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[This is falsely attributed to Rich; I find from Bancroft, “ see his Dangerous The compovnd of alchymy, or the ancient hidden art of archemie, first written by G.
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- Vladimir Mayakovsky
- Simon Armitage: ‘I always thought, if Ted Hughes can do it why can’t I?’ | Books | The Guardian
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Submit a Wedding Announcement. Email This Story Fill out the form below to email this story to a friend Recipient's Email Address To send a link to multiple recipients, separate the email addresses with a semi-colon. Your Name Let the recipient know who sent the link. It is interesting to study the evolution of the string quartet or symphony from its origin through Haydn to the present, but this would appear to be an evolution traceable entirely within the art form and not dependent on factors outside it.
This, however, is not always so—particularly in literature, where a study of such exterior factors seems to be of much more relevance. It would seem important to know, for example, that Milton was aware of the new Copernican astronomy but deliberately chose in Paradise Lost to make his cosmos Ptolemaic , the antiquated astronomical system that was already steeped in literature, mythology , and tradition. Anthologists of literature constantly assume that this is an important consideration, since they supply detailed biographies prior to their selections by each author.
When difficulties arise as to what to make of a work of art or when several conflicting interpretations come to mind, how is the difficulty to be resolved? It is tempting to believe that, whichever way the artist intended it, this is the way the work should be interpreted.
For surely artists know their own work better than anyone else does, and for that reason their own word should be law.
Works of art should stand on their own, without help from their creators. Moreover, once the work has been completed and presented to the world, it belongs to the world and no longer exclusively to the artist, and in its interpretation the artist now becomes just one critic among many, whose word should be respected but not taken as the final authority. In the late 18th and early 19th centuries, Johann Wolfgang von Goethe set forth three criteria for critics to consider in interpreting and evaluating a work of art: 1 What was the artist trying to do? The first of the three is intentionalistic, and, says the intentionalist, surely this is plausible: artists can hardly be blamed for failing to do what they had no intention of doing.
It must first be known, then, what they were trying to do. But the anti-intentionalist points out that the intention makes no difference, only the product does. If the ballerina excuses her fall in the middle of the dance by saying that she intended it, the dance is just as marred aesthetically as if she had fallen accidentally.
The persistent questioner might ask, however, if there are not at least some works of art in which the intentions of the artist have to be known? Its intentions were deadly serious—and should not this be known in order to interpret and evaluate it properly? Not at all, replies the anti-intentionalist. Such a suggestion might have come from a reader or viewer or listener rather than the artist, but there is no point in disdaining helpful hints, regardless of their source.
Vladimir Mayakovsky
If the suggestion does come from the artist, that is nothing against it. Perhaps a work is less aesthetically perfect because it requires outside clues to its interpretation, but few works of art even approach perfection, and they may yet amply repay attention, all the more if some plausible suggestion comes from the outside. The 20th-century Russian composer Sergey Prokofiev intended his Classical Symphony to be a playful homage to the classical symphonic form developed by Haydn, and, regardless of whether the suggestion that it be construed this way came from Prokofiev or from someone else, if it is rewarding to listen to it in this way, then no one gains by refusing to accept the suggestion.
A statement of intention is not the only key to unlocking the secrets of works of art, but it is one key among many, and there appears to be no good reason why it should not be used.
Simon Armitage: ‘I always thought, if Ted Hughes can do it why can’t I?’ | Books | The Guardian
Philosophy of art. Article Media. Info Print Print.