In that period he wrote three of his most influential books: The Meaning of Meaning (1923; with C.K. Ogden), a pioneer work on semantics; and Principles of Literary Criticism (1924) and Practical Criticism (1929), companion volumes that he used to develop his critical method.
Apart from containing extensive amounts of biographical material, this work is distinguished for its use of the principles of historical criticism.
An acquaintance with the history of texts and the principles of textual criticism is indispensable for the student of history, literature, or philosophy.
He was an aggressive and scientific philologist, instrumental in establishing principles of textual criticism that would become key elements of the humanistic method.
In addition to the extensive amounts of biographical material that is of importance for both ecclesiastical and general history, this work is distinguished for its use of the principles of historical criticism.
Actually, the platform of his critical attitudes is largely moral, but his two disciples, I.A. Richards in Principles of Literary Criticism (1924) and William Empson in Seven Types of Ambiguity (1930), carried his method to extreme lengths.
Taking his cue from Coleridge, the British aesthetician I.A. Richards in Principles of Literary Criticism (1924) developed a closely reasoned theory of the mind's response to rhythm and metre.
In line with the principles of Romantic criticism discussed above, mourning-plays contain their own distinct form and should be criticised according to their own immanently discovered standards.
They call for a systematic and integrated study of literature, uniting literary theory, which outlines the basic principles of literature; criticism, which critiques individual works; and history, which outlines the development of literature.
He wrote the first eschatological interpretations of the Gospel (1892) and also set forth the principles of "form-criticism" (1912)—the analysis of biblical passages through the examination of their structural form.
