the
little
touchy
report of
induces
story
The
or
attitudes
some
in
of which
readers,
them
vivid
on
for
synaesthesis
the
it is composed.
the other hand,
can be
futed nor anything which
it is possible for the objective
to
purely
take
account.
into
or
physiological
veniently
in which
a circle
The
affective
it is too vague.
for
a poem
or
feelings,
which
anything
or
that
intense
images,
is neither
consciousness,
heightened
but
cor
objective
in applied
criticism
be
perhaps
synaesthesis,
to be not much
room
seem
would
may
re
critic
too
is either
report
as Hegel
has con
Feelings,
of myself,
affections
it, "remain
purely
subjective
as
the concrete matter
into
narrowed
vanishes,
though
or
of the utmost
abstraction."
And
the only
constant
put
thing
predictable
readers
experience
by requiring
short story
a class
about
the
is precisely
of average
or
childhood
by consulting
one
classic which
ard Pyle
or N. C. Wyeth.
vivid
images which
their vividness?as
pupils
the newest
knew
with
Vividness
to draw
more
be
may
illustrations
Christmas
the
eidetic
edition
illustrations
seen
of a
of
of How
is not the thing in the

46
THE
work by which
the work may be identified, but the result of a
AFFECTIVE
FALLACY
is the thing.
"The
structure, which
story
cognitive
so
the student
often
"because
says in his papers,
to the imagination."
much
The
accumulation
opaque
in some
cal detail
realistic
novels
been
has
as
is good,"
it leaves
so
of
physi
reduction
an absurd
of plastic or graphic theory aptly dubbed by Mr. Middleton

"the
Murry
Certain
pictorial
fallacy."
Mr.
theorists,
have
Richards,
notably
some
anticipated
difficulties of affective criticism by saying that it is not intensity

of
emotion
characterizes
that
horse-racing,
but the
better),
war?perhaps
subtle quality
at the
level
tion,
subdued
chological
terestedness.
theories
A
emotions
of patterned
or
attitude.
We
disposition
of
of
fornica
poetry
robbery,
(murder,
care
even
chess?take
of
which
have
or
aesthetic
that
play
psy
disin
distance,
detachment,
these principles
taken
has already
If Mr.
Eastman's
theory of
objectivity.
criticism
on
steps toward
in the excited
vividness
appears
imaginative
today chiefly
puffs
the campaign
of the newspaper
Book Sections,
of the semanticists
and the balanced
emotions
of Mr.
instead of produc
Richards,
important
have contributed
much
ing their own school of affective
criticism,
to recent
schools
of cognitive
of paradox,
analysis,
ambiguity,
not
true
that the emotive
and
It
is
and
irony,
symbol.
always
If the
cognitive forms of criticism will sound far different.
affective critic (avoiding both the physiological and the ab
stractly
psychological
a line
what
precision
ture of melancholy
statement
will
be
and
reverence
for
abnormal
patently
the meaning
of the
of what
description
massive
antiquity
an
it deals with
to state with
ventures
of report)
any
a mix
of poetry
does?as
"it fills us with
form
in ruins."
emotion
to understand,
might
"The
last
stanza,"
antiquity"?either
or false,
or it will
line
the
be
is: "the
of
spectacle
idle
Tennyson's
"Tears,
tears," as
at first seems
which
the speaker
not
be thought
says Mr.
to be a specially
in his
Brooks
emotive
recent

poem,
analysis,
WIMSATT
an
"evokes
intense
statement
this
emotional
really
a witness
says
the
from
response
have said at an earlier

might
a momentary
vivid
realization
us sad at their
then makes
loss."
is reinforced
But
reader."
in
point
of past
us
experiences,
"The
actually:
freshness
47
Brooks
analysis?"gives
happy
BEARDSLEY
a part of Mr.
Brooks's
criticism
of
sec
"The
of his fondness
for it.
is not
the poem?rather
ond stanza,"?Mr.
his
AND
of
conjunction
by the
But
he
the qualities
of sadness
and
that the same basic symbol
fact
of a ship hull down?has

been employed
to suggest
both qualities."
The
between
distinction
these formu
seem
we
lations may
and
in the first example
which
trivial,
furnished
be
Yet
the
difference
may
practically
unimportant.
?the
on the sails
light
between
and
translatable
emotive
is theoretically
paths
of
it is a very
which
The
to polar
in criticism,
opposites
to romantic
reader psychology.
critic whose
critic whose
formulations
run produce
The more
a vastly
the more
poem,
the poem
emotion,
account
of what
it will
nearly
be
talk not
It will
toms,
of
feeling
states of
vaguer
tinction
cisely
and
here
advantage
will
of
tears,
angry,
emotional
readers
prickles,
joyful,
the
over
by
reasons
for
be as an
in other?suffi
to respond
to the
or other
hot,
disturbance,
physiological
or intense,
cold,
but
of
shades
relation
that
long
induced
it will
induce
the
in the
in fact supply the kind of
It will
enable
of
ob
and
emotive
will
reliable
to
point between
to classical
emotion
an account
itself, and
the poem
is likely
which
information
the
of
the more
ciently informed?readers.
the
cognitive
criticism.
sort of
account
the
specific
to the
lean
different
to
lean
formulations
even
distinction
faint one is at the dividing
lead
and
jectivity
physiological
untranslatable?
vague
ones?cognitively
the greatest
The
import.
psychologically
when
and more
formulas
poem.
symp
or of
of
dis
between
of emotion.
It is pre
objects
the discerning
critic has his insuperable
literary
the subject
of the laboratory
and
experiment

THE
48
over
the
of
tabulator
a teacher
are alert, will

not
but will
scrutinize
of
precise
but
object
if it is one,
dox,
formula
and
the
content
be
to take what
it as teaching.
are not only
which
emotions
FALLACY
responses.
subject's
to statistically
countable
reports
or explicator
of meanings.
His
a contributor
but
AFFECTIVE
and
The
he
critic's
The
critic
is not
the
poem,
if they
about
readers,
as testimony,
says
report
will
speak
upon a
dependent
This
stable.
para
terms of the antique
and
complex
for these reasons,
also,
is the analogue
in emotive
the metaphysical
concrete
of
universal?a
this
of
contemplation
is the
which
is both
individual
critic, that poetry
universal.
It may well
be that the
or pattern
of emotive
object,
knowledge,
is the ground
for some ultimate
emotional
some
the aesthetic
termed
(some
empathy,
It
of
may well
objectified
feeling
pleasure).
poem,
be
may
state which
some
synaesthesis,
be.
The
is attractive;
belief
it may
exalt our view
no part of criteria.
But it is no concern of criticism,
of
poetry.
IV
to
as Matthew
Poetry,
the idea
the idea;
must
ever,
how
poetry
emotions.
T.
S. Eliot
cause
are
tion
is "in
ble."
Yet
and
wise
makes
excess
of
Hamlet's
facts. That Hamlet

emotion
on
is beside
Primitivism
"Hamlet
the
"attaches
emotion
critic, how
this is done,
to attach
enough
objective
to explain
how
easy
and
state
complicated
and His
of
emotion
Mr.
Problems"
be
unsatisfactory
a "chain
of events"
correlative,"
emo
that particular
emotion."
The
the facts as they appear."
It is "inexpressi
must
we
emotion
be expressible,
submit,
"objective
the "formula
of
actually
expressed
Mr.
Eliot
would
Winters'
thick
essay
finds Hamlet's
an
believed,
fact."
The
it is not
ideas
In his
it lacks
which
that
admit
Arnold
is the
too
not
in the play;
(by something)
excess
know
it is there?in
other
of
the
himself or Shakespeare may be baffled by the

the
second
point. The
chapter
and Decadence
has gone
of Mr.
much

Yvor
further
AND
WIMSATT
BEARDSLEY
49
in clarifying a distinction adumbrated by Mr.
Eliot.
Without
of Mr. Winters,
that if a poem
doctrine
embracing
cannot be paraphrased
it is a poor poem, we may yet with profit
that there
thesis:
is a difference
between
reiterate
his main
the
the extreme
of an emotion,
and the surface or
to describe
the emotion,
of a poem
and that
are important
to a poem.
Mr. Winters
both
has shown, we
there can be in effect "fine poems"
about nothing.
think, how
is
there
rational
There
and
is "qualitative
progres
progression
motive,
texture
as he
sion,"15
acteristic
the
calls
it, or logic
constructed
several
latter, with
subtly
of decadent
Qualitative
poetry.
the dream
not
float, of images,
cession,
"Moister
than
a wooer
who
in a recent
an oyster
has slipped
comic
in its clammy
in a sewer,"
related
modes,
progression
substantiated
cloister,
says Mr.
I'm
is the
by
bluer
Morris
char
suc
plot.
than
Bishop
poem:
a killer
in a cinema
thriller,
a
at his leer in a
leerer
Queerer
mirror,
a stone in the bladder.
Madder
than an adder with
to know why,
If you want
I cannot but reply:
It is really no affair of yours.16
Chiller
than
than
The
nizing
term
term by which
For Mr.
poems.
is a name
and
way
of reproach.
for Mr.
Richards
a patro
indicated the attractive nullity

the kindred
of
term
"pseudo-reference"
of qualitative
progression
It seems to us highly
that
significant
so
Mr.
Max
critic,
Eastman,
important
kinds
psychological
as
is in effect too pseudo-statement.
poetry
metaphor
vivid
realization
of metaphor
comes from its
in some
being
an obstruction
to practical
a torn
coat
knowledge
(like
a part
The
he
Winters,
for the more
disguised
is a term
for another
was
"pseudo-statement"
of
to the act of
ab
dressing).
operates
Metaphor
by being
or inept, the wrong
normal
of
Without
way
saying something.17
the point, we should
resem
pressing
say that an uncomfortable
sleeve

THE
50
to this doctrine
blance
and
texture
local
Mr.
What
of
AFFECTIVE
in Mr.
appears
Ransom's
structure
logical
irrelevance.
has
Winters
FALLACY
seems
said
basic.
venture
To
both
of this and a return to the problem

of emotive
slight elaboration
our
a
in
it is
semantics
first section:
well-known
but
surveyed
truth that there are two kinds of real ob
important
are the
emotive
the objects
have
which
jects which
quality,
reasons
literal
for human
and
those
which
emotion,
by some
or the
kind of association
either
the reasons
suggest
resulting
nonetheless
emotion:?the
or the
the enemy,
thief,
the hornet
that sounds
and
and
angry,
when
ourselves
kills
small
birds
angry;
and
somewhat
like
stings
or felon,
crow
and the
that
on carrion
feeds
and is black
the murderer
or
animals
the night when

crimes are committed
ment
these two kinds of emotive
by which
like
together
ing, the
of
association.
We
by men.
The
arrange
are brought
meaning
of poetry
is, roughly
speak
the various
less clearly
de
in a juncture
characteristic
the
and
simile,
metaphor,
forms
fined
us
that makes
insult
offer
the
crude
following
ex
ample as a kind of skeleton figure to which we believe all the

can be attached.
issues
feels as angry
whose
lunch
hornet.
I.
II. X
as a hornet.
has
been
I is, we take it, the qualitative

an
correlative?for
phor,
objective
tenor of the metaphor,
the motive
No.
makes
the feeling
a more
complex
itself more
and
or
testable
is more
tude,
ineptitude,
and the crow makes
thickens,
be a line from a poem
about
of
its power,
and we
daresay
stolen
nothing.
for feeling
specific. The
The
of
susceptible
to the
wing
No.
as
angry
of a meta
the vehicle
poem,
.structure.
as
feels
II
angry,
adds
and
the
hence
total statement has

element
discussion.
wood"
of
apti
"Light
rooky
might
but initially
owed much
nothing,
still does,
to the fact that
it is

AND
WIMSATT
BEARDSLEY
murderer
by a tormented
spoken
sent his agents
out to perform
51
as night
draws
on, has
who,
a further
of dreadful
"deed
note."
These
tween
statement
historical
or poetic
statement,
hence metaphor)
occurs
or
has
usually
at least not
the
intelligence
the
chronicler,
owe
more
officer
the atrocity,
murder,
toire of
difference
for
be
emotion
may
or the
of suggestion
The
first
of
component
appeared.
for the public
The
eye.
content
himself
with
man.
newspaper
of value
words
bard,
less direct
or
the
a reason
be
may
a large
where
pure,
the
which
to
relation
(Macbeth has killed the king) and fictitious
because it is believed
seldom
a close
bear
distinctions
the wholesale
butchery)
here and
coroner
it.
To
and
(and
course
Not
emotion
all
and
we
these
(the
the
reper
which
there
in history?
suggestive
meanings
to
a
with
start upon?an
somewhat
a Mac
Achilles,
Beowulf,
out of a mere
case of factual
beth?have
created
reason
for in
tense
a specified,
emotion
figuratively
and
fortified,
permanent
object of less intense but far richer emotion. With

of
heroes
within
these?the
first
far
as
as
in objects
we
important,
a great
of poetry
flowering
faith
century
to do without
qualitative
that
the
The
last
the utmost
tried
true
of
and
the
any
step
separate
hero
and
hero
any
of Mr.
poetry
and
toward
from
action
the decline
action
when
or action
hero
they
as
which
has
or fiction
all
and
formula
symbolic.
of
It
analysis.
become
fictitious
qualitative,
simply
to be
tends
history,
taken
had
Winters'
the
are
have
take
so
poetry,
of
is
emotion.
series
graded
from fact to quality might include: (1) the historic Macbeth,

(2) Macbeth as Renaissance tragic protagonist, (3) aMacbeth
written by Mr. Eliot, (4) aMacbeth written by Mr. Pound. As
Mr.
Winters
has
the footnotes"
Mr.
of
Pound
these
could manage
four
"the
explained,
of The Waste
stages
has
such
prince
Land;
an
anything
is briefly
"it is to be doubted
introduction."
like
a pure
in
introduced
Yet
emotive

that
in no one
poetry
THE
52
been
our
produced.
first section
The
than
FALLACY
semantic
which
we
say
in the
last
would
is an
of pure emotion
are only
kings
rather
AFFECTIVE
analysis
that even
illusion.
What
we
have
stages a poetry
a
is
poetry where
have
or even
a poetry
of hornets
and
a poetry
Yet
about things.
symbols
of human
deeds.
in
offered
crows,
How
in patterns
and with what names
of emo
things are joined
the critical
"The
Romance
tion, remains
question.
always
of
the Rose
could
without
Mr.
observes
"be
not,
loss,"
Lewis,
these
rewritten
Poetry
as the Romance
of the Onion."
a discourse
is characteristically
or about the emotive
about
both
of objects,
emotions
and
and
this
quality
through
and
An
emotion
felt
symbol
metaphor.
to
for one object
is identified
reference
its
felt for
by
analogue
another?a
fact which
is the basis for the expressionist
doctrine
objects,
its preoccupation
with
or the
a solid and
to emotion
of "objectification"
giving
of its own.
The
to the
emotions
correlative
objectivity
a part
of poetry become
cated to the reader
like
like
chanically
not
poison,
rhythms,
pattern
making
a bullet
of
the matter
an
infection
or knife
dealt
outside
objects
communi
with?not
or disease,
not inflicted me
not administered
like a
wound,
as by expletives
or
or
expressed
grimaces
in their objects
but presented
and contemplated
as a
a
of knowledge.
is
or
of fixing
emotions
way
Poetry
simply
them more
permanently
perceptible
from
culture
a functional
undergone
change
as
facts of history
simple
they have
of immediacy.
reasons
the
Though
lost
when
have
objects
to culture,
or when
emotive
value
with
loss
for emotion
in poetry may
be so simple as Ruskin's
"noble
emo
for
the
noble
grounds
a
for poetic objects
of emotion
tions," yet
great deal of constancy
we will
?if
look for constancy?may
be traced
the
through
not
drift
whether
of human
as
The murder
of Duncan
history.
-by Macbeth,
of
the
or
Eleventh
of the
chronicle
history
Century
has not tended

to become
the subject
Sixteenth,
carol.
In Shakespeare's
an
act difficult
it
is
play
of
a Christmas
to duplicate

in
AND
WIMSATT
its immediate
all
conscience.
of
the
thickening
from
plucked
53
and horror
of treachery,
deliberation,
adjuncts
of symbols?the
Set in its galaxy
hoarse
raven,
crow
and
the
the
babe
light,
making
wing,
the dagger
breast,
ancient murder
the
hands?this
bloody
BEARDSLEY
in the
the ghost,
the
an
of
object
a far
of Polynices,
air,
become
has
fixed
value.
emotive
The
corpse
strongly
more
ancient object and partially
concealed
from
a similar
shows
of the Greek,
culties
pertinacity
the
among
customs
understandable
have
motives
but
not
us by the diffi
in remaining
of
the web
Funeral
higher
duty.
of issues, religious,
po
unhon
corpse "unburied,
changed,
woven
about
the
private,
all
unhallowed."
certain
obscured
oured,
Again,
partly
objects
in another,
in one age wax
into appreciation
and partly
through
the efforts of the poet.
It is not true that they suddenly
arrive
litical,
and
out
creation
nothing.
of our
because
it has
at
that
of
The
time,
pathos
a
though
of Shylock,
for
modern
smugly
that
may
is not
example,
humanitarianism,
this was not felt
suppose
slogans,
by
or Southampton?and
not perceive
its own
may
Shakespeare
to Shakespeare.
debt
"are
the unac
says Shelley,
"Poets,"
of the world."
it may
And
be granted
knowledged
legislators
least
have
poets
been
of
expositors
leading
the
laws
of
reeling.
historian
the relativist
To
of literature
establishing
the poem was written
as discrete
with
its clear
task
which
of
the poem
and first
and
its completeness,
balance,
so complex
of emotive
objects
cultural
falls
appreciated,
and nicely
tension has
and
the uncomfortable
moments
the past when

the present
into
and
interrelated
survived.
so reliable
as
meanings,
structure
to have
been
it seems
never,
great
poetry
by any past age will
wane
so
as not
the
human
with
of
culture
safe
waning
at least by a willing
on the
to be recoverable
And
student.
seems
a confidence
same grounds
indicated
for the objective
dis
taken
for
to say,
crimination
of all
future
poetic
phenomena,
though
the premises

THE
54
or materials
AFFECTIVE
such
of which
or
If
foreseen.
prescribed
upon the understanding
are the most
themselves
FALLACY
poems will
the exegesis
of obsolete
be
cannot
constructed
some
of
or exotic
be
poems
customs,
evaluation
depends
the poems
of the cus
emotive
precise
toms.
In the poet's
contrived
of emotion
and in
finely
objects
other works
most
of art the historian
finds his
reliable
evidence
the
about
those
we
of
turn
emotions
the
antiquity?and
anthropologist,
about
To
love
primitivism.
appreciate
courtly
de Troyes
and Marie
de France.
Certain
toward
fourteenth-century
England,
knight
contemporary
to Chr?tien
of
attitudes
of
late
toward
are nowhere
the bourgeoisie,
toward
monasticism,
illustrated
than in the prologue
to The Canter
precisely
or
Tales. The
field worker
the
the Navahos
Zunis
among
hood,
more
bury
finds
no
so informative
as the poet or the member
of
can quote
its myths.19
In short,
cultures
though
have
and
will
remain
and
and
poems
changed
change,
explain;
no
reason
there
is
legitimate
why
criticism,
sight of its
losing
durable
and peculiar
should
become
poems
objects,
themselves,
a dependent
or of
of social history
anthropology.
the
informant
tribe who
NOTES
iaThe
1941
Parallelism
(New
York,
between
1942),
p.
Literature
and
the
Arts."
English
Institute
Annual,
50.
and more
have
to reveal a greater
aMore recent
researches
tended
analysis
precise
in the emotive
of cultures
than Westermarck
admits.
As an
experience
universality
see C. S. Ford,
of this trend,
and the Human
example
Culture,
"Society,
Organism,"
XX
The Journal
PP- I35"I79.
of General
Psychology,
(i939),
as conscious,
it is unquestionable
that
it involves
in some
feeling be regarded
an intellectual
The Laws
trans. C. K.
process"
(F. Paulhan,
of Feeling,
1930, p. 153).
Ogden,
London,
as cited by Mr.
4The anecdote
Lewis
(Abolition
of Man,
1944, pp. 3, 9)
Oxford,
not in a way
to our argument,
relevant
from the version
to
differs,
known
though
us in the Journals
Wordsworth
of Dorothy
(ed. E. de Selincourt,
1941, I,
London,
Cf.
E.
De
and Other
Wordsworthian
Studies
223-224).
Selincourt,
(Oxford,
1947),
p. 185.
3"If
measure
a #theory
not of poetry,
of morals,
but
a curious modern
"Strictly,
as, to take
Lucie
Guillet's
La Po?ticoth?rapie,
du Fluide
instance,
Efficacit?s
Po?tique,
Paris,
not of poetry
but of healing.
Aristotle's
1946, is a theory
catharsis
is a true theory
of poetry,
i.e. part of a definition
of poetry.

WIMSATT
and
*0n Life
p. viii.
7New
York
Times
*As I Remember
York
Times
Book
has been a happy
*The Olive
"The
Book
Series,
Review,
BEARDSLEY
trans.
13,
April
Evans
A. W.
p.
1947,
(New
York,
XIX
Yorker,
1937),
11,
(Dec.
55
(London,
1911),
Preface,
29.
New
of Books,"
"Speaking
Adams'
department
weekly
Him,
quoted
Adams,
by J. Donald
20, 1947, p. 2. Mr.
April
Review,
for such specimens.
hunting
ground
Tree
New
First
Letters,
AND
212.
p.
p.
1943),
28.
u"The
showed
final averages
the combined
that
for the Byron
finger movements
were
metres
for Keats"
experiments
eighteen
longer than they were
(R. C. Givler,
The Psycho-Physiological
in Relation
to Poetry,
Effect
of the Elements
of Speech
C. Pollock,
The Nature
1915, p. 62, quoted
Princeton,
by Thomas
of Literature,
1942, p. no).
Princeton,
a2Wendell
to
Children
^Herbert
l?"Ueber
S. Dysinger
the Motion
J. M?ller,
and Christian
A. Ruckmick,
Picture
New
Situation,
York,
Science
and
den
Film,"
in Die
^he
term,
Counter-Statement.
as Mr.
Winters
16The New
Yorker,
XXIII
Criticism
indicates,
(May
31,
(New
des
Forderung
1947),
borrowed
p.
Emotional
Responses
of
1933.
Haven,
Tages
is
The
1943),
(Berlin,
1930),
from Mr.
p.
137.
p.
387.
Kenneth
Burke's
33.
17On pp.
Mr.
Eastman
notices
the possibility
183-4 of his Literary
of in
Mind{
and seems about
to explain why
not be, on his hypothesis,
this would
ept metaphor
even better
than apt metaphor.
But
he never
does.
On p. 188, "Poetic metaphor
to suggest
is the employment
of words
identifications."
On
impractical
p. 185 he
to the value
alludes
of synecdoche
as focussing
on qualities
attention
of objects.
It
seem to escape his attention
would
that metaphor
does the same.
18Cf. Paulhan,
The
Laws
of Feeling,
pp.
105, no.
and Dorothea
The Navaho
19See, for example,
Clyde Kluckhohn
Leighton,
(Cam
Zuni Mythology
In
bridge,
1946),
134-8; Ruth
pp.
Benedict,
(New York,
1935),
The
troduction.
of Bronislaw
Malinowski's
in Primitive
emphasis
Myth
Psychology
is upon
the need of cultural
context
to interpret
(New York,
Never
1926)
myth.
is the main
theless
the myth
of the book.
"The
point
says Ma
anthropologist,"
at his elbow"
"has the myth-maker
linowski,
(p. 17).


Affective Fallacy

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Affective Fallacy

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The Affective Fallacy

Author(s): W. K. Wimsatt Jr. and M. C. Beardsley

This content downloaded from 131.216.144.8 on Mon, 22 Apr 2013 04:52:14 AM

the title of this essay invites comparison with

the standard of criticism

Mr. Ren? Wellek

It begins by trying to derive

the poem and its results

It begins by trying to derive the standard of criticism

in one of his English

Institute essays, "is still

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about the pervasiveness of the critical method which he

that his mistrust

ter of his New

would discuss briefly the history and fruits of affective criticism,

influence. And first and

types of meaning which were defined

in his Practical Criticism

This content downloaded from 131.216.144.8 on Mon, 22 Apr 2013 04:52:14 AM

This content downloaded from 131.216.144.8 on Mon, 22 Apr 2013 04:52:14 AM

use of the word

states which Messrs.

has been traditionally

would have had the merit of reflecting a profound difference

or what more briefly might

be said to be the "import" of the

(surprise and related feelings),

This content downloaded from 131.216.144.8 on Mon, 22 Apr 2013 04:52:14 AM

like "liberty" and "license," which even if they have the

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(3), and so forth?we

imite says "Sibboleth"

to drop dead without

being thought a victim of

This content downloaded from 131.216.144.8 on Mon, 22 Apr 2013 04:52:14 AM

that the custom

is the fact that for different objects in different

This content downloaded from 131.216.144.8 on Mon, 22 Apr 2013 04:52:14 AM

sense than to refer them to

out, not unspecified

fear, but fear of something

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the same, are almost

had thought, "No, I feel quite well."

sick," and Coleridge

scholar and biographer.

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of Pen j on, the

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not is the imagination the "Pleasures"

This content downloaded from 131.216.144.8 on Mon, 22 Apr 2013 04:52:14 AM

if we follow him further in his three essays on the subject

primarily to the feeling of it.

This content downloaded from 131.216.144.8 on Mon, 22 Apr 2013 04:52:14 AM

Snyder might doubtless be invoked in

is today found perhaps

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to testing with Fechner

This content downloaded from 131.216.144.8 on Mon, 22 Apr 2013 04:52:14 AM

katharsis is of the thing purged or of the object purified.

the early critical practice

futed nor anything which

it is possible for the objective