Riassunto:
Excerpt from The Functions of Criticism: A Lecture Delivered Before the University, on February 22, 1909
The late M. Brunetiere recognized this danger, and over came it, but only to replace it by others. He is mentioned here, for, though he wrote little on English literature and had a limited knowledge of it, he has had some influence on English criticism - or perhaps we should say that he is the acknowledged representative of a method which is well known in this country. The doctrine of evolution had brought new life into almost every department of study. Why, he asked, was criticism to refuse its aid? It has been questioned if the method as Darwin understood it can be adapted by the critic, and questioned most strongly by those who know it best. They regret daily to see how the poor innocent word is racked and tortured.
To speak of evolution in literature, they tell us, is only to employ a metaphor. But, metaphor or not, M. Brune tiére used what knowledge he had of the processes of science to develop the method on which his fame as a critic rests securely. He contended that the great influence in literature is the influence of books upon books. He regarded literature as a large body of life which divides itself into several species, and these he examined in their development. He asked us to consider Racine, not as Racine, but as the writer of a type of drama which had steadily perfected itself and was bound to be followed by a period of decadence. A work was a link in a chain, and on the value of the chain depended the value of the link. In America at the present day the best work is being done in the criticism which selects a single form - the ballad, tragedy, criticism itself, let us say - and describes its pro gress. There are many books of the same kind in this country, and have been for many years. But M. Brune tiere, with his commanding personality, insisted more strongly than any one else on the necessity of this treat ment he employed his great knowledge and argumenta tive skill to show what it could achievef; and he must be credited with a large share in the establishment of its present vogue. If it gives the critic small Chance of stray ing outside of literature proper, there are other dangers. The historian of a single literary form is apt to give it a false isolation, even if he do not neglect the aid which comes from a wider knowledge. Above all, he is likely to subordinate the author to the form. M. Brunetiere recog nized the part played by an author's personality in bring ing a form to its point of perfection, but the problems of personality elude his method. This is more evident in the learned treatises which issue in increasing numbers from the Universities, especially of the Continent and America. While we examine the husk the kernel may slip from our grasp.
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