No subscription or hidden extras
Read through the most famous quotes by topic #liter
In our modern world, this elemental quality of storytelling is denied. We live today in a world in which everything has its place and function and nothing is left out of place. Storytelling is thus at a discount and like everything else in a world ruled by the laws of exchange value, literature is required to submit itself to the requirements of the market and must learn, like any other commodity, to adapt and serve needs that lie outside of itself and its concrete value. It is forced to stand not for itself but for an ideological cause of one sort or another, whether it be political, social or literary. It cannot exist for itself: like everything else it has to be justified. And for this very reason the power of storytelling is automatically devalued. Literature is reduced to the status of complimentary utilitarian functions: as a pastime to provide distraction and entertainment, or as a heightened activity that would claim to explore 'great truths' about the human condition. ↗
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. ↗
Nature is an outcry, unpolished truth; the art—a euphemism—tamed wilderness. ↗
#dejan-stojanovic #euphemism #literature #literature-quotes #nature
Nothing is inanimate; what is the rest is our interpretation. ↗
#dejan-stojanovic #inanimate #inanimate-objects #interpretation #literature
We have, then, three Books wholly and one partially written before, and two after, the Preface; and only one of the first four is consistent with it, while the two later are entirely in agreement with it. In the first group, the adventure which fits into the scheme in the Letter is the first of all, which is a significant fact. If Spenser were somewhat hastily reconstructing his scheme he would naturally test its coherence with what he had already written in the first Book and perhaps re-write certain passages. He may have forgotten the details of Books II and III or Raleigh's urgency may have left no time for the adjustment of the details. These discrepancies are all connected with the twelve days' Feast and Gloriana's appointment of the knights, and this part may well have been suggested by Raleigh. He probably intended the poem not only to make Spenser's fortune at court but also to reinstate himself in the Queen's favour. In the circumstances he would wish to make the reference to the Queen as clear and as flattering as possible. ↗
Nowhere is the sense of medium felt more strongly, even by the casual reader, than in a story about to end. For the novelist the problem is no longer how to tell his tale, but how to close it down; how to switch imaginative energies which have been used in sustaining the tale, into energies which will not just stop it, but will resolve it. The process of telling must be made to predicate its own conclusion. For the reader, in sight of an ending, the mode of attention shifts, the rhythm alters, and a pressure of significance begins to build up behind the closing chapters. The pace of the narrative begins to slow, the 'ever after' looms, past and present emerge in ever sharper juxtaposition. It is this heightened attention to the medium that characterises the ending and we are not surprised to find that for some novelists 'endings' seem to play false to the narrative which leads to them. 'Conclusions are the weak points of most authors', George Eliot wrote, 'but some of the fault must lie in the very nature of a conclusion which is at best a negation'. ↗
There is, in fact, no need to drag politics into literary theory: as with South African sport, it has been there from the beginning. I mean by the political no more than the way we organize our social life together, and the power-relations which this involves; and what I have tried to show throughout this book is that the history of modern literary theory is part of the political and ideological history of our epoch. From Percy Bysshe Shelley to Norman N. Holland, literary theory has been indissociably bound up with political beliefs and ideological values. Indeed literary theory is less an object of intellectual enquiry in its own right than a particular perspective in which to view the history of our times. Nor should this be in the least cause for surprise. For any body of theory concerned with human meaning, value, language, feeling and experience will inevitably engage with broader, deeper beliefs about the nature of human individuals and societies, problems of power and sexuality, interpretations of past history, versions of the present and hopes for the future. It is not a matter of regretting that this is so — of blaming literary theory for being caught up with such questions, as opposed to some 'pure' literary theory which might be absolved from them. Such 'pure' literary theory is an academic myth: some of the theories we have examined in this book are nowhere more clearly ideological than in their attempts to ignore history and politics altogether. Literary theories are not to be upbraided for being political, but for being on the whole covertly or unconsciously so — for the blindness with which they offer as a supposedly 'technical', 'self-evident', 'scientific' or 'universal' truth doctrines which with a little reflection can be seen to relate to and reinforce the particular interests of particular groups of people at particular times. ↗
#literary-theory #political #politics #power-relations #social
In the eighteenth century, the Scottish Enlightenment focused attention on Glasgow and Edinburgh as centres of intellectual activity. The Scottish Enlightenment was an intellectual movement which originated in Glasgow in the early eighteenth century, and flourished in Edinburgh in the second half of the century. Its thinking was based on philosophical enquiry and its practical applications for the benefit of society ('improvement' was a favoured term). The Enlightenment encompassed literature, philosophy, science, education, and even geology. One of its lasting results was the founding of the Encyclopaedia Britannica (1768-71). The effects of the Scottish Enlightenment, especially in the second half of the century, were far-reaching in Britain and Europe. The philosophical trends ranged from the 'common-sense' approach of Thomas Reid to the immensely influential works of David Hume, notably his Treatise of Human Nature, published in 1739. Here, his arguments on God, and the cause and effect of man's relationship with God, are far ahead of their time in the philosophical debate in Britain: .... ... Adam Smith's book The Wealth of Nations (1776) was probably the most important work on economics of the century, revolutionising concepts of trade and prophesying the growing importance of America as 'one of the foremost nations of the world'. By a remarkable coincidence, the book was published in the very same year as the American Declaration of Independence. ↗
