In literary criticism, close reading is the careful, sustained interpretation of a brief passage of a text. It emphasizes the particular over the general, paying precise attention to individual words, syntax, and the order in which the sentences unfold ideas, as well as the formal structures of the text.
Close reading involves considering both what is said in a passage (content) and how it is said (form), in order to make observations and offer interpretive insight.
The Cantos is a long modernist poem by Ezra Pound, written in 109 canonical sections in addition to a number of drafts and fragments added as a supplement at the request of the poem's American publisher, James Laughlin. Most of it was written between 1915 and 1962, although much of the material in the first three cantos was abandoned or redistributed in 1923, when Pound prepared the first instalment of the poem, A Draft of XVI Cantos (Three Mountains Press, 1925). It is a book-length work, widely considered to present formidable difficulties to the reader. Strong claims have been made for it as the most significant work of modernist poetry of the twentieth century. As in Pound's prose writing, the themes of economics, governance and culture are integral to its content.
The most striking feature of the text, to a casual browser, is the inclusion of Chinese characters as well as quotations in European languages other than English. Recourse to scholarly commentaries is almost inevitable for a close reader. The range of allusion to historical events is very broad, and abrupt changes occur with little transition. There is also wide geographical reference; Pound added to his earlier interests in the classical Mediterranean culture and East Asian selective topics from medieval and early modern Italy and Provence, the beginnings of the United States, England of the seventeenth century, and details from Africa he had obtained from Leo Frobenius.
Poetry (from the Greek word poiesis, "making") is a form of literary art that uses aesthetic and often rhythmic qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meanings. Any particular instance of poetry is called a poem and is written by a poet. Poets use a variety of techniques called poetic devices, such as assonance, alliteration, consonance, euphony and cacophony, onomatopoeia, rhythm (via metre), rhyme schemes (patterns in the type and placement of a phoneme group) and sound symbolism, to produce musical or other artistic effects. They also frequently organize these devices into poetic structures, which may be strict or loose, conventional or invented by the poet. Poetic structures vary dramatically by language and cultural convention, but they often rely on rhythmic metre: patterns of syllable stress or syllable (or mora) weight. They may also use repeating patterns of phonemes, phoneme groups, tones, words, or entire phrases. Poetic structures may even be semantic (e.g. the volta required in a Petrachan sonnet).
Most written poems are formatted in verse: a series or stack of lines on a page, which follow the poetic structure. For this reason, verse has also become a synonym (a metonym) for poetry. Some poetry types are unique to particular cultures and genres and respond to characteristics of the language in which the poet writes. Readers accustomed to identifying poetry with Dante, Goethe, Mickiewicz, or Rumi may think of it as written in lines based on rhyme and regular meter. There are, however, traditions, such as Biblical poetry and alliterative verse, that use other means to create rhythm and euphony. Other traditions, such as Somali poetry, rely on complex systems of alliteration and metre independent of writing and have been described as structurally comparable to ancient Greek and medieval European oral verse. Much modern poetry reflects a critique of poetic tradition, testing the principle of euphony itself or altogether forgoing rhyme or set rhythm. In first-person poems, the lyrics are spoken by an "I", a character who may be termed the speaker, distinct from the poet (the author). Thus if, for example, a poem asserts, "I killed my enemy in Reno", it is the speaker, not the poet, who is the killer (unless this "confession" is a form of metaphor which needs to be considered in closer context – via close reading).
In philology, a commentary is a line-by-line or even word-by-word explication usually attached to an edition of a text in the same or an accompanying volume. It may draw on methodologies of close reading and literary criticism, but its primary purpose is to elucidate the language of the text and the specific culture that produced it, both of which may be foreign to the reader. Such a commentary usually takes the form of footnotes, endnotes, or separate text cross-referenced by line, paragraph or page.
Means of providing commentary on the language of the text include notes on textual criticism, syntax and semantics, and the analysis of rhetoric, literary tropes, and style. The aim is to remove, lessen or point out linguistic obstacles to reading and understanding the text.
New Criticism was a formalist 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 object. The movement derived its name from John Crowe Ransom's 1941 book The New Criticism.
The works of Cambridge scholar I. A. Richards, especially his Practical Criticism, The Principles of Literary Criticism and The Meaning of Meaning, which offered what was claimed to be an empirical scientific approach, were important to the development of a New Critical methodology. Cleanth Brooks, John Crowe Ransom, W. K. Wimsatt, and Monroe Beardsley also made significant contributions to New Criticism. It was Wimsatt and Beardsley who introduced the ideas of intentional fallacy and affective fallacy. Also very influential were the critical essays of T. S. Eliot, such as "Tradition and the Individual Talent" and "Hamlet and His Problems", in which Eliot developed his notions of the "theory of impersonality" and "objective correlative" respectively. Eliot's evaluative judgments, such as his condemnation of John Milton and John Dryden, his liking for the so-called metaphysical poets, and his insistence that poetry must be impersonal, greatly influenced the formation of the New Critical canon.