Abstract
Literary criticism has long borrowed its terms from other fields of inquiry: however sure its practitioners have been of their particular judgments, they have in more general matters usually been more sure of something else—of the truths of theology or of the sciences and social sciences. This is now most apparent when political and psychological vocabulary and values are applied in literary judgment, when works of literature are approached, explained, and all too often dismissed in terms of psychoanalysis of their author or a calculation of their probable impact on society. But even when an attempt is made to see the object as in itself it really is, the critics of poetry have employed as if unnoticed terms, concepts, images belonging to a most unlikely science, physics.
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