› › Key Theories of Wimsatt and Beardsley Key Theories of Wimsatt and Beardsley By on • ( ) In addition to their other works, the critic Wimsatt (1907–1975) and the philosopher Beardsley (1915–1985) produced two influential and controversial papers that propounded central positions of, “ ” (1946) and (1949). In the first of these, they lay down certain propositions that they take to be axiomatic: while acknowledging that the cause of a poem is a “designing intellect,” they refuse to accept the notion of design or intention as a standard of literary-critical interpretation. 1 In stating their second “axiom,” they raise the question of how a critic might find out what a poet’s intention was and state what is effectively their central claim: “If the poet succeeded in doing it, then the poem itself shows what he was trying to do. And if the poet did not succeed, then the poem is not adequate evidence, and the critic must go outside the poem – for evidence of an intention that did not become effective in the poem.” The third axiom is the American poet Archibald’s MacLeish’s statement that a “poem should not mean but be.” Wimsatt and Beardsley explain this statement as follows: “A poem can be only through its meaning – since its medium is words – yet it is, simply is, in the sense that we have no excuse for inquiring what part is intended or meant.. In this respect poetry differs from practical messages, which are successful if and only if we correctly infer the intention” (VI, 4–5). This is an effective restatement of a position that the poem is an autonomous verbal structure which has its end in itself, which has no purpose beyond its own existence as an aesthetic object.

It is not answerable to criteria of truth, accuracy of representation or imitation, or morality. Finally, Wimsatt and Beardsley insist that the thoughts and attitudes of a poem can be imputed only to the dramatic speaker or persona of the poem, not directly to the author (VI, 5). The foregoing “axioms” are merely stated rather than argued. The first argument of the essay is Horatian: a poem, once published, no longer belongs to the author but to the public: “It is embodied in language, the peculiar possession of the public, and it is about the human being, an object of public knowledge” (VI, 5). The implication here is that, as an object in public language, the poem is available to the public for interpretation; the author has no privileged claim over language and his word outside of the poem cannot be taken as somehow authoritative. They acknowledge that an author can offer useful practical advice for a would-be poet, but such advice falls under the “psychology of composition rather than criticism” (VI, 9).

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