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"Depicted the physical world as an imperfect copy of transcendent ideas and poetry as a mere copy of the copy", said Plato while Aristotle countered Plato’s indictment by stressing what is normal and useful about literary art.

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Later Greek and Roman criticism offers no parallel to Aristotle’s originality.

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In this period, it has a big difference if we compare Plato's perspective into the Later Greek and Roman Criticism. Horace’s verse epistle The Art of Poetry is an urbane amplification of Aristotle’s emphasis on the decorum or internal propriety of each genre, now including lyric, pastoral, satire, elegy, and epigram, as well as Aristotle’s epic, tragedy, and comedy.

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In the Christian Middle Ages criticism suffered from the loss of nearly all the ancient critical texts and from an antipagan distrust of the literary imagination. But both the ancient gods and the surviving classics reasserted their fascination, entering medieval culture in theologically allegorized form.

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Renaissance criticism grew directly from the recovery of classic texts and notably from Giorgio Valla’s translation of Aristotle’s Poetics into Latin in 1498. By 1549 the Poetics had been rendered into Italian as well. Critics looked to ancient poems and plays for insight into the permanent laws of art.

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 Criticism of the 17th and 18th centuries, particularly in France, was dominated by these Horatian norms.

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Neoclassicism, however, usually connotes narrower attitudes that are at once literary and social: a worldly-wise tempering of enthusiasm, a fondness for proved ways, a gentlemanly sense of propriety and balance.

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In England, however, only Coleridge in his Biographia Literaria (1817) embraced the whole complex of Romantic doctrines emanating from GermanY.

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Romantics tended to regard the writing of poetry as a transcendentally important activity, closely related to the creative perception of meaning in the world.

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Advocates of the literary imagination now began to think of themselves as enemies or gadflies of the newly entrenched bourgeoisie.

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The Romantic movement had been spurred not only by German philosophy but also by the universalistic and utopian hopes that accompanied the French Revolution.

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The ideal of objective research has continued to guide Anglo-American literary scholarship and criticism and has prompted work of unprecedented accuracy.