Abstract
Perhaps only one who has long been interested in the phrase organic unity is wholly aware of how commonplace it has become in twentieth-century criticism. The journalist reviewing last night's symphony, the undergraduate finishing the term paper due on the morrow, critics one and all have found the phrase an impressive one. At times the word organic seems to be no more than a mere intensive:, to say that a painting has organic form is to say that it has “lots of form”; a poem with organic unity is a poem with “lots of unity.”
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