Literature Classic Quotes

A classic is a book that has never finished saying what it has to say.

Time, which sees all things, has found you out.

Young people get the foolish idea that what is new for them must be new for everybody else too. No matter how unconventional they get, they're just repeating what others before them have done.

Countless words count less than the silent balance between yin and yang

Keep your friends close but your enemies closer.

Von Trotha said, “The Wahehe are a tribe of about one quarter of a million people! On the 17th of August 1891, they defeated the German expedition against them which was led by Zeleski.

The essential American soul is hard, isolate, stoic, and a killer. It has never yet melted.

There is one thing, Emma, which a man can always do if he chooses, and that is his duty; not by manoeuvring and finessing, but by vigour and resolution. - Mr. Knightley

A great literary classic should not require an introductory essay and ten pages of footnotes to be understood. It should require a human heart and a curious mind.

Most people write me off when they see me. They do not know my story. They say I am just an African. They judge me before they get to know me. What they do not know is The pride I have in the blood that runs through my veins; The pride I have in my rich culture and the history of my people; The pride I have in my strong family ties and the deep connection to my community; The pride I have in the African music, African art, and African dance; The pride I have in my name and the meaning behind it. Just as my name has meaning, I too will live my life with meaning. So you think I am nothing? Don’t worry about what I am now, For what I will be, I am gradually becoming. I will raise my head high wherever I go Because of my African pride, And nobody will take that away from me.

Seaward ho! Hang the treasure! It's the glory of the sea that has turned my head.

As God is my witness, I'll never be hungry again.

Every profound literary work is a bridge between what we are and what we may become, not just as individuals, but as a collective conscience.

At the moment when her eyes closed, when all feeling vanished in her, she thought that she felt a touch of fire imprinted on her lips, a kiss more burning than the red-hot iron of the executioner.

I'll hold you in my heart, until I can hold you in my arms.

Persons attempting to find a motive in this narrative will be prosecuted; persons  attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.

They had no conversation together, no intercourse but what the commonest civility required. Once so much to each other! Now nothing! There had been a time, when of all the large party now filling the drawing-room at Uppercross, they would have found it most difficult to cease to speak to one another. With the exception, perhaps, of Admiral and Mrs. Croft, who seemed particularly attached and happy, (Anne could allow no other exception even among the married couples) there could have been no two hearts so open, no tastes so simliar, no feelings so in unison, no countenances so beloved. Now they were as strangers; nay, worse than strangers, for they could never become aquainted. It was a perpetual estrangement.

Say, you told me you thought Les Miserables was the greatest novel ever written. I think Vanity Fair is the greatest. Let's fight. - Joe Willard

Classic literature is still something that hangs in the air like a song.

Love, it is said, is blind, but love is not blind. It is an extra eye, which shows us what is most worthy of regard. To see the best is to see most clearly, and it is the lover's privilege.

Rome took all the vanity out of me, for after seeing the wonders there, I felt too insignificant to live, and gave up all my foolish hopes in despair." "Why should you, with so much energy and talent?" "That's just why, because talent isn't genius, and no amount of energy can make it so. I want to be great, or nothing. I won't be a common-place dauber, so I don't intend to try anymore.

I do not mean to object to a thorough knowledge of the famous works we read. I object only to the interminable comments and bewildering criticisms that teach but one thing: there are as many opinions as there are men.

Imaginative literature primarily pleases rather than teaches. It is much easier to be pleased than taught, but much harder to know why one is pleased. Beauty is harder to analyze than truth.

As a child, I read because books–violent and not, blasphemous and not, terrifying and not–were the most loving and trustworthy things in my life. I read widely, and loved plenty of the classics so, yes, I recognized the domestic terrors faced by Louisa May Alcott’s March sisters. But I became the kid chased by werewolves, vampires, and evil clowns in Stephen King’s books. I read books about monsters and monstrous things, often written with monstrous language, because they taught me how to battle the real monsters in my life. And now I write books for teenagers because I vividly remember what it felt like to be a teen facing everyday and epic dangers. I don’t write to protect them. It’s far too late for that. I write to give them weapons–in the form of words and ideas-that will help them fight their monsters. I write in blood because I remember what it felt like to bleed.

While art thrives on the blazing colours of scandal, literature blossoms on the dark soil of tragedy.

Nor shall this peace sleep with her; but as when The bird of wonder dies, the maiden phoenix, Her ashes new-create another heir As great in admiration as herself.

Men are free when they are obeying some deep, inward voice of religious belief. Obeying from within. Men are free when they belong to a living, organic, believing community, active in fulfilling some unfulfilled, perhaps unrealized purpose. Not when they are escaping to some wild west. The most unfree souls go west, and shout of freedom.

Read the best writers from all different periods; keep your reading of contemporaries in proportion - you do not want a steady diet of contemporary literature. You already belong to your time.

A classical work of literature can never be completely understood. But those who are educated and educating themselves must always desire to learn more from it.

As we sin, so must we suffer.

They [Narnia] are, perhaps, the greatest classics of children’s literature of the twentieth century.

The classics can console. But not enough.

Reading Dostoevsky's The Brothers Karamazov is comparable to pushing a beautiful grand piano up a very steep hill.

That child of Hell had nothing human; nothing lived in him but fear and hatred.

Once upon a time, they say, there was a girl...there was a boy...there was a person who was in trouble. And this is what she did...and what he did...and how they learned to survive it. This is what they did...and why one failed...and why another triumphed in the end. And I know that it's true, because I danced at their wedding and drank their very best wine.

Art doesn’t give rise to anything in us that isn’t already there. It simply stirs our curious consciousness and sparks a fire that illuminates who we have always wanted to be.

I place my fingers upon these keys typing 2,000 dreams per minute and naked of spirit dance forth my cosmic vortex upon this crucifix called language.

Los placeres violentos poseen finales violentos y tienen en su triunfo su propia muerte, del mismo modo en que se consumen el fuego y la pólvora en un beso voraz.

There is nothing for it but for all of us to invent our own ideal libraries of classics. I would say that such a library ought to be composed half of books we have read and that have really counted for us, and half of books we propose to read and presume will come to count—leaving a section of empty shelves for surprises and occasional discoveries

It is the best way to write poetry, letting things come." -Winnie-the-Pooh

Anger was buried far too early in a young heart, which perhaps contained much good.

The author says one character's definition of a classic is any book he'd heard of before he was thirty.

Sometimes, I’ve believed as many as six impossible things before breakfast.” – Alice’s Adventures in Wonderland, Lewis Carroll

. . . a statement that is repugnant to one's beliefs can be as true as one that is pleasurable.

Jesus was a bachelor and never lived with a woman. Surely living with a woman is one of the most difficult things a man has to do, and he never did it.

Realize your youth while you have it. Don’t squander the gold of your days, listening to the tedious, trying to improve the hopeless failure, or giving away your life to the ignorant, the common, and the vulgar. These are the sickly aims, the false ideals, of our age. Live! Live the wonderful life that is in you! Let nothing be lost upon you. Be always searching for new sensations. Be afraid of nothing

So ran the speech. Burdened and sick at heart, He feigned hope in his look, and inwardly Contained his anguish. […] Aeneas, more than any, secretly Mourned for them all

In his entire life, Father Abaddon Sohar had never seen anything like what was in that cell, and he knew instantly that at least one of those fantastic tales of the monstrous birth of some grotesque abomination was, in fact, very, very true.

Then said he, ’I am going to my Father’s; and though with great difficulty I am got hither, yet now I do not repent me of all the trouble I have been at to arrive where I am. My sword I give to him that shall succeed me in my pilgrimage, and my courage and skill to him that can get it. My marks and scars I carry with me, to be a witness for me that I have fought His battles who now will be my rewarder.’.... So he passed over, and all the trumpets sounded for him on the other side.

The policemen agreed they were living with a most peculiar fellow. One moment he was reading classical literature in the original French and quoting Tennyson, and the next he would be discussing the best way to blow up a train.

Individuals often turn to poetry, not only to glean strength and perspective from the words of others, but to give birth to their own poetic voices and to hold history accountable for the catastrophes rearranging their lives.

Books act like a developing fluid on film. That is, they bring into consciousness what you didn’t know you knew.

You might hear some ugly talk about it at school, but do one thing for me if you will: you just hold your head high and keep those fists down. No matter what anybody says to you, don't you let 'em get your goat.Try fighting with your head for a change . . .it's a good one, even if it does resist learning.

Many of the greatest books are like a forest. “The best way to get to know them is to wander right into the middle and get lost.

Life streamed through him in splendid flood, glad and rampant, until it seemed that it would burst him asunder in sheer ecstasy and pour forth generously over the world.

Nobody could have put her in the shade, blown out her light that evening; she was too evidently shining.

Folks were doin' a lot of runnin' that night

I am the master of my fate, I am the captain of my soul".

Forget them Wendy. Forget them all. Come with me where you'll never, never have to worry about grown up things again.

It was against my principles and all, but I was feeling so depressed I didn't even think. That's the whole trouble. When you're feeling very depressed, you can't even think.

Classics aren't books that are read for pleasure. Classics are books that are imposed on unwilling students, books that are subjected to analyses of "levels of significance" and other blatt, books that are dead.

Don't let politeness interfere with truth

She holstered her weapon, raising the hem of her skirts and stepping lightly around the dead bodies.

I wasn't sleepy or anything, but I was feeling sort of lousy. Depressed and all. I almost wished I was dead.

All is in a man's hands and he lets it all slip from cowardice, that's an axiom. It would be interesting to know what it is men are most afraid of. Taking a new step, uttering a new word is what they fear most… .

One girl is worth more than twenty boys.

The thing is, if you get very depressed about something, it's hard as hell to swallow.

Needless to say, the business of living interferes with the solitude so needed for any work of the imagination. Here's what Virginia Woolf said in her diary about the sticky issue: "I've shirked two parties, and another Frenchman, and buying a hat, and tea with Hilda Trevelyan, for I really can't combine all this with keeping all my imaginary people going.

I reckon I got to light out for the Territory ahead of the rest, because Aunt Sally she's going to adopt me and sivilize me, and I can't stand it. I been there before.

Thats what makes a view so sad, and so beautiful. It'll be there when we're not.

I believe books should be like a prime rib steak ~ good and thick.

What a fool I was not to tear my heart out on the day when I resolved to avenge myself!

Might it have been nothing but life itself? Life; this limitless complex sea, filled with assorted flotsam, brimming with capricious, violent, and yet eternally transparent blues and greens.

LONDON. Michaelmas Term lately over, and the Lord Chancellor sitting in Lincoln’s Inn Hall. Implacable November weather. As much mud in the streets as if the waters had but newly retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill. Smoke lowering down from chimney-pots, making a soft black drizzle, with flakes of soot in it as big as full-grown snow-flakes — gone into mourning, one might imagine, for the death of the sun. Dogs, undistinguishable in mire. Horses, scarcely better; splashed to their very blinkers. Foot passengers, jostling one another’s umbrellas in a general infection of ill-temper, and losing their foot-hold at street-corners, where tens of thousands of other foot passengers have been slipping and sliding since the day broke (if the day ever broke), adding new deposits to the crust upon crust of mud, sticking at those points tenaciously to the pavement, and accumulating at compound interest. Fog everywhere. Fog up the river, where it flows among green aits and meadows; fog down the river, where it rolls defiled among the tiers of shipping and the waterside pollutions of a great (and dirty) city. Fog on the Essex marshes, fog on the Kentish heights. Fog creeping into the cabooses of collier-brigs; fog lying out on the yards, and hovering in the rigging of great ships; fog drooping on the gunwales of barges and small boats. Fog in the eyes and throats of ancient Greenwich pensioners, wheezing by the firesides of their wards; fog in the stem and bowl of the afternoon pipe of the wrathful skipper, down in his close cabin; fog cruelly pinching the toes and fingers of his shivering little ’prentice boy on deck. Chance people on the bridges peeping over the parapets into a nether sky of fog, with fog all round them, as if they were up in a balloon, and hanging in the misty clouds. Gas looming through the fog in divers places in the streets, much as the sun may, from the spongey fields, be seen to loom by husbandman and ploughboy. Most of the shops lighted two hours before their time — as the gas seems to know, for it has a haggard and unwilling look. The raw afternoon is rawest, and the dense fog is densest, and the muddy streets are muddiest near that leaden-headed old obstruction, appropriate ornament for the threshold of a leaden-headed old corporation, Temple Bar. And hard by Temple Bar, in Lincoln’s Inn Hall, at the very heart of the fog, sits the Lord High Chancellor in his High Court of Chancery.

Democracy in America was never the same as Liberty in Europe. In Europe Liberty was a great life-throb. But in America Democracy was always something anti-life. The greatest democrats, like Abraham Lincoln, had always a sacrificial, self-murdering note in their voices. American Democracy was a form of self-murder, always. Or of murdering somebody else... The love, the democracy, the floundering into lust, is a sort of by-play. The essential American soul is hard, isolate, stoic, and a killer. It has never yet melted.

But you have there the myth of the essential white America. All the other stuff, the love, the democracy, the floundering into lust, is a sort of by-play. The essential American soul is hard, isolate, stoic, and a killer. It has never yet melted.

...The first dictionaries were glossaries of Homeric words, intended to help Romans read the Iliad and Odyssey as well as other Greek literature employing the 'archaic' Homeric vocabulary.

If I could describe myself, I'd say that I am a poetic gerd. (A geek and nerd combo) I love Shakespeare and romance, but sci-fi and action have a big slice of my heart. When I meet a man who can quote some Hitchcock out of thin air, do a perfect ''Timey Whimey'' impression, play me some classic rock when I'm sad and can give a 'Gone with the Wind' kiss, I will have my soul mate.

Editors can be stupid at times. They just ignore that author’s intention. I always try to read unabridged editions, so much is lost with cut versions of classic literature, even movies don’t make sense when they are edited too much. I love the longueurs of a book even if they seem pointless because you can get a peek into the author’s mind, a glimpse of their creative soul. I mean, how would people like it if editors came along and said to an artist, ‘Whoops, you left just a tad too much space around that lily pad there, lets crop that a bit, shall we?’. Monet would be ripping his hair out.

He looked across the sea and knew how alone he was now. But he could see the prisms in the deep dark water and the line stretching ahead and the strange undulation of the calm. The clouds were building up now for the trade wind and he looked ahead and saw a flight of wild ducks etching themselves against the sky over the water, then blurring, then etching again and he knew no man was ever alone on the sea.

The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.

On the Day of Judgment , life and death are not determined by the world but by God's wisdom and law

I want to see what life makes of you. One thing is certain - it can't spoil you. It may pull you about horribly, but I defy it to break you up.

the horizon bounded by a propitious sky, azure, marbled with pearly white.

For my part, life is so many things I don’t care what it is. It’s not my affair to sum it up. Just now it’s a cup of tea. This morning it was wormwood and gall. Hand me the sugar.

The object of our lives is to look at, listen to, touch, taste things. Without them—these sticks, stones, feathers, shells—there is no Deity.

I felt purged and holy and ready for a new life.

...because there's a secret order. The books, you can't place them random. The other day I put Cervantes next to Tolstoj. And I thought, if close to Anna Karenina we have Don Quixote, sure the latter will do his best to save her.

Art has two great functions. First, it provides an emotional experience. And then, if we have the courage of our own feelings, it becomes a mine of practical truth. We have had the feelings ad nauseam. But we've never dared dig the actual truth out of them, the truth that concerns us, whether it concerns our grandchildren or not.

...we're in English class, which for most of us is an excruciating exercise in staying awake through the great classics of literature. These works-- groundbreaking, incendiary, timeless-- have been pureed by the curriculum monsters into a digestible pabulum of themes and factoids we can spew back on a test. Scoring well on tests is the sort of happy thing that gets the school district the greenbacks they crave. Understanding and appreciating the material are secondary.

And what does a person with such romantic temperament seek in the study of the classics? "If by romantic you mean solitary and introspective, I think romantics are frequently the best classicists.

I couldn't let you sacrifice yourself for me." "Its not a sacrifice. My ambition has just changed.

There must be something in books, things we can't imagine, to make a woman stay in a burning house; there must be something there. You don't stay for nothing.

Call them robbers and cutthroats--were they not amiable enough when they had sufficient to fill their bellies? Something was out of joint in a world that drove these men to steal.

...a lone genius might create a classic work of art or literature, but he could never create an entire industry.

Mr. Hooper spent a long life, irreproachable in outward act, yet shrouded in dismal suspicions; kind and loving, though unloved, and dimly feared; a man apart from men, shunned in their health and joy, but ever summoned to their aid in mortal anguish.

You can be good for the mere sake of goodness; you cannot be bad for the mere sake of badness. You can do a kind action when you are not feeling kind and when it gives you no pleasure, simply because kindness is right; but no one ever did a cruel action simply because cruelty is wrong - only because cruelty is pleasant or useful to him, In other words, badness cannot succeed even in being bad in the same way in which goodness is good. Goodness is, so to speak, itself: badness is only spoiled goodness. And there must be something good first before it can be spoiled.

Over the centuries, this interpretation and reinterpretation creates a long chain connecting a writer to all future readers- who frequently read each other as well as the original. Virginia Woolf had a beautiful vision of generations interlinked in this way: of how "minds are threaded together- how any live mind is of the very same stuff as Plato's & Euripides... It is this common mind that binds the whole world together; & all the world is mind." This capacity for living on through readers' inner worlds over long periods of history is what makes a book like the 'Essays' a true classic. As it is reborn differently in each mind, it also brings those minds together.

Dantes remained confused and silent by this explanation of the thoughts which had unconsciously been working in his mind, or rather soul; for there are two distinct sorts of ideas, those that proceed from the head and those from the heart.

So does a whole world, with all of its greatness and littleness, lie in a twinkling star.

No temas, mi amor; primero dejaré de existir antes de amarte.

The village was shutting its eyes. Candles and lamps were being put out everywhere: she could inwardly behold the extinguisher and the extended hand.

Is that so? He who lives in the mountains years for the city, and the city-dweller would rather live in the mountains," the Abbot chuckled, "and nothing is ever to one's liking...

I didn't care what kind of a job it was, though. Just so people didn't know me and I didn't know anybody.

Literature always anticipates life. It does not copy it, but molds it to its purpose.

Look, sir. Don't worry about me,' I said. 'I mean it. I'll be all right. I'm just going through a phase right now. Everybody goes through phases and all, don't they?

Later I inquired into the origin of the word happy and found that it derives from the verb to happen. In other words, happiness is to be found simply from observing what happens. If you cannot be happy at the prospect of lunch, you are not likely to find happiness anywhere. What happens is happiness.

That evening was the evening of the full moon. The garden was an enchanted place where all the flowers seemed white. The lilies, the daphnes, the orange-blossom, the white stocks, the white pinks, the white roses - you could see these as plainly as in the daytime; but the coloured flowers existed only as fragrance.

Many scholars forget, it seems to me, that our enjoyment of the great works of literature depends more upon the depth of our sympathy than upon our understanding. The trouble is that very few of their laborious explanations stick in the memory. The mind drops them as a branch drops its overripe fruit. ... Again and again I ask impatiently, "Why concern myself with these explanations and hypotheses?" They fly hither and thither in my thought like blind birds beating the air with ineffectual wings. I do not mean to object to a thorough knowledge of the famous works we read. I object only to the interminable comments and bewildering criticisms that teach but one thing: there are as many opinions as there are men.

Our fiction is not merely in flight from the physical data of the actual world…it is, bewilderingly and embarrassingly, a gothic fiction, nonrealistic and negative, sadist and melodramatic – a literature of darkness and the grotesque in a land of light and affirmation…our classic [American] literature is a literature of horror for boys

To make someone an icon is to make him an abstraction, and abstractions are incapable of vital communication with living people.10 10 One has only to spend a term trying to teach college literature to realize that the quickest way to kill an author's vitality for potential readers is to present that author ahead of his time as "great" or "classic." Because then the author becomes for the students like medicine or vegetables, something the authorities have declared "good for them" that they "ought to like," at which point the students' nictitating membranes come down, and everyone just goes through the requisite motions of criticism and paper-writing without feeling one real or relevant thing. It's like removing all oxygen from the room before trying to start a fire.

at one time, a freethinker was a man who had been brought up in the conceptions of religion, law and morality, who reached freethought only after conflict and difficulty. But now a new type of born freethinkers has appeared, who grow up without so much as hearing that there used to be laws of morality, or religion, that authorities existed... In the old days, you see, if a man - a Frenchman, for instance- wished to get an education, he would have set to work to study the classics, the theologians, the tragedians, historians and philosophers- and you can realize all the intellectual labour involved. But nowadays he goes straight for the literature of negation, rapidly assimilates the essence of the science of negation, and thinks he's finished.

Men sometimes speak as if the study of the classics would at length make way for more modern and practical studies; but the adventurous student will always study classics, in whatever language they may be written and however ancient they may be. For what are the classics but the noblest recorded thoughts of man? They are the only oracles which are not decayed, and there are such answers to the most modern inquiry in them as Delphi and Dodona never gave. We might as well omit to study Nature because she is old. To read well, that is, to read true books in a true spirit, is a noble exercise, and one that will task the reader more than any exercise which the customs of the day esteem.

Mr. Fakhri kept the shelves stocked with Persian classics and poetry and translations of literature from all over the world.

It seemed that in Paris you could discuss classic literature or architecture or great music with everyone from the garbage collector to the mayor.

In the face of all his handicaps, Jurgis was obliged to make the price of a lodging, and of a drink every hour or two, under penalty of freezing to death.

Being an asshole? Or quoting classic literature?

The only justice is to follow the sincere intuition of the soul, angry or gentle. Anger is just, and pity is just, but judgement is never just.

I've known a hundred kinds of love; ⁠All made the loved one rue; And what is thine that it should prove ⁠Than other love, more true?

The short story is not, as some believe, a lesser form of literature than the novel.

Certo, io sono una selva e una notte di alberi scuri ma chi non ha paura delle mie tenebre, troverà anche pendii di rose sotto i miei cipressi.

To know what is first and what is last will lead near to what is taught in the Great Learning.

The mind will ever be unstable that has only prejudices to rest on, and the current will run with destructive fury when there are no barriers to break its force.

A way a lone a last a loved a long the—

The whole purpose of the construction of The Bridge of Silver Wings was to provide a path leading to The River of Winged Dreams, or to serve as a resting place until the river’s deeper and truer nature revealed itself.

Now life is given in exchange for pain and fear, and that's the basis of the whole deception. Now man is still not what he should be. There will e a new man, happy and proud. Whoever doesn't care whether he lives or doesn't live, he himself will be God. And that other God will no longer be.' 'So, that other God does exist, in your opinion?' 'He doesn't exist, but he does exist. In the stone there' no pain, but in the fear of the stone there is pain. God is the pain of the fear of death. Whoever conquers pain and fear will himself become God.

What happened to the classics?" you may ask. "Don't you believe in reading great literature to children?" Nothing happened to the classics-but something happened to children: their imaginations went to sleep in front of the television set twenty-five years ago. Reading a classic to a child whose imagination is in a state of retarded development will not foster a love of literature in that child.

It is an established fact that alcoholism, cocainism, and morphinism are deadly enemies of life, of health, and of the capacity for work and enjoyment... But this is far from demonstrating that the authorities must interpose to suppress these vices by commercial prohibitions...More harmful still than all these pleasures, many will say, is the reading of evil literature.

Do you remember what we were speaking of earlier, of how bloody, terrible things are sometimes the most beautiful?” he said. “It’s a very Greek idea, and a very profound one. Beauty is terror. Whatever we call beautiful, we quiver before it. And what could be more terrifying and beautiful, to souls like the Greeks or our own, than to lose control completely? To throw off the chains of being for an instant, to shatter the accident of our mortal selves? Euripides speaks of the Maenads: head thrown back, throat to the stars, ‘more like deer than human being.’ To be absolutely free! One is quite capable, of course, of working out these destructive passions in more vulgar and less efficient ways. But how glorious to release them in a single burst! To sing, to scream, to dance barefoot in the woods in the dead of night, with no more awareness of mortality than an animal! These are powerful mysteries. The bellowing of bulls. Springs of honey bubbling from the ground. If we are strong enough in our souls we can rip away the veil and look that naked, terrible beauty right in the face; let God consume us, devour us, unstring our bones. Then spit us out reborn.

His smiling face revealed a love too strong to be kept inside, but the feelings obviously rising inside him kept him from looking directly at Kikunojou. He gazed instead at Kikunojou's clear reflection on the water.

The soul, you see, is a shy and retiring thing. It lurks in dark places and dislikes sunlight. And so, if you do not keep the skylight open at all times, the soul will rot. It easily decays, like a fresh sea urchin.

It’s easier for a jazz musician to learn to play classical literature than for a classical player to learn how to play jazz,” he said. “The jazz musician is a creative artist, the classical musician is a re-creative artist.

Never trust the artist. Trust the tale.

I said, "Don't do nothing of the kind; it's one of the most jackass ideas I ever struck;

A classic is a book that has never finished what it wants to say.

Read the great books, gentlemen,” Mr. Monte said one day. “Just the great ones. Ignore the others. There’s not enough time.

Kalbim içimde konuşurken ben susmayı beceremem.

Don't try to resist the effect that a work of imaginative literature has on you.

To me, literature like a club wit’ no line and an open bar 24/7: Anybody can come in and get crunk as they want on dat sweet knowledge joose. Prollem

Abraham, like his parents, seemed to have been limed and caught by the ensnaring inn.

There are strange friendships: two friends are almost ready to eat each other, they live like that all their lives, and yet they cannot part.

Trouble me no more about her. Hereafter she is only my sister in name: not because I disown her, but because she has disowned me.

It is dreadful that one cannot tear our the past by the roots. We cannot tear it out but we can hide the memory of it.

Isn't it wonderful to be able to invite Anton Chekhov into your home?

To Helen I saw thee once-once only-years ago; I must not say how many-but not many. It was a july midnight; and from out A full-orbed moon, that, like thine own soul, soaring, Sought a precipitate pathway up through heaven, There fell a silvery-silken veil of light, With quietude, and sultriness, and slumber Upon the upturn'd faces of a thousand Roses that grew in an enchanted garden, Where no wind dared to stir, unless on tiptoe- Fell on the upturn'd faces of these roses That gave out, in return for the love-light Thier odorous souls in an ecstatic death- Fell on the upturn'd faces of these roses That smiled and died in this parterre, enchanted by thee, by the poetry of thy prescence. Clad all in white, upon a violet bank I saw thee half reclining; while the moon Fell on the upturn'd faces of the roses And on thine own, upturn'd-alas, in sorrow! Was it not Fate that, on this july midnight- Was it not Fate (whose name is also sorrow) That bade me pause before that garden-gate, To breathe the incense of those slumbering roses? No footstep stirred; the hated world all slept, Save only thee and me. (Oh Heaven- oh, God! How my heart beats in coupling those two worlds!) Save only thee and me. I paused- I looked- And in an instant all things disappeared. (Ah, bear in mind this garden was enchanted!) The pearly lustre of the moon went out; The mossy banks and the meandering paths, The happy flowers and the repining trees, Were seen no more: the very roses' odors Died in the arms of the adoring airs. All- all expired save thee- save less than thou: Save only the divine light in thine eyes- Save but the soul in thine uplifted eyes. I saw but them- they were the world to me. I saw but them- saw only them for hours- Saw only them until the moon went down. What wild heart-histories seemed to lie enwritten Upon those crystalline, celestial spheres! How dark a woe! yet how sublime a hope! How silently serene a sea of pride! How daring an ambition!yet how deep- How fathomless a capacity for love! But now, at length, dear Dian sank from sight, Into western couch of thunder-cloud; And thou, a ghost, amid the entombing trees Didst glide away. Only thine eyes remained. They would not go- they never yet have gone. Lighting my lonely pathway home that night, They have not left me (as my hopes have) since. They follow me- they lead me through the years. They are my ministers- yet I thier slave Thier office is to illumine and enkindle- My duty, to be saved by thier bright light, And purified in thier electric fire, And sanctified in thier Elysian fire. They fill my soul with Beauty (which is Hope), And are far up in heaven- the stars I kneel to In the sad, silent watches of my night; While even in the meridian glare of day I see them still- two sweetly scintillant Venuses, unextinguished by the sun!

Lots of writers are fascinated by evil and write copiously about it, but they are bored by virtue; this not only limits their scope but prevents a satisfactory account of evil, which can no more be comprehended apart from good than light can be comprehended apart from darkness.

Shakespeare's bitter play [Troilus and Cressida] is therefore a dramatization of a part of a translation into English of the French translation of a Latin imitation of an old French expansion of a Latin epitome of a Greek romance. (p. 55)

Water, wind and birdsong were the echoes in this quiet place of a great chiming symphony that was surging around the world. Knee-deep in grasses and moon daisies, Stella stood and listened, swaying a little as the flowers and trees were swaying, her spirit voice singing loudly, though her lips were still, and every pulse in her body beating its hammer strokes in time to the song.

I am he whom you sold and dishonored — I am he whose betrothed you prostituted — I am he upon whom you trampled that you might raise yourself to fortune — I am he whose father you condemned to die of hunger — I am he whom you also condemned to starvation, and who yet forgives you, because he hopes to be forgiven - I am Edmund Dantes!

One often hears of writers that rise and swell with their subject, though it may seem but an ordinary one. How, then, with me, writing of this Leviathan? Unconsciously my chirography expands into placard capitals. Give me a condor's quill! Give me Vesuvius' crater for an inkstand! Friends, hold my arms! For in the mere act of penning my thoughts of this Leviathan, they weary me, and make me faint with their out-reaching comprehensiveness of sweep, as if to include the whole circle of the sciences, and all the generations of whales, and men, and mastodons, past, present, and to come, with all the revolving panoramas of empire on earth, and throughout the whole universe, not excluding its suburbs. Such, and so magnifying, is the virtue of a large and liberal theme! We expand to its bulk. To produce a mighty book, you must choose a mighty theme. No great and enduring volume can ever be written on the flea, though many there be who have tried it.

Here--you warriors--why this moaning and complaining? Have you no more sense than toads and vipers? Our time hasn't come. Have you no patience? Are we not the 'trodden weed' still? The time is not yet here for us to raise our heads. Must you still complain?

It is a great thing to start life with a small number of really good books which are your very own. You may not appreciate them at first. You may pine for your novel of crude and unadulterated adventure. You may, and will, give it the preference when you can. But the dull days come, and the rainy days come, and always you are driven to fill up the chinks of your reading with the worthy books which wait so patiently for your notice. And then suddenly, on a day which marks an epoch in your life, you understand the difference. You see, like a flash, how the one stands for nothing, and the other for literature. From that day onwards you may return to your crudities, but at least you do so with some standard of comparison in your mind. You can never be the same as you were before. Then gradually the good thing becomes more dear to you; it builds itself up with your growing mind; it becomes a part of your better self, and so, at last, you can look, as I do now, at the old covers and love them for all that they have meant in the past.

It is untrue that fiction is nonutilitarian. The uses of fiction are synonymous with the uses of literature. They include refreshment, clarification of life, self-awareness, expansion of our range of experiences, and enlargement of our sense of understanding and discovery, perception, intensification, expression, beauty , and understanding. Like literature generally, fiction is a form of discovery, perception, intensification, expression, beauty, and understanding. If it is all these things, the question of whether it is a legitimate use of time should not even arise.

The fearful thing about the Chinese literary scene is that everyone keeps introducing new terms without defining them. And everyone interprets these terms as he pleases. To write a good deal about yourself is expressionism. To write largely about others is realism. To write poems on a girl's leg is romanticism. To ban poems on a girl's leg is classicism.

Gormenghast. Withdrawn and ruinous it broods in umbra: the immemorial masonry: the towers, the tracts. Is all corroding? No. Through an avenue of spires a zephyr floats; a bird whistles; a freshet beats away from a choked river. Deep in a fist of stone a doll's hand wriggles, warm rebellious on the frozen palm. A shadow shifts its length. A spider stirs... And darkness winds between the characters. - Gormenghast

Cinema – all art really – has great power. Power to illuminate. Power to transform. For those of us who experience film as literature, classic movies comprised an introductory education in the genre. As kids, many of us went searching through library shelves for obscure source novels after seeing some old movie or other. It was the start of many an adventure.

Let me begin with a heartfelt confession. I admit it. I am a biblioholic, one who loves books and whose life would seem incomplete without them. I am an addict, with a compulsive need to stop by nearly any bookstore I pass in order to get my fix. Books are an essential part of my life, the place where I have spent many unforgettable moments. For me, reading is one of the most enjoyable ways to pass a rainy afternoon or a leisurely summer day. I crave the knowledge and insights that truly great books bring into my life and can spend transported hours scouring used book stores for volumes which "I simply must have". I love the smell and feel of well-loved books and the look of a bookcase full of books waiting to be taken down and read.

I wonder why he jumped, the old man thought. He jumped almost as though to show me how big he was. I know now, anyway, he thought. I wish I could show him what sort of man I am. But then he would see the cramped hand. Let him think I am more man than I am and I will be so. I wish I was the fish, he thought, with everything he has against only my will and my intelligence.

What make Gatsby so damn great—like da book’s title indicatin’—is dat unlike da rest of deez shallow rich folk, Gatsby actually believe in somethin’: love, dawg. He build himself a new identity jus’ for Daisy. Errybody else straight-up empty inside.

Sometimes snakes can’t slough. They can’t burst their old skin. Then they go sick and die inside the old skin, and nobody ever sees the new pattern. It needs a real desperate recklessness to burst your old skin at last. You simply don’t care what happens to you, if you rip yourself in two, so long as you do get out.

Wishing to regulate their families, they first cultivated their persons. Wishing to cultivate their persons, they first rectified their hearts. Wishing to rectify their hearts, they first sought to be sincere in their thoughts. Wishing to be sincere in their thoughts, they first extended to the utmost their knowledge.

Wishing to regulate their families, they first cultivated their persons. Wishing to cultivate their persons, they first rectified their hearts. Wishing to rectify their hearts, they first sought to be sincere in their thoughts. Wishing to be sincere in their thoughts, they first extended to the utmost their knowledge. Such extension of knowledge lay in the investigation of things.

Poirot, watching him, felt suddenly a doubt--an uncomfortable twinge. Was there, here, something that he had missed? Some richness of the spirit? Sadness crept over him. Yes, he should have become acquainted with the classics. Long ago. Now, alas, it was too late....

Other than her homework, Ollie was carrying Captain Blood by Rafael Sabatini, a broken-spined paperback that she'd dug out of he dad's bookshelves. She mostly liked it. Peter Blood outsmarted everyone, which was a feature she liked in heroes, although she wished Peter were a girl, or the villain were a girl, or someone in the book besides his boat and his girlfriend (both named Arabella) were a girl.

The reader is the space on which all the quotations that make up a writing are inscribed without any of them being lost; a text's unity lies not in its origin but in its destination. Yet this destination cannot any longer be personal: the reader is without history, biography, psychology; he is simply that someone who holds together in a single field all the traces by which the written text is constituted…Classic criticism has never paid any attention to the reader; for it, the writer is the only person in literature…we know that to give writing its future, it is necessary to overthrow the myth: the birth of the reader must be at the cost of the death of the Author. [Final passage in "The Death of the Author," in Image-Music-Text, by Roland Barthes, Trans. Stephen Heath (1977)]

Rainer Maria Rilke greeted and wrestled with the angels of his Duino Elegies in the solitude of a castle surrounded by white cliffs tall trees and the sea. I greeted most of mine in the solitude of a house that still vibrated with the throbs of a singular life that had helped shape many lives and with the ache of attempts to render useful service to that life. The River of Winged Dreams was therefore constructed as a link between dimensions of past and future emotions and intellect and matter and spirit.

The grass grows over the graves, time overgrows the pain. The wind blew away the traces of those who had departed; time blows away the bloody pain and the memory of those who did not live to see their dear ones again—and will not live, for brief is human life, and not for long is any of us granted to tread the grass.

It was around this time that I’d begun trying to perfect the art of fucking with people’s minds. I’d figured out that when someone else was hogging the limelight, you could cut him down to size by bringing up a subject he didn’t know anything about. If the other person knew a lot about literature, I’d talk about the Velvet Underground; if he knew a lot about rock, I’d talk about Messiaen; if he knew a lot about classical music, I’d talk about Roy Lichtenstein; if he knew a lot about pop art, I’d talk about Jean Genet; and so on. Do that in a small provincial city and you never lose an argument.

I see that my presence is burdensome to you. Painful as it was for me to become convinced of it, I see that it is so and cannot be otherwise. I do not blame you, and God is my witness that, seeing you during your illness, I resolved with all my soul to forget everything that had been between us and start a new life. I do not repent and will never repent of what I have done; but I desired one thing - your good, the good of your soul - and now I see that I have not achieved it. Tell me yourself what will give you true happiness and peace in your soul. I give myself over entirely to your will and your sense of justice.

The whelp went home, and went to bed.  If he had had any sense of what he had done that night, and had been less of a whelp and more of a brother, he might have turned short on the road, might have gone down to the ill-smelling river that was dyed black, might have gone to bed in it for good and all, and have curtained his head for ever with its filthy waters.

The classics constitute an almost infallible process for awakening the soul to its full stature. In coming to know a classic, one has made a friend for life. It can be recalled to the mind and 'read' all over again in the imagination. And actually perusing the text anew provides a joy that increases with time. These marvelous works stand many rereadings without losing their force. In fact, they almost demand rereading, as a Beethoven symphony demands replaying. We never say of a music masterpiece, 'Oh I've heard that!' Instead, we hunger to hear it again to take in once more, with new feeling and insight, its long-familiar strains.

Dear Jim." The writing grew suddenly blurred and misty. And she had lost him again--had lost him again! At the sight of the familiar childish nickname all the hopelessness of her bereavement came over her afresh, and she put out her hands in blind desperation, as though the weight of the earth-clods that lay above him were pressing on her heart. Presently she took up the paper again and went on reading: "I am to be shot at sunrise to-morrow. So if I am to keep at all my promise to tell you everything, I must keep it now. But, after all, there is not much need of explanations between you and me. We always understood each other without many words, even when we were little things. "And so, you see, my dear, you had no need to break your heart over that old story of the blow. It was a hard hit, of course; but I have had plenty of others as hard, and yet I have managed to get over them,--even to pay back a few of them,--and here I am still, like the mackerel in our nursery-book (I forget its name), 'Alive and kicking, oh!' This is my last kick, though; and then, tomorrow morning, and--'Finita la Commedia!' You and I will translate that: 'The variety show is over'; and will give thanks to the gods that they have had, at least, so much mercy on us. It is not much, but it is something; and for this and all other blessings may we be truly thankful! "About that same tomorrow morning, I want both you and Martini to understand clearly that I am quite happy and satisfied, and could ask no better thing of Fate. Tell that to Martini as a message from me; he is a good fellow and a good comrade, and he will understand. You see, dear, I know that the stick-in-the-mud people are doing us a good turn and themselves a bad one by going back to secret trials and executions so soon, and I know that if you who are left stand together steadily and hit hard, you will see great things. As for me, I shall go out into the courtyard with as light a heart as any child starting home for the holidays. I have done my share of the work, and this death-sentence is the proof that I have done it thoroughly. They kill me because they are afraid of me; and what more can any man's heart desire? "It desires just one thing more, though. A man who is going to die has a right to a personal fancy, and mine is that you should see why I have always been such a sulky brute to you, and so slow to forget old scores. Of course, though, you understand why, and I tell you only for the pleasure of writing the words. I loved you, Gemma, when you were an ugly little girl in a gingham frock, with a scratchy tucker and your hair in a pig-tail down your back; and I love you still. Do you remember that day when I kissed your hand, and when you so piteously begged me 'never to do that again'? It was a scoundrelly trick to play, I know; but you must forgive that; and now I kiss the paper where I have written your name. So I have kissed you twice, and both times without your consent. "That is all. Good-bye, my dear" Then am I A happy fly, If I live Or if I die

I gather," he added, "that you've never had much time to study the classics?" "That is so." "Pity. Pity. You've missed a lot. Everyone should be made to study the classics, if I had my way." Poirot shrugged his shoulders. "Eh bien, I have got on very well without them." "Got on! Got on? It's not a question of getting on. That's the wrong view all together. The classics aren't a ladder leading to quick success, like a modern correspondence course! It's not a man's working hours that are important--it's his leisure hours. That's the mistake we all make. Take yourself now, you're getting on, you'll be wanting to get out of things, to take things easy--what are you going to do then with your leisure hours?

Upon the publication of Goethe’s epic drama, the Faustian legend had reached an almost unapproachable zenith. Although many failed to appreciate, or indeed, to understand this magnum opus in its entirety, from this point onward his drama was the rule by which all other Faust adaptations were measured. Goethe had eclipsed the earlier legends and became the undisputed authority on the subject of Faust in the eyes of the new Romantic generation. To deviate from his path would be nothing short of blasphemy.

When historians and literary scholars talk about the classical heritage, or the legacy to Western civilization from antiquity, they are primarily thinking of four worldviews that were written in Hebrew or Greek among the body of religious, philosophical, and literary texts created before 250 B.C. These are the Hebrew Bible, the philosophies of Plato and Aristotle, and Hellenistic, or Alexandrine, literature.

A feeling of liberation should contain a bracing feeling of negation, in which liberation itself is not negated. In the moment a captive lion steps out of his cage, he possesses a wider world than the lion who has known only the wilds. While he was in captivity, there were only two worlds to him; the world of the cage, and the world outside the cage. Now he is free. He roars. He attacks people. He eats them. yet he is not satisfied, for there is no third world that is neither the world of the cage nor the world outside the cage. Etsuko however, had in her heart not the slightest interest in these matters. Her soul knew nothing but affirmation.

The usual consolations of life, friendship and sex included, appealed to Newton hardly at all. Art, literature, and music had scarcely more allure. He dismissed the classical sculptures in the Earl of Pembroke's renowned collection as "stone dolls." He waved poetry aside as "a kind of ingenious nonsense." He rejected opera after a single encounter. "The first Act I heard with pleasure, the 2d stretch'd my patience, at the 3d I ran away.

She had thought of literature all these years (her seclusion, her rank, her sex must be her excuse) as something wild as the wind, hot as fire, swift as lightning; something errant, incalculable, abrupt, and behold, literature was an elderly gentleman in a grey suit talking about duchesses… Orlando then came to the conclusion (opening half-a-dozen books)…that it would be impolitic in the extreme to wrap a ten-pound note round the sugar tongs when Miss Christina Rossetti came to tea…next (here were half-a-dozen invitations to celebrate centenaries by dining) that literature since it all these dinners must be growing very corpulent; next (she was invited to a score of lectures on the Influence of this upon that; the Classical revival; the Romantic survival, and other titles of the same engaging kind) that literature since it listened to all these lectures must be growing very dry; next (here she attended a reception given by a peeress) that literature since it wore all those fur tippets must be growing very respectable; next (here she visited Carlyle’s sound-proof room at Chelsea) that genius since it needed all this coddling must be growing very delicate…

There is no better recreation for the mind than the study of the ancient classics. Take any one of them into your hand, be it only for half an hour, and you will feel yourself refreshed, relieved, purified, ennobled, strengthened; just as if you had quenched your thirst at some pure spring. Is this the effect of the old language and its perfect expression, or is it the greatness of the minds whose works remain unharmed and unweakened by the lapse of a thousand years? Perhaps both together. But this I know. If the threatened calamity should ever come, and the ancient languages cease to be taught, a new literature shall arise, of such barbarous, shallow and worthless stuff as never was seen before.

The term “humanities” includes, but is not limited to, the study of the following: language, both modern and classical; linguistics; literature; history; jurisprudence; philosophy; archaeology; comparative religion; ethics; the history, criticism, and theory of the arts; those aspects of social sciences which have humanistic content and employ humanistic methods; and the study and application of the humanities to the human environment with particular attention to reflecting our diverse heritage, traditions, and history and to the relevance of the humanities to the current conditions of national life.

Mr. Blake idly turned over the books on his bedroom table. I had taken the precaution of looking at them, when we first entered the room. THE GUARDIAN; THE TATLER; Richardson's PAMELA; Mackenzie's MAN OF FEELING; Roscoe's LORENZO DE MEDICI; and Robertson's CHARLES THE FIFTH—all classical works; all (of course) immeasurably superior to anything produced in later times; and all (from my present point of view) possessing the one great merit of enchaining nobody's interest, and exciting nobody's brain. I left Mr. Blake to the composing influence of Standard Literature, and occupied myself in making this entry in my journal.

The whole detachment was so quite that I could distinctly hear all the mingling sounds of night, so full of enchanting mystery: the mournful howling of distant jackals, now like a despairing lament, now like laughter; the sonorous, monotonous song of crickets, frogs, quails; a rumbling noise whose cause baffled me and which seemed to be coming even nearer; and all of Nature's barely audible nocturnal sounds that defy explanation or definition and merge in one rich, beautiful harmony that we call the stillness of the night.

And let Apollo drive Prince Hector back to battle, breathe power back in his lungs, make him forget the pain that racks his heart. Let him whip the Achaeans in headlong panic rout and roll them back once more, tumbling back on the oar-swept ships of Peleus' son Achilles. And he, will launch his comrade Patroclus into action and glorious Hector will cut him down with a spear in front of Troy, once Patroclus has slaughtered whole battalions of strong young fighting men and among them all, my shining son Sarpedon. But then - enraged for Patroclus - brilliant Achilles will bring Prince Hector down. And then, from that day on, I'll turn the tide of war: back the fighting goes, no stopping it, ever.

¿Os dais cuenta cabal de la cadena de crímenes tramados por la nena? Crimen número uno: la acusada comete allanamiento de morada. Crimen número dos: el personaje se queda con tres platos de potaje. Crimen número tres: la muy cochina destroza una sillita isabelina. Crimen número cuatro: va la dama y se limpia los zapatos en la cama... Un juez no dudaría ni un instante: «¡Diez años de presidio a esa tunante!». Pero en la historia, tal como se cuenta, la miserable escapa tan contenta mientras los niños gritan, encantados: «¡Qué bien; Ricitos de oro se ha salvado!».

I first met Winston Churchill in the early summer of 1906 at a dinner party to which I went as a very young girl. Our hostess was Lady Wemyss and I remember that Arthur Balfour, George Wyndman, Hilaire Belloc and Charles Whibley were among the guests… I found myself sitting next to this young man who seemed to me quite different from any other young man I had ever met. For a long time he seemed sunk in abstraction. Then he appeared to become suddenly aware of my existence. He turned on me a lowering gaze and asked me abruptly how old I was. I replied that I was nineteen. “And I,” he said despairingly, “am thirty-two already. Younger than anyone else who counts, though, “he added, as if to comfort himself. Then savagely: “Curse ruthless time! Curse our mortality. How cruelly short is this allotted span for all we must cram into it!” And he burst forth into an eloquent diatribe on the shortness of human life, the immensity of possible human accomplishment—a theme so well exploited by the poets, prophets, and philosophers of all ages that it might seem difficult to invest it with new and startling significance. Yet for me he did so, in a torrent of magnificent language which appeared to be both effortless and inexhaustible and ended up with the words I shall always remember: “We are all worms. But I do believe that I am a glow worm.” By this time I was convinced of it—and my conviction remained unshaken throughout the years that followed. Later he asked me whether I thought that words had a magic and music quite independent of their meaning. I said I certainly thought so, and I quoted as a classic though familiar instance the first lines that came into my head. Charm’d magic casements, opening on the foam Of perilous seas, in faery lands forlorn. His eyes blazed with excitement. “Say that again,” he said, “say it again—it is marvelous!” “But I objected, “You know these lines. You know the ‘Ode to a Nightengale.’ ” He had apparently never read or heard of it before (I must, however, add that next time I met him he had not learned not merely this but all of the odes to Keats by heart—and he recited them quite mercilessly from start to finish, not sparing me a syllable). Finding that he liked poetry, I quoted to him from one of my own favorite poets, Blake. He listened avidly, repeating some lines to himself with varying emphases and stresses, then added meditatively: “I never knew that old Admiral had found so much time to write such good poetry.” I was astounded that he, with his acute susceptibility to words and power of using them, should have left such tracts of English literature entirely unexplored. But however it happened he had lost nothing by it, when he approached books it was “with a hungry, empty mind and with fairly srong jaws, and what I got I *bit*.” And his ear for the beauty of language needed no tuning fork. Until the end of dinner I listened to him spellbound. I can remember thinking: This is what people mean when they talk of seeing stars. That is what I am doing now. I do not to this day know who was on my other side. Good manners, social obligation, duty—all had gone with the wind. I was transfixed, transported into a new element. I knew only that I had seen a great light. I recognized it as the light of genius… I cannot attempt to analyze, still less transmit, the light of genius. But I will try to set down, as I remember them, some of the differences which struck me between him and all the others, young and old, whom I have known. First and foremost he was incalculable. He ran true to no form. There lurked in his every thought and world the ambush of the unexpected. I felt also that the impact of life, ideas and even words upon his mind, was not only vivid and immediate, but direct. Between him and them there was no shock absorber of vicarious thought or precedent gleaned either from books or other minds. His relationship wit

A book isn't a single, static thing with one unarguable meaning. Each reader who comes to it brings his own special knowledge, habits and attitudes. Each reader reads a different book. Each reader imagines a different story. A few years ago, for instance, a friend of my mother's sent me a copy of a test on Rite of Passage that she had given her students. The first question read: "True or False? The theme of Rite of Passage is..." I can't tell you what the presumed themed was, but I can tell you that I didn't recognize it. Beads of sweat leaped out of my forehead. After two more questions, I had to put the test aside. I didn't know the "right" answers.

I’ve read science fiction and fantasy all my life – though when you’re a child, they just call that “books.” The first book I ever read on my own was The Neverending Story. I studied classics at university, and in ancient literature, monsters, witches, magic, curses, and impossible machines aren’t genre, they’re just Tuesday afternoon. I had no idea that I was writing fantasy at first, because I was so saturated in Greek literature that it never occurred to me that my talking animals and sentient mazes were anything but realism. Our instinct toward folklore and magical stories, parables and imagining the future, are as much a part of the human experiences as divorce, grief, falling in love, politics, or raising children. I’ve always read fantastic literature, because it’s always seemed truest to me. It makes the metaphorical literal and is all the more powerful for that immediacy and directness. I love genre fiction for the infinite expanse of stories it can tell – and it’s been my constant companion since I was a very small child.

It's a queer thing is a man's soul. It is the whole of him. Which means it is the unknown him, as well as the known. It seems to me just funny, professors and Benjamins fixing the functions of the soul. Why, the soul of man is a vast forest, and all Benjamin intended was a neat back garden. And we've all got to fit into his kitchen garden scheme of things. Hail Columbia ! The soul of man is a dark forest. The Hercynian Wood that scared the Romans so, and out of which came the white- skinned hordes of the next civilization. Who knows what will come out of the soul of man? The soul of man is a dark vast forest, with wild life in it. Think of Benjamin fencing it off! Oh, but Benjamin fenced a little tract that he called the soul of man, and proceeded to get it into cultivation. Providence, forsooth! And they think that bit of barbed wire is going to keep us in pound for ever? More fools they. ... Man is a moral animal. All right. I am a moral animal. And I'm going to remain such. I'm not going to be turned into a virtuous little automaton as Benjamin would have me. 'This is good, that is bad. Turn the little handle and let the good tap flow,' saith Benjamin, and all America with him. 'But first of all extirpate those savages who are always turning on the bad tap.' I am a moral animal. But I am not a moral machine. I don't work with a little set of handles or levers. The Temperance- silence-order- resolution-frugality-industry-sincerity - justice- moderation-cleanliness-tranquillity-chastity-humility keyboard is not going to get me going. I'm really not just an automatic piano with a moral Benjamin getting tunes out of me. Here's my creed, against Benjamin's. This is what I believe: 'That I am I.' ' That my soul is a dark forest.' 'That my known self will never be more than a little clearing in the forest.' 'Thatgods, strange gods, come forth f rom the forest into the clearing of my known self, and then go back.' ' That I must have the courage to let them come and go.' ' That I will never let mankind put anything over me, but that I will try always to recognize and submit to the gods in me and the gods in other men and women.' There is my creed. He who runs may read. He who prefers to crawl, or to go by gasoline, can call it rot.

The obvious cure for the tragic shortcomings of human intuition in a high-tech world is education. And this offers priorities for educational policy: to provide students with the cognitive tools that are most important for grasping the modern world and that are most unlike the cognitive tools they are born with. The perilous fallacies we have seen in this chapter, for example, would give high priority to economics, evolutionary biology, and probability and statistics in any high school or college curriculum. Unfortunately, most curricula have barely changed since medieval times, and are barely changeable because no one wants to be the philistine who seems to be saying that it is unimportant to learn a foreign language, or English literature, or trigonometry, or the classics. But no matter how valuable a subject may be, there are only twenty-four hours in a day, and a decision to teach one subject is also a decision not to teach another one. The question is not whether trigonometry is important, but whether it is more important than statistics; not whether an educated person should know the classics, but whether it is more important for an educated person to know the classics than to know elementary economics. In a world whose complexities are constantly challenging our intuitions, these trade-offs cannot responsibly be avoided.

In the ashes on the hearth Saigyo traced and retraced the word, "pity." He had yet to learn to accept life with all its good and evils, to love life in all its manifestations by becoming one with nature. And for this he had abandoned home, wife, and child in that city of conflict. He had fled to save his own life, not for any grandiose dream of redeeming mankind; neither had he taken vows with the thoughts of chanting sutras to Buddha; nor did he aspire to brocaded ranks of the high prelates. Only by surrendering to nature could he best cherish his own life, learn how man should live, and therein find peace. And if any priest accused him of taking the vows out of self-love, not to purify the world and bring salvation to men, Saigyo was ready to admit that these charges were true and that he deserved to be reviled and spat upon as a false priest. Yet, if driven to answer for himself, he was prepared to declare that he who had not learned to love his own life could not love mankind, and that what he sought now was to love that life which was his. Gifts he had none to preach salvation or the precepts of Buddha; all that he asked was to be left to exist as humbly as the butterflies and the birds.

HIGGINS. It's all you'll get until you stop being a common idiot. If you're going to be a lady, you'll have to give up feeling neglected if the men you know don't spend half their time snivelling over you and the other half giving you black eyes. If you can't stand the coldness of my sort of life, and the strain of it, go back to the gutter. Work til you are more a brute than a human being; and then cuddle and squabble and drink til you fall asleep. Oh, it's a fine life, the life of the gutter. It's real: it's warm: it's violent: you can feel it through the thickest skin: you can taste it and smell it without any training or any work. Not like Science and Literature and Classical Music and Philosophy and Art. You find me cold, unfeeling, selfish, don't you? Very well: be off with you to the sort of people you like. Marry some sentimental hog or other with lots of money, and a thick pair of lips to kiss you with and a thick pair of boots to kick you with. If you can't appreciate what you've got, you'd better get what you can appreciate.

This preoccupation with the classics was the happiest thing that could have befallen me. It gave me a standard of values. To live for a time close to great minds is the best kind of education. ... Faulty though my own practice has always been, I learned sound doctrine - the virtue of a clean, bare style, of simplicity, of a hard substance and an austere pattern. Above all the Calvinism of my boyhood was broadened, mellowed, and also confirmed. For if the classics widened my sense of the joy of life they also taught its littleness and transience; if they exalted the dignity of human nature they insisted upon its frailties and the aidos with which the temporal must regard the eternal. I lost then any chance of being a rebel, for I became profoundly conscious of the dominion of unalterable law. ... Indeed, I cannot imagine a more precious viaticum than the classics of Greece and Rome, or a happier fate than that one's youth should be intertwined with their world of clear, mellow lights, gracious images, and fruitful thoughts. They are especially valuable to those who believe that Time enshrines and does not destroy, and who do what I am attempting to do in these pages, and go back upon and interpret the past. No science or philosophy can give that colouring, for such provide a schematic, and not a living, breathing universe. And I do not think that the mastery of other literatures can give it in a like degree, for they do not furnish the same totality of life - a complete world recognisable as such, a humane world, yet one untouchable by decay and death...

You may think you know the story. Oh, heard that one, have you? Well, we say again: you may think you know the story. By all accounts it's a good one: a penniless, orphaned young woman becomes a governess in a wealthy household, catches the eye of the rich and stern master, and (sigh) falls deeply in love. It's all very passionate and swoonworthy, but before they can be married, a - gasp! - terrible treachery is revealed. Then there's fire and despair, some aimless wandering, starvation, a little bit of gaslighting, but in the end, the romance works out. The girl (Miss Eyre) gets the guy (Mr. Rochester). They live happily ever after. Which means everybody's happy, right? Um ... no. We have a different tale to tell. (Don't we always?) And what we're about to reveal is more than a simple reimagining of one of literature's most beloved novels. This version, dear reader, is true. There really was a girl. (Two girls, actually.) There was, indeed, a terrible treachery and a great fire. But throw out pretty much everything else you know about the story. This isn't going to be like any classic romance you've ever read.

John Milton has, since his own lifetime, always been one of the major figures in English literature, but his reputation has changed constantly. He has been seen as a political opportunist, an advocate of 'immorality' (he wrote in favour of divorce and married three times), an over-serious classicist, and an arrogant believer in his own greatness as a poet. He was all these things. But, above all, Milton's was the last great liberal intelligence of the English Renaissance. The values expressed in all his works are the values of tolerance, freedom and self-determination, expressed by Shakespeare, Hooker and Donne. The basis of his aesthetic studies was classical, but the modernity of his intellectual interests can be seen in the fact that he went to Italy (in the late 1630s) where he met the astronomer Galileo, who had been condemned as a heretic by the Catholic church for saying the earth moved around the sun.

To write timelessly about the here and now, a writer must approach the present indirectly. The story has to be about more than it at first seems. Shakespeare used the historical sources of his plays as a scaffolding on which to construct detailed portraits of his own age. The interstices between the secondhand historical plots and Shakespeare’s startlingly original insights into Elizabethan England are what allow his work to speak to us today. Reading Shakespeare, we know what it is like, in any age, to be alive. So it is with Moby-Dick, a novel about a whaling voyage to the Pacific that is also about America racing hell-bent toward the Civil War and so much more. Contained in the pages of Moby-Dick is nothing less than the genetic code of America: all the promises, problems, conflicts, and ideals that contributed to the outbreak of a revolution in 1775 as well as a civil war in 1861 and continue to drive this country’s ever-contentious march into the future. This means that whenever a new crisis grips this country, Moby-Dick becomes newly important. It is why subsequent generations have seen Ahab as Hitler during World War II or as a profit-crazed deep-drilling oil company in 2010 or as a power-crazed Middle Eastern dictator in 2011.

God was dead: to begin with. And romance was dead. Chivalry was dead. Poetry, the novel, painting, they were all dead, and art was dead. Theatre and cinema were both dead. Literature was dead. The book was dead. Modernism, postmodernism, realism and surrealism were all dead. Jazz was dead, pop music, disco, rap, classical music, dead. Culture was dead. Decency, society, family values were dead. The past was dead. History was dead. The welfare state was dead. Politics was dead. Democracy was dead. Communism, fascism, neoliberalism, capitalism, all dead, and marxism, dead, feminism, also dead. Political correctness, dead. Racism was dead. Religion was dead. Thought was dead. Hope was dead. Truth and fiction were both dead. The media was dead. The internet was dead. Twitter, instagram, facebook, google, dead. Love was dead. Death was dead. A great many things were dead. Some, though, weren’t, or weren’t dead yet. Life wasn’t yet dead. Revolution wasn’t dead. Racial equality wasn’t dead. Hatred wasn’t dead. But the computer? Dead. TV? Dead. Radio? Dead. Mobiles were dead. Batteries were dead. Marriages were dead, sex

And romance is just the place for creating mythic figures doing mythic things. Like carving 'civilzation' out of the wilderness. Like showing us what a hero looks life, a real, American, sprung-from-the soil, lethal-weapon-with-leggings, bona fide hero. And for a guy who never marries, he has a lot of offspring. Shane. The Virginian. The Ringo Kid. The Man with No Name. Just think how many actors would have had no careers without Natty Bumppo. Gary Cooper. John Wayne. Alan Ladd. Tom Mix. Clint Eastwood. Silent. Laconic. More committed to their horse or buddy than to a lady. Professional. Deadly. In his Studies in Classic American Literature, D.H. Lawrence waxes prolix on Natty's most salient feature: he's a killer. And so are his offspring. This heros can talk, stiltedly to be sure, but he prefers silence. He appreciates female beauty but is way more committed to his canoe or his business partner (his business being death and war) or, most disturbingly, his long rifle, Killdeer. Dr. Freud, your three-o'clock is here. Like those later avatars, he is a wilderness god, part backwoods sage, part cold-blooded killer, part unwilling Prince Charming, part jack-of-all-trades, but all man. Here's how his creator describes him: 'a philosopher of the wilderness, simple-minded, faithful, utterly without fear, yet prudent.' A great character, no doubt, but hardly a person. A paragon. An archetype. A miracle. But a potentially real person--not so much.

The ruinous deeds of the ravaging foe (Beowulf) The best-known long text in Old English is the epic poem Beowulf. Beowulf himself is a classic hero, who comes from afar. He has defeated the mortal enemy of the area - the monster Grendel - and has thus made the territory safe for its people. The people and the setting are both Germanic. The poem recalls a shared heroic past, somewhere in the general consciousness of the audience who would hear it. It starts with a mention of 'olden days', looking back, as many stories do, to an indefinite past ('once upon a time'), in which fact blends with fiction to make the tale. But the hero is a mortal man, and images of foreboding and doom prepare the way for a tragic outcome. He will be betrayed, and civil war will follow. Contrasts between splendour and destruction, success and failure, honour and betrayal, emerge in a story which contains a great many of the elements of future literature. Power, and the battles to achieve and hold on to power, are a main theme of literature in every culture - as is the theme of transience and mortality. ................ Beowulf can be read in many ways: as myth; as territorial history of the Baltic kingdoms in which it is set; as forward-looking reassurance. Questions of history, time and humanity are at the heart of it: it moves between past, present, and hope for the future, and shows its origins in oral tradition. It is full of human speech and sonorous images, and of the need to resolve and bring to fruition a proper human order, against the enemy - whatever it be - here symbolised by a monster and a dragon, among literature's earliest 'outsiders'. ....... Beowulf has always attracted readers, and perhaps never more than in the 1990s when at least two major poets, the Scot Edwin Morgan and the Irishman Seamus Heaney, retranslated it into modern English. Heaney's version became a worldwide bestseller, and won many awards, taking one of the earliest texts of English literature to a vast new audience.

You haven’t gotten to the point of leaving a glass for her, too.” He covered his eyes but said nothing. She pulled away his hands, and then, looking straight at him, asked, “She’s alive, isn’t she?” He nodded and sat up. “Rong, I used to think that a character in a novel was controlled by her creator, that she would be whatever the author wanted her to be, and do whatever the author wanted her to do, like God does for us.” “Wrong!” she said, standing up and beginning to pace the room. “Now you realize you were wrong. This is the difference between an ordinary scribe and a literary writer. The highest level of literary creation is when the characters in a novel possess life in the mind of the writer. The writer is unable to control them, and might not even be able to predict the next action they will take. We can only follow them in wonder to observe and record the minute details of their lives like a voyeur. That’s how a classic is made.” “So literature, it turns out, is a perverted endeavor.” “It was like that for Shakespeare and Balzac and Tolstoy, at least. The classic images they created were born from their mental wombs. But today’s practitioners of literature have lost that creativity. Their minds give birth only to shattered fragments and freaks, whose brief lives are nothing but cryptic spasms devoid of reason. Then they sweep up these fragments into a bag they peddle under the label ‘postmodern’ or ‘deconstructionist’ or ‘symbolism’ or ‘irrational.’” “So you mean that I’ve become a writer of classic literature?” “Hardly. Your mind is only gestating an image, and it’s the easiest one of all. The minds of those classic authors gave birth to hundreds and thousands of figures. They formed the picture of an era, and that’s something that only a superhuman can accomplish. But what you’ve done isn’t easy. I didn’t think you’d be able to do it.” “Have you ever done it?” “Just once,” she said simply, and dropped the subject. She grabbed his neck, and said, “Forget it. I don’t want that birthday present anymore. Come back to a normal life, okay?” “And if all this continues—what then?” She studied him for a few seconds, then let go of him and shook her head with a smile. “I knew it was too late.” Picking up her bag from the bed, she left. Then

The great self-limitation practiced by man for ten centuries yielded, between the fourteenth and seventeenth centuries, the whole flower of the so-called "Renaissance." The root, usually, does not resemble the fruit in appearance, but there is an undeniable connection between the root's strength and juiciness and the beauty and taste of the fruit. The Middle Ages, it seems, have nothing in common with the Renaissance and are opposite to it in every way; nonetheless, all the abundance and ebullience of human energies during the Renaissance were based not at all on the supposedly "renascent" classical world, nor on the imitated Plato and Virgil, nor on manuscripts torn from the basements of old monasteries, but precisely on those monasteries, on those stern Franciscians and cruel Dominicans, on Saints Bonaventure, Anselm of Canterbury, and Bernard of Clairvaux. The Middle Ages were a great repository of human energies: in the medieval man's asceticism, self-abnegation, and contempt for his own beauty, his own energies, and his own mind, these energies, this heart, and this mind were stored up until the right time. The Renaissance was the epoch of the discovery of this trove: the thin layer of soil covering it was suddenly thrown aside, and to the amazement of following centuries dazzling, incalculable treasures glittered there; yesterday's pauper and wretched beggar, who only knew how to stand on crossroads and bellow psalms in an inharmonious voice, suddenly started to bloom with poetry, strength, beauty, and intelligence. Whence came all this? From the ancient world, which had exhausted its vital powers? From moldy parchments? But did Plato really write his dialogues with the same keen enjoyment with which Marsilio Ficino annotated them? And did the Romans, when reading the Greeks, really experience the same emotions as Petrarch, when, for ignorance of Greek, he could only move his precious manuscripts from place to place, kiss them now and then, and gaze sadly at their incomprehensible text? All these manuscripts, in convenient and accurate editions, lie before us too: why don't they lead us to a "renascence" among us? Why didn't the Greeks bring about a "renascence" in Rome? And why didn't Greco-Roman literature produce anything similar to the Italian Renaissance in Gaul and Africa from the second to the fourth century? The secret of the Renaissance of the fourteenth-fifteenth centuries does not lie in ancient literature: this literature was only the spade that threw the soil off the treasures buried underneath; the secret lies in the treasures themselves; in the fact that between the fourth and fourteenth centuries, under the influence of the strict ascetic ideal of mortifying the flesh and restraining the impulses of his spirit, man only stored up his energies and expended nothing. During this great thousand-year silence his soul matured for The Divine Comedy; during this forced closing of eyes to the world - an interesting, albeit sinful world-Galileo was maturing, Copernicus, and the school of careful experimentation founded by Bacon; during the struggle with the Moors the talents of Velasquez and Murillo were forged; and in the prayers of the thousand years leading up to the sixteenth century the Madonna images of that century were drawn, images to which we are able to pray but which no one is able to imitate. ("On Symbolists And Decadents")