Aristotle

Aristotle Stagiritis son of Nicomachus" 384B.CGreek n.a male platos

academy 368/67 bc. Na logic, physics, astronomy, meteorology, zoology,
metaphysics, theology, psychology, politics, economics, ethics, rhetoric, and poetics. While
Aristotle's contributions in each subject were considerable for the time, his major contribution
was to the overall study and teaching of such subjects in a systematic way, many of which had
never been considered before.
Two areas which he advanced were physics and astronomy. He made very interesting
discussion of the topics of matter, change, movement, space, position, and time as well as
studying comets. http://en.wikipedia.org/wiki/Plato http://en.wikipedia.org/wiki/Aristotle

Plato

1.

Aristocles Athenians/greek 429-423 bc na male Athenian school na tha republic, the symposium, phaedo,
meno, apology, Euthyphro,

Apology, Crito, Phdo

2. Cratylus, Thetetus, Sophist, Statesman

3. Parmenides, Philebus, Symposium, Phdrus
4. Alcibiades, 2nd Alcibiades, Hipparchus, Rival Lovers
5. Theages, Charmides, Laches, Lysis
6. Euthydemus, Protagoras, Gorgias, Meno
7. Hippias major, Hippias minor, Ion, Menexenus
8. Clitophon, Republic, Timus, Critias
9. Minos, Laws, Epinomis, Letters
http://plato-dialogues.org/works.htm
Admirers of Plato are usually lovers of literary art. It is so because Plato wrote dramatic
dialogues rather than didactic volumes and did so with rare literary skill. You would expect such
a philosopher to place a high value on literary art, but Plato actually attacked it, along with other
forms of what he called mimesis. According to Platos theory of mimesis (imitation) the arts deal
with illusion and they are imitation of an imitation. Thus, they are twice removed from reality. As
a moralist, Plato disapproves of poetry because it is immoral, as a philosopher he disapproves
of it because it is based in falsehood. He is of the view that philosophy is better than poetry
because philosopher deals with idea / truth, whereas poet deals with what appears to him /

illusion. He believed that truth of philosophy was more important than the pleasure of poetry. He
argued that most of it should be banned from the ideal society that he described in the Republic.
http://wikieducator.org/Literary_Criticism

Horace

QUINTUS HORATIUS FLACCUS 8th of December, 65 B.C

na male

n 39 B.C., after Octavian (Augustus) granted amnesty to those involved in

the civil war sparked by the assassination of his uncle Julius Caesar, Horace became a
secretary in the Roman treasury. In 38, he met and became the client of the artists'
patron Maecenas, who provided Horace with a villa in the Sabine Hills (his Sabine Farm).
In addition, Augustus favored him by commissioning him to write the Carmen
Saeculare for the Secular Games of 17 B.C. Satires 1 (c. 3534 BC)

Satires 2 (c. 30 BC)

Epodes (30 BC)

Odes 13 (c. 23 BC)[nb 9]

Epistles 1 (c. 21 BC)

Carmen Saeculare (17 BC)

Epistles 2 (c. 11 BC)[nb 10]

Odes 4 (c. 11 BC)

Ars Poetica (c. 108 BC)[nb 11]

Odyssia of Livius Andronicus na. Several of the "Satires", [69] and the three Epistles which
form the second book, are devoted to literary criticism, and these have always been
regarded as among the most interesting of Horace's compositions. His opinions on previous
and contemporary poetry are given with emphasis, and as a rule ran counter to the opinion
of his day. The technical dexterity in versification which had resulted from the feverish
activity of the last forty years, had produced a disastrous consequence. All the world was
seized with the mania for writing poetry:
"Scribimus indocti doctique poemata passim."

In approaching the criticism of Horace, the first thing which strikes us is, that in
him we see two different poets. There is the lyricist winning renown by the
importation of a new kind of Greek song; and there is the observant critic and man
of the world, entrusting to the tablets, his faithful companions, his reflections on

men and things. The former poet ran his course through the "Epodes" to the
graceful pieces which form the great majority of his odes, and culminated in the
loftier vein of lyric inspiration that characterises his political odes. The latter began
with a somewhat acrimonious type of satire, which he speedily deserted for a
lighter and more genial vein, and finally rested in the sober, practical, and healthy
moralist and literary critic of the "Epistles". It was in the former aspect that he
assumed the title of poet; with characteristic modesty he relinquishes all claim to it
with regard to his "Epistles" and "Satires". We shall consider him briefly under these
two aspects.
Longinus

Cassius Longinus
213 Syrian na on the sublime Homeric Questions; Whether Homer is a
Philosopher; Homeric Problems and Solutions; and two publications on Attic diction.[13] The most
important of his philological works, - Philological Discourses - consisting of at least 21 books, is
omitted. A considerable fragment of his On the Chief End is preserved by Porphyry.[14] Under his
name there are also extant Prolegomena to theHandbook of Hephaestion on metre, and the
fragment of a treatise on rhetoric, inserted in the middle of a similar treatise by Apsines. It gives
brief practical hints on invention, arrangement, style, memory and other things useful to the
student.

Dante
Durante degli Alighieri Italian MayorJune1265,marriedmaleStilnovoPoetical

Schoolna.thedivinecomedywith its seriousness of purpose, its literary stature and the

range both stylistically and subjectwise of its content, the Comedy soon became a
cornerstone in the evolution of Italian as an established literary language. Dante was more
aware than most earlier Italian writers of the variety of Italian dialects and of the need to create
a literature, and a unified literary language, beyond the limits of Latin writing at the time; in that
sense he is a forerunner of the Renaissance, with its effort to create vernacular literature in
competition with earlier classical writers. Dante's in-depth knowledge (within the limits of his
time) of Roman antiquity, and his evident admiration for some aspects of pagan Rome, also
point forward to the 15th century. Ironically, while he was widely honored in the centuries after
his death, the Comedy slipped out of fashion among men of letters: too medieval, too rough and
tragic, and not stylistically refined in the respects that the high and late Renaissance came to
demand of literature http://en.wikipedia.org/wiki/Dante_Alighieri
Phillip

30 November 1554 english na male Shrewsbury School and Christ Church,

Oxford. Works

The Lady of May This is one of Sidney's lesser-known works, a masque written and
performed for Queen Elizabeth in 1578 or 1579.

Astrophel and Stella The first of the famous English sonnet sequences, Astrophel and
Stella was probably composed in the early 1580s. The sonnets were well-circulated in
manuscript before the first (apparently pirated) edition was printed in 1591; only in 1598 did
an authorised edition reach the press. The sequence was a watershed in
English Renaissance poetry. In it, Sidney partially nativised the key features of his Italian
model, Petrarch: variation of emotion from poem to poem, with the attendant sense of an
ongoing, but partly obscure, narrative; the philosophical trappings; the musings on the act of
poetic creation itself. His experiments with rhyme scheme were no less notable; they served
to free the English sonnet from the strict rhyming requirements of the Italian form.

The Countess of Pembroke's Arcadia The Arcadia, by far Sidney's most ambitious
work, was as significant in its own way as his sonnets. The work is a romance that
combines pastoralelements with a mood derived from the Hellenistic model of Heliodorus. In
the work, that is, a highly idealised version of the shepherd's life adjoins (not always
naturally) with stories of jousts,political treachery, kidnappings, battles, and rapes. As
published in the sixteenth century, the narrative follows the Greek model: stories are nested
within each other, and different storylines are intertwined. The work enjoyed great popularity
for more than a century after its publication. William Shakespeare borrowed from it for
the Gloucester subplot of King Lear; parts of it were also dramatised by John
Day and James Shirley. According to a widely-told story, King Charles I quoted lines from
the book as he mounted the scaffold to be executed; Samuel Richardsonnamed the heroine
of his first novel after Sidney's Pamela. Arcadia exists in two significantly different versions.
Sidney wrote an early version (The Old Arcadia) during a stay at Mary Herbert's house; this
version is narrated in a straightforward, sequential manner. Later, Sidney began to revise
the work on a more ambitious plan, with much more backstory about the princes, and a
much more complicated story line, with many more characters. He completed most of the
first three books, but the project was unfinished at the time of his deaththe third book
breaks off in the middle of a swordfight. There were several early editions of the book. Fulke
Greville published the revised version alone, in 1590. The Countess of Pembroke, Sidney's
sister, published a version in 1593, which pasted the last two books of the first version onto
the first three books of the revision. In the 1621 version, Sir William Alexander provided a
bridge to bring the two stories back into agreement.<Evans, 12-13> It was known in this
cobbled-together fashion until the discovery, in the early twentieth century, of the earlier
version.

An Apology for Poetry[6] (also known as A Defence of Poesie and The Defence of Poetry)
Sidney wrote the Defence before 1583. It is generally believed that he was at least partly
motivated by Stephen Gosson, a former playwright who dedicated his attack on the English
stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more
general objections to poetry, such as those of Plato. In his essay, Sidney integrates a
number of classical and Italian precepts on fiction. The essence of his defence is that
poetry, by combining the liveliness of history with the ethical focus of philosophy, is more
effective than either history or philosophy in rousing its readers to virtue. The work also
offers important comments on Edmund Spenser and the Elizabethan stage.

[edit]See

also

Censorship is one issue Sidney had to overcome through his use of rhetorical devices in
the Apology. Sidney was also versed in the phenomenon of courtiership. As part of his strategy
against the threat of censorship, Sidney uses the structure of classical oration with its
conventional divisions such as exordium and peroratio. Sidney's use of classical oration stems
from his humanist education (Harvey 1). He uses this method to build his argument, by making
use of the rhetorical methods in such guides as Thomas Wilsons Arte of Rhetorique (1553)
(Harvey 2). Sidney also uses metaphor and allegory, to conceal and reveal his position. For
instance, his use of horsemanship as imagery and analogy substantiates his vision of the
transformational power of poetry. Sidney, as author, enters his work undetected in that
the etymology of his name Philip is horse-lover (Pask 7). From the opening discourse on
horsemanship, Sidney expands on the horse and saddle metaphor throughout his work by the
enlarging of a conceit (Leitch 333). It is Sidney who then guards against a falling out with the
poet-whippers (Leitch 346). Sidney also attends to the rhetorical concept of memory. Poetry,
apart from its ability to delight, has an affinity with memory (Leitch 347).
Method and style are thus key components of the Apology to overcome the problem of
censorship. For this reason, Sidney consciously defends fiction, and he attacks the privilege that
is accorded to fact. He argues that the poet makes no literal claims of truth, is under no
illusions, and thus creates statements that are in a sense fictional and as true as any others
(Bear 5). What is at stake then is not only the value of poetry in the sense of its utility, but also
its place in a world replete with strife, the contingent and the provisional.
http://en.wikipedia.org/wiki/An_Apology_for_Poetry
john Dryden (9 August 1631 english married male. Westminster School 1644
http://www.luminarium.org/eightlit/dryden/drydenbib.htm

ramatic Works
The Rival Ladies (1664)
The Indian Queen (1665)

The Indian Emperor (1667)

The State of Innocence and Fall of Man:
An Opera (wr. 1674; pub. 1677)
All for Love; or, The World Well Lost (1678)
Oedipus: A Tragedy (1679)
Troilus and Cressida; or, Truth Found Too Late (1679)
Limberham; or, The Kind Keeper (1680)
The Spanish Fryar; or, The Double Discovery (1681)
The Duke of Guise (1683)
Albion and Albanius (1685)
Don Sebastian, King of Portugal (1690)
Amphitryon; or, The Two Sosias (1690)
King Arthur; or, The British Worthy (1691)
Cleomenes, The Spartan Hero (1692)
Love Triumphant; or, Nature Will Prevail (1694)
Contributions to Vanbrugh's adaptation
of Fletcher's The Pilgrim (1700)

Prose
Of Dramatic Poesie, An Essay (1668)
Notes and Observations on "The Empress of Morocco" (1674)
His Majesties Declaration Defended (1681)
The Vindication; or, The Parallel of the French Holy League,
and the English League and Covenant, &c. (1683)
A Discourse Concerning the Original and Progress of Satire(1693)

Poetry
Heroic Stanzas on the Death of Oliver Cromwell (1659)
Astraea Redux (1660)
To His Sacred Majesty, a Panegyric on His Coronation (1661)
To My Lord Chancellor (1662)
Annus Mirabilis: The Year of Wonders (1667)

Here Dryden perfects a casual epistolary mode of heroic couplets to be later

employed by Pope in An Essay on Man (1733), among other philosophical
poems of the age. The strong medial caesuras, the enjambments, the triplet,
and the metric variety lend an air of almost casual conversation. The imagery
is worthy of Dante or Donne or Henry Vaughan. At the end Dryden maintains
that he has chosen "this unpolish'd, rugged Verse ... As fittest for Discourse,
and nearest Prose." Not even Matthew Arnold could take this quite polished
verse for prose. But Dryden had become a master of the philosophical epistle
in verse, whose apparent casualness disguises its richly tropic nature."

Alex

21 May 1688 english single male Twyford School in about 1698/99 1709: Pastorals

1711: An Essay on Criticism[19]

1712: Messiah

1712: The Rape of the Lock (enlarged in 1714)[19]

1713: Windsor Forest[19]

17151720: Translation of the Iliad[19]

1717: Eloisa to Abelard[19]

1717: Three Hours After Marriage, with others

1717: Elegy to the Memory of an Unfortunate Lady[19]

17231725: The Works of Shakespear, in Six Volumes

17251726: Translation of the Odyssey[19]

1727: Peri Bathous, Or the Art of Sinking in Poetry

1728: The Dunciad[19]

17331734: Essay on Man[19]

1735: The Prologue to the Satires (see the Epistle to Dr Arbuthnot and Who breaks a
butterfly upon a wheel?)

[edit]Other

works

1700: Ode on Solitude

greatest poet of the 18th cent. and the greatest verse satirist in English.

William

(7 April 1770 english married male of Trinity College, Cambridge Lyrical Ballads, with a
Few Other Poems (1798)

"Simon Lee"

"We are Seven"

"Lines Written in Early Spring"

"Expostulation and Reply"

"The Tables Turned"

"The Thorn"

"Lines Composed A Few Miles above Tintern Abbey"

Lyrical Ballads, with Other Poems (1800)

Preface to the Lyrical Ballads

"Strange fits of passion have I known"[16]

"She Dwelt among the Untrodden Ways"[16]

"Three years she grew"[16]

"A Slumber Did my Spirit Seal"[16]

"I travelled among unknown men"[16]

"Lucy Gray"

"The Two April Mornings"

"Nutting"

"The Ruined Cottage"

"Michael"

"The Kitten At Play"

Poems, in Two Volumes (1807)

"Resolution and Independence"

"I Wandered Lonely as a Cloud" Also known as "Daffodils"

"My Heart Leaps Up"

"Ode: Intimations of Immortality"

"Ode to Duty"

"The Solitary Reaper"

"Elegiac Stanzas"

"Composed upon Westminster Bridge, September 3, 1802"

"London, 1802"

"The World Is Too Much with Us"

Guide to the Lakes (1810)

The Excursion (1814)

Laodamia (1815, 1845)

The Prelude (1850)

[edit]Further

reading

Honorary degree, Durham University (1938)

Honorary degree, Oxford University (1939)
Poet Laureate of England (1843)

Wordsworth was certainly aware that the poems in Lyrical Ballads

were different from the conventional verse of the day, and he knew
that fashionable reviewers would probably dismiss them as
insufficiently elevated in tone and subject matter. They did, with a
vengeance, and a good part of Wordsworth's additions to the
preface for the 1802 edition are attempts to answer his critics. But

even in the 1800 version of the preface Wordsworth made an

explicit connection between a plain poetic diction and a proper
relationship to nature and society; that is, he makes the issue of a
poetic diction a moral one, and his critique of a sonnet by Thomas
Gray is an ethical demonstration as well as an example of literary
criticism directed by one generation against the preceding one. As
Wordsworth revised the preface for later editions, the changes
reflected Wordsworth's increasingly conservative and establishment
view
Hippolyte Adolphe Taine (21 April 1828 french na male Institution Math, 1841

Major

works
Taine's principal works, in chronological order, are:

De Personis Platonicis (1853).

La Fontaine et ses Fables (1853/1861).

A Tour through the Pyrenees (1855).

Essai sur Tite-Live (1856).

Mmoires du duc de Saint-Simon Sicle de Louis XIV, la rgence, Louis XV (1856).

Les Philosophes Classiques du XIXe Sicle en France (1857/1868).

Essais de Critique et d'Histoire (1858/1862).

History of English Literature, Vol. 2, Vol. 3, Vol. 4, (1864).

LIdalisme Anglais. tude Sur Carlyle (1864).

Le Positivisme Anglais: tudes sur Stuart Mill (1864).

Les crivains Anglais Contemporains (1865).

Philosophie de lArt, Vol. 2, (1865 - 1882).

Nouveaux Essais de Critique et dHistoire (1865/1901).

Italy: Rome and Naples (1866).

Italy: Florence and Venice (1866).

Notes on Paris (1867).

On Intelligence (1870).

Un Sjour en France de 1792 1795. Lettres dun Tmoin de la Rvolution

Franaise (1872).

Notes on England (1872).

Du Suffrage Universel, (1872).

Lectures on Art, Vol. 2, (1875).

The Origins of Contemporary France (1875/1893).

Derniers Essais de Critique et dHistoire (1894).

Carnets de Voyage, Notes sur la Province (1863-1865/1897).

Life and Letters of H. Taine, Vol. 2, Vol. 3, (1904/1908).

tienne Mayran (1910), fragments.

On Style, Scribners Magazine, Vol. 334, N. 4

Taine formulated his critical system most clearly in the introduction to the five volumes of one of
his major works, Histoire de la littrature anglaise (1863). He stated that every reality,
psychological, esthetic, or historical, can be reduced to a distinctly definable formula by
discovering in each reality a single operative principle. This basic principle is governed by a
system of laws that he reduced to his famous triad of race, environment, and time ("la race, le
milieu, le moment"). Taine applied this critical system in all of his works, including his analyses
of the development of the arts of Greece, Italy, and the Netherlands, presented in a series of
lectures spanning more than 20 years at the cole des Beaux-Arts and published in two
volumes,Philosophie de l'art (1865-1869).

Matthew Arnold (24 December 1822 british married male 1836, Arnold was sent
toWinchester College, but in 1837 he returned to Rugby School TheStrayedReveller
andOtherPoems (1849)

o 'The Forsaken Merman' text (U. of Toronto site)

o 'The Sick King in Bokhara'

EmpedoclesonEtnaandotherPoems (1852)
o "The Buried Life" (text)
o "Empedocles on Etna" commentary
o Lines in Kensington gardens" (1852) text (U. of Toronto site)
o 'Tristram and Iseult' commentary
o "Summer Night"
o ""Switzerland, no. 5. To Marguerite Continued."

Poems (1853)
o SohrabandRustumandOtherPoems (E-text at Project Gutenberg)
o "Calais Sands" text commentary
o "Sohrab and Rustum" text commentary
o "The Scholar-Gipsy" commentaries: Johnson Sullivan text (U. of
Toronto site)
o "Church of Brou"
o "Requiescat"
o "Memorial Verses of Wordsworth"
o "Stanzas in Memory of the Author of Obermann"

Poems,SecondSeries (1855)
o "Balder Dead" commentary

"The Modern Element in Literature," inaugural lecture at Oxford

(November 1857)

Merope,aTragedy (1858) commentary

OnTranslatingHomer (lectures) (1861)

TheStudyofCelticLiterature (lectures) (1867)

o E-text at Project Gutenberg
o Political Context

EssaysinCriticism (1865 and 1888)

o "The Function of Criticism at the Present Time"

E-text at Project Gutenberg

Commentary: Problem of Style

Closing Imagery

Fundamental Debt to Newman

NewPoems (1867)
o "Dover Beach" text commentary and discussion of the imagery
o "Thyrsis" text (U. of Toronto site)
o "Rugby Chapel" "text" (U. of Toronto site)
o "Heine's Grave"
o "A Southern Night"

CultureandAnarchy (1869)
o Complete text of first edition
o "Doing as One Likes" (full text of chapter 2, third edition)
o CultureandAnarchy and the 1867 Reform Bill
o attacks Philistine elements in bourgeois society that threaten the
creative intellect

St.PaulandProtestantism (1870)
o discussion (ch. 5, DeLaura's HebrewandHellene)

Friendship'sGarland (1871)

LiteratureandDogma (1873)
o discussion (ch. 5, DeLaura's HebrewandHellene)

GodandtheBible (1875)

LastEssaysonChurchandReligion (1877)

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."[21]

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 lecturesOn 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 ofliterary 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 i
Henry James, OM (15 April 1843 american single male 19 he briefly attended Harvard Law
School particularly in his insistence that writers be allowed the greatest possible freedom in
presenting their view of the world. James claimed that a text must first and foremost be realistic
and contain a representation of life that is recognizable to its readers. Good novels, to James,
show life in action and are, most importantly, interesting. The concept of a good or bad novel is
judged solely upon whether the author is good or bad. His imaginative use of point of
view, interior monologue and possibly unreliable narrators in his own novels and tales brought a
new depth and interest to narrative fiction. An extraordinarily productive writer, in addition to his
voluminous works of fiction he published articles and books of travel, biography, autobiography,
and criticism, and wrote plays, some of which were performed during his lifetime with moderate
success. His theatrical work is thought to have profoundly influenced his later novels and tales.