Abstract

I. A. Richards ushered the spirit of Cambridge realism into semantics and literary criticism. When he arrived as an undergraduate in 1911, Cambridge was in the midst of its finest philosophical flowering since the Puritanism and Platonism of the seventeenth century. The revolution of G. E. Moore and Bertrand Russell against Hegelian idealism had already occurred; the Age of Principia was under way. There was a reassertion of native empiricism and a new interest in philosophical psychology, and the whole discussion was marked increasingly by a preoccupation with language. Richards, too, would break with the past, with the history of criticism in the previous two generations, gather psychological ideas to establish an empirical semantics and aesthetics, and center his attention on language. Although Romantic and late-Victorian values inform his theories, Richards set down an original criticism on first principles, not on tradition. Many of his books' titles show this rationalist strains: The Foundations of Aesthetics , The Meaning of Meaning , Principles of Literary Criticism , Basic Rules of Reason , and The Philosophy of Rhetoric . The originality and influence of Richards' criticism can be shown by the number of terms he put into circulation, terms which became the currency of debate for almost half a century: close reading, tone, pseudostatement, stock response, tension, equilibrium, tenor and vehicle of metaphor, emotive and referential language.John Paul Russo is a professor and chairman of the English department at the University of Miami. He is the editor of I. A. Richards' Complementarities: Uncollected Essays and the author of Alexander Pope: Tradition and Identity and an annotated bibliography of Richards' works. He is currently completing a critical biography of Richards. "A Study in Influence: The Moore-Richards Paradigm," his previous contribution to Critical Inquiry, appeared in the Summer 1979 issue