Abstract

The publication in this issue of Leonard B. Meyer’s superbly detailed analysis of the Trio of Mozart’s G Minor Symphony became the occasion of us to reexamine and restate some of the general aims of Critical Inquiry. From its inception Critical Inquiry was based on the assumption that we can indeed understand each other, at least to the point where critical exchange becomes meaningful and fruitful. It is this belief, for example, that has led us to eschew the more fiery debates and to concentrate instead on articles in which distinguished critics of all the arts attempt to explore the issues that divide them—the correspondence between Gombrich and Bell, for example, Booth’s attempt to represent his understanding of Abrams followed by Abrams’ representation of how he understands his own work, or, similarly, the exchange between Angus Fletcher and Northrop Frye. Even in our more heated Critical Response section, we have tended to reject those arguments that reflect primarily the egos of the disputants in favor of discourse that reveals the actual issues that separate them. We have been fully conscious that such a focus eliminates some of the excitement of fiery battle, and we are aware as well that we have not always succeeded in our attempt