Most of the classical and medieval criticism; the birth period of literary criticism, is marked with criticism of religious texts. With the passage of time, literature saw many developments and criticism as well. Going through medieval to renaissance, and then 19th century, literature was not spared from criticism. In the 20th century, however, criticism took a new shape and form from merely referring to the classical literary works or detailed descriptive analysis of the literary diction. The early 20th century is marked with ‘Anatomy of Criticism’ by Northrop Frye, in which he criticized the style of critics who adhered to their own ideologies to analyze a literary piece. In this period, the criticism became a more subject based criticism than looking into an author’s personality. In psychoanalytic criticism of literature, literature is taken on psychological grounds. It is read as if it is not latent, a manifest, and a dream work.

Psychoanalytic literary criticism started with the development of psychoanalysis itself, and induced into literature by Sigmund Freud. This form of criticism essentially requires displacement and deep concentration operations. It is a keen study of symbolism and diction. Freud’s works include several extensive literary essays that explain the psychic exploration of the characters, texts and authors themselves.

Freud’s theory was acclaimed and followed by many like Jacques Lacan and Carl Jung. Though, Freud’s concepts of psycho analysis of literature circles around characters and authors’ psyche reading to explore the mysteries of literary narratives. It can have a wide scope by analyzing the diction and dialect, baffling symbols, actions, scene settings and content resemblance and reference. Psychological critical analysis of literature can also be divided into several branches as was done by Karen Horney’s approaches including womb envy.

Poets can encourage the inspiration by inviting friends to gather around for a conversation. Don’t forget to bring plenty of good food. The conversation can be playful, intellectual, funny, or even silent, with only non-verbal communication and enjoyment. The important thing in the get-together is that everyone is in a creative frame of mind and the poet is setting the tone of the evening. A poetry reading around the fire would be another great way to get the creative mood flowing through the get-together. If no one is in the mood to hear each other, music is a great way to let everyone share in different moods without having to speak.

A poet could write about the fire pit itself, conversations inspired by the get-together, the great food that is sure to be there, the moonlight or sunlight that hits the crowd, or any other event that might take place during this friendly outing. The entire atmosphere is one of creativity, natural beauty, and human ingenuity, with a little symbolism thrown into the mix to make things perfect for everyone involved.

Poetry is as old as human writing itself. The fire pit isn’t quite as old, but rest assured that it will be around for ages to come. It’s simply beautiful to look at and easy to build a get-together around. Poetry is the art and the pit is the inspiration and if used properly can be a terrific recipe for human creativity. For more information on poetry, the internet is always ample ground for research. If a poem is produced by one of your enchanted evenings, there’s always a poetry contest happening somewhere to give it a home.

Literature is part of our cultural heritage which is freely available to everyone, and which can enrich our lives in all kinds of ways. Once we have broken the barriers that make studying literature seem daunting, we find that literary works can be entertaining, beautiful, funny, or tragic. They can convey profundity of thought, richness of emotion, and insight into character. They take us beyond our limited experience of life to show us the lives of other people at other times. They stir us intellectually and emotionally, and deepen our understanding of our history, our society, and our own individual lives.

Literature can also give us glimpses of much earlier ages. Glimpses of Celtic Ireland in the poetry of W. B. Yeats, or of the Romans in Shakespeare’s plays, for example, can take us in our imaginations back to the roots of our culture, and the sense of continuity and change we get from surveying our history enhances our understanding of our modern world.

Literature can enrich our experience in other ways too. London, for example, is all the more interesting a city when behind what we see today we see the London known to Dickens, Boswell and Johnson, or Shakespeare. And our feeling for nature can be deepened when a landscape calls to mind images from, say, Wordsworth, Thomas Hardy, or Ted Hughes.

The world of English literature consists, apart from anything else, of an astonishing array of characters, from the noble to the despicable – representations of people from all walks of life engaged in all kinds of activities. Through their characters great authors convey their insights into human nature, and we might find that we can better understand people we know if we recognise in them characteristics we have encountered in literature. Perhaps we see that a certain man’s behaviour resembles that of Antony in Antony and Cleopatra, or a certain woman is rather like The Wife of Bath in Chaucer’s Canterbury Tales. Seeing such similarities can help us to understand and accept other people.

Good works of literature are not museum pieces, preserved and studied only for historical interest. They last because they remain fresh, transcending as well as embodying the era in which they were written. Each reader reading each work is a new and unique event and the works speak to us now, telling us truths about human life which are relevant to all times.

We don’t have to read far before we find that a writer has portrayed a character who is in some way like us, confronting life-experiences in some way like our own and when we find ourselves caught up with the struggles of a character perhaps we are rehearsing the struggles to come in our own lives. And when we are moved by a poem it can enrich us by putting words to feelings which had lain dormant for lack of a way of expressing them, or been long-forgotten in the daily round of the workplace, the supermarket, the traffic jam, and the TV News.

So why do we need to study English Literature, instead of just reading it? Well, we don’t need to, but when visiting a country for the first time it can help to have books by people who have been there before by our side.

When we start to read literature, particularly older works, we have to accept that we are not going to get the instant gratification that we have become used to from popular entertainment. We have to make an effort to accommodate to the writer’s use of language, and to appreciate the ideas he is offering. Critics can help us make that transition, and can help fill out our understanding by telling us something about the social climate in which a work was written, or about the personal circumstances of the author while he was writing it.

We are not going to enjoy every literary work, and there may be times when we find reading a critic is more interesting than reading the actual work. Reading the work of a good critic can be edifying in itself. Making the effort to shape our own thoughts into an essay is also an edifying experience, and just as good literature lasts, so do the personal benefits that we gain from studying and writing about it.

Whether we choose to study it or read it for pleasure, when we look back over our literature we are looking back over incredible richness. Not just museum pieces, but living works which we can buy in bookshops, borrow from the library, or download from the internet and read today, right now.