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Critical theories of literature in Asian , however, have been more varied. There is an immense amount of highly technical, critical literature in . Some works are recipe books, vast collections of tropes and stylistic devices; others are philosophical and general. In the best period of Indian literature, the cultural of Sanskrit (c. 320–490), it is assumed by writers that expressive and constructive factors are twin aspects of one reality. The same could be said of the Chinese, whose literary manuals and books on prosody and are, as with the West, to the class of technical handbooks, while their literary criticism is concerned rather with subjective, expressive factors—and so aligns itself with the pseudo-Longinus’ “sublime.” In , technical, stylistic elements are certainly important (Japanese in these matters is perhaps the most refined in the world), but both writer and reader above all seek qualities of subtlety and poignancy and look for intimations of profundity often so evanescent as to escape entirely the uninitiated reader.

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Some personal documents (, , , and ) rank among the world’s greatest literature. Some examples of this were written with in mind, others with no thought of their being read by anyone but the writer. Some are in a highly polished literary style; others, couched in a privately evolved language, win their standing as literature because of their cogency, insight, depth, and scope.

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, the art of persuasion, was long considered a great literary art. The oratory of the , for instance, is famous, while in Classical Greece, was the muse sacred to poetry and oratory. Rome’s great orator was to have a decisive influence on the development of English prose style. ’s is known to every American schoolchild. Today, however, oratory is more usually thought of as a craft than as an art. Most critics would not admit advertising copywriting, purely commercial , or cinema and television scripts as accepted forms of literary expression, although others would hotly dispute their exclusion. The test in individual cases would seem to be one of enduring satisfaction and, of course, truth. Indeed, it becomes more and more difficult to categorize literature, for in modern civilization words are everywhere. Man is subject to a continuous flood of communication. Most of it is fugitive, but here and there—in high-level journalism, in television, in the cinema, in commercial fiction, in westerns and detective stories, and in plain, expository prose—some writing, almost by accident, achieves an aesthetic satisfaction, a depth and relevance that entitle it to stand with other examples of the art of literature.

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It lord capulet good father essay is. . best world literature essays Response to Literature Genre: Sample Responses to Literature.

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The American Romantic period was essentially a Renaissance of American literature. “It was a Renaissance in the sense of a flowering, excitement over human possibilities, and a high regard for individual ego” (English). American romantics were influenced by the literary eras that came before them,...

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The existence of good bad literature–the fact that one canbe amused or excited or even moved by a book that one's intellectsimply refuses to take seriously–is a reminder that art isnot the same thing as cerebration. I imagine that by any test thatcould be devised, Carlyle would be found to be a more intelligentman than Trollope. Yet Trollope has remained readable and Carlylehas not: with all his cleverness he had not even the wit to writein plain straightforward English. In novelists, almost as much asin poets, the connection between intelligence and creative power ishard to establish. A good novelist may be a prodigy ofself-discipline like Flaubert, or he may be an intellectual sprawllike Dickens. Enough talent to set up dozens of ordinary writershas been poured into Wyndham Lewis's so-called novels, such as TARRor SNOOTY BARONET. Yet it would be a very heavy labour to read oneof these books right through. Some indefinable quality, a sort ofliterary vitamin, which exists even in a book like IF WINTER COMES,is absent from them.

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Literature has sometimes flourished under despotic regimes, but,as has often been pointed out, the despotisms of the past were nottotalitarian. Their repressive apparatus was always inefficient,their ruling classes were usually either corrupt or apathetic orhalf-liberal in outlook, and the prevailing religious doctrinesusually worked against perfectionism and the notion of humaninfallibility. Even so it is broadly true that prose literature hasreached its highest levels in periods of democracy and freespeculation. What is new in totalitarianism is that its doctrinesare not only unchallengeable but also unstable. They have to beaccepted on pain of damnation, but on the other hand, they arealways liable to be altered on a moment's notice. Consider, forexample, the various attitudes, completely incompatible with oneanother, which an English Communist or "fellow-traveler" has had toadopt toward the war between Britain and Germany. For years beforeSeptember, 1939, he was expected to be in a continuous stew about"the horrors of Nazism" and to twist everything he wrote into adenunciation of Hitler: after September, 1939, for twenty months,he had to believe that Germany was more sinned against thansinning, and the word "Nazi", at least as far as print went, had todrop right out of his vocabulary. Immediately after hearing the 8o'clock news bulletin on the morning of June 22, 1941, he had tostart believing once again that Nazism was the most hideous evilthe world had ever seen. Now, it is easy for the politician to makesuch changes: for a writer the case is somewhat different. If he isto switch his allegiance at exactly the right moment, he musteither tell lies about his subjective feelings, or else suppressthem altogether. In either case he has destroyed his dynamo. Notonly will ideas refuse to come to him, but the very words he useswill seem to stiffen under his touch. Political writing in our timeconsists almost entirely of prefabricated phrases bolted togetherlike the pieces of a child's Meccano set. It is the unavoidableresult of self-censorship. To write in plain, vigorous language onehas to think fearlessly, and if one thinks fearlessly one cannot bepolitically orthodox. It might be otherwise in an "age of faith",when the prevailing orthodoxy has long been established and is nottaken too seriously. In that case it would be possible, or might bepossible, for large areas of one's mind to remain unaffected bywhat one officially believed. Even so, it is worth noticing thatprose literature almost disappeared during the only age of faiththat Europe has ever enjoyed. Throughout the whole of the MiddleAges there was almost no imaginative prose literature and verylittle in the way of historical writing; and the intellectualleaders of society expressed their most serious thoughts in a deadlanguage which barley altered during a thousand years.