Explain the phrase 'the sense of the design'.

The Origins and Components of ‘The Sense of the Design’

Richards developed ‘the sense of the design’ as a response to what he saw as the failings of traditional aesthetic theories, which often relied on subjective judgments and vague notions of beauty. He believed that a scientific approach to literature required understanding the psychological processes involved in reading and responding to poetry. He posited that poetry doesn’t communicate ideas directly, but rather organizes and intensifies our existing impulses and emotions.

Stock Responses and the Reader’s Role

Richards argued that readers bring ‘stock responses’ – pre-existing emotional and psychological patterns – to their encounter with a poem. These responses are triggered by the poem’s various elements, but it is the ‘sense of the design’ that allows the reader to integrate these responses into a coherent whole. Without this sense, the poem remains a collection of disconnected stimuli. He identified four main types of stock responses: sense responses (to sound and rhythm), emotional responses (to imagery and feeling), humor, and religious responses.

Ambiguity and the Importance of Tension

A key element in Richards’ theory is the concept of ‘ambiguity.’ He didn’t view ambiguity as a flaw, but rather as a source of richness and complexity. A well-crafted poem, according to Richards, will contain multiple layers of meaning and will create a tension between different interpretations. This tension is resolved when the reader develops ‘the sense of the design,’ allowing them to hold these conflicting meanings in equilibrium. He distinguished between ‘multiple meanings’ (where a word or phrase has several possible definitions) and ‘conflicting meanings’ (where different interpretations create a sense of tension).

How ‘The Sense of the Design’ Works

Richards illustrated his concept with detailed analyses of poems, demonstrating how the interplay of various elements contributes to the overall effect. He emphasized the importance of paying attention to the poem’s formal qualities – its meter, rhyme scheme, and sound patterns – as well as its content. He believed that these formal qualities are not merely decorative, but are integral to the poem’s meaning.

The Role of Integration

The ‘sense of the design’ isn’t simply about recognizing the poem’s individual elements; it’s about perceiving how they are integrated into a unified whole. This integration requires a high degree of cognitive and emotional engagement on the part of the reader. Richards believed that the more fully the reader is able to integrate their responses, the more profound their experience of the poem will be.

Beyond Poetry: Application to Other Art Forms

While Richards primarily focused on poetry, his concept of ‘the sense of the design’ has implications for understanding other art forms as well. Any work of art that possesses a complex structure and evokes a range of responses can be analyzed in terms of its design. This includes painting, sculpture, music, and even architecture.

Criticisms and Legacy

Richards’ theory has been subject to criticism. Some critics argue that his emphasis on psychological responses neglects the importance of historical and cultural context. Others contend that his focus on the reader’s experience diminishes the role of the author’s intention. However, ‘the sense of the design’ remains a highly influential concept in literary theory, shaping the development of reader-response criticism and New Criticism. It continues to be relevant for understanding how readers engage with and interpret literary works.