Today we turn to the wisdom of one of the 20th Centuryβs most celebrated poets, but this time to their prose rather than their verse. W. H. Auden was born in England but spent much of his adult life in the United States, leading to something of a cultural battle of which country gets to βclaimβ Audenβs prolific talents. From fairly conventional love and loss poems to more creative forms, to meditations on what he witnessed in World War II, he was an incessant writer, reader and collaborator with other artists of his time.
So how would a compulsive reader and writer share his passion for the craft with others? Well, in some ways he did it with equal intensity to which he approached his own creative workβwhen Auden was a teacher at the University of Michigan, his ENG 135 class entitled βFate and the Individual in European Literatureβ required undergraduate students to read more than 6,000 pages of work from the classics to contemporary reading. If we factor that down to todayβs common sixteen-week semester, thatβs 375 pages of reading per week for one 100-level class. That reading pace would be enough to get through The Great Gatsby twice in a week with a little reading left to do; you could finish Blood Meridian by Cormac McCarthy or Hard Times by Charles Dickens in a week. Even mega-novels like Moby Dick or Infinite Jest would be off your reading list in the second week, assuming you were still able to find time to make it to your other classes.
While this makes for a fascinating list of βGreat Books to Get Around to Eventually,β instead, we are going to spend more time thinking about some of his advice about how to approach a work of art (and here we donβt just mean literature, and by the end I think you might see that we donβt really even just mean the fine arts). Here are Audenβs words on the open-mindedness required to be a good critic or appreciator of art:
Judging a work of art is virtually the same mental operation as judging human beings, and requires the same aptitudes: first, a real love of works of art, an inclination to praise rather than blame, and regret when a complete rejection is required; second, a vast experience of all artistic activities; and last, an awareness, openly and happily accepted, of oneβs own prejudices. Some critics fail because they are pedants whose ideal of perfection is always offended by a concrete realization. Others fail because they are insular and hostile to what is alien to them; these critics, yielding to their prejudices without knowing they have them and sincerely offering judgments they believe to be objective, are more excusable than those who, aware of their prejudices, lack the courage to enter the lists to defend their personal tastes.
So letβs tease this apart a little bit. Very clearly, Auden is rebuking the image of art critics as aloof, cynical, cool creatures who spend their time sighing that nothing can live up to their standards. His first mandate, that the critic must possess βa real love of works of artβ could seem like a given, but it could also seem like a call for a naive outlook; however, I think that compassion, the capacity for beginning from a position of goodwill and empathy, is probably more of what Auden means than starry-eyed naivete. His second directive actually does call back to his undergraduate syllabus a bit in acknowledging that the greater contextual understanding you have for a subjectβwhether that is comic books, jazz or horse racingβthe better prepared you will be to see a workβs influences or originalities.
His third dictum requires a little more thought, βand last, an awareness, openly and happily accepted, of oneβs own prejudices.β This advice, as well as his expansion on this idea in the following sentences, might require a minute to sit with because there is a danger of reading these lines, patting ourselves on the back and moving on too quickly. In Audenβs final lines he presents two figures, one who offers judgment (speaks out, posts on the internet, writes an article) that is motivated by their unknown biases and prejudices. The second one is someone who has a greater internal understanding of their own thought processes, but this leads them to be silent because they become suspicious of the legitimacy of their own thought. Again, Auden actually says the first example is βmore excusableβ because, presumably, at least this person has the belief in themselves that their views and opinions deserve to be part of the overall discourse that determines βwhat matters.β Keep in mind, however, that what Auden actually wants from us is a synthesis of these figuresβsomeone capable of rigorously interrogating their own mental processes while also maintaining the faith that their voice is worth hearing.
As a final note now that we have had some time for digestion, I want to loop back around to the first line of Audenβs quote, βJudging a work of art is virtually the same mental operation as judging human beings, and requires the same aptitudes.β In one way, that is sort of an insane thing to do. I donβt need to judge whether a painting ever βmeantβ to commit murder, nor have I ever heard of a jury deliberating over whether an opera was criminally negligent in caring for its children. Alternatively, if we put some of those questions of agency to the side and think about βjudging a work of artβ as analogous to βjudging another personβs personalityβ whether that judgment be in terms of friendship, romance or professional collaboration, then I believe the second half of his message comes back with much more weight. Whether we mean music, sculpture, art or anything else, having the patience to ask questions such as βWhat does this mean?β or βWhy did someone make this in the way that they did?β might actually be critical training for other skills such as interpersonal empathy and increased communication.
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