10 Practicing New Criticism

Now that you’ve learned about New Criticism, practiced this method of analysis with “Ars Poetica,” and reviewed some examples, you will complete a theoretical response to a text using New Criticism as your approach. You will read three different texts below. Choose one text and respond to the questions in a short essay (500-750 words). I have included questions to guide your reading. You may choose to respond to some or all of these questions; however, your response should be written as a short essay, and you will need to come up with a thesis statement about your chosen text. Post your short essay as a response to the New Criticism Theoretical Response discussion board. I have included the theoretical response assignment instructions at the end of this chapter.

Checklist for New Criticism

Remember, when using the New Criticism approach, the goal is to closely examine the text itself and draw interpretations from its inherent literary qualities rather than relying on external context or authorial intent. Use “the speaker” instead of “the author” when writing about the text, and do not assume that the speaker is the author.

  1. Start with a close reading of the text. If you are working with a poem, number the lines. Then look for meter, rhythm, rhyme, stanzas, etc. (or identify whether the poem is free-verse)
  2. Try to identify the work’s oppositions, tensions, paradoxes, and ironies (complexities in the text).
  3. Look for evidence of unity in the work through specific elements including metaphor, point of view, diction, imagery, meter/rhyme, and structure.
  4. Once you have identified the text’s complexities and found evidence in its elements, create a thesis statement about how the poem’s various elements create unity. What is the the theme of the text, and how do the elements/complexities support that theme?

1. “The Love Song of J. Alfred Prufrock” by T.S. Eliot (1915)

S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma percioche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.

 

Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question …
Oh, do not ask, “What is it?”
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,

Before the taking of a toast and tea.

 

In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair —
(They will say: “How his hair is growing thin!”)
My morning coat, my collar mounting firmly to the chin,

My necktie rich and modest, but asserted by a simple pin —

(They will say: “But how his arms and legs are thin!”)

Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all:
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall

Beneath the music from a farther room.

               So how should I presume?

And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin

To spit out all the butt-ends of my days and ways?

               And how should I presume?

And I have known the arms already, known them all—
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?

Arms that lie along a table, or wrap about a shawl.

               And should I then presume?

               And how should I begin?

Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? …
I should have been a pair of ragged claws

Scuttling across the floors of silent seas.

 

And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep … tired … or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head (grown slightly bald) brought in upon a platter,
I am no prophet — and here’s no great matter;
I have seen the moment of my greatness flicker,

And I have seen the eternal Footman hold my coat, and snicker,

And in short, I was afraid.

And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it towards some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—

If one, settling a pillow by her head

               Should say: “That is not what I meant at all;

               That is not it, at all.”

And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
               “That is not it at all,

               That is not what I meant, at all.”

No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;

At times, indeed, almost ridiculous—

Almost, at times, the Fool.

I grow old … I grow old …

I shall wear the bottoms of my trousers rolled.

Shall I part my hair behind?   Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.

I do not think that they will sing to me.

I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.

Questions

Here are some New Criticism questions you can use to guide your response. You to do not have to use every question. You should formulate a thesis statement about the text and include this thesis statement in your response. Then support the thesis statement with evidence from the text.

  1. How does the poem’s use of imagery and symbolism contribute to the overall meaning of the poem? Explore specific instances of imagery and symbolism, such as the “yellow fog” or the “mermaids,” and discuss how they enhance the poem’s themes.
  2. Analyze the structure and form of the poem. How does the irregular rhyme scheme and meter influence the reader’s experience? How does Eliot’s use of enjambment and punctuation affect the pacing and interpretation of the text?
  3. Examine the diction and word choice in the poem. What impact do specific words and phrases have on the reader’s understanding of Prufrock’s character, his anxieties, and the sense of disillusionment conveyed in the poem?
  4. Explore the use of allusions and references. What are some examples of literary, historical, or cultural allusions in the poem? How do these allusions contribute to the poem’s meaning?
  5. Analyze the shifts in tone and mood throughout the poem. How do these shifts reflect the speaker’s changing emotions and the complexities of his self-perception? How does tone and mood contribute to the poem’s overall themes?
  6. Consider the role of time and temporality in the poem. How does the speaker’s preoccupation with time connect to the larger themes of regret, indecision, and mortality? How does the poem’s structure manipulate time?

2. The Parable of the Prodigal Son (c. 90 CE) King James Version

And he said, A certain man had two sons:

And the younger of them said to his father, Father, give me the portion of goods that falleth to me. And he divided unto them his living.

And not many days after the younger son gathered all together, and took his journey into a far country, and there wasted his substance with riotous living.

And when he had spent all, there arose a mighty famine in that land; and he began to be in want.

And he went and joined himself to a citizen of that country; and he sent him into his fields to feed swine.

And he would fain have filled his belly with the husks that the swine did eat: and no man gave unto him.

And when he came to himself, he said, How many hired servants of my father’s have bread enough and to spare, and I perish with hunger!

I will arise and go to my father, and will say unto him, Father, I have sinned against heaven, and before thee,

And am no more worthy to be called thy son: make me as one of thy hired servants.

And he arose, and came to his father. But when he was yet a great way off, his father saw him, and had compassion, and ran, and fell on his neck, and kissed him.

And the son said unto him, Father, I have sinned against heaven, and in thy sight, and am no more worthy to be called thy son.

But the father said to his servants, Bring forth the best robe, and put it on him; and put a ring on his hand, and shoes on his feet:

And bring hither the fatted calf, and kill it; and let us eat, and be merry:

For this my son was dead, and is alive again; he was lost, and is found. And they began to be merry.

Now his elder son was in the field: and as he came and drew nigh to the house, he heard musick and dancing.

And he called one of the servants, and asked what these things meant.

And he said unto him, Thy brother is come; and thy father hath killed the fatted calf, because he hath received him safe and sound.

And he was angry, and would not go in: therefore came his father out, and intreated him.

And he answering said to his father, Lo, these many years do I serve thee, neither transgressed I at any time thy commandment: and yet thou never gavest me a kid, that I might make merry with my friends:

But as soon as this thy son was come, which hath devoured thy living with harlots, thou hast killed for him the fatted calf.

And he said unto him, Son, thou art ever with me, and all that I have is thine.

It was meet that we should make merry, and be glad: for this thy brother was dead, and is alive again; and was lost, and is found.

Questions

The speaker in this text is Jesus, as reported in Luke’s Gospel. This passage is Jesus’s response to an accusation from the scribes and Pharisees that he “welcomes sinners” and even shares a table with them. The story seems to answer this accusation. How does knowing the context affect your reading of the parable? If you were raised and/or follow a Christian religious tradition, you may have extratextual interpretations for this parable. In your response, please try to set those aside. Remember that with New Criticism, the text itself is our focus, not the context or our outside knowledge of the text.

Here are some New Criticism questions you can use to guide your response. You to do not have to use every question. You should formulate a thesis statement about the text and include this thesis statement in your response. Then support the thesis statement with evidence from the text.

  1. Examine the parable’s structure and narrative sequence. How does the parable’s storytelling structure contribute to its impact? Consider the introduction, the conflict, the climax, and the resolution. How do these elements build tension and emotion?
  2. Analyze the characters’ personalities and development. How are the characters of the prodigal son, the father, and the older brother presented? How does their characterization contribute to the overall message of the parable?
  3. Explore the use of symbolism and metaphors. What symbolic elements in the parable contribute to its deeper meanings? How does the idea of the prodigal son’s journey and return symbolize themes like forgiveness, repentance, and redemption?
  4. Examine the parable’s language and diction. How does a phrase like “the fatted calf” affect the tone of this parable? What other examples of archaic diction contribute to the voice? What impact do specific words and phrases have on the parable’s meaning and emotional resonance?
  5. Analyze the use of repetition and rhetorical devices. How does the repetition of certain phrases or ideas contribute to the parable’s emphasis and rhythm? How do rhetorical techniques like parallelism or contrast enhance the storytelling?
  6. Discuss the use of irony in the parable. What examples of irony can you find? How do they contribute to the text’s meaning?

3. “Recuerdo” by Edna St. Vincent Millay (1922)

We were very tired, we were very merry—
We had gone back and forth all night on the ferry.
It was bare and bright, and smelled like a stable—
But we looked into a fire, we leaned across a table,
We lay on a hill-top underneath the moon;
And the whistles kept blowing, and the dawn came soon.
We were very tired, we were very merry—
We had gone back and forth all night on the ferry;
And you ate an apple, and I ate a pear,
From a dozen of each we had bought somewhere;
And the sky went wan, and the wind came cold,
And the sun rose dripping, a bucketful of gold.
We were very tired, we were very merry,
We had gone back and forth all night on the ferry.
We hailed, “Good morrow, mother!” to a shawl-covered head,
And bought a morning paper, which neither of us read;
And she wept, “God bless you!” for the apples and pears,
And we gave her all our money but our subway fares.

Questions

Here are some New Criticism questions you can use to guide your response. You to do not have to use every question. You should formulate a thesis statement about the text and include this thesis statement in your response. Then support the thesis statement with evidence from the text.

  1. Explore the poem’s title and its significance. How does the title “Recuerdo” (Spanish for “I remember”) set the tone for the poem? How does the title’s choice of language relate to the theme and content of the poem?
  2. Analyze the use of imagery and diction in the poem. What vivid images does the speaker use to describe the scene and events in the poem? How does the language style contribute to the poem’s atmosphere and themes? Are there any specific words or phrases that stand out as particularly significant? How does the poem explore the idea of remembering a past experience? What emotions and reflections does the speaker’s recollection evoke, and how are these emotions conveyed through the poem’s language and imagery?
  3. Examine the poem’s tone and mood. How does the tone shift throughout the poem, from the playful and carefree beginning to the reflective and contemplative ending?
  4. Analyze the poem’s structure and form. How do the poem’s rhyme and meter contribute to the work? Does the poem conform to a set genre (e.g., quatrain, sonnet, villanelle, etc.)? How does its use of or rejection of a specific genre contribute to the poem’s overall themes?
  5. Examine the use of punctuation. How does Millay’s use of  punctuation affect the rhythm and pacing of the poem? How does it impact the reader’s interpretation?
  6. Discuss the use of the second-person point of view. How does the poem’s use of “you” and “I” create a sense of intimacy and immediacy? How does this choice of point of view contribute to the poem’s unity?

Theoretical Response Assignment Instructions

For each of the critical approaches we study in Critical Worlds, you will write a short response that demonstrates your beginning understanding of the concept by applying the approach to a text. Treat these responses as short essays. The responses are intended to help you find what you do and don’t understand about the critical approach so that we can discuss the approach as a class.

Instructions

Step One: At the end of each section in Critical Worlds, you will find a chapter called “Practicing [Theoretical Approach].” (For example, “Practicing New Criticism”) Read all the works in this section and be prepared to discuss them on our class discussion board or in class.
Step Two: Choose one of the works to write about in your response. For example, you will read all four of the short works in the New Criticism section, but you will only respond to one, perhaps “Recuerdo” by Edna St. Vincent Millay. Refer to our course schedule for due dates.
Step Three: Use the questions that follow the one work you’ve chosen to prompt your response. Your final response should be written as a short essay that considers the key elements of each question, 500-750 words in length (3-4 complete paragraphs). When you directly quote the text, use MLA style and include page or line numbers in parenthetical citations for later reference. Do your best, and please reach out if you need help.
Step Four: Submit your response by copying and pasting it into the discussion board forum designated for this assignment. Do not attach your response as a Word document. Refer to the course schedule for due dates. I strongly recommend that you draft your response in Word of another software program that includes a grammar and spelling checker.
Step Five: Online students are required to respond to two classmates who chose different texts from the one you chose for your response. These responses should both be 100-150 words in length (200-300 words total) and are due by Sunday. Students who attend class in person are not required to post responses to classmates because we will discuss the works in class together. 

Grading

Each short response is worth 25 points.
  • 15 points: theoretical response
  • 10 points: online discussion (5 points per response) OR class attendance.
Responses will be graded on adherence to requirements and thoroughness and thoughtfulness of work—not simply on completion. A response that meets the requirements but is perfunctory in manner may receive a “C.”
Note: I do not expect you to apply the theory perfectly to earn a high grade. These responses are about practicing an approach, not mastering it.

License

Icon for the Creative Commons Attribution-NonCommercial 4.0 International License

Critical Worlds Copyright © 2024 by Liza Long is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License, except where otherwise noted.

Share This Book