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Richards shows an interest in the effect of poems on the reader. He tends to locate poem in reders response. The being of the poem see ms to exist only in the readers. Poetry is a form of words that organizes our attitudes. Poetry is composed of pseudo statements, therefore it is effective. He talks about the close analysis of a text. Like a new critics, he values irony. He praises the irony and says that it is characteristics of poetry of higher order. In “The Forth Kinds of Meaning”, he talks about functions of language. Basically he points out four types of functions or meaning that the language has to perform.
Sense
What speaker or author speaks is sense. The thing that the writer literally conveys is sense. Here, the speaker speaks to arouse the readers thought. The language is very straightforward which is descriptive. This language is not poetic. Words are used to direct the hearer's attraction up on some state of affairs or to excite them. Sense is whatness of language use.

Feeling
Feeling is writer’s emotional attitude towards the subject. It means writer’s attachment or detachment to the subject is feeling. It is an expression. The speaker or writer uses language to express his views. This very language is emotive, poetic and literary also. Here only, rhyme and meter cannot make poetry to be a good, emotion is equally important. Especially in lyric poem, emotion plays vital role.

Tone
Tone refers to attitude of speaker towards his listener. There is a kind of relation between speaker and listener. Since speaker is aware of his relationship with language and with the listener, he changes the level of words as the level of audience changes. It means tone varies from listener to listener.
Intention
Intention is the purpose of speaker. Speaker has certain aim to speak either it is consciously or unctuously. Listener has to understand the speaker's purpose to understand his meaning. If the audience can't understand his purpose the speaker becomes unsuccessful. The intention of author can be found in dramatic and semi- dramatic literature.
There four types of meaning in totality constitute the total meaning of any text. Therefore all utterances can be looked at from four points of view, revealing four kinds of meaning are not easily separated. But they are in dispensable terms for explaining. Basically, the four meaning are interconnected in poetry.
Doctrine in Poetry
Here Richarads talks about the proper way of analyzing the text and what critic and reader should be like. He tends to locate the poem in readers response to it. It means readers analyze the text and respond any poetry from similar judgmental aspects. It shows every reader produces same meaning from same text as the text is organic whole obstacles and barriers the variation of meaning occurs.
His ideas are oriented toward distinguishing the belief of readers from that of the poets. If there occurs contradiction between the belief of readers and the belief of poets, the readers do not get sole meaning from the text. Because of readers’ temperament and personal experience, they don't get same meaning from the text The obstacle that brings variation in meaning is doctrinal belief of readers.
Richards finds two kinds of belief and disbelief
i) Intellectual belief
ii) Emotional belief

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:53: الله الله الله يوفقك نوني <<اميين تدعي لك من قلب
:love080:

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Lecture 1: What is Language & Linguistics?
هالمحاظررررررررررررةالغثة
اول وحدة
تعاريفها معنا ؟؟؟؟؟؟؟؟؟؟؟؟؟


قولو لاااااااااا:000:

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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

وششششششششششسمة آخر سؤآآل

آلاختبار الغويات ساعه كم
والنقد ساعه كم


بالتوفييييييييييييييييييييق يارب:love080:

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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

معليش بأنسخ مشاركتج هنآ
http://www.ckfu.org/vb/t269596-2.html

عشان ارجع لهالموضوع اذا جيت اراجع بالفاينل :biggrin:
الله يسهل وييسر عليج < تراها تذاكر المنهج كله :71:


اللغويات فيه فترتين 9 وَ 10

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وآلله حتى انا مثلك آنصدمت..:icon9:

آن شآء ربي ييسر و نسوي زين بآلفاينل...كملي مذآكرتك وتوكلي على آلله :love080:

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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

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بنات توني انتبهت لطريقة سهله مره تشوفون مرفقات الموضوع كامل .. بدل كل شوي احد يججي يسال عنها ومحد بيتذكر باي صفحة هي! وبدل ماتدورون انتوو بالصفحات ..:(204):

وهي (علامة مشبك مدري وش يقولون لها ) تلقونها جنب موضوعنا لمن تفتحون صفحة كلية الاداب ( لمن تمرون عليه بتلقون مكتوب 245 مرفق )

شيكووو عليها او تلقونها ع هالرابط :(107): http://www.ckfu.org/vb/misc.php?do=s...ments&t=211165

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بنات انا مو مكتوبه درجتي في الشعر الا بالاسود .. والباقي فيه اسود واحمر يعني ايييييييش
:Cry111::Cry111::Cry111::Cry111::Cry111::Cry111::C ry111:

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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

لونا الحين هذي كل التعاريف الي بتشابتر القرامر بس :71:
ما لقيتها الجندر
ولا باقي التعاريف من وين جبتيهن :bawling:

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احنا كلآسنا ما خلتنا مثلكم نتوقع :mad:

من جد ظللللم...لازم تزيد آلكل درجة :119:

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من زمااااااااااااااااااااان اعرف ذي الطريقه:064: بس ماشالله عليك احسن مني نبهتي البنات :(204):
الله يوفقك ويسعدك يااارب

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

سوري بنات اشر كوتيشينات بالنثر ماشرها

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يعطيك الف عافية بالتوفيق

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:mh12: ابغى درجتي حقت الشعر مره خايفه منها .. هي راصدة درجات بنات الثلاثاء الصبح ؟ ولا بس القروبات الثانية؟

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لونا الله يجزاك خير ممكن تسوين لي سكان حق القلوسري بس حق الكلمات الي قلتي عنها لان ماعندي قلوسري كتابي مصور :icon9:

ربي يوفقك يارب :106:

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رصدت كل السكاشن بس مطمنه الدرجات ماشفت احد تحت ال17

اليوم رحنا وشفنا اوراقنا

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يوووووووووووووووووه موسسسسسسستحيل توني ادري :Cry111:

وانا اللي متعبه نفسي وسويت موضوع جديد ..

http://www.ckfu.org/vb/t271312.html


:mh12:

يللا مو مشكله ..

شكرا عالتنبيه .. :love080:

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:(107):
انتي معنا بويتري 7


:064: شكلك ماشفتي الدرجات كويس..


فيه الين 12 :(177):

مو الى 17 :(107):



..


الله يوفق الجميع وننجح يارب .. :love080:

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

:106::love080::love080:
ياعمري والله مآعندي سكاان
ولا كان ساعدتك
ص 282
اخر الكتااب
حتى هي اذكر قالتا ب اخر محاضرة > > مو شرط اقولكم عن القلوسري الي ورا الكتاب
اوردي مفروض انتو عارفينة:biggrin:


:106: يارب سهل وحلو و ( بيس اوف كيك )
مممم ونجيب 10 ب الراحة

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^


مذاكرتها أز كركترستيك ولو جابتها كـ تعريف بكون فاهمتها .. :119:


لا مو مشكله خليه حق المراجعه للمواد ككل وأهم شي بدون ردود !







بنات سوري اذا اني مارديت على احدد :000: <~ فيس ينآظر للقصواء
بأنسى معرّفي اليما اخلص المنهج كله :cool:

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

مافتحت الروابط :bawling:

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مافتحت الروابط :bawling:

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بناات متى امتحان النقد بكره؟

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To bring our ideas into perfect or ordered system.






برب اكمل ولاتنسوني من دعواتكم والله يوفقنا

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"D R E A M E R" ياقلبي تسلمين ان شاء الله يكفي انك حاولتي :love080: ربي يوفقك ويوفقنا اجمعين معاك ...

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

بنات امتحان الديفنشنز بكرا اجباري للكل ولا للي تبي تحسن بس ؟؟
واللي ماراح تمتحن راح تدبل لها درجة الميد صح ولا انا غلطانه:(107):


الله يسهل لكل اللي متأزمين من النقد واللغويات:love080:

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

ايه عارفه انه بصفحة 282 بس موعندي لاني مصورتوه :000:
على العموم ماقصرتي يا قلبي :106:
واذا كذا خلصتي مذاكره وحسيتي عندك وفت اكتبيهم لي ع الاقل البارت اوف سبيج بس :mh318: << ماتنعطى وجه

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

بلييييييييييييييييييييييييييييييييييز احد يرد عللللي :Cry111:

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

يس يا حلوة هذا الي فهمته من كلامها


(للي تبي تحسن)

بس تجي وحده تأكدلك احسن

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لا ماهو اجباري للكل بس الي درجتها نازله وبتحسبه لها الاختبار حق الديفنشنز من 10

والي ماراح تمتحن بتحسب لها الدرجه من 20

هذا الي فهمته منها

وبالتوفيق دعواتك لي :bawling:

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أسطورة الوقت الله يعطيك العافيه

بس صراحه لما قريت الكلام الي انتي كاتبته حسيت ان مذاكرتي صفر :icon9:

انا كنت متوقعه انها تجيب اشياء عامه فراغات وكذا اشياء سهله مادخلت بالتكست وتفاصيله :000:

ربي يعين ويوفق الجميع :106:

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اسطورة الوقت يعطيك العافيه ويسهل عليك وعلينا ي رب



احد يعرف ؟؟؟

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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

الللللللللللللللللللللله يوفقك يااااااااااااارب

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السلام عليكم

ابغى ايميل د. اميمة للضرورة القصوى

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بنات التيسكتز اللي خذنهاهم مع د. نجلا نفس حقات د. يمنى؟
سمعت ان الاول بس هو اللي غير!

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

بنات ممكن ايميل اادكتورة اميمة ضروري الله يوفقكممم

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بنات لو سمحتو الي حضرتو اخر محاضرا دراما مع سميرا ايش الاشيا المهمه الي قالتها بلييييييييز عن المسرحيه الثانيه او عن الاختبار :Cry111:

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

بنات

المقارنه بين اليوت وارنولد معنا بالفاينل صح ...؟

لانها قالت بالميد مابتجيبها

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

أنا حضرت معها ، عطتنا درجاتنا وكانت تحزن بعدين سألنها عن الفاينل قالت بمعنى كلامها اللي فهمته إنها مو هي اللي راح تسويه ، فأتوقع بيكون من مها
أهم شي تركزين على الأبحاث وراح تلقين الحل المثالي لها في محاضرات مها
وقالت لنا سميره في المسرحيه الثانيه أهم شي ال theme, language ,character
لازم تركزين على هذولي الثلاثه لأنها مره ركزت عليهم
تكلمت عن ال Hope -religion-miracle بس ما أدري الصدق تبع أيش !! بس انهم من عناصر المسرحيه الثانيه
الميد كان من 25 والبحث من 10 والخمسه تقول بتشوف يا راح تحطها على الحضور أو المشاركه !
اقتبست كم كوتيشن وبصراحه ماكان فيه سالفه واضحه تقرا لحالها وأحس البنات يسولفون T-T
أتوقع البنات ما اهتموا لأنها بدت تقرا الكوتيشنز بعد ما وضحت انها مو هي اللي راح تكتب الأسئله

الله العالم مالنا إلا أوراق مها كمذاكره وسبارك نوتس وبينك مونكي كقراءه

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اختبار النقد اليوم مع الدكتوره يمنى بايخ !
مالها داعي الصراحه ،يعني ما وضحت أبد إنها راح تجيب برا شرحها
ما توقعت أساسا تجيب سؤال من التكست وهي ما شرحته

:"(

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ما شوف احد يتكلم عن المد الثاني مع د.منيره , شسالفه لايكون كان السبت وانا مفهيه احسبه الثلاثاء :mh12:

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

أحد يعرف اذا د. مها باختبار المعتذرات تجيب نفس الاسئلة والا لا؟ :mh318:
وياليت احد يقولي ايش جابت لكم
غير ثيم اوف موني و ثيم اوف مارريج؟

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

بدأ الشيطان يوسوس لي :cheese:

طيب اش التشابترات اللي معنا بالاختبار ؟

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

هههههههههههه

ياكثر ماتصير لي واووسوس مثلك :biggrin:

صديقتي عندها مع منيره الثلووث :106:

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بنات من ايش ذاكرتوا ميد الدراما؟
التفريغ كثييير وهذره مأخوذ خيرها، ما احس فيه شي مفيد
(مع د. مها)

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دكتوره مها ماركزت على شي معين في الشرح كانت تشرح المسرحيه بشكل عام ,انا في الميد قريت المسرحيه كامله وجمعت من كذا موقع عن الثيم والكركتر واحس الحمد لله حليت كويس بس في النهائي راح يختلف الوضع اكيد قالت ركزو على التوبيكات بيجي سؤال مباشر عليها يعني حاولي تفهمين التوبك وتطبقينه على المسرحيه

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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

ايش هي التوبكيات الي ركزت عليها د مها انا أحس أنها تحب الستايج دايركشن

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pictogram----- grammatical gender---------- language ------- writing-----linguisti etiqutte

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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

بنات الله يوفقها اللي تذاكر النقد تحط النقاط وخصوصا المقرنات مع د/نجلاء وانا اذا سويت شئ بنزله هنا
+الترجمه الله ياخذها خفست درجاتنا ليش كذا؟؟ طيب كيف بتذاكرونه نبي ننجح :Cry111: قهههر

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

[edit] Literary criticism

Arnold's work as a literary critic began with the 1853 "Preface to the Poems". In it, he attempted to explain his extreme act of self-censorship in excluding the dramatic poem "Empedocles on Etna". With its emphasis on the importance of subject in poetry, on "clearness of arrangement, rigor of development, simplicity of style" learned from the Greeks, and in the strong imprint of Goethe and Wordsworth, may be observed nearly all the essential elements in his critical theory. George Watson described the preface, written by the thirty-one year old Arnold, as "oddly stiff and graceless when we think of the elegance of his later prose."[22]
Criticism began to take first place in Arnold's writing with his appointment in 1857 to the professorship of poetry at Oxford, which he held for two successive terms of five years. In 1861 his lectures On Translating Homer were published, to be followed in 1862 by Last Words on Translating Homer, both volumes admirable in style and full of striking judgments and suggestive remarks, but built on rather arbitrary assumptions and reaching no well-established conclusions. Especially characteristic, both of his defects and his qualities, are on the one hand, Arnold's unconvincing advocacy of English hexameters and his creation of a kind of literary absolute in the "grand style," and, on the other, his keen feeling of the need for a disinterested and intelligent criticism in England.
Although Arnold's poetry received only mixed reviews and attention during his lifetime, his forays into literary criticism were more successful. Arnold is famous for introducing a methodology of literary criticism somewhere between the historicist approach common to many critics at the time and the personal essay; he often moved quickly and easily from literary subjects to political and social issues. His Essays in Criticism (1865, 1888), remains a significant influence on critics to this day. In one of his most famous essays on the topic, “The Study of Poetry”, Arnold wrote that, “Without poetry, our science will appear incomplete; and most of what now passes with us for religion and philosophy will be replaced by poetry”. He considered the most important criteria used to judge the value of a poem were “high truth” and “high seriousness”. By this standard, Chaucer’s Canterbury Tales did not merit Arnold’s approval. Further, Arnold thought the works that had been proven to possess both “high truth” and “high seriousness”, such as those of Shakespeare and Milton, could be used as a basis of comparison to determine the merit of other works of poetry. He also sought for literary criticism to remain disinterested, and said that the appreciation should be of “the object as in itself it really is."
[edit] Social criticism

He was led on from literary criticism to a more general critique of the spirit of his age. Between 1867 and 1869 he wrote Culture and Anarchy, famous for the term he popularised for the middle class of the English Victorian era population: "Philistines", a word which derives its modern cultural meaning (in English - the German-language usage was well established) from him. Culture and Anarchy is also famous for its popularization of the phrase "sweetness and light," first coined by Jonathan Swift.[23]
Arnold's "want of logic and thoroughness of thought" as noted by John M. Robertson in Modern Humanists was an aspect of the inconsistency of which Arnold was accused.[24] Few of his ideas were his own, and he failed to reconcile the conflicting influences which moved him so strongly. "There are four people, in especial," he once wrote to Cardinal Newman, "from whom I am conscious of having learnt — a very different thing from merely receiving a strong impression — learnt habits, methods, ruling ideas, which are constantly with me; and the four are — Goethe, Wordsworth, Sainte-Beuve, and yourself." Dr. Arnold must be added; the son's fundamental likeness to the father was early pointed out by Swinburne, and was later attested by Matthew Arnold's grandson, Mr. Arnold Whitridge. Brought up in the tenets of the Philistinism which, as a professed cosmopolitan and the Apostle of Culture he attacked, he remained something of a Philistine to the end.
[edit] Journalistic criticism

In 1887, Arnold was credited with coining the phrase "New Journalism", a term that went on to define an entire genre of newspaper history, particularly Lord Northcliffe's turn-of-the-century press empire. However, at the time, the target of Arnold's irritation was not Northcliffe, but the sensational journalism of Pall Mall Gazette editor, W.T. Stead.[25] Arnold had enjoyed a long and mutually beneficial association with the Pall Mall Gazette since its inception in 1865. As an occasional contributor, he had formed a particular friendship with its first editor, Frederick Greenwood and a close acquaintance with its second, John Morley. But he strongly disapproved of the muck-raking Stead, and declared that, under Stead, "the P.M.G., whatever may be its merits, is fast ceasing to be literature."[26]
[edit] Religious criticism

His religious views were unusual for his time. Scholars of Arnold's works disagree on the nature of Arnold's personal religious beliefs. Under the influence of Baruch Spinoza and his father, Dr. Thomas Arnold, he rejected the supernatural elements in religion, even while retaining a fascination for church rituals. Arnold seems to belong to a pragmatic middle ground that is more concerned with the poetry of religion and its virtues and values for society than with the existence of God.
He wrote in the preface of God and the Bible in 1875 “The personages of the Christian heaven and their conversations are no more matter of fact than the personages of the Greek Olympus and their conversations.”[27] He also wrote in Literature and Dogma: "The word 'God' is used in most cases as by no means a term of science or exact knowledge, but a term of poetry and eloquence, a term thrown out, so to speak, as a not fully grasped object of the speaker's consciousness — a literary term, in short; and mankind mean different things by it as their consciousness differs."[28] He defined religion as "morality touched with emotion".[29]
However, he also wrote in the same book, "to pass from a Christianity relying on its miracles to a Christianity relying on its natural truth is a great change. It can only be brought about by those whose attachment to Christianity is such, that they cannot part with it, and yet cannot but deal with it sincerely."

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لعله يساعدكم هالمرفق

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ايه معنــآ:icon9: آلله يعينا ع آلحوسه والكلام آلمكرر اللي يصدددددددع آلراس..

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حصل خيييير....حآولي تتقبلين آلوضع برحآبة صدر:tongue:


بالتوفيق:106:

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ايميل د.حصة بليييييييييييز !

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A Manifesto of Eliot’s Critical Creed


The essay Tradition and Individual Talent was first published in 1919, in the Times Literary Supplement, as a critical article. The essay may be regarded as an unofficial manifesto of Eliot’s critical creed, for it contains all those critical principles from which his criticism has been derived ever since. The seeds which have been sown here come to fruition in his subsequent essays. It is a declaration of Eliot’s critical creed, and these principles are the basis of all his subsequent criticism.



Its Three Parts


The essay is divided into three parts. The first part gives us Eliot’s concept of tradition, and in the second part is developed his theory of the impersonality of poetry. The short, third part is in the nature of a conclusion, or summing up of the whole discussion.


Traditional Elements: Their Significance


Eliot begins the essay by pointing out that the word ‘tradition’ is generally regarded as a word of censure. It is a word disagreeable to the English ears. When the English praise a poet, they praise him for those-aspects of his work which are ‘individual’ and original. It is supposed that his chief merit lies in such parts. This undue stress on individuality shows that the English have an uncritical turn of mind. They praise the poet for the wrong thing. If they examine the matter critically with an unprejudiced mind, they will realise that the best and the most individual part of a poet’s work is that which shows the maximum influence of the writers of the past. To quote his own words: “Whereas if we approach a poet without this prejudice, we shall often find that not only the best, but the most individual part of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously.’


The Literary Tradition: Ways in Which It Can Be Acquired


This brings Eliot to a consideration of the value and significance of tradition. Tradition does not mean a blind adherence to the ways of the previous generation or generations. This would be mere slavish imitation, a mere repetition of what has already been achieved, and “novelty is better than repetition.” Tradition in the sense of passive repetition is to be discouraged. For Eliot, Tradition is a matter of much wider significance. Tradition in the true sense of the term cannot be inherited, it can only be obtained by hard labour. This labour is the labour of knowing the past writers. It is the critical labour of sifting the good from the bad, and of knowing what is good and useful. Tradition can be obtained only by those who have the historical sense. The historical sense involves a perception, “not only of the pastness of the past, but also of its presence: One who has the historic sense feels that the whole of the literature of Europe from Homer down to his own day, including the literature of his own country, forms one continuous literary tradition” He realises that the past exists in the present, and that the past and the present form one simultaneous order. This historical sense is the sense of the timeless and the temporal, as well as of the timeless and the temporal together. It is this historic sense which makes a writer traditional. A writer with the sense of tradition is fully conscious of his own generation, of his place in the present, but he is also acutely conscious of his relationship with the writers of the past. In brief, the sense of tradition implies (a) a recognition of the continuity of literature, (b) a critical judgment as to which of the writers of the past continue to be significant in the present, and (c) a knowledge of these significant writers obtained through painstaking effort. Tradition represents the accumulated wisdom and experience of ages, and so its knowledge is essential for really great and noble achievements.


Dynamic Conception of Tradition: Its Value


Emphasising further the value of tradition, Eliot points out that no writer has his value and significance in isolation. To judge the work of a poet or an artist, we must compare and contrast his work with the works of poets and artist in the past. Such comparison and contrast is essential for forming an idea of the real worth and significance of a new writer and his work. Eliot’s conception of tradition is a dynamic one. According to his view, tradition is not anything fixed and static; it is constantly changing, growing, and becoming different from what it is. A writer in the present must seek guidance from the past, he must conform to the literary tradition. But just as the past directs and guides the present, so the present alters and modifies the past. When a new work of art is created, if it is really new and original, the whole literary tradition is modified, though ever so slightly. The relationship between the past and the present is not one-sided; it is a reciprocal relationship. The past directs the present, and is itself modified and altered by the present. To quote the words of Eliot himself: “The existing monuments form and ideal order among themselves, which is modified by the introduction of the new (really new) work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered.” Every great poet like Virgil, Dante, or Shakespeare, adds somebiing to the literary tradition out of which the future poetry will be written.


The Function of Tradition


The work of a poet in the present is to be compared and contrasted with works of the past, and judged by the standards of the past. But this judgment does not mean determining good or bad. It does not mean deciding whether the present work is better or worse than works of the past. An author in the present is certainly not to be judged by the principles and the standards of the past. The comparison is to be made for knowing the facts, all the facts, about the new work of art. The comparison is made for the purposes of analysis, and for forming a better understanding of the new. Moreover, this comparison is reciprocal. The past helps us to understand the present, and the present throws light on the past. It is in this way alone that we can form an idea of what is really individual and new. It is by comparison alone that we can sift the traditional from the individual elements in a given work of art.


Sense of Tradition: Its Real Meaning


Eliot now explains further what he means by a sense of tradition. The sense of tradition does not mean that the poet should try to know the past as a whole, take it to be a lump or mass without any discrimination. Such a course is impossible as well as undesirable. The past must be examined critically and only the significant in it should be acquired. The sense of tradition does not also mean that the poet should know only a few poets whom he admires. This is a sign of immaturity and inexperience. Neither should a poet be content merely to know some particular age or period which he likes. This may be pleasant and delightful, but it will not constitute a sense of tradition. A sense of tradition in the real sense means a consciousness, “of the main current, which does not at all flow invariably through the most distinguished reputations”. In other words, to know the tradition, the poet must judge critically what are the main trends and what are not. He must confine himself to the main trends to the exclusion of all that is incidental or topical. The poet must possess the critical gift in ample measure. He must also realise that the main literary trends are not determined by the great poets alone. Smaller poets also are significant. They are not to be ignored.


Works of Art: Their Permanence


The poet must also realise that art never improves, though its material is never the same. The mind of Europe may change, but this change does not mean that great writers like Shakespeare and Homer have grown outdated and lost their significance. The great works of art never lose their significance, for there is no qualitative improvement in art. There may be refinement, there may be development, but from the point of view of the artist there is no improvement. (For example, it will not be correct to say that the art of Shakespeare is better and higher than that of Eliot. Their works are of different kinds, for the material on which they worked was different.)


Awareness of the Past: The Poet’s Duty to Acquire It


T.S. Eliot is conscious of the criticism that will be made of his theory of tradition. His view of tradition requires, it will be said, a ridiculous amount of erudition. It will be pointed out that there have been great poets who were not learned, and further that too much learning kills sensibility. However, knowledge does not merely mean bookish knowledge, and the capacity for acquiring knowledge differs from person to person. Some can absorb knowledge easily, while others must sweat for it. Shakespeare, for example, could know more of Roman history from Plutarch than most men can from the British Museum. It is the duty of every poet to acquire, to the best of his ability, this knowledge of the past, and he must continue to acquire this consciousness throughout his career. Such awareness of tradition, sharpens poetic creation.


Impersonality of Poetry: Extinction of Personality


The artist must continually surrender himself to something which is more valuable than himself, i.e. the literary tradition. He must allow his poetic sensibility to be shaped and modified by the past. He must continue to acquire the sense of tradition throughout his career. In the beginning, his self, his individuality, may assert itself, but as his powers mature there must be greater and greater extinction of personality. He must acquire greater and greater objectivity. His emotions and passions must be depersonalised; he must be as impersonal and objective as a scientist. The personality of the artist is not important; the important thing is his sense of tradition. A good poem is a living whole of all the poetry that has ever been written. He must forget his personal joys and sorrows, and he absorbed in acquiring a sense of tradition and expressing it in his poetry. Thus, the poet’s personality is merely a medium, having the same significance as a catalytic agent, or a receptacle in which chemical reactions take place. That is why Eliot holds that, “Honest criticism and sensitive appreciation is directed not upon the poet but upon thepoetry.”


The Poetic Process: The Analogy of the Catalyst


In the second part of the essay, Eliot develops further his theory of the impersonality of poetry. He compares the mind of the poet to a catalyst and the process of poetic creation to the process of a chemical reaction. Just as chemical reactions take place in the presence of a catalyst alone, so also the poet’s mind is the catalytic agent for combining different emotions into something new. Suppose there is a jar containing oxygen and sulphur dioxide. These two gases combine to form sulphurous acid when a fine filament of platinum is introduced into the jar. The combination takes place only in the presence of the piece of platinum, but the metal itself does not undergo any change. It remains inert, neutral and unaffected. The mind of the poet is like the catalytic agent. It is necessary for new combinations of emotions and experiences to take place, but it itself does not undergo any change during the process of poetic combination. The mind of the poet is constantly forming emotions and experiences into new wholes, but the new combination does not contain even a trace of the poet’s mind, just as the newly formed sulphurous acid does not contain any trace of platinum. In the case of a young and immature poet, his mind, his personal emotions and experiences, may find some expression in his composition, but, says Eliot, “the more perfect the artist, the more completely separate in him “will be the man who suffers and the mind which creates.” The test of the maturity of an artist is the completeness with which his men digests and transmutes the passions which form the substance of his poetry. The man suffers, i.e. has experiences, but it is his mind which transforms his experiences into something new and different. The personality of the poet does not find expression in his poetry; it acts like a catalytic agent in the process of poetic composition.


Emotions and Feelings


The experiences which enter the poetic process, says Eliot, may be of two kinds. They are emotions and feelings. Poetry may be composed out of emotions only or out of feelings only, or out of both. T.S. Eliot here distinguishes between emotions and feelings, but he does not state what this difference is, “Nowhere else in his writings”, says A.G. George, “is this distinction maintained’, neither does he adequately distinguish between the meaning of the two words”. The distinction should, therefore, be ignored, more so as it has no bearing on his impersonal theory of poetry.


Poetry as Organisation: Intensity of the Poetic Process


Eliot next compares the poet’s mind to a jar or receptacle in which are stored numberless feelings, emotions, etc., which remain there in an unorganised and chaotic form till, “all the particles which can unite to form a new compound are present together.” Thus poetry is organisation rather than inspiration. And the greatness of a poem does not depend upon the greatness or even the intensity of the emotions, which are the components of the poem, but upon the intensity of the process of poetic composition. Just as a chemical reaction takes place under pressure, so also intensity is needed for the fusion of emotions. The more intense the poetic process, the greater the poem. There is always a difference between the artistic emotion and the personal emotions of the poet. For example, the famous Ode to Nightingale of Keats contains a number of emotions which have nothing to do with the Nightingale. “The difference between art and the event is always absolute.” The poet has no personality to express, he is merely a medium in which impressions and experiences combine in peculiar and unexpected ways. Impressions and experiences which are important for the man may find no place in his poetry, and those which become important in the poetry may have no significance for the man. Eliot thus rejects romantic subjectivism.


Artistic Emotion: The Value of Concentration


The emotion of poetry is different from the personal emotions of the poet. His personal emotions may be simple or crude, but the emotion of his poetry may be complex and refined. It is the mistaken notion that the poet must express new emotions that results in much eccentricity in poetry. It is not the business of the poet to find new emotions. He may express only ordinary emotions, but he must impart to them a new significance and a new meaning. And it is not necessary that they should be his personal emotions. Even emotions which he has never personally experienced can serve the purpose of poetry. (For example, emotions which result from the reading of books can serve his turn.) Eliot rejects Wordsworth’s theory of poetry having, “its origin in emotions recollected in tranquillity”, and points out that in the process of poetic composition there is neither emotion, nor recollection, nor tranquillity. In the poetic process, there is only concentration of a number of experiences, and a new thing results from this concentration. And this process of concentration is neither conscious nor deliberate; it is a passive one. There is, no doubt, that there are elements in the poetic process which are conscious and deliberate. The difference between a good and a bad poet is that a bad poet is conscious where he should be unconscious and unconscious where he should be conscious. It is this consciousness of the wrong kind which makes a poem personal, whereas mature art must be impersonal. But Eliot does not tell us when a poet should be conscious, and when not. The point has been left vague and indeterminate.


Poetry, an Escape from Personality and Personal Emotions


The poet concludes: “Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality.” Thus Eliot does not deny personality or emotion to the poet. Only, he must depersonalise his emotions. There should be an extinction of his personality. This impersonality can be achieved only when poet surrenders himself completely to the work that is to be done. And the poet can know what is to be done, only if he acquires a sense of tradition, the historic sense, which makes him conscious, not only of the present, but also of the present moment of the past, not only of what is dead, but of what is already living.

ادعولي بالتوفيق يا بنات تكفوووون +الترجمه اللي جابو هاي قرايدز كيف ذاكرو؟

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الله يسامحها على هالسؤال

صراحه صدمه :icon9:

الي حلت السؤال وتحس انه صح تقول لنا وش الجواب الله يوفقكم

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بناات من عندها ملازم نثر للراويه الثانيه

ضررررررروري

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الله يوفقك يارب
الترجمه، انا كنت عندها بالمكتب وهي تراجع مع البنات اوراقهم
اكثر شي تقولهم ترجمتكم حررفيه
او it sounds Arabic
بس مددقه مره الله يهديها :(
فـ اتنبهوا لـ هالنقطتين يا بنات :106:

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شوفيها هنا :106:
http://www.ckfu.org/vb/t271312.html

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dready days

الله يوفقك ان شاء الله

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اش اول تيكست بالنقد درسناه مع د/نجلاء؟؟؟<<من القهر ضيعة اسمه ذكروني بليز
:(107):

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جست نوني :Cry111: درجات الترجمة نزلتها بالايميل تبع الترجمة "حسبي الله عليها بس "وربي سويت زين....
:hhheeeart4:

غير كذا حتى لو ماهو زين باعتبارها ليش ماتساعدنا ما حنا عفاريت نعرف ايش بدماغها عن جد قاهرتني لو احنا متقنيين كل شئ وبيرفكت كان ماجينا كل يوم نطالع ذي الخشش اللي تسد النفس استغفر الله بس يطلعون الواحد من طوره لكن الله لا يسامحهم "هما ثنتين اللي ناشبين لي في ذا" الله يجعل حوبتي ما تتعداهم ويوفقنا:119:<<ما قالت شئ غلط :(269):+ترا الدرجات اكثر من ثلاثة ارباعها تسد النفس اكثرها 8 و 7 من 20

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عن عن بو ليفز مالقيت عنو شئ:017:

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بالنسبة للترجمة اقلبو الستايل وادمجو جمل وطلعو ستركتشر جديد للجملة ،،
برضو معلومة مهمة قالتها لبنت جابت ٧ (اذا ترجمتي مبداي المفردات الصعبة والجمل ،، اتركوو النص الاصلي واشتغلو زززززززين عالنص المترجم باعتباره قطعه جديدة لازم تكون متكاملة وبحيث لمن تقرونه باي مكان مايجيكم احساس انه مترجم )):(107):



سؤال مهم ؛:53:
متي التسجيل المبداي للسيمستر الثاني!!:(204):
غريبة مااحد اعلن عنه

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The function of criticism at present time!




برضوو معلومة اكررها زي ماكررتها د، نجلا
ان لكل كاتب طلعي له ناقدين ع الاقل عارضوه وخليه كونكلوجن

بحيث يكون جواب الايسي
1) مقدمة بسيطة عن الكاتب من النت تستفتحين فيها
2) بودي برقراف جواب السؤال
3) اراء نقادد عارضووه ويعتبرون عكسه > هذي كان عليها درجتين بالميد واحتمال كبير يزيز نصيبها بالفاينل

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kahlanpoetry@yahoo.com

:106:

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ايش ايميل النقد؟؟

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بنات :icon9:
اللي ماعندهم بكره اختبار ولا شي تكمل تقرا <~ رأفه بحالاتنا :000:




رآسي هنّق اليوم وصدّع .. اول مره آحس بهالآحسآس البشع
انا بالبيبل سوفت ماعندي جدول حق هالتيرم طايره موادي اللي مسجلتها
ولاحصلت معدلي ولا عدد ساعاتي ولا شي !

المهم رحت للقسم المسؤوله أمل القحطآني .. كانت بدوره رحت للشؤون
وتعرفون من مكتب لمكتب وانا اتسحب بينهم
اتخيلو وش قالو ؟!

المطلوب منكم مطابقة تقاديركم لكل ماده بالتقادير اللي بالسجل الاكاديمي من البانر اللي عطيناكم اياها
حنيت فوق روسهم ليما فتحوا سجلي قدامي ..
شفتوا الجدول الكبير اللي من تاريخ المقررات الخاصه بي , اللي فيه كل التقادير من دخلنا الجامعه !
هذا هو المقصود !

الشي اللي صدعني

مافيه شي اسمه ملخص ساعات مجتازه ومسجله :000:
ولا معدل تراكمي وفصلي :000:

رحت لين شوي واطب عند العميده
قلت شلون ؟ الى متى بيستمر العطل <~ يَ زيني بس :biggrin:

قالت مافيه عطل ! المعدل يظهر لنا الاداره انتو الطالبات لا :71:
لا ارادي ضحكت <~ تالي انتبهت واعتذرت !
قلت ليش تحجبونه عننا !!
قالت اللي يبيه يجيب تصريح ونطبعه ؟! قلت ليش التصريح !
قالت مو معقوله بنطبعه لكل البنات !

طيب ليش بالاصل تحجبونه ! هذا حقنا حنا مانطلب منكم مميزات ودلع
حنا بس نبي نشوف نتيجة جهدنا :icon9: !!

يعني معقوله مابعرف تقديري الا بوثيقتي !
تستظرف ~> قالت هذا عنصر المفاجأه !
قلت وهل عنصر المفاجأه مطلوب ومحمود في وقت انتظار نتيجه نهائيه !

قالت هذا نظامنا ! تبين ارفعي خطاب للعميده !!




^

^





جبت لكم حواري معهم بالتفصيل
احدد عنده معارف بالجامعه يشتغلون يقدر يتأكد من هالشغله !؟
ولا نتهور ونكتب خطاب !!

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بنات ايش التشابترز معنا في امتحان اللغويات الثاني ؟

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جميله حبيتي اكتبي خطاب وحنا معاك ملينا من اسلوبهم المخيس ياخي تغيرون من نظام كويس لنظام تعبان قلنا معليه بس سالفة مواد تطير ومواد يتغير التقدير ومايطلع معدل هذي ماينسكت عليها لا وازيدك انا السجل الاكاديمي حقي مو طالعلي ابد :017: كني تحمست بس من جد الي نطلبه شي ضروري مو دلع زي ماقلتي

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:hahahahahah:>>>>> نفس ضحكتك الي ضحكتيها عندها
:tongue:
من جدهمممممممممم !! خير ان شاء الله ؟؟؟ وشلون اعرف مجهودي ارتفع او نزل.. انا وحده معدلي يعُتبر حافز لي ؟ ومتعوده اراقبه >> مسكين :tongue:

بس جد جد جد جد خير ان شاء الله:017::017::017::017:
كل شوي جايينا بنظام أزفت من الثاني >ا> سوري عالكلمه ادري ماتليق بجمعتا الحلوه :tongue: اضم صوتي لصوتك جوجوو .. ياليت الي عندها معارف او شي يتأكدون لنا

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آلبنـات آللي متأزمين من آلترجمه ...

آنا آلحمدلله اخذت ترجمه آلعام وآفتكيت منه ..

آلنص كنت آغيره تمامًا في آلترجمه:smile:

يعني كنت آحاول آفهم آلمعنى و آركبه عاد بأسلوبي وماكنت اترجم الكلمات كلهآ كنت آحذف بس آلمعنى ما يتغير :mh318:

الله يوفق آلكل يااارب... :106:

عندي نقد مو قادرة ابلعععععععه ادعووولي..:icon9::icon9:

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وين بالضبط الدرجات ؟ فتحت ايميلها مالقيت شئ :(269):

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قولي اللهم افتح لي مااستغلق من امري_
وااسسستغفرري
لين ربك يفرجهاا:love080::106:

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,,وينهم مآشفتهم
خلنا نكمل الصدمةةةةةةة

ممكن تنزززليهمم هنا > قروب الربوووووووع:bawling:
نفسسسسك
> فكرت ب هالشي _غريبة محد جآب طآرية

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

الا موجوده الدرجات بنص الايميلات اللي فيه+هي مانزلت الا قروبات السبت<<على خبري مدري اذا تغير شئ؟؟:(107):

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

:(107): الى متىى ننتظر درجاات الترجمه

كل يوم نروح مانحصلهاااا

بلييز اللي بتروح بكره تطلبها تنزلها ع الايمييل مليناا الانتظآآر:(177):

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

بنات بالنسبه للعربي كيف طريقه الاسئله بالفانيل اوبجيكتيف ولا مقاليه ؟
وبالنسبه للمزمه الي طلبت نصورها الي هي القاله الصحافيه معنا ولا لا لانها بالميد ترم كانت محذوفه طيب بالفانيل معنا بليز الي عندها خبر تجاوووووووب :106:

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

ايه معانا كامله حبيبتي
هي ترا معلمات خفيفة مافيها شي يكدالخاطر:love080:

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

:106:طيب عندي سؤال
كل ابو الاربعه نجيب لهم ع الاقل ناقدين ولا بس ارنولد؟؟

وهل بيجي سؤا الحاله عنهالشي او احنا نضيفه بالايساي اذا جابته عن ارنولد؟
وشكرا

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

يا عاااااااااااااااااااااااالم..:(107)::(107):
في امتحان لغويات بكره مع د.منيره ولا أنا لحالي قاعده أذاكر؟؟؟
ما أحد جاب طاريه؟؟:(269):
ولا هذا الهدوء اللي يسبق العاصفه؟؟:000::000:

رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
 

قريت محاضرات النقد حقت ريتشارد ودخت..بس لقيت هالكلام من النت مرتب وينفع ان شاء الله بدل
" الرغي"
اللي في التفريغ...



The New Criticism posits that every text is autonomous. History, biography, sociology, psychology, author's intention and reader's private experiences are all irrelevant. Any attempt to look at the author's relationship to a work is called "Intentional Fallacy." Any attempt to look at the reader's individual response is called "the Affective Fallacy." New Criticism argues that each text has a central unity. The responsibility of the reader is to discover this unity. The reader's job is to interpret the text, telling in what ways each of its parts contributes to the central unity. The primary interest is in themes. A text is spoken by a persona (narrator or speaker) who expresses an attitude which must be defined and who speaks in a tone which helps define the attitude: ironic, straightforward or ambiguous. Judgements of the value of a text must be based on the richness of the attitude and the complexity and the balance of the text. The key phrases are ambivalence, ambiguity, tension, irony and paradox.

The reader's analysis of these elements lead him to an examination of the themes. A work is good or bad depending on whether the themes are complex and whether or not they contribute to the central, unifying theme. The more complex the themes are and the more closely they contribute to a central theme (unity) the better the work.Usually, the New Critics define their themes as oppositions: Life and death, good and evil, love and hate, harmony and strife, order and disorder, eternity and time, reality and appearance, truth and falsehood, emotion and reason, simplicity and complexity, nature and art. The analysis of a text is an exercise in showing how all of its parts contribute to a complex but single (unified) statement about human problems.

The method the reader must use is "close analysis." The reader must look at the words, the syntax, the images, the structure (usually, "the argument"). The words must be understood to be ambiguous. (The more possible meanings a word has, the richer the ambiguity. The reader should search out irony (ambiguous meaning) and paradox (contradictory meaning, hence also ambiguity). The reader must discover tensions in the work. These will be the results of thematic oppositions, though they may also occur as oppositions in imagery: light versus dark, beautiful versus ugly, graceful versus clumsy. The oppositions may also be in the words chosen: concrete versus abstract, energetic versus placid). The reader must guard against two evils, stock responses (Autumn should not make the reader sad unless the poem directs sadness at the thought of autumn) and idiosyncratic (affective) responses. (Lush grass should not make the reader think of cows however often he or she has seen cows in lush grass unless the poem clearly directs the reader to associate cows and lush grass). .

:106::106: