Editing Cleanth Brooks (section)

==Reaction to New Criticism==

Because New Criticism isolated the text and excluded historical and biographical contexts, critics argued as early as 1942 that Brooks' approach to criticism was flawed for being overly narrow and for "disabl[ing] any and all attempts to relate literary study to political, social, and cultural issues and debates" (1350). His reputation suffered in the 1970s and 1980s when criticism of New Criticism increased. Brooks rebuffed the accusations that New Criticism has an "antihistorical thrust" (Leitch 2001) and a "neglect of context" (Leitch 2001). He insisted he was not excluding context because a poem possesses [[organic unity]], and it is possible to derive a historical and biographical context from the language the poet uses (Singh 1991). He argues "A poem by [[John Donne|Donne]] or [[Andrew Marvell|Marvell]] does not depend for its success on outside knowledge that we bring to it; it is richly ambiguous yet harmoniously orchestrated, coherent in its own special aesthetic terms" (Leitch 2001).

New Criticism was accused by critics of having a contradictory nature. Brooks writes, on the one hand, "the resistance which any good poem sets up against all attempts to paraphrase it" (qtd. in Leitch 2001) is the result of the poet manipulating and warping language to create new meaning. On the other hand, he admonishes the unity and harmony in a poem's [[aesthetics]]. These seemingly contradictory forces in a poem create tension and paradoxical irony according to Brooks, but critics questioned whether irony leads to a poem's unity or undermines it (Leitch 2001). [[Post-structuralism|Poststructuralists]] in particular saw a poem's resistance and warped language as competing with its harmony and balance that Brooks celebrates (Leitch 2001).

[[Ronald Crane]] was particularly hostile to the views of Brooks and the other New Critics. In "The Critical Monism of Cleanth Brooks," Crane writes that under Brooks's view of a poem's unity being achieved through the irony and paradox of the opposing forces it contains, the world's most perfect example of such an ironic poem would be Albert Einstein's equation E=mc<sup>2</sup>, which equates matter and energy at a constant rate (Searle).

In his later years, Brooks criticized the poststructuralists for inviting subjectivity and relativism into their analysis, asserting "each critic played with the text's language unmindful of aesthetic relevance and formal design" (Leitch 2001). This approach to criticism, Brooks argued, "denied the authority of the work" (Leitch 2001).