Poetry should surprise by a fine excess and not by singularity --it should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance.
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Reading it aloud – poetry is, after all, just written down speech – allow the poem to have a moment to exist. The reader has to put as much care into the reading of the poem as the poet has into writing it. In the relationship between poet, poem and reader, every element has to pull its weight.
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Reader, suppose you were an idiot. And suppose you were a member of Congress. But I repeat myself.
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Hypocrite reader -- my fellow -- my brother!
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Another piece of advice: when you proofread cross out as many adjectives and adverbs as you can. You have so many modifiers that the reader has trouble understanding and gets worn out. It is comprehensible when I write: The man sat on the grass, because it is clear and does not detain one's attention. On the other hand, it is difficult to figure out and hard on the brain if I write: The tall, narrow-chested man of medium height and with a red beard sat down on the green grass that had already been trampled down by the pedestrians, sat down silently, looking around timidly and fearfully. The brain can't grasp all that at once, and art must be grasped at once, instantaneously. And then one other thing; you are lyrical by nature. The timber of your soul is soft. If you were a composer you would avoid writing marches. It is unnatural for your talent to curse, shout, taunt, denounce with rage. Therefore, you'll understand if I advise you, in proofreading, to eliminate the sons of bitches, curs, and flea-bitten mutts that appear here and there on the pages of Life.
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Good literature continually read for pleasure must, let us hope, do some good to the reader: must quicken his perception though dull, and sharpen his discrimination though blunt, and mellow the rawness of his personal opinions.
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It skims in through the eye, and by means of the utterly delicate retina hurls shadows like insect legs inward for translation. Then an immense space opens up in silence and an endlessly fecund sub-universe the writer descends, and asks the reader to descend after him, not merely to gain instructions but also to experience delight, the delight of mind freed from matter and exultant in the strength it has stolen from matter.
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Perhaps first and foremost is the challenge of taking what I find as a reader and making it into a poem that, primarily, has to be a plausible poem in English.
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Your column is a pack of damn lies, a reader wrote to William Safire about a political piece he did in the New York Times. Brushing aside the stern criticism, Safire immediately debated whether it should be damn, the way it sounds, or damned, as the past participle of the verb, to damn. The ed on some words is simply slipping away, he points out. We're seeing more barbecue chicken, whip cream and corn beef. His conclusion: Ears are sloppy and eyes are precise; accordingly, speech can be loose but writing should be tight.
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Almost anything is too much. I am trying in my poems to have the reader be the experiencer. I do not want to be there. It is not even a walk we take together.
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The fact that the lower animals are excited by the same emotions as ourselves is so well established, that it will not be necessary to weary the reader by many details. Terror acts in the same manner on them as on us, causing the muscles to tremble, the heart to palpitate, the sphincters to be relaxed, and the hair to stand on end. Suspicion, the offspring of fear, is eminently characteristic of most wild animals. It is, I think, impossible to read the account given by Sir E. Tennent, of the behaviour of the female elephants, used as decoys, without admitting that they intentionally practise deceit, and well know what they are about. Courage and timidity are extremely variable qualities in the individuals of the same species, as is plainly seen in our dogs. Some dogs and horses are ill-tempered, and easily turn sulky; others are good-tempered; and these qualities are certainly inherited. Every one knows how liable animals are to furious rage, and how plainly they shew it. Many, and probably true, anecdotes have been published on the long-delayed and artful revenge of various animals. The accurate Rengger, and Brehm state that the American and African monkeys which they kept tame, certainly revenged themselves. Sir Andrew Smith, a zoologist whose scrupulous accuracy was known to many persons, told me the following story of which he was himself an eye-witness; at the Cape of Good Hope an officer had often plagued a certain baboon, and the animal, seeing him approaching one Sunday for parade, poured water into a hole and hastily made some thick mud, which he skilfully dashed over the officer as he passed by, to the amusement of many bystanders. For long afterwards the baboon rejoiced and triumphed whenever he saw his victim.
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There was a time when the average reader read a novel simply for the moral he could get out of it, and however na?ve that may have been, it was a good deal less na?ve than some of the limited objectives he has now. Today novels are considered to be entirely concerned with the social or economic or psychological forces that they will by necessity exhibit, or with those details of daily life that are for the good novelist only means to some deeper end.
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'Reader! are you with the man-stealers in sympathy and purpose, or on the side of their down-trodden victims? If with the former, then are you the foe of God and man? If with the latter, what are you prepared to do in their behalf? Be faithful, be vigilant, be untiring in your efforts to break every yoke, and let the oppressed go free. Come what may - cost what it may - inscribe on our banner which you unfurl to the breeze, as your religious and political motto: 'NO COMPROMISE WITH SLAVERY! NO UNION WITH SLAVE HOLDERS!''
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The following passage is not for the general reader, but for the particular idiot who, because he lost a fortune in some crash, thinks he unde...
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In describing the Mound-builders no effort has been made to paint their costume, their modes of life or their system of government. They are presented to the reader almost exclusively under a single aspect, and under the influence of a single emotion. It matters not to us whether they dwelt under a monarchical or popular form of polity; whether king or council ruled their realms; nor, in fine, what was their exact outward condition. It is enough for us to know, and enough for our humanity to inquire, that they existed, toiled, felt and suffered; that to them fell, in these pleasant regions, their portion of the common heritage of our race, and that around those ancient hearth-stones, washed to light on the banks of the far western rivers, once gossiped and enjoyed life, a nation that has utterly faded away.
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A masterpiece of fiction is an original world and as such is not likely to fit the world of the reader.
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A reader who quarrels with postulates, who dislikes Hamlet because he does not believe that there are ghosts or that people speak in pentameters, clearly has no business in literature. He cannot distinguish fiction from fact, and belongs in the same category as the people who send checks to radio stations for the relief of suffering heroines in soap operas.
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Poetry should please by a fine excess and not by singularity. It should strike the reader as a wording of his own highest thoughts, and appear almost as a remembrance.
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The power of a text is different when it is read from when it is copied out. Only the copied text thus commands the soul of him who is occupied with it, whereas the mere reader never discovers the new aspects of his inner self that are opened by the text, that road cut through the interior jungle forever closing behind it: because the reader follows the movement of his mind in the free flight of day-dreaming, whereas the copier submits it to command.
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Reader, I married him.
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Authors have established it as a kind of rule, that a man ought to be dull sometimes; as the most severe reader makes allowances for many rests and nodding places in a voluminous writer.
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Green leaves on a dead tree is our epitaph -- green leaves, dear reader, on a dead tree.
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A writer who writes, I am alone... can be considered rather comical. It is comical for a man to recognize his solitude by addressing a reader and by using methods that prevent the individual from being alone. The word alone is just as general as the word bread. To pronounce it is to summon to oneself the presence of everything the word excludes.
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Quotation ... A writer expresses himself in words that have been used before because they give his meaning better than he can give it himself, or because they are beautiful or witty, or because he expects them to touch a cord of association in his reader, or because he wishes to show that he is learned and well read. Quotations due to the last motive are invariably ill-advised; the discerning reader detects it and is contemptuous; the undiscerning is perhaps impressed, but even then is at the same time repelled, pretentious quotations being the surest road to tedium.
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Proverbs often contradict one another, as any reader soon discovers. The sagacity that advises us to look before we leap promptly warns us that if we hesitate we are lost; that absence makes the heart grow fonder, but out of sight, out of mind.
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Quotation... A writer expresses himself in words that have been used before because they give his meaning better than he can give it himself, or because they are beautiful or witty, or because he expects them to touch a cord of association in his reader, or because he wishes to show that he is learned and well read. Quotations due to the last motive are invariably ill-advised; the discerning reader detects it and is contemptuous; the undiscerning is perhaps impressed, but even then is at the same time repelled, pretentious quotations being the surest road to tedium.
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Hardly a book of human worth, be it heaven's own secret, is honestly placed before the reader; it is either shunned, given a Periclean funeral oration in a hundred and fifty words, or interred in the potter's field of the newspapers back pages.
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Quotation ... A writer expresses himself in words that have been used before because they give his meaning better than he can give it himself, or because they are beautiful or witty, or because he expects them to touch a cord of association in his reader, or because he wishes to show that he is learned and well read. Quotations due to the last motive are invariably ill-advised the discerning reader detects it and is contemptuous the undiscerning is perhaps impressed, but even then is at the same time repelled, pretentious quotations being the surest road to tedium.
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Reasons for not keeping a notebook: 1) the ambiguity of the reader
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The very concept of history implies the scholar and the reader. Without a generation of civilized people to study history, to preserve its records, to absorb its lessons and relate them to its own problems, history, too, would lose its meaning.
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