Read through the most famous quotes by topic #critic
A man inherited a field in which was an accumulation of old stone, part of an older hall. Of the old stone some had already been used in building the house in which he actually lived, not far from the old house of his fathers. Of the rest he took some and built a tower. But his friends coming perceived at once (without troubling to climb the steps) that these stones had formerly belonged to a more ancient building. So they pushed the tower over, with no little labour, and in order to look for hidden carvings and inscriptions, or to discover whence the man's distant forefathers had obtained their building material. Some suspecting a deposit of coal under the soil began to dig for it, and forgot even the stones. They all said: 'This tower is most interesting.' But they also said (after pushing it over): 'What a muddle it is in!' And even the man's own descendants, who might have been expected to consider what he had been about, were heard to murmur: 'He is such an odd fellow! Imagine using these old stones just to build a nonsensical tower! Why did not he restore the old house? he had no sense of proportion.' But from the top of that tower the man had been able to look out upon the sea. ↗
One of the first books of travel, giving European readers some insight into the unfamiliar world of the Orient, was published in 1356-67 in Anglo-Norman French. Called simply Travels, it was said to be by Sir John Mandeville, but a French historian, Jean d'Outremeuse, may well have written the book. It is a highly entertaining guide for pilgrims to the Holy Land, but goes beyond, taking the reader as far as Tartary, Persia, India and Egypt, recounting more fantasy than fact, but containing geographical details to give the work credence. Mandeville's book whetted the Western European reader's appetite for the travel book as a journal of marvels: dry scientific detail was not what these readers wanted. Rather it was imagination plus information. Thus, myths of 'the fountain of youth' and of gold-dust lying around 'like ant-hills' caught the Western imagination, and, when the voyagers of the late fifteenth and sixteenth centuries found 'new worlds' in the Americas, these myths were enlarged and expanded, as Eldorado joined the Golden Road to Samarkand in the imagination of readers concerning distant lands. ↗
Indeed, and crucially so, the serial form took the control of the novel away from the reader and left him in an imagined space that could not be thought of in terms of the physical space still to be read. At the end of each instalment the reader would contemplate a vacuum, an 'end' which looked forward to a continuing verbal space which he could not measure. He might speculate but he could not know. ↗
The novel, then, provides a reduction of the world different from that of the treatise. It has to lie. Words, thoughts, patterns of word and thought, are enemies of truth, if you identify that with what may be had by phenomenological reductions. Sartre was always, as he explains in his autobiography, aware of their being at variance with reality. One remembers the comic account of this antipathy in Iris Murdoch Under the Net, one of the few truly philosophical novels in English; truth would be found only in a silent poem or a silent novel. As soon as it speaks, begins to be a novel, it imposes causality and concordance, development, character, a past which matters and a future within certain broad limits determined by the project of the author rather than that of the characters. They have their choices, but the novel has its end. * ____________________ * There is a remarkable passage in Ortega y Gasset London essay ' History as a System' (in Philosophy and History, ed. Klibansky and Paton, 1936) which very clearly states the issues more notoriously formulated by Sartre. Ortega is discussing man's duty to make himself. 'I invent projects of being and doing in the light of circumstance. This alone I come upon, this alone is given me: circumstance. It is too often forgotten that man is impossible without imagination, without the capacity to invent for himself a conception of life, to "ideate" the character he is going to be. Whether he be original or a plagiarist, man is the novelist of himself... Among... possibilities I must choose. Hence, I am free. But, be it well understood, I am free by compulsion, whether I wish to be or not... To be free means to be lacking in constitutive identity, not to have subscribed to a determined being, to be able to be other than what one was...' This 'constitutive instability' is the human property lacking in the novels condemned by Sartre and Murdoch. Ortega differs from Sartre on the use of the past; but when he says that his free man is, willy-nilly, 'a second-hand God,' creating his own entity, he is very close to Sartre, who says that to be is to be like the hero in a novel. In one instance the eidetic image is of God, in the other of the Hero. ↗
I did say that to deny the existence of evil spirits, or to deny the existence of the devil, is to deny the truth of the New Testament; and that to deny the existence of these imps of darkness is to contradict the words of Jesus Christ. I did say that if we give up the belief in devils we must give up the inspiration of the Old and New Testaments, and we must give up the divinity of Christ. Upon that declaration I stand, because if devils do not exist, then Jesus Christ was mistaken, or we have not in the New Testament a true account of what he said and of what he pretended to do. If the New Testament gives a true account of his words and pretended actions, then he did claim to cast out devils. That was his principal business. That was his certificate of divinity, casting out devils. That authenticated his mission and proved that he was superior to the hosts of darkness. Now, take the devil out of the New Testament, and you also take the veracity of Christ; with that veracity you take the divinity; with that divinity you take the atonement, and when you take the atonement, the great fabric known as Christianity becomes a shapeless ruin. The Christians now claim that Jesus was God. If he was God, of course the devil knew that fact, and yet, according to this account, the devil took the omnipotent God and placed him upon a pinnacle of the temple, and endeavored to induce him to dash himself against the earth… Think of it! The devil – the prince of sharpers – the king of cunning – the master of finesse, trying to bribe God with a grain of sand that belonged to God! Casting out devils was a certificate of divinity. Is there in all the religious literature of the world anything more grossly absurd than this? These devils, according to the Bible, were of various kinds – some could speak and hear, others were deaf and dumb. All could not be cast out in the same way. The deaf and dumb spirits were quite difficult to deal with. St. Mark tells of a gentleman who brought his son to Christ. The boy, it seems, was possessed of a dumb spirit, over which the disciples had no control. “Jesus said unto the spirit: ‘Thou dumb and deaf spirit, I charge thee come out of him, and enter no more into him.’” Whereupon, the deaf spirit (having heard what was said) cried out (being dumb) and immediately vacated the premises. The ease with which Christ controlled this deaf and dumb spirit excited the wonder of his disciples, and they asked him privately why they could not cast that spirit out. To whom he replied: “This kind can come forth by nothing but prayer and fasting.” Is there a Christian in the whole world who would believe such a story if found in any other book? The trouble is, these pious people shut up their reason, and then open their Bible. ↗
