The term “intentional fallacy” was coined by literary critics William K. Wimsatt and Monroe C. Beardsley in their influential essay titled “The Intentional Fallacy” published in 1946. Wimsatt and Beardsley argued against the common practice of relying on the author’s intended meaning to understand a literary work. They contended that the author’s intentions are often inaccessible or ambiguous, and even if they were known, they do not necessarily reveal the true meaning of the work.
According to Wimsatt and Beardsley, the meaning of a literary work should be derived from the text itself, rather than from external factors such as the author’s biography, historical context, or the reader’s interpretation. They argued that the text is independent and should be analyzed and interpreted on its terms. This approach, known as the “New Criticism,” emphasized close reading and textual analysis to uncover the inherent complexities and meanings within a work of literature. Wimsatt and Beardsley believe that readers or critics should focus on the words on the page and the formal elements of the work, such as its language, structure, symbolism, and themes, rather than speculating about the author’s intentions. They argue that by relying solely on the text itself, a reader can engage with the work on its own merits and appreciate its artistic qualities and multiple layers of meaning.
However, this concept of intentional fallacy has been subject to criticism and debate within the field of literary criticism. Some argue that considering the author’s intentions and historical context can provide valuable insights into a work’s meaning and help understand its social, cultural, and political significance. Others contend that a complete disregard for authorial intention can lead to misinterpretations or neglect of important contextual factors.
In contemporary literary criticism, there is a broader recognition that multiple approaches and perspectives can coexist, and different readers may derive different meanings from a work based on their individual experiences and interpretations. The intentional fallacy serves as a reminder to be cautious about assuming the author’s intentions as the sole criterion for understanding and evaluating a work of art. Still, it does not necessarily exclude the consideration of authorial intention altogether.
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