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EDUCATING THE LITERARY TASTE by Paz Latorena

It was a Spanish thinker and moralist, Baltazar Gracian, who rst used and popularized the term,
hombre de buen gusto, during the seventeenth century, although by it, he simply meant a tactful
person. The adoption of the term in the aesthetic eld took place in France, according to literary
history, and La Biuyere a rms that during his time discussions centered on good taste and bad taste
until the term grew into wide use, and, by the beginning of the following century had established itself
in Europe.
Certainly Addison, in one of his essays published in the Spectator, de ned literary taste as the
discernment and appreciation of that which is fundamentally excellent in literature in another essay, he
de ned it as a faculty which discerns the beauties of literature with pleasure and its imperfections with
dislike. These two de nitions, according to Coleridge, make of literary taste a rational activity but with
a distinctively subjective bias.

It remained for Ruskin, however to make the distinction, between literary raste and literary criticism
with which it is being continuously confounded. He said that literary criticism is a formal action of the
intellect, a deliberate search for perfections and imperfections by the application of universally
accepted standards to a literary composition; on the other hand, taste is the instant, almost instinctive
preferring of one literature to another, apparently for no other reason except that the rst is more
proper to human nature. To have literary taste, therefore, from the foregoing de nition and distinctions,
is to have a feeling and an inclination for what is ne and beautiful in literature, to savor and to
appreciate it, and to dislike and reject what is vulgar and tawdry in it.
          
  There comes a time in the life of every man when he discovers for himself or is led to discover the
wide and varied world of literature, a world ass wide and varied as the life from which it draws its
sustenance. It is a world of prose and poetry in which the interplay of human passions, the greatness
and the misery of man, his heroism and his wickedness, his strength and his weakness, are portrayed
with relentless analysis by those whose minds have probed human life to its deepest and most hidden
springs of action. When he nds himself in that world, and eventually he will, man will stand in need of
good literary taste. For unless he knows how to discriminate, how to separate truth from falsehood,
good from bad, the specious from the true, the meretricious from the sincere; unless he knows how
not to take the truth of the portrayal for the truth of the thing portrayed, unless he is convinced that
aptness of expression and brilliance of diction do not turn falsehood into truth, his sense of literary
values runs the risk of being falsi ed.

Fortunately, according to Sir Joshua Reynolds, taste can be taught. It can be acquired by determined
intercourse with good models. And it is one of the more important functions of educations; that is, to
train the student, the seeker of light, to distinguish between pleasures that are becoming to a man and
pleasures that are unbecoming to him, to nd delight in what ought to delight him, and to feel repulsion
for what ought to repel him, especially in the eld of literature.

 The popularity of literature courses in high school and college augurs well for the development of a
sound, wholesome, literary taste. A great deal of the works and the responsibility falls on the teacher
whose attitude towards the teaching of literature should be, that the interpretation and the
appreciation of the individual authors and their works are important nor so much in themselves, but as
means to the re nement of a taste that will make of literature, when school days are over, a source of
pure pleasure and spiritual adventure for the student.
What literary ideals, then, should the teacher emphasize? What literary standards should guide him in
the selection of the literature, intercourse with which would develop good literary taste? In other words,
what literary values make the literature that can serve that end?
First, there is the intellectual value of literature. By intellectual value we mean something in a literary
composition which makes the reader think to some purpose so that his mental life is enriched and
enlarged as a result.

The other arts do not place great emphasis on intellectual value, Music, painting, sculpture, the dance
— all these appeal primarily through the sense and they convey beauty through ear and eye. The sound
and sight in themselves enrich the senses. Yet all arts have some intellectual appeal. How much more
must literature, appealing through the physical or the mind’s eye to the mind itself and setting up a
train of ideas, consider intellectual content important?This does not mean, however, that all literature
must present a profound truth, solve a pressing intellectual problem, make its readers think a long and
deeply. In intellectual value, as in other matters, there are degrees. We would be very reluctant to
condemn a charming romance by Stevenson, a sparkling comedy of the Quinter brothers, the delightful
society versus of the French, even the glamorous poetry of Swinburne from all of which we have had
so much and so many kinds of pleasure even though the intellectual value be slight.

But all great literature, that of universal and enduring appeal, will, upon close scrutiny, be found to
contain a high degree of intellectual value. No play of Shakespeare or Calderon de la Barca, no perm of
Dante or Milton, no novel of Tolstol or Hardy is without the quality that appeals to the human mind and
enlarges it.
And the high quality that appeals to the human mind and enlarges it is truth; better still the truth as
presented by literature. Not the truth that is mere information or that is factual, but the truth that
imagination and art transmute from merely dry bines put together into breath and life. Not the truth
supplied by romanticism alone, or realism, or idealism or naturalism, but a truth that does not depend
on such methods but on something more fundamental. The romantic may be as true as the realistic;
the idealist may look at life as truly as naturalist. The point is that human life and human experience
which is the stuff of literature os a complex thing; It is neither wholly material nor wholly spiritual; it is
neither completely ascribed by the details of physical existence nor entirely given to dream. It is
compounded experience, invariably the more sordid side – and this is our rst brief against much of
the literature of our own days – contains only part of the truth and falsi es values.

From literature sans intellectual value, and therefore not literature at all, from literature that contains
half-truths and falsi ed human values, from literature that leaves the reader unsatis ed, food taste
should be trained to shrink from.Second, there is the emotional value of literature which is as
signi cant as its intellectual value. An appeal to the emotions is the distinguishing mark of any
literature worth its name. And even the dullness of novels, the attest of dramatic failures, the worst
poem show an endeavour to express and to arouse emotion.For purposed of literature, the term
“emotion” may be made largely inclusive. Under the shadows of the two main classes, pleasant and
unpleasant emotions, there walk many experiences that we commonly call moods, feelings,
attitudes.Strangely enough, the so-called pleasant emotions have had very little appeal for writers.
Fried, pathos, fear,, even horror have stirred the creative faculty more than happiness and serenity, from
Aeschylus’ Prometheus Bound to Sheriff’s Journey’s End. And the obvious explanation is that life is
more of the material of tragedy and of pathos and thr writer takes what gives him most and uses it.
           
However, literature proves that it can take the unpleasant and the painful from life and so represent
them that pleasure and not pain is the resulting emotion of the reader, Otherwise tragedy would repel
and not attract. But in art, literature in particular, there is always, associated with the painful, even with
the horrible, something which arouses desirable emotions. The desirable element may be closesly
associated with the painful stimulus itself or it may be in the effect which the painful stimulus have
upon the reader. The gure of a weak man might be contemptible, but in arouses pity. An act of cruelty
and injustice may give painful emotions to the reader and at the same time stir moral indignation
which in itself is healthy, the war poems of Siegfried Sasson would be almost unbearable because of
the horrors they depict were it not for the suggestions of heroism and sacri ce and for the hope they
carry, the eventual abolition of war. Here are emotions growing out of and involved with out contempt
but they satisfy, enlarge, and ennoble. So in larger scenes of horror, tragedy or pathos, our pleasure in
the nobility that withstands pain and evil, our sympathy with suffering lift us out of the realm of the
merely unpleasant or painful. Thus almost any emotion may be represent in art, no matter how painful,
no matter how unpleasant, if the imagination of the writer nds it in meanings and associations that
arouse wholesome and pleasurable feelings.
The statement that literature should appeal to the noble and higher emotions invariably brings forth
the question of what the nobles and higher emotions are. To which the answer is that they are those
emotions and feelings and attitudes which are ours because we are human beings and not animals,
those emotion which control our conduct as moral beings, those emotions that move us to right and
happy living. And those are the emotions which a good literary taste instinctively looks for in literature
and without which literature would have very little account for its being.

 Third, there is the ethical value of literature which has more frequently been a storm center than either
of the other content values. Emphasis on the ethical signi cance of literature has been derided as
frequently as it has been demanded. Art of art’s sake has been a cry raised on and off, especially in
modern times, but it has been countered by the works of great didactic writers, from Plato to Tolstoy. It
is not for us here to take sides as to which the correct concept of the end of literature is, didactic, that
is for instruction as Plato says, or aesthetic, that is for pleasure Aristotle holds. We have always
favored Horace who believes in literature that both teaches and delights. But this we know, that
literature that is immoral does not and cannot delight man, much less instruct him. Judgement as to
what constitutes immorality in literature varies greatly. Let us, for one, consider the morality of
expression. There are those who believe that frankness of speech does not consulate immorality. In
fact, they hold, it is healthier to speak frankly of the normal facts of life than to veil in imperfectly, even
maliciously. The use of concealing phrases which probably deceive nobody is often far more
suggestive, far more over stimulating to the imagination that modern frankness.

We believe that there is a grain of truth in that contention. However, when language goes beyond the
normal express of abnormality, and so gives the reader unhealthy information and stimulates the
morbid imagination, then it is immoral. Its aim becomes not that expressing of truth but obscenity. The
conclusion of this matter of morality or immorality in expression is that it is not so much a question of
the words that are used as the purposes for which they are used. Which brings us to the consideration
of the morality of the theme. There are those who hold that a literary composition, the theme of which
is immorality is not necessarily immoral. The history of literature, they contend, shows that there are a
few books that deals with vice and crime of some sort. Were we therefore reject as immoral all the
literature dealing with vice and crime we would have to banish creative writing as a whole. The Illiad,
Oedipus Tyrannus, Macbeth, Faust are not immoral books.

That we admit. But there are books that deal with similar themes and are de nitely immoral. What
makes the difference?Obviously, the answer lies in the purpose and aim of the writer and in his
emphasis. If the aim of the writer is to focus this attention of the readers upon evil for evil’s own sake,
his purpose is degrading; consequently his book is immoral.

The realist will say that the writer portraying life should present vice as attractive. True. But the
attractiveness of vice is not the whole truth about it. Great writers have presented vice as attractive but
they have also presented the ashes into which that attractiveness turns, if we yield to its lure. That is
representing the whole of life, which usually includes reaction, and later, retribution.

An appeal to facts shows that all supreme literatures have a positive ethical value. Creative writing,
emanating from and dealing with man’s experience, must have some reference to his conduct. And
since we are men and not animals, since we are moral beings with a conscience, good literary taste
demands that in all literature there should be found a positive in uence that will bring us higher values,
both as individuals and as members of a social order.

There are witnesses in the world today a cult of the formless and the ugly in the various arts of human
life, but in manifests itself more strongly and shamelessly in literature, particularly in the novel and the
drama. And as for the motion picture, it fairly reeks with it. The effect on society and individual is
distressing.

I conclude, education must erect barriers against rampant vulgarity. And good taste is not only a
barrier but a means of devulgarization; a taste that is attuned to the ne and beautiful, a taste out of
sympathy with the false and the ignoble, a taste that would be one of the instruments for richer living.

PAZ LATORENA (19 January 1908 = 19 October 1953) Born in Boac, Marinduque, Philippines in
1907 Paz Latorena was one of the accomplished female writers in English during the pre-war era