Detailed Explanation of Chapter 2 in I.A. Richards' 'Science and Poetry'.

 
 Detailed Explanation of Chapter 2 in I.A. Richards' Science and Poetry

 

Criticism consists of asking and answering rational questions about literature. Criticism flourishes in an atmosphere of intellectual freedom and inquiry. A critic is an ideal judge and reader who bring to bear a trained judgement on whatever he reads. I.A. Richards, the pioneer of the new criticism, was regarded as the most important psychological critic who has studied poetry methodically. He mutually with Eliot is the most influential critic in the twentieth century Anglo- American criticism. Richards was the first critic who realized the importance of psychology and the impact it made on the reader and society. He was a man of wide learning. He was widely read not only in literature, but also in psychology, philosophy, aesthetics, the superior arts and the wide ideology of various sciences.

 His Poetries & Sciences is a collection of essays and lectures. The book goes deep into the relationship between poetry and science, exploring how these seemingly distinct domains can inform and enrich each other. The book offers a thought-provoking exploration of the intersections between art and science, and it continues to be a significant work in the fields of literary criticism, rhetoric, and the philosophy of language.  

Richards was known for his interdisciplinary approach to literary criticism, and as such in Poetries & Sciences, he applies this approach to the study of poetry and scientific thought. He discusses how the methods and principles of scientific inquiry can be applied to the analysis and understanding of poetry, and how a scientific understanding of language and communication can shed light on the nature of poetic expression. 

At the same time, Richards also explores how the insights and perspectives offered by poetry can complement and expand our understanding of the natural world and the human experience. He argues that poetic language has the capacity to convey complex emotional and sensory experiences that are not easily captured by scientific discourse, and that this unique mode of expression can offer valuable insights into the human condition. 

Throughout the essays and lectures in Poetries & Sciences, Richards engages with a wide range of topics, including the nature of metaphor, the relationship between language and thought, and the ways in which poetry and science can both contribute to our understanding of the world. His work in this collection reflects his deep commitment to interdisciplinary inquiry and his belief in the value of integrating different modes of knowledge and understanding.

 

In Chapter1- ‘The General Situation’ he discusses why and how change is a way of life and today is changing very swiftly.

 Here he points out that some parts of human nature resists change e.g. habits – they are difficult to change, he talks about habits of thoughts.

Change is not just a fact of life, but the very fabric of it. Everything around us, from the seasons to our technology, is constantly evolving. And while we might prefer things to stay the same, Richard points out that some parts of us actually resist change quite strongly.

While I.A Richards acknowledges our resistance to change, he ultimately encourages us to embrace it as a necessary part of life and a key driver of personal growth. He further says that the average educated man is growing more conscious can be understood as an increase in the awareness and understanding of the world around us, fostered by the interplay between science and poetry. These two disciplines can complement and enrich each other, providing a more comprehensive and profound understanding of the natural world and our place within it. He further says that an average educated man is growing more conscious and he is also becoming more reflective.

 

Chapter 2 ‘Science And Poetry’ ‘The Poetic Experience’.

Richards says that extraordinary claims have often been made about poetry. Mathew Arnold says,  ‘The future of poetry is immense, because in poetry, where it is worthy of its high destinies, our race, as time goes on, will find an ever surer and surer stay…..’ While Peacock says that ‘A poet in our times is a semi-barbarian in a civilized community. He lives in the days that are past. His ideas, thoughts, feelings, associations, are all with barbarous manners, obsolete customs, and exploded superstitions…..’  - after quoting two eminent critics, Richards asks would the advancement of science be able to destroy the possibility of poetry and how and where is our estimate of poetry going to be affected and influenced by science.

He then goes on to discuss the place of poetry in human affairs, but before that, he says it is important to know or discover what poetry is. Pervious the field of psychology was not fully developed so much investigation has gone into the topic. But now we need to analyze it satisfactorily.

He proposes a unique way to analyze poetry, particularly Wordsworth's ‘Westminster Bridge.’ Instead of starting with an outward interpretation of the poem's meaning, he suggests boarding on an inward journey. Begin by experiencing the ‘surface,’ the printed words on the page, their sound, and their literal meaning. Allow these to spark an ‘agitation’ within you – emotions, thoughts, or even physical sensations. Do not stay on the surface, but follow this ‘agitation’ inwards. Let the poem's words guide you, explore how they connect and evoke personal memories and feelings. This inward journey, unique to each reader, unlocks the deeper meaning and personal experience the poem offers.  

‘Earth has not anything to show more fair / Upon a morning, such as this, fair earth!’ The words stir feelings of beauty, peace, and awe. You might visualize the scene, and feel the sun on your face. Probing deeper, you connect these feelings to personal nature experiences or moments of profound peace. You might question the source of the beauty or ponder the fleeting nature of it all. By following this inward path, ignited by the words, you gain a profound understanding and appreciation of the poem, not just its meaning, but also its emotional and personal impact on you.

Richards then explains that this agitation or the experience divides into two distinct paths, like a river branching into two streams. These are the ‘major’ and ‘minor’ branches.

The Major Branch: The Emotional Stream:

This is the more powerful, ‘active’ stream. It represents the emotional impact of the poem. Here, you delve into the feelings it evokes, the memories it resurfaces, and the personal connections it forms. You laugh, cry, ponder, and resonate with the poem on a deep, subjective level.

The Minor Branch: The Intellectual Stream:

This is the quieter, ‘intellectual’ stream. It's about understanding the poem's meaning, analyzing its symbols, and appreciating its structure. You dissect the language, decipher metaphors, and contemplate the ideas presented. It's the analytical lens through which you examine the poem's construction.

Harmony of the Streams:

The key point is that both branches are crucial for a complete ‘poetic experience.’ Imagine them as two hands grasping the poem. One hand feels its emotional texture, the other dissects its structure. Neither hand alone can fully appreciate the poem's richness.

Sometimes, one branch might be more dominant than the other. A particularly moving poem might overwhelm your intellect with pure emotion, while a complex poem might initially demand analytical focus. However, true understanding and appreciation come when you can balance both streams. You let the poem move you while simultaneously analyzing its intricacies.

As such the ‘agitation’ is the initial spark, and the branches are the pathways to a deeper connection with the poem. Embrace both the emotional and intellectual streams to truly immerse yourself in the rich tapestry of the ‘poetic experience.’

He says the intellectual stream is fairly easy to follow but is less important. As such in poetry, the intellectual stream directs and excites the active stream. The intellectual stream often acts as a guide and catalyst for the emotional stream in poetry. It can direct our attention, excite our imaginations, and deepen our understanding, ultimately enriching our emotional response to the poem.

He then goes further and says ‘The realm of thought is never a sovereign state. Our thoughts are the servants of our interests’- here he challenges the idea of thought as an isolated, purely intellectual domain. Richards suggests that thinking is influenced by external factors and personal motivations.  he gets more specific about those external factors. He argues that our thoughts are driven by our interests, desires, and needs. We don't think in a vacuum – our motivations shape what we pay attention to, how we interpret information, and even what questions we ask.

But then again by saying this, Richards does not discredit reason or logic. He simply acknowledges that they are not the only players in the game of thought. Our emotions, motivations, and lived experiences also play a crucial role in shaping our understanding of the world. This point is particularly relevant when comparing science and poetry. Richards argues that both science and poetry are driven by human interests and desires. Scientists might be motivated by curiosity and the desire for knowledge, while poets might be driven by the desire to express emotions, explore beauty, or understand the human condition.

In due course, Richards proposes a more modified view of human thought, acknowledging the interplay between reason and emotion, objectivity and subjectivity, science and poetry. He believes that true understanding and knowledge emerge from the interaction of these diverse forces, not from the rigid separation of disciplines or ways of thinking.

To elaborate his view he gives us two examples, first of a magnetic compass and second about a growing child. The magnetic compass and technique similarities highlight how form (recipe, compass) is not just a neutral shell for emotions (feelings, excitement). It actively shapes and directs them, leading to a richer and more satisfying experience.

As the child grows:

• More Influences: Their ‘agitation’ becomes richer and more complex. New interests, experiences, and knowledge add layers to their emotional and intellectual responses.
• Expanding Branches: Both the ‘major branch’ and ‘minor branch’ become more intricate.
• Major Branch: They develop delicate emotions like empathy, pride, and disappointment. They connect their feelings to broader concepts like justice, beauty, and responsibility.
• Minor Branch: Their intellectual scope widens. They analyze, categorize, and connect information in more sophisticated ways. They develop critical thinking skills and explore diverse subjects.

Reaching Maturity:

• Vast Assemblage: By adulthood, their inner landscape becomes a ‘vast assemblage of major and minor interests.’ This ‘assemblage’ reflects the interconnectedness of their accumulated experiences, emotions, and knowledge.
• Interplay of Branches: The ‘major branch’ and ‘minor branch’ are no longer distinct channels. They constantly intertwine, shaping each other's responses. Intellectual understanding informs their emotions, and their emotional reactions influence their thinking.

Richards' Point:

This example highlights how our ‘agitation’ and its branches are dynamic and ever-evolving. As we encounter the world, our emotional and intellectual capacities constantly expand and integrate. This complexity contributes to our unique perception and interpretation of everything, including poetry.

The Relevance to Poetry:

Just like the child's evolving ‘assemblage,’ [This word conveys the idea of a collection brought together through accumulation and integration. It emphasizes that the assemblage is not static, but rather constantly growing and evolving through new experiences and perspectives] the poem has layers of meaning and form. Through careful analysis (minor branch), we can dissect the language, structure, and symbolism. However, our full understanding and appreciation emerge when we connect these intellectual insights with our personal emotional responses (major branch). The richer our ‘assemblage,’ the more depth and nuance we bring to our experience of the poem.

Richards seems to suggest that a poem must appeal to a multifaceted and interconnected web of human interests and desires. He uses the term ‘incredibly complex assemblage of interest’ to represent this complex collection of factors that influence our emotional and intellectual engagement with a poem.

This idea goes beyond simply conveying factual information or providing artistic pleasure. Richards argues that poetry must speak to, and resonate with, a deeper set of needs and motivations within us.

This ‘complex assemblage of interest’ is not static, but rather dynamic and ever-evolving. What resonates with one reader might not resonate with another, and a poem's meaning can be shaped by individual experiences and cultural contexts. This is precisely what makes poetry so powerful and enduring: it has the potential to reach into the core of human experience and touch us on a multitude of levels.

However, appealing to such a complex and multifaceted entity is not an easy task. It requires a poet to possess a deep understanding of human nature, a skillful mastery of language, and the ability to craft verses that are both emotionally resonant and intellectually stimulating.

He further says that Poems can have two distinct effects on our internal state:

1. As a source of disturbance:

• Some poems have the power to challenge our deeply held beliefs, disrupt our comfortable assumptions, and force us to confront uncomfortable truths. This ‘disturbance’ can be emotional, intellectual, or even spiritual.
• This disturbance, however, can be a catalyst for growth and learning. By exposing us to new perspectives and prompting reflection, disturbing poems can push us to expand our understanding of the world and ourselves.

2. As a tool for healing:

• Other poems may not actively disrupt our current state but instead act as a soothing balm on existing ‘disturbances’ within us. These disturbances could be anxieties, emotional turmoil, or unresolved conflicts.
• By offering beauty, solace, or shared emotional experiences, such poems can provide a sense of catharsis and resolution.
• For example, a poem about nature or human resilience might offer comfort and reassurance to someone facing personal struggles.
• This process of ‘righting itself’ doesn't necessarily imply achieving a perfect state of emotional equilibrium. Rather, it refers to finding a sense of acceptance, understanding, or simply a temporary reprieve from inner turmoil.

As such the poems can work in both directions, depending on the context and the individual reader. Some poems challenge and disturb, while others offer solace and healing. Both functions are crucial, as they engage and affect different aspects of our complex ‘assemblage of interest’ that Richards mentioned earlier.

Furthermore, it's important to note that these functions are not mutually exclusive. A single poem might possess elements of both disturbance and healing, offering a multifaceted experience that both unsettles and reassures the reader

Our motive behind reading poems can be our interest in it and our interest in it makes us see it through intellectual as well as emotional lenses. He then talks about emotions and attitudes. The crucial point is that emotions and attitudes work together to form the complete poetic experience. Emotions provide immediate intensity and feeling, while attitudes represent the underlying dispositions and potential actions inspired by the poem.

Richards argues that both emotions and attitudes are crucial for a rich and meaningful engagement with poetry. He emphasizes that poetry's impact goes beyond mere intellectual understanding; it affects our emotions, shapes our attitudes, and ultimately influences our thoughts and actions.

He further says that - In a fully developed man a state of readiness for action will take the place of action when the full appropriate situation for action is not present – here Richards is exploring the relationship between thought, action, and maturity.

• Developed man: Richards suggests a state of maturity or evolved consciousness in this statement. He is not referring to age alone but rather a quality of being where internal growth has integrated action and reflection.
• Readiness for action: This ‘state’ is not merely passive waiting. It is an active preparation, a mental and emotional engagement with potential action. It involves deliberation, planning, and internal rehearsals for when the time comes.
• Replacing action: When the ‘full appropriate situation for action’ is not present, meaning the conditions are not optimal or the outcome uncertain, this readiness takes the place of immediate action. It serves as a bridge, preventing impulsive decisions while keeping the action potential alive.

Richards' statement suggests that a mature individual does not simply react to situations but rather cultivates a state of active readiness. This readiness allows for thoughtful and effective action when the time is right, while also nurturing internal growth and creativity even when immediate action is not possible.

He says that, unlike other art forms, poetry does not present us with a complete world or scenario. In painting, for example, the action is frozen in time on the canvas. In music, the emotional journey unfolds as the piece plays. But with poetry, we encounter fragments, hints, and suggestions of a bigger picture. The reader has to actively participate in constructing that picture, filling in the gaps and weaving the words into their own experience. He compares reading a poem to watching an actor portraying Hamlet. On stage, we see the actors embodying the character, expressing emotions and thoughts, but they are not actually Hamlet facing the dilemmas of the play. Similarly, poetry presents us with characters, emotions, and situations, but it does not give us the full context or resolution. We, the readers, become the inner Hamlet, taking on the character's potential actions and emotions in our imagination.

Since the ‘full appropriate situation’ is not present in poetry, the characters and experiences presented are never fully realized. Instead, they leave us in a state of ‘readiness for action.’ We feel emotions, anticipate ideas, and imagine potential outcomes without actually engaging in them. This ‘readiness for action’ is what makes poetry so powerful. It allows us to experience a range of emotions, ideas, and perspectives without the limitations of actual situations. It engages our imagination, intellect, and emotions uniquely, and in doing so, it shapes our understanding of the world and ourselves.

He argues that our intellect, our capacity for thinking and reasoning, is not the driving force behind our behavior. Instead, it acts as a tool that helps us refine and pursue our existing interests more effectively. He emphasizes that humans are, at their core, systems of interests and desires. These interests, whether conscious or unconscious, shape our motivations, choices, and ultimately, our lives. They are the fuel that propels us forward, and intellect merely helps us navigate the landscape. This is not to say that intellect is unimportant. Richard acknowledges its value in helping us adapt and adjust our interests to better suit our circumstances

Richards is advocating for a holistic approach to understanding poetry, one that takes into account not just the literal meaning of words, but also the sensory experience of reading them. This approach allows us to appreciate the complex interplay between form and content, and the active role we play as readers in unlocking the poem's deeper meanings.

Richards also highlights a crucial misconception about poetry – that its value lies primarily in the intellectual content, the ‘thought’ it conveys. However, Richards argues that overemphasizing this aspect obscures the true essence of poetry, which also lies in the interplay of sound, imagery, and emotional resonance.

Richards emphasizes that while some poems may indeed communicate complex ideas, it is not the primary function of poetry. The ‘prime factor,’ he argues, lies in –

Creating an emotional response: Poetry's true power lies in its ability to evoke, intensify, and shape our emotions. It uses imagery, rhythm, and figurative language to bypass our logical minds and speak directly to our hearts.

Engaging the senses: A good poem engages our senses – the sights, sounds, smells, and textures of the world around us. This sensory engagement creates a vivid and immediate experience, drawing us into the poem's world.

Sparking imagination: Poetry invites us to participate in the creative process. It provides hints and suggests possibilities, leaving room for our imagination to fill in the details and co-create the meaning.

This is not to say that intellectual thought has no place in poetry. Some poems do indeed deal with complex themes and ideas. However, the value of poetry lies not just in the ideas it conveys, but in the way it conveys them. The emotional impact, the sensory engagement, the imaginative leaps – these are what makes poetry a unique and powerful art form. I.A. Richards reminds us that the true magic of poetry lies not in dissecting its ‘thought,’ but in surrendering to its sensory and emotional experience. By appreciating the poet's intuitive genius and acknowledging the multifaceted nature of poetic language, we can unlock the deeper, richer layers of meaning that poetry offers.

Richards suggests that words in poetry are not merely passive effects or active causes. They are an integral part of the experience itself, the threads that weave together the poet's and reader's emotional journeys. They act as a catalyst, a guide, and a container for the complex textile of feelings evoked by the poem. Just as a key unlocks a specific lock, the right words in a poem unlock a similar experience in the reader's mind. The poet uses these words as keys, crafting them to fit the specific emotional landscape of their experience.

In the end, he explains the relationship between the poet's experience and the reader's understanding through a metaphor from William McDougall. With this key metaphor, Richards suggests that the seemingly ‘odd’ ability of poetry to reproduce the poet's experience in the reader is less strange. The carefully chosen words act as precise tools, fitting into the corresponding emotional ‘locks’ in the reader's mind. This shared emotional landscape creates a bridge of understanding, allowing the reader to enter the world of the poem and experience its emotions firsthand. Thus by employing the key metaphor, I.A. Richards sheds light on the magic of poetry. It is not simply about conveying information or expressing ideas; it is about forging an emotional connection between the poet and the reader, using the power of language as a bridge to shared experience.😞