The biographical fallacy is a term used in cultural criticism to critique the view that works of creative art, literature or music can be interpreted as reflections of the life of their authors. Along with the intentional fallacy

Intentional fallacy

Intentional fallacy, in literary criticism, addresses the assumption that the meaning intended by the author of a literary work is of primary importance. By characterizing this assumption as a "fallacy", a critic suggests that the author's intention is not important. The term is an important...

, the term was introduced by exponents of the 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...

 who wished to emphasise that artworks should be interpreted and assessed as constructed artefacts rather than expressions of the emotions of specific individuals. The term is thus used to criticize the school of literary interpretation called Biographical criticism

Biographical criticism

Biographical criticism is a form of Literary criticism which analyzes a writer's biography to show the relationship between the author's life and their works of literature...

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The argument arose from the increasing tendency of critics during the 19th century to view artworks in terms of the life experiences of their creators, whether their personal lives, or the wider historical conditions represented in the artist's world view, a claim associated with critics such as Hippolyte Taine

Hippolyte Taine

Hippolyte Adolphe Taine was a French critic and historian. He was the chief theoretical influence of French naturalism, a major proponent of sociological positivism, and one of the first practitioners of historicist criticism. Literary historicism as a critical movement has been said to originate...

.

This position was referred to as a "fallacy" on the grounds that it neglected both the purely imaginative aspects of the arts and their reliance on formal conventions and rules of genre

Genre

Genre , Greek: genos, γένος) is the term for any category of literature or other forms of art or culture, e.g. music, and in general, any type of discourse, whether written or spoken, audial or visual, based on some set of stylistic criteria. Genres are formed by conventions that change over time...

. Thus James M. Thomas writes of the fallacy applied to drama that,

This type of approach distances itself from the play and goes instead into the playwright's biography to find people, places and things that seem to be similar to features in the play. And then it claims that the play is actually a picture of these people, places and things. In its extreme form this is fallacy because it does not consider that playwrights use their imagination when they write and that they can imagine improbable or even impossible things.

Robert S. Miola, Professor of English at Loyola College in Maryland, discusses the biographical fallacy as "the unqualified conviction that one can read the author's life from the work and vice versa", and adds:

This fallacy is widespread in Shakespeare studies, true enough, but the business of wrenching passages out of dramatic context as evidence of the playwright's personal beliefs usually reveals more about the critic than about Shakespeare.

Commenting further on the fallacy as applied to contemporary work about Shakespeare, Joseph Pearce asserts that "For the proponents of ‘queer theory' he becomes conveniently homosexual; for secular fundamentalists he is a proto-secularist, ahead of his time; for ‘post-Christian' agnostics he becomes a prophet of modernity.”

Others consider the term offensive and defend biographical criticism in its non-extreme forms, finding that full understanding of an author's works is not possible without extrinsic sources. Leon Edel in his book Literary Biography devoted a chapter to defending biographical criticism. While admitting the excesses of certain earlier critics use of biography, he rigorously stated that no critic, I hold, can explicate—the very word implies this—anything without alluding to something else [outside the work].

The term inverted autobiography is also applied to the practice.