Affective fallacy is a term from literary criticism

Literary criticism

Literary criticism is the study, evaluation, and interpretation of literature. Modern literary criticism is often informed by literary theory, which is the philosophical discussion of its methods and goals...

 used to refer to the supposed error of judging or evaluating a text on the basis of its emotional effects on a reader. The term was coined by W.K. Wimsatt

William Kurtz Wimsatt, Jr.

William Kurtz Wimsatt, Jr. was an American professor of English, literary theorist and critic.- Biography :...

 and Monroe Beardsley

Monroe Beardsley

Monroe Curtis Beardsley was an American philosopher of art. He was born and raised in Bridgeport, Connecticut, and educated at Yale University , where he received the John Addison Porter Prize...

 as a principle of New Criticism

New Criticism

New Criticism was a movement in literary theory that dominated American literary criticism in the middle decades of the 20th century. It emphasized close reading, particularly of poetry, to discover how a work of literature functioned as a self-contained, self-referential aesthetic...

.

The Concept

The concept of affective fallacy is an answer to the idea of impressionistic criticism, which argues that the reader's response to a poem is the ultimate indication of its value. It is the antithesis of affective criticism, which is the practice of evaluating the effect that a literary work has on its reader or audience.

First defined in an article published in The Sewanee Review in 1949, the concept of an affective fallacy was most clearly articulated in The Verbal Icon, Wimsatt's collection of essays published in 1954. Wimsatt used the term to refer to all forms of criticism that understood a text's effect upon the reader to be the primary route to analyzing the importance and success of that text. This definition of the fallacy, if strictly followed, touches on or wholly includes nearly all of the major modes of literary criticism, from Ovid

Ovid

Publius Ovidius Naso , known as Ovid in the English-speaking world, was a Roman poet who is best known as the author of the three major collections of erotic poetry: Heroides, Amores, and Ars Amatoria...

's docere delictendo (to teach by delighting), Aristotle

Aristotle

Aristotle was a Greek philosopher and polymath, a student of Plato and teacher of Alexander the Great. His writings cover many subjects, including physics, metaphysics, poetry, theater, music, logic, rhetoric, linguistics, politics, government, ethics, biology, and zoology...

's catharsis

Catharsis

Catharsis or katharsis is a Greek word meaning "cleansing" or "purging". It is derived from the verb καθαίρειν, kathairein, "to purify, purge," and it is related to the adjective καθαρός, katharos, "pure or clean."-Dramatic uses:...

, and Longinus

Longinus (literature)

Longinus is the conventional name of the author of the treatise, On the Sublime , a work which focuses on the effect of good writing. Longinus, sometimes referred to as Pseudo-Longinus because his real name is unknown, was a Greek teacher of rhetoric or a literary critic who may have lived in the...

's concept of "transport" to late-nineteenth century belles-lettres

Belles-lettres

Belles-lettres or belles lettres is a term that is used to describe a category of writing. A writer of belles-lettres is a belletrist. However, the boundaries of that category vary in different usages....

 and the contemporary Chicago Critics. For Wimsatt, the fallacy led to a number of potential errors, most of them related to emotional relativism. A view of literature based on its putative emotional effects will always be vulnerable to mystification and subjectivity; Wimsatt singles out the belletristic tradition exemplified by critics such as Arthur Quiller-Couch

Arthur Quiller-Couch

Sir Arthur Thomas Quiller-Couch was a Cornish writer, who published under the pen name of Q. He is primarily remembered for the monumental Oxford Book Of English Verse 1250–1900 , and for his literary criticism...

 and George Saintsbury

George Saintsbury

George Edward Bateman Saintsbury , was an English writer, literary historian, scholar and critic.-Biography:...

 as an instance of a type of criticism that relies on subjective impressions and is thus unrepeatable and unreliable.

For Wimsatt, as for all the New Critics, such impressionistic approaches pose both practical and theoretical problems. In practical terms, it makes reliable comparisons of different critics difficult, if not irrelevant. In this light, the affective fallacy ran afoul of the New Critics' desire to place literary criticism on a more objective and principled basis. On the theoretical plane, the critical approach denoted as affective fallacy was fundamentally unsound because it denied the iconicity of the literary text. New Critical theorists stressed the unique nature of poetic language, and they asserted that--in view of this uniqueness--the role of the critic is to study and elucidate the thematic and stylistic "language" of each text on its own terms, without primary reference to an outside context, whether of history, biography, or reader-response.

In practice, Wimsatt and the other New Critics were less stringent in their application of the theory than in their theoretical pronouncements. Wimsatt admitted the appropriateness of commenting on emotional effects as an entry into a text, as long as those effects were not made the focus of analysis.

Reception

As with many concepts of New Criticism, the concept of the affective fallacy was both controversial and, though widely influential, never accepted wholly by any great number of critics.

The first critiques of the concept came, naturally enough, from those academic schools against whom the New Critics were ranged in the 1940s and 1950s, principally the historical scholars and the remaining belletristic critics. Early commentary deplored the use of the word "fallacy" itself, which seemed to many critics unduly combative. More sympathetic critics, while still objecting to Wimsatt's tone, accepted as valuable and necessary his attempt to place criticism on a more objective basis.

However, the extremism of Wimsatt's approach was ultimately judged untenable by a number of critics. Just as New Historicism

New Historicism

New Historicism is a school of literary theory, grounded in critical theory, that developed in the 1980s, primarily through the work of the critic Stephen Greenblatt, and gained widespread influence in the 1990s....

 repudiated the New Critics' rejection of historical context, so reader-response criticism

Reader-response criticism

Reader-response criticism is a school of literary theory that focuses on the reader and his or her experience of a literary work, in contrast to other schools and theories that focus attention primarily on the author or the content and form of the work.Although literary theory has long paid some...

 arose partly from dissatisfaction with the concept of the text as icon. Reader-response critics denied that a text could have a quantifiable significance outside its being read and experienced by particular readers at particular moments. These critics rejected the idea of text as icon, focusing instead on the ramifications of the interaction between text and reader.

While the term remains current as a warning against unsophisticated use of emotional response in analyzing texts, the theory underlying the term has been thoroughly eclipsed by more recent developments in criticism.

Wimsatt and Beardsley on Affective Fallacy

"The Affective Fallacy is a confusion between the poem and its results (what it is and what it does), a special case of epistemological skepticism [ . . . which . . .] begins by trying to derive the standard of criticism from the psychological effects of the poem and ends in impressionism and relativism [with the result that] the poem itself, as an object of specifically critical judgment, tends to disappear."

"The report of some readers . . . that a poem or story induces in them vivid images, intense feelings, or heightened consciousness, is neither anything which can be refuted nor anything which it is possible for the objective critic to take into account."

Wimsatt and Beardsley on an ideal, objective criticism: "It will not talk of tears, prickles or other physiological symptoms, of feeling angry, joyful, hot, cold, or intense, or of vaguer states of emotional disturbance, but of shades of distinction and relation between objects of emotion."

"The critic is not a contributor to statistical countable reports about the poem, but a teacher or explicator of meanings. His readers, if they are alert, will not be content to take what he says as testimony, but will scrutinize it as teaching."

Sources

Barry, Peter (2009). Beginning theory; an introduction to literary and cultural theory, 3rd edn, Manchester: Manchester University Press.

Keast, William (1954). "Review of The Verbal Icon." Modern Language Notes 8 (1956): 591-7.

Mao, Douglas (1996). "The New Critics and the Text Object." ELH 63 (1996): 227-254.

Wimsatt, W.K & Monroe Beardsley, "The affective fallacy", Sewanee Review, vol. 57, no. 1, (1949): 31-55.

Wimsatt, W.K.

William Kurtz Wimsatt, Jr.

William Kurtz Wimsatt, Jr. was an American professor of English, literary theorist and critic.- Biography :...

 with Monroe Beardsley

Monroe Beardsley

Monroe Curtis Beardsley was an American philosopher of art. He was born and raised in Bridgeport, Connecticut, and educated at Yale University , where he received the John Addison Porter Prize...

(1954). The Verbal Icon: Studies in the Meaning of Poetry. Lexington: University of Kentucky Press.