The Language of Paradox by Cleanth Brooks
Introduction
Cleanth Brooks was a prominent American literary critic, known for his significant contributions to the field of literary criticism. He was a key figure in the New Criticism movement, which focused on close readings of texts and emphasized the autonomy of the literary work. The essay The Language of Paradox was published as the first chapter in Cleanth Brooks's book titled The Well Wrought Urn: Studies in the Structure of Poetry in 1947.
Defining Paradox
Paradox, in simple terms, is the art of saying something that seems contradictory or absurd but holds deeper truth upon reflection. It's the unexpected twist in language that captures attention and invites contemplation. In poetry, paradoxes are like hidden gems, blending opposites to create a richness that goes beyond ordinary expression.
Paradoxical language of Poetry
According to Cleanth Brooks, "The language of paradox is the language of poetry". Brooks suggests that the nature of poetic language thrives on paradoxical elements to convey depth, complexity, and deeper truths. The language of poetry is inherently paradoxical as the poets use devices like paradox and irony deliberately to evoke emotions, challenge perceptions, and offer new insights into the human condition. By choosing indirect language, the poets invite readers to participate actively in interpreting the text.
Paradox in Worsworth's It is a Beauteous Evening
"It is a beauteous evening, calm and free,
The holy time is quiet as a Nun
Breathless with adoration."
Brooks says that Wordsworth in the above poem uses a paradox by comparing a peaceful evening to the quiet devotion of a nun. This comparison seems unusual because evenings and nuns are quite different. However, by blending the calmness of nature with the reverence of a nun, Wordsworth creates a sense of deep peace and spiritual respect within the natural world.
Paradox in Composed upon Westminster Bridge
"Earth has not any thing to show more fair:
Dull would he be of soul who could pass by
A sight so touching in its majesty"
In the above poetic lines, Wordsworth presents a paradox by describing London—a city known for its hustle and bustle—as remarkably serene and magnificent during the early morning.
Typically, when we think of a bustling city like London, we envision noise, activity, and a fast-paced environment. However, Wordsworth captures a different perspective. He paints a picture of London in the early hours, showcasing its unexpected beauty and stillness. This contrast between the usual chaotic city life and the peacefulness of the early morning creates a paradox—a seemingly contradictory situation.
The paradox lies in the juxtaposition or contrast between what we expect from a city like London and what Wordsworth reveals—a moment of profound tranquility and beauty. This paradox challenges the usual perception of urban environments. The final lines state:
"Dear God! the very houses seem asleep;
And all that mighty heart is lying still!"
Paradox in Neoclassical Poetry
In Neoclassical poetry, paradoxes were often utilized to convey complex ideas and challenge conventional thinking. Neoclassicism, a movement that emerged in the 17th and 18th centuries, emphasized order, reason, and rationality in literature. Despite this emphasis on rationality, Neoclassical poets frequently employed paradoxes to create depth and provoke contemplation. It should be noted that the focus of the neoclassical poets who have employed paradox was on irony, rather than wonder.
"In doubt his mind or body to prefer;
Born but to die, and reasoning but to err"
In the above lines in Alexander Pope's An Essay on Man, Pope highlights the internal struggle within human beings, torn between choosing the prioritization of the mind or the body. This paradox delves into the perennial conflict faced by individuals, torn between intellectual pursuits and physical desires. Additionally, the phrase "Born but to die" reinforces the inevitability of human mortality, juxtaposed with the notion that reasoning is inherently prone to errors.
"Created half to rise, and half to fall;
Great lord of all things, yet a prey to all;"
This paradox contrasts the dual nature of human existence. The phrase "half to rise, and half to fall" symbolizes the dichotomy in human nature—having the potential for greatness and achievement but also being susceptible to failure and downfall. Additionally, "Great Lord of all things, yet a Prey to all" presents a paradoxical notion of human power and vulnerability. It suggests that although humans hold a position of dominance or authority, they are equally subject to the whims and vulnerabilities of life.
Paradox in John Donne's The Canonization
Brooks believes that paradoxes in poetry heightened the meaning and complexity of The Canonization by John Donne who has used paradoxes to elevate the speaker's love to a sacred level while challenging societal norms.
"For God's sake hold your tongue, and let me love, / Or chide my palsy, or my gout"
The speaker asks to stop criticizing their love or, if one must, criticize him for something trivial like his palsy or gout. Palsy and gout are physical conditions causing muscle weakness or joint pain. The paradox here lies in comparing the significant societal criticism of the speaker's love to these minor physical issues.
The paradox highlights the speaker's belief that society's condemnation of their love is as insignificant and unwarranted as criticizing someone for minor health issues, emphasizing the unfairness and triviality of society's judgment.
"The stars have not dealt me the worst they could, / Which makes me wonder if the world is rotten"
In the above stated lines, the paradox here is that the speaker feels his own life is bad but hasn't been too harsh, yet they're questioning the morality of the world. The paradox lies in the comparison between the speaker's personal fate (as indicated by the stars) and the broader moral state of the world.
"The tenderness, or the hell of good / Works"
This paradox implies that acts of tenderness or goodness might result in both heaven (good) and hell (suffering). It challenges the conventional notion that virtuous acts lead only to positive outcomes, suggesting that kindness could bring about unexpected or contradictory consequences.
After having explained the paradoxes in Donne's The Canonization, Brooks states: "I submit that the only way by which the poet could say what The Canonization says is by paradox." It should be noted that the poem also talks about the corruption of the church.
Connotations and Denotations
Denotation refers to the direct, explicit, or literal meaning of a word—what you'd find in a dictionary. It's the surface-level definition devoid of any emotional or cultural associations.
Connotation, on the other hand, extends beyond the literal meaning and involves the additional associations, emotions, or cultural implications that a word carries. These can be emotional, cultural, or symbolic connections that go beyond the basic definition.
Brooks emphasized that great literature often relies on the interplay between denotative and connotative meanings to evoke emotions, create imagery, and convey complex ideas.
Conclusion
Brooks, a significant figure in literary criticism, highlighted the significance of paradoxes in poetry, emphasizing their role in elevating the language of poetry to a higher level of complexity and depth. Paradoxes, which present seemingly contradictory or absurd statements, invite readers to contemplate the hidden meanings and deeper truths embedded within the text. Through examples from renowned poets like Wordsworth, Pope, and Donne, Brooks illustrated how poets used paradoxes and ironies to create tension, evoke emotions, and challenge societal norms. Brooks's discussion extends beyond paradoxes to encompass the interplay between denotation and connotation
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