While New Criticism popularized close reading in universities, it tended to emphasize its principles and offer extended examples rather than prescribe specific methods and practices. This tendency towards what Vincent B. Leitch calls "canonical statements" appeared in essays and book-length studies, from John Crowe Ransom's "The New Criticism" (1949) and Allen Tate's "A Note on Autotelism" (1949), to Cleanth Brooks' "The Well Wrought Urn" (1947), Rene Wellek and Austin Warren's "Theory of Literature" (1949), and W.K. Wimsatt's "The Verbal Icon" (1954). The first ten chapters of "The Well Wrought Urn" thus focus individually on poems across British literary history (John Donne, William Shakespeare, John Milton, Alexander Pope, Thomas Gray, John Keats, William Wordsworth, Alfred, Lord Tennyson, W.B. Yeats, and T.S. Eliot) before concluding with "The Heresy of Paraphrase," in which Brooks abstracts the premises on which his analyses rest. Meanwhile, when Wellek and Warren describe their preference for an "intrinsic" study of literature in "Theory of Literature", they refer to examples of elements they claim are crucial to a work—from euphony, rhythm, and meter to image, metaphor, and myth—and cite concrete examples of these drawn from literary history, but do not indicate steps by which readers might translate such thinking into their own analyses. Wimsatt takes a mixed approach in "The Verbal Icon", combining theoretical chapters ("The Intentional Fallacy," "The Affective Fallacy") with those that discuss concerns he feels are necessary to the study of poetry ("The Concrete Universal," "Symbol and Metaphor," "The Substantive Level," "One Relation of Rhyme to Reason," "When is Variation 'Elegant'?","Verbal Style: Logical and Counterlogical"), but he too leaves it to his readers to imagine how they might deploy these views.