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diff --git a/42773-h/42773-h.htm b/42773-h/42773-h.htm index b7f7157..50233c4 100644 --- a/42773-h/42773-h.htm +++ b/42773-h/42773-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Talks on the Study of Literature, by Arlo Bates. @@ -136,48 +136,7 @@ table { </style> </head> <body> - - -<pre> - -Project Gutenberg's Talks on the study of literature., by Arlo Bates - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Talks on the study of literature. - -Author: Arlo Bates - -Release Date: May 23, 2013 [EBook #42773] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK TALKS ON THE STUDY OF LITERATURE. *** - - - - -Produced by Michael Seow, sp1nd and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - - - - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42773 ***</div> <h1><i>TALKS</i><br /> <span class="large">ON</span><br /> @@ -458,7 +417,7 @@ may experience objectively, it has to do with that only which all human beings may be conceived of as sharing subjectively. Literature may be broadly defined as the adequate expression of genuine and typical emotion. The definition may seem clumsy, and hardly exact enough to be -allowed in theoretical æsthetics; but it seems to me sufficiently +allowed in theoretical æsthetics; but it seems to me sufficiently accurate to serve our present purpose. Certainly the essentials of literature are the adequate embodiment of sincere and general feeling.</p> @@ -828,7 +787,7 @@ a wholesome nature brought into contact with madness; although even so the ordinary reader is still repelled by the abnormal elements of the theme. There is in all the work of Poe a good deal that is fantastic and not a little that is affected. He is rarely entirely sincere and sane. -He shared with Byron an instinctive fondness for the rôle of a "blighted +He shared with Byron an instinctive fondness for the rôle of a "blighted being," and a halo of inebriety too often encircles his head; yet at his best he moves us by the mysterious and incommunicable power of genius. Many of his tales, on the other hand, are mere mechanical tasks, and as @@ -984,7 +943,7 @@ a genius.</p> <p>The difference of effect between books which are not literature and those which are is that while these amuse, entertain, glance over the surface of the mind, those touch the deepest springs of being. They -touch us æsthetically, it is true. The emotion aroused is impersonal, +touch us æsthetically, it is true. The emotion aroused is impersonal, and thus removed from the keen thrill which is born of actual experiences; but it depends upon the same passions, the same<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> characteristics, the same humanity, that underlie the joys and sorrows @@ -1330,7 +1289,7 @@ books and the modern habit of travel have made an acquaintance<span class="pagen temper of different peoples a social necessity almost absolute.</p> <p>To a great extent is it also true that modern society expects a -knowledge of social conditions and æsthetic affairs in the past. This is +knowledge of social conditions and æsthetic affairs in the past. This is not so much history, formally speaking, as it is the result of a certain familiarity with the ways, the habits of thought, the manners of bygone folk. Professor Barrett Wendell has an admirable phrase: "It is only in @@ -2655,7 +2614,7 @@ all of us have forgotten. It is not with them that I am here concerned. They are meant to affect the reader unconsciously. It is with those matters which appeal to the conscious understanding that we have now to do; the conventions which are the language of literature as Latin was -the language of Cæsar or Greek the tongue of Pericles.</p> +the language of Cæsar or Greek the tongue of Pericles.</p> <p>I have spoken already of the necessity of understanding what is said in literature; this is, however, by no means the whole of the matter. It is @@ -2791,7 +2750,7 @@ that these illustrate well enough how apt we are to accept words and phrases as we accept a<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> silver dollar, with very little idea of the intrinsic worth of what we are getting. This may be made to do well enough in practical buying and selling, but it is eminently -unsatisfactory in matters intellectual or æsthetic. In the study of +unsatisfactory in matters intellectual or æsthetic. In the study of literature approximations are apt to be pretty nearly worthless.</p> <p>The most obvious characteristic in literary language is that of @@ -3026,7 +2985,7 @@ stanza which reads:—</p> <span class="i0">Wanderers in that happy valley<br /></span> <span class="i2">Through two luminous windows saw<br /></span> <span class="i0">Spirits moving musically<br /></span> -<span class="i2">To a lute's well-tunèd law,<br /></span> +<span class="i2">To a lute's well-tunèd law,<br /></span> <span class="i0">Round about a throne, where sitting<br /></span> <span class="i4">(Porphyrogene!)<br /></span> <span class="i0">In state his glory well-befitting,<br /></span> @@ -3265,10 +3224,10 @@ give distinction:—</p> <div class="poem"><div class="stanza"> <span class="i0">Enjoy the <i>honey-heavy</i> dew of slumber.<br /></span> -<span class="i20"><i>Julius Cæsar</i>, ii. 1.<br /></span> +<span class="i20"><i>Julius Cæsar</i>, ii. 1.<br /></span> </div><div class="stanza"> <span class="i0">When love begins to sicken and decay<br /></span> -<span class="i0">It useth an <i>enforcèd</i> ceremony.<br /></span> +<span class="i0">It useth an <i>enforcèd</i> ceremony.<br /></span> <span class="i26"><i>Ib.</i>, iv. 2.<br /></span> </div><div class="stanza"> <span class="i0">After life's <i>fitful</i> fever he sleeps well.<br /></span> @@ -3373,7 +3332,7 @@ the moonlit garden at Belmont they await the return of Portia.</p> In such a night<br /></span> <span class="i0">Medea gathered the enchanted herbs<br /></span> -<span class="i0">That did renew old Æson.<br /></span> +<span class="i0">That did renew old Æson.<br /></span> </div></div> <p>The question is how this is read. Do we go over the enchanting scene @@ -3764,7 +3723,7 @@ a civilized man would be incomprehensible, no matter in how clear speech they were expressed. To the unimaginative man the life of the world of imagination is pretty nearly as unintelligible as to the bushman of Australian wilds would be the subtly refined distinctions of that now -extinct monster, the London æsthete. The men who wrote the classics +extinct monster, the London æsthete. The men who wrote the classics wrote earnestly and with profound conviction that which they profoundly felt; it is needful to attain to their elevation in point of view before what they have written can be comprehended. This is a feat by no means @@ -3924,7 +3883,7 @@ centuries ago expressed it so well that the record has become immortal.</p> <p>I do not know whether what I mean is fully clear, and it is of course difficult to give examples where the matter is so subtle. It is certain, however, that any reader of early literature must be conscious how in -the simplicity and naïveté of the best old authors we find things which +the simplicity and naïveté of the best old authors we find things which are now hackneyed and all but commonplace said with a freshness and conviction which makes them for the first time real to us. Many emotions have been so long recognized and expressed in literature that there @@ -4020,7 +3979,7 @@ saying; but there is in none of these any of that insane pruriency which is the chief claim to distinction of several notorious contemporary authors. Neither is there in classic writers the puling, sentimental, sickly way of looking at life as something all awry. The reader who sits -down to the Greek poets, to Dante, to Chaucer, to Molière, to +down to the Greek poets, to Dante, to Chaucer, to Molière, to Shakespeare, to Cervantes, to Montaigne, to Milton, knows at least that he is entering an atmosphere wholesome, bracing, and manly, free alike from sentimentality and from all morbid and insane taint.</p> @@ -4085,7 +4044,7 @@ impossible to pass them in silence. There are certain works which inevitably come to the mind as soon as one speaks of the classics at all; and of these perhaps the most prominent are the Bible, Homer, Dante, Chaucer,<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span> and Shakespeare. The Greek tragedians, Boccaccio, -Molière, Cervantes, Montaigne, Spenser, Milton, Ariosto, Petrarch, +Molière, Cervantes, Montaigne, Spenser, Milton, Ariosto, Petrarch, Tasso, and the glorious company of other writers, such as the Elizabethan dramatists and the few really great Latin authors, it seems almost inexcusable not to discuss individually, yet they must be passed @@ -4243,7 +4202,7 @@ nothing is more conducive to the development of genuineness than the company of those who are sound and real. If we are with whole-souled folk, we cannot pose, even to ourselves; and it seems to me that the reader who, with full and buoyant imagination, puts himself into the -company of the Greeks of Homer or Æschylus or Euripides or Sophocles +company of the Greeks of Homer or Æschylus or Euripides or Sophocles cannot be content, for the time being at least, to be anything but a simply genuine human creature himself.</p> @@ -4412,7 +4371,7 @@ full of instances of works which have in their brief day filled the reading world with noisy admiration, but which have in the end been found destitute of<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span> enduring merit. While transient fame is at its height, while enthusiastically injudicious admirers are praising and -judiciously enthusiastic publishers are reëchoing their plaudits, it is +judiciously enthusiastic publishers are reëchoing their plaudits, it is a well-trained mind that is able to form a sound and rational judgment, and to distinguish between the ephemeral and the abiding. The only hope lies in a careful and discriminating application of standards deduced @@ -4795,7 +4754,7 @@ no matter how little reserve, seem too dully moral. Elegant titillation only begins where normal sexual relations leave off.... Ghost-stories are very popular, but they must come on in scientific disguise, as hypnotism, telepathy, or somnambulism. So are -marionette plays, in which seemingly naïve but knowing rogues make +marionette plays, in which seemingly naïve but knowing rogues make used-up old ballad dummies babble like babies or idiots. So are esoteric novels in which the author hints that he could say a deal about magic, fakirism, kabbala, astrology, and other white and @@ -4806,7 +4765,7 @@ German and even French critics to be the leading German writer of the day; the "Kreutzer Sonata" is the Bible of ladies, who are amateurs in love, but bereft of lovers; dainty gentlemen find the street ballads and gaol-bird songs of Jules Jouy, Bruant, MacNab, -and Xanroff very <i>distingué</i> on account of "the warm sympathy +and Xanroff very <i>distingué</i> on account of "the warm sympathy pulsing in them," as the phrase runs; and society persons, whose creed is limited to baccarat and the money market, make pilgrimages to the Oberammergau Passion-Play, and wipe away a tear over Paul @@ -5073,7 +5032,7 @@ temptation to make lists, to speak of the men who in France with Guy de Maupassant at their head have developed so great a mastery of style; one would gladly dwell on the genius of Turgenieff, perhaps the one writer who excuses the modern craze for Russian books; or of Sienkiewicz, who -has only Dumas <i>père</i> to dispute his place as first romancer of the +has only Dumas <i>père</i> to dispute his place as first romancer of the world; and so on for other writers of other lands and tongues. It is unnecessary, however, to multiply examples, and here there is no attempt to speak exhaustively even of English literature.</p> @@ -5228,7 +5187,7 @@ the smallest pretense of culture must, for instance, be at least tolerably familiar with Scott, Thackeray, Dickens, and Hawthorne; while he will find it difficult to hold the respect of cultivated men unless he is also acquainted with Miss Austen, George Eliot, and Charlotte -Brontë, with Dumas <i>père</i>, Balzac, and Victor Hugo, and with the works +Brontë, with Dumas <i>père</i>, Balzac, and Victor Hugo, and with the works of leading living writers of romance. "Don Quixote" is as truly a necessary part of a liberal education as is the multiplication table; and it would not be difficult to extend the list of novels which it is @@ -5414,7 +5373,7 @@ the greatest importance that the fiction given to a young reader be noble; that it be true to the essentials of life, as it can be true only if it is informed by a keen and sane imagination. Children should be fed on the genuine and sound folk-tales like those collected by the brothers -Grimm; the tales of Hans Christian Andersen, of Asbjörnsen, of +Grimm; the tales of Hans Christian Andersen, of Asbjörnsen, of Laboulaye, and of that delightful old lady, the Countess d'Aulnoy; the fine and robust "Morte d'Arthur"<span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span> of Malory; the more modern classics, "Robinson Crusoe" and "Gulliver." Then there are Hawthorne's "Tanglewood @@ -5618,10 +5577,10 @@ becomes forever richer and more full of meaning.</p> <p>In one way it is possible to gain from these imaginative experiences a knowledge of life more accurate than that which comes from life itself. It is possible to judge, to examine, to weigh, to estimate the emotions -which are enjoyed æsthetically; whereas emotions arising from real +which are enjoyed æsthetically; whereas emotions arising from real events benumb all critical faculties by their stinging personal quality. He who has never shared actual emotional ex<span class="pagenum"><a name="Page_206" id="Page_206">[Pg 206]</a></span>periences has never lived, -it is true; but he who has not shared æsthetic emotions has never +it is true; but he who has not shared æsthetic emotions has never understood.</p> <p>What should be the character of fiction is pretty accurately indicated @@ -5697,7 +5656,7 @@ true to the fundamental essentials of human nature, and understands that the book is true in a sense higher than that of mere literal verity. It is the cultivated man who has the keenest sense of reality, and yet only to the cultivated man is possible the exquisite enjoyment of "Esmond," -of "Les Misérables," "The Scarlet Letter," "The Return of the Native," +of "Les Misérables," "The Scarlet Letter," "The Return of the Native," or "The Ordeal of Richard Feverel." So far from being incompatible, the clear discernment of truth and the exquisite enjoyment of fiction are inseparable.</p> @@ -5859,7 +5818,7 @@ genius.</p> half-conscious perception of this principle that readers in general desire that a novel shall end pleasantly. The popular sentiment in favor of a "happy ending" is by no means so entirely wrong or so utterly -Philistine as it is the fashion in these super-æsthetical days to +Philistine as it is the fashion in these super-æsthetical days to assume. The trick of a doleful conclusion has masqued and paraded as a sure proof of artistic inspiration when it is nothing of the kind. Unhappy endings may be more common than happy ones in life, although @@ -5978,7 +5937,7 @@ here to set something down.</p> responsiveness to rhythm which is the foundation of the love of verse. The sense of symmetry exists in the rudest savage that tattoos the two sides of his face in the same pattern, or strings his necklace of shells -in alternating colors. The same feeling is shown by the unæsthetic +in alternating colors. The same feeling is shown by the unæsthetic country matron, the mantel of whose sacredly dark and cold best room is not to her eye properly adorned unless the ugly vase at one end is balanced by another exactly similar ugly vase upon the other. In sound @@ -6445,7 +6404,7 @@ in sport to pass as a folk-song in an unknown tongue:—</p> <span class="i0">Apaulthee kong lay laylarthay;<br /></span> <span class="i2">Ameeta tinta prown,<br /></span> <span class="i0">Lay lista, lay larba, lay moona long,<br /></span> -<span class="i0">Toolay échola doundoolay koko elph zong,<br /></span> +<span class="i0">Toolay échola doundoolay koko elph zong,<br /></span> <span class="i2">Im lay melplartha bountaina brown.<br /></span> </div></div> @@ -6473,7 +6432,7 @@ idea:—</p> <div class="poem"><div class="stanza"> <span class="i0">The skies they were ashen and sober;<br /></span> -<span class="i2">The leaves they were crispèd and sere,—<br /></span> +<span class="i2">The leaves they were crispèd and sere,—<br /></span> <span class="i2">The leaves they were withering and sere;<br /></span> <span class="i0">It was night in the lonesome October,<br /></span> <span class="i2">Of my most immemorial year;<br /></span> @@ -6717,7 +6676,7 @@ in material terms. One who attempted to describe a symphony to a deaf man would not be more at a loss for terms than must be he who attempts to set forth the worth of art to those ignorant of real values. The question may be answered, but to those who most need to be instructed in -regard to æsthetic values any answer must forever remain unintelligible.</p> +regard to æsthetic values any answer must forever remain unintelligible.</p> <p>There are, however, many sincere and earnest seekers after truth who are unable to clear up their ideas when they come in contact, as they must @@ -6799,7 +6758,7 @@ ecstasies of joy; and his message to the race is that such bliss has been and thus may be again. More than this, the fact that he in his anguish instinctively turns to art is the most eloquent proof that however great may be the sorrows of life there is for them an -alleviating balm in æsthetic enjoyment. He may speak of</p> +alleviating balm in æsthetic enjoyment. He may speak of</p> <div class="poem"><div class="stanza"> <span class="i12">Beauty that must die,<br /></span> @@ -6917,7 +6876,7 @@ man an ideal which in turn it justifies also.</p> <div class="poem"><div class="stanza"> <span class="i0">'Tis the deep music of the rolling world<br /></span> <span class="i0">Kindling within the strings of the waved air<br /></span> -<span class="i0">Æolian modulations.<br /></span> +<span class="i0">Æolian modulations.<br /></span> </div></div> <p>It is vain to endeavor to put into word the worth and office of poetry. @@ -6953,7 +6912,7 @@ and highest possibilities.</p> <li>Abbot, J. S. C., "Rollo," <a href="#Page_201">201</a>.</li> <li>Addison, <a href="#Page_66">66</a>.</li> <li>Advertising, <a href="#Page_168">168</a>-<a href="#Page_170">170</a>.</li> -<li>Æschylus, <a href="#Page_149">149</a>.</li> +<li>Æschylus, <a href="#Page_149">149</a>.</li> <li>Aldrich, T. B., "Story of a Bad Boy," <a href="#Page_11">11</a>, <a href="#Page_15">15</a>.</li> <li>Allusions, Biblical, <a href="#Page_98">98</a>-<a href="#Page_101">101</a>; <ul> @@ -6981,7 +6940,7 @@ and highest possibilities.</p> </ul> </li> <li>Artist, office of, <a href="#Page_207">207</a>.</li> -<li>Asbjörnsen, <a href="#Page_196">196</a>.</li> +<li>Asbjörnsen, <a href="#Page_196">196</a>.</li> <li>Augustine, St., "Confessions," <a href="#Page_7">7</a>.</li> <li>Austen, Jane, <a href="#Page_189">189</a>.</li> </ul> @@ -7008,7 +6967,7 @@ and highest possibilities.</p> </li> <li>Boccaccio, <a href="#Page_143">143</a>.</li> <li>Breeding, good, <a href="#Page_204">204</a>.</li> -<li>Brontë, Charlotte, <a href="#Page_189">189</a>.</li> +<li>Brontë, Charlotte, <a href="#Page_189">189</a>.</li> <li>Broughton, Rhoda, <a href="#Page_185">185</a>.</li> <li>Browning, Mrs. E. B., quoted, <a href="#Page_8">8</a>, <a href="#Page_132">132</a>, <a href="#Page_225">225</a>, <a href="#Page_241">241</a>; <ul> @@ -7118,7 +7077,7 @@ and highest possibilities.</p> </ul> </li> <li>"Duchess," The, <a href="#Page_13">13</a>, <a href="#Page_185">185</a>.</li> -<li>Dumas, A., <i>père</i>, <a href="#Page_182">182</a>, <a href="#Page_189">189</a>; +<li>Dumas, A., <i>père</i>, <a href="#Page_182">182</a>, <a href="#Page_189">189</a>; <ul> <li>"D'Artagnan Romances," <a href="#Page_27">27</a>, <a href="#Page_92">92</a>.</li> </ul> @@ -7206,7 +7165,7 @@ and highest possibilities.</p> <li>Hope, Anthony, <a href="#Page_211">211</a>.</li> <li>Hugo, Victor, <a href="#Page_189">189</a>; <ul> - <li>"Les Misérables," <a href="#Page_92">92</a>, <a href="#Page_208">208</a>.</li> + <li>"Les Misérables," <a href="#Page_92">92</a>, <a href="#Page_208">208</a>.</li> </ul> </li> <li>Hunt, Leigh, quoted, <a href="#Page_84">84</a>.</li> @@ -7262,7 +7221,7 @@ and highest possibilities.</p> </ul> <ul> -<li>Laboulaye, Édouard, <a href="#Page_196">196</a>.</li> +<li>Laboulaye, Édouard, <a href="#Page_196">196</a>.</li> <li>Lamb, Charles, <a href="#Page_133">133</a>; <ul> <li>quoted, <a href="#Page_196">196</a>.</li> @@ -7326,7 +7285,7 @@ and highest possibilities.</p> </ul> </li> <li>Modernity, <a href="#Page_169">169</a>.</li> -<li>Molière, <a href="#Page_140">140</a>, <a href="#Page_143">143</a>.</li> +<li>Molière, <a href="#Page_140">140</a>, <a href="#Page_143">143</a>.</li> <li>Montaigne, <a href="#Page_133">133</a>, <a href="#Page_140">140</a>, <a href="#Page_143">143</a>.</li> <li>Morbidity, <a href="#Page_140">140</a>.</li> <li>Morley, John, <a href="#Page_67">67</a>.</li> @@ -7638,383 +7597,6 @@ HOUGHTON MIFFLIN COMPANY<br /> </blockquote> </div> - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Talks on the study of literature., by Arlo Bates - -*** END OF THIS PROJECT GUTENBERG EBOOK TALKS ON THE STUDY OF LITERATURE. *** - -***** This file should be named 42773-h.htm or 42773-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/7/7/42773/ - -Produced by Michael Seow, sp1nd and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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