Literary Taste : How to Form It (Illustrated)

Literary Taste (how to form it) by Arnold Bennett
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The Project Gutenberg eBook, Literary Taste: How to Form It, by Arnold Bennett

Search form Search. By Jane Mount Illustrator. Add to Wish List. Description Searching for perfect book lovers gifts? Bibliophile: An Illustrated Miscellany , is a love letter to all things bookish. Author Jane Mount brings literary people, places, and things to life through her signature and vibrant illustrations. It's a must-have for every book collection, and makes a wonderful literary gift for book lovers, writers, and more.

Readers of Jane Mount's Bibliophile will delight in: Touring the world's most beautiful bookstores Testing their knowledge of the written word with quizzes Finding their next great read in lovingly curated stacks of books Sampling the most famous fictional meals Peeking inside the workspaces of their favorite authors A source of endless inspiration, literary facts and recommendations: Bibliophile is pure bookish joy and sure to enchant book clubbers, English majors, poetry devotees, aspiring writers, and any and all who identify as book lovers.

About the Author Jane Mount is an illustrator, designer, and founder of Ideal Bookshelf, a company that makes things for people who love books. She lives on Maui, in Hawaii. Many people, if not most, look on literary taste as an elegant accomplishment, by acquiring which they will complete themselves, and make themselves finally fit as members of a correct society.

They are secretly ashamed of their ignorance of literature, in the same way as they would be ashamed of their ignorance of etiquette at a high entertainment, or of their inability to ride a horse if suddenly called upon to do so. There are certain things that a man ought to know, or to know about, and literature is one of them: such is their idea. They have learnt to dress themselves with propriety, and to behave with propriety on all occasions; they are fairly "up" in the questions of the day; by industry [pg 2] and enterprise they are succeeding in their vocations; it behoves them, then, not to forget that an acquaintance with literature is an indispensable part of a self-respecting man's personal baggage.

Painting doesn't matter; music doesn't matter very much. But "everyone is supposed to know" about literature. Then, literature is such a charming distraction! Literary taste thus serves two purposes: as a certificate of correct culture and as a private pastime. A young professor of mathematics, immense at mathematics and games, dangerous at chess, capable of Haydn on the violin, once said to me, after listening to some chat on books, "Yes, I must take up literature.

However, I've polished off all these other things. I'll have a shy at literature now. This attitude, or any attitude which resembles it, is wrong. To him who really comprehends what literature is, and what the function of literature is, this attitude is simply ludicrous. It is also fatal to the formation of literary taste. Literature, instead of being an accessory, is the fundamental sine qua non of complete living. I am extremely anxious to avoid rhetorical exaggerations. I do not think I am guilty of one in asserting that he who has not been "presented to the freedom" of literature has not wakened up out of his prenatal sleep.

He is merely not born. He can't see; he can't hear; he can't feel, in any full sense. He can only eat his dinner. What more than anything else annoys people who know the true function of literature, and have profited thereby, is the spectacle of so many thousands of individuals going about under the delusion that they are alive, when, as a fact, they are no nearer being alive than a bear in winter. I will tell you what literature is! No—I only wish I could. But I can't. No one can.

Gleams can be thrown on the secret, inklings given, but no more. I will try to give you an inkling. And, to do so, I will take you back into your own history, or forward into it. That evening when you went for a walk with your faithful friend, the friend from whom you hid nothing—or almost nothing! You were, in truth, somewhat inclined to hide from him the particular matter which monopolised your mind that evening, but somehow you contrived to get on to it, drawn by an overpowering fascination.

And as your faithful friend was sympathetic and discreet, and flattered you by a respectful curiosity, you proceeded further and further into the said matter, growing more and more confidential, until at last you cried out, in a terrific whisper: "My boy, she is simply miraculous!

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Let me explain. Of course, in the ordinary acceptation of the word, she was not miraculous. Your faithful friend had [pg 5] never noticed that she was miraculous, nor had about forty thousand other fairly keen observers. She was just a girl. Troy had not been burnt for her.

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Literary Taste: How to Form It [Arnold Bennett] on bridaskhorpinhard.cf *FREE* shipping on qualifying offers. Arnold Bennett was a prolific British writer who penned. Start reading Literary Taste: How to Form It (Illustrated) on your Kindle in under a minute. And (dont start a sentence with and) It is a book about literary taste!!.

A girl cannot be called a miracle. If a girl is to be called a miracle, then you might call pretty nearly anything a miracle That is just it: you might. You can. You ought.

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Amid all the miracles of the universe you had just wakened up to one. You were full of your discovery. You were under a divine impulsion to impart that discovery. You had a strong sense of the marvellous beauty of something, and you had to share it. You were in a passion about something, and you had to vent yourself on somebody.

You were drawn towards the whole of the rest of the human race. Mark the effect of your mood and utterance on your faithful friend. He knew that she was not a miracle. No other person could have made him believe that she was a miracle. But you, by the force and sincerity of your own vision of her, and by the fervour of your desire to make him participate in your vision, did for quite a long time cause him to feel that [pg 6] he had been blind to the miracle of that girl.

You were producing literature. You were alive. Your eyes were unlidded, your ears were unstopped, to some part of the beauty and the strangeness of the world; and a strong instinct within you forced you to tell someone. It was not enough for you that you saw and heard. Others had to see and hear.

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Others had to be wakened up. And they were! It is quite possible—I am not quite sure—that your faithful friend the very next day, or the next month, looked at some other girl, and suddenly saw that she, too, was miraculous! The influence of literature!

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The makers of literature are those who have seen and felt the miraculous interestingness of the universe. And the greatest makers of literature are those whose vision has been the widest, and whose feeling has been the most intense. Your own fragment of insight was accidental, and perhaps temporary.

Their lives are one long ecstasy of denying that the world is a dull place. Is it nothing to [pg 7] you to learn to understand that the world is not a dull place? Is it nothing to you to be led out of the tunnel on to the hillside, to have all your senses quickened, to be invigorated by the true savour of life, to feel your heart beating under that correct necktie of yours?

These makers of literature render you their equals. The aim of literary study is not to amuse the hours of leisure; it is to awake oneself, it is to be alive, to intensify one's capacity for pleasure, for sympathy, and for comprehension.

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The most valiant will fly at the mere utterance of that word. It is to read one of Wordsworth's short narrative poems, The Brothers. We try to make him understand, to make him see, and if he is aware of his inferiority we may have some success. Disappointment is beautiful. Paris: Nathan, And Wordsworth will send you backwards to a comprehension of the poets against whose influence Wordsworth fought. Literature is a whole.

It is not to affect one hour, but twenty-four hours. It is to change utterly one's relations with the world. An understanding appreciation of literature means an understanding appreciation of the world, and it means nothing else. Not isolated and unconnected parts of life, but all of life, brought together and correlated in a synthetic map!

The spirit of literature is unifying; it joins the candle and the star, and by the magic of an image shows that the beauty of the greater is in the less. And, not content with the disclosure of beauty and the bringing together of all things whatever [pg 8] within its focus, it enforces a moral wisdom by the tracing everywhere of cause and effect.

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It consoles doubly—by the revelation of unsuspected loveliness, and by the proof that our lot is the common lot. It is the supreme cry of the discoverer, offering sympathy and asking for it in a single gesture. In attending a University Extension Lecture on the sources of Shakespeare's plots, or in studying the researches of George Saintsbury into the origins of English prosody, or in weighing the evidence for and against the assertion that Rousseau was a scoundrel, one is apt to forget what literature really is and is for.

It is well to remind ourselves that literature is first and last a means of life, and that the enterprise of forming one's literary taste is an enterprise of learning how best to use this means of life. People who don't want to live, people who would sooner hibernate than feel intensely, will be wise to eschew literature. They had better, to quote from the finest passage in a fine poem, "sit around and eat blackberries.

The attitude of the average decent person towards the classics of his own tongue is one of distrust—I had almost said, of fear. I will not take the case of Shakespeare, for Shakespeare is "taught" in schools; that is to say, the Board of Education and all authorities pedagogic bind themselves together in a determined effort to make every boy in the land a lifelong enemy of Shakespeare. It is a mercy they don't "teach" Blake. I will take, for an example, Sir Thomas Browne, as to whom the average person has no offensive juvenile memories.

He is bound to have read somewhere that the style of Sir Thomas Browne is unsurpassed by anything in English literature. One day he sees the Religio Medici in a shop-window or, rather, outside a shop-window, for he would hesitate about [pg 10] entering a bookshop , and he buys it, by way of a mild experiment.

He does not expect to be enchanted by it; a profound instinct tells him that Sir Thomas Browne is "not in his line"; and in the result he is even less enchanted than he expected to be. He reads the introduction, and he glances at the first page or two of the work. He sees nothing but words.

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The work makes no appeal to him whatever. He is surrounded by trees, and cannot perceive the forest.