This chapter discusses the reception of Hopkins in the 1920s and 1930s and his influence on modernism and twentieth-century criticism. It proposes Hopkins’s importance to the emphasis on difficulty and ambiguity in modernist critcism, as well as on relations between sound and sense. It also observes Hopkins’s significance for theories of rhythm, metre, and diction in modernist poetry.

Focusing particularly on the work of painter and critic Roger Fry, critic Clive Bell, novelist and essayist Virginia Woolf, and literary theorist I. A. Richards, the final chapter considers the legacy of evolutionary aestheticism in the first decades of the twentieth century. Although these twentieth-century writers rejected the developmental telos that defined nineteenth-century evolutionary aestheticism, this chapter argues that they inherited many of their predecessors’ ideas about the anti-utilitarian ethics of beauty, the spiritual potency of aesthetic pleasure, and, consequently, the long-term social benefits of good taste. By drawing a through line from mid nineteenth-century evolutionary aesthetics to the aesthetics of the Bloomsbury group and the principles of New Criticism, this chapter also contributes to a body of recent scholarship reassessing conventional narratives about modernism and its purportedly radical break from Victorian concerns and values.

The critical essay emerged in the eighteenth century in writing that described natural and artistic objects, and in the process inspired readers to think about the nature of their experience. This chapter traces the critical essay’s evolution from Joseph Addison’s Pleasures of the Imagination through the work of nineteenth-century essayists like Thomas De Quincey and William Hazlitt, culminating in the academic literary criticism of New Critics such as I. A. Richards and Cleanth Brooks and more recent practitioners such as D. A. Miller and Eve Kosofsky Sedgwick.