He is not only a poet or a novelist; he is also a character in our biography. Pleasure is by no means an infallible critical guide, but it is the least fallible.Rea Mng i5 A poet cannot read another poet, nor a noveli^ anodier novelist, without comparing meir work to his own. A child’s reading is guided by pleasure, but his pleasure is undifferentiated; he cannot distinguish, for example, between aesthetic pleasure and the pleasures of learning or daydream- ing.
Thames & Hudson for selections from Tales of the Hasidim by Martin Buber. I should like to thank the various publishers, editors, college authorities and, not least, the ladies and gentlemen who voted me into the Chair of Poetry at Oxford University, but for whose generosity and support I should never have been able to pay my bills.
Princeton University Press for selection from Mimesis by Eric Auerbach. Secker & Warburg for selection from “The Burrow" from The Great Wall of China by Franz Kafka. Mercy Sohn, Prague; copyright 1946, 1948 by Schocken Books, Inc. Helen Thomas for lines from “Home" by Edward Thomas. Law^rence, Copyright 1929 by Jonathan Cape and Harrison Smith and 1957 by Frieda Lawrence Ravagli; for selections from Birds, Beasts and Flowfers by D. On the other hand, I have never written a line of criticism except in response to a demand by others for a lecture, an introduction, a review, etc.; though I hope that some love went into their writing, I wrote them because I needed the money.
Copyright 1928 by The Macmillan Company, copyright 1956 by Bertha Georgie Yeats; for “The Scholars” from Collected Poems of William Butler Yeats. Copyright 1933 by Nathanael West; and for The Day of the Locust by Nathanael West. Oxford University Press for selection from Taliessin Through Logres by Charles Williams. Frieda Lawrence for selections from Collected Poems of D, H. All the poems I have written were written for love; naturally, when I have written one, I try to market it, but the prospect of a market played no role in its writing.
Yeats for lines from ‘'Nineteen Hundred and Nineteen” from Collected Poems of William Butler Yeats. Copy- right 1916 by The Macmillan Company, copyright 1944 by Ruth Nivison. for lines from “In Westminster Abbey” from Collected Poems of John Betjeman. for selections from Miss Lonelyhearts by Nathanael West. and 1951 by Frieda Lawrence; and for selections from Last Poems by D. We have Art in order that we may not perish from Truth F. NIETZSCHE FOREWORD It is a sad fact about our culture that a poet can earn much more money writing or talking about his art than he can by practicing it.
It is difficult to overstate the extent to which Russell's thought dominated twentieth century analytic philosophy: virtually every strand in its development either originated with him or was transformed by being transmitted through him.
~ Nicholas Griffin He was the most fascinating man I have ever known, the only man I ever loved, the greatest man I shall ever meet, the wittiest, the gayest, the most charming. Y., for “Ben Jonson Entertains a Man from Stratford'* from Collected Poems of Edwin Arlington Robinson. For NEVILL COGHILL Three grateful memories: a home full of hooks, a childhood sfent in country 'provinces, a tutor in whom one could confide. “The American Scene" reprinted with the permission of Charles Scribner's Sons from a reissue of The American Scene by Henry James. “Red Ribbon on a White Horse" reprinted with the permission of Charles Scribner's Sons from a reissue of Red Rihhon on a White Horse by Anzia Yezierska. The article on page 209 appeared originally in The New Yorker.One sign that a book has literary value is that it can be read in a number of different ways.Though a W'ork of literature can be read in a number of ways, this number is finite and can be arranged in a hierarchical order; some readings are obviously “truer” than others, some doubtful, some obviously false, and some, like reading a novel backwards, absurd.In a new author, we tend to see either only his virtues or only his defects and, even if we do see both, we cannot see the rela- tion between them.In the case of an established author, if we can still read him at all, we know that we cannot enjoy the virtues we admire in him without tolerating the defects we deplore.The order of the chapters, however, is deliberate, and I would like them to be read in sequence. A bad reader is like a bad translator: he interprets literally when he ought to paraphrase and paraphrases when Prologue 4 ] he ought to interpret literally.In learning to read well, scholar- ship, valuable as it is, is less important than instinct; some great scholars have been poor translators.We appeal as human beings to human beings: Remember your humanity, and forget the rest.If you can do so, the way lies open to a new Paradise; if you cannot, there lies before you the risk of universal death.