Nelson Evening Mail SATURDAY, JANUARY 9, 1926 SCIENCE AND CRITICISM

Nelson Evening Mail, Volume LVI, 9 January 1926, Page 4

Nelson Evening Mail SATURDAY, JANUARY 9, 1926 SCIENCE AND CRITICISM

'IIIAT ripu scholar, the Right Hon. J. M. Robertson, luis very definite fileas on the theory ami practice of literary tritii-ipm. Not only is he a critic, and nti acute nuil profound one, hut lie is a critic df criticism. For him criticism is no more or less hasty expression of individual opinion or simple reaction nf personal bias and mental attitude; it i.«, (i i should he. the outcome of a carefully

reasoned and weighed examination of the fads, all tile facts', nf the ease li is. of course, real criticism I Hal. Mr Ihibertsnn has in mind : the mere hackwork of the writers who do publishers' notices is not to he serimish considered. Thr-v carry out their duties in that sphere of life in which they find themselves, such duties consisting of making eol'ipliinenlarv statements about the works they are dealing with and therein- liiliii'j; il rder hunks of their employers. I''or such a task all that is need ell is an ample .stink of adulatory phrases and the faculty of stringing ihein logctllel in new and varied eomiimatioii. Kven ; f, at the outset. the. • nil has some faculty of rcasiined judirtnent. it speedily evaporates under !!:'■ triple necessity of pleasing author. publisher and public aial the critic becuines a bai'iislel where he should he a jltd-e. In Ins -Kssays towards a Critical MeIhod" and i ther of In- works. .Mr Koberlson t-ian.ls fur scientific procedure in i ill it ism. K\ eryone who reads, he points out. ami feels a liking or dis liking for what he has read, exercises i.n

j some degre • a critical fill i linn. Bui J this like or dislike is seldom based on 1 j, definite and consistent foundation, li is 'cm frequently the outcome of per .-.uial prepidlce. or uf a passing frame of itiiiHl or perhaps, even, of physical con | ilitioiis: it is anything but scientiMc. 1 .\.,i that ihe element of pergonal pre jiidioo or mental attitude can ever be quiie elimina'.ed from the critics viewpoint, but it is l the goal to be striven lor. th.- ideal always to be kept in view. And by just so much as the critic aj) proximales to that ideal by so much will ' his judgments be consistent and of value, thev will have approached, as j t.early as possible, to scientific precision. : But though Mr Robertson has much 1 to say of scientific criticism ho does not i claim that a knowledge of science in general, or of any science in particular. lis necessary to an efficient exercise of ! t!i,. ait lu this he finds himself in opposition tu Flcay, the acute student of [ Shak. sp.arean problems. Mr Flcay would have all liteiary critics well uuiundiil in one or mote of the natural sciences. iie goes as far as in say that the proper .hhii.>nii ni of a critic should inelnde a 'ihoiotigli training in mile r.ilogy. cia.-silica'ory botany ami. above 'ill. in chernii al :tnal\ sis." In this lie ! .•' ilv . nfitsi .-' scicui ilit- me! In d .. h |: i ! lit .lii mill lei It is ime that Ihe I clo--i sttidv of his subject enables the . ,i ! scientist tu nrrangi his knowledge in j ■l'ldini: :•' certain laws and principles ! and that he may in a measure apply ' these 01' analogous- laws to li el'ilturc lint ! iiie same may be said of a tradesman whose dally life brings him into constant contact with the qualities uf timber in- metals or fabrics. Where literary criticism can learn I from science, can. indeed, itself become I a science, i.-. in the habits of precision and consistency, in the recognition of the importance of proof and the. supreme value of evidence. Theory, speculation, imagination, in literature, as in science, have their values, but one adverse fact can destroy the most ingenious h\ pothesis. And if the methods of science are to be applied by criticism, to what fields must the labours of the kilter be directed': There are two fields only, the man and his environment, the artist and the conditions of his iife. The natural genius of the man. with the plus or i minus of circumstance, gives the literary | result.