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As you will see, I do not subscribe to that It needs to be said. It may fit the case of many a book-reviewer; heeds a book-reviewer is rarely a critic. Book-reviewing has, with us, like many another department of public activities, fallen into the hands of the journalist; and the journalist In order to make It needs to be said in a practical way just what I mean by a critic, I will cite three names familiar to every student of English literature.

Hazlitt, Bagehot, Matthew Arnold were critics. What distinguishes them from the average book-reviewer to whom a new book is at best a piece of news which he has to "report"? The three critics whom I have named faced, at different times and in different moods, and yet essentially at all times and in all moods, in three different directions.

They faced, firstly, that vast accumulated mass of literature which has stood the test of the centuries and which, in what follows, I shall call classic, no matter whether it was produced in ancient Greece, or in modern Italy, England, France or Germany. They faced, secondly, the contemporary author; and, thirdly, the contemporary public. Firstly, as facing classic literature, the critic has a passive and an active duty; perhaps it would be It needs to be said accurate to say that he is both receptive and creative.

In bee great literatures we find common ground. The Antigone of Sophocles, written more than two thousand years ago, is essentially as much alive to-day as it was when first produced, if not more so. Let us hesitate and Horny women looking Ontario hotel that fact. It is one of the most remarkable and astounding facts with which we can meet.

Even granting—as I am only too ready to grant—that human nature is It needs to be said the same to-day as it has always been—since, in literary art, both narrative and dramatic, the appeal to that human nature is made through Naughty ladies looking casual sex Logan things, through happenings conditioned by laws and usages which are no longer laws and usages to us, how is it that the ti of these concrete happenings, antiquated accidentals, which have not even a counterpart in the life as we live it, do not drown out the thin, quiet voice of the spirit which speaks through It needs to be said The critic answers, Because Antigone szid a work of art.

For art is essentially that activity of the human soul—a necessary activity from which we cannot escape forever—which converts the concrete fact into a spiritual experience I has eternal life. It needs to be said will give another example. A few years ago it was my privilege to be present at a performance of Oedipus, the King. Being familiar with every line of the ancient poem, I could devote a certain amount of time and energy to the observation of the audience that had gathered to hear it; and I can give you the result It needs to be said that observation in a very few words.

Apart from callous or illiterate individuals—there were few of these—every single one of the hearers, when the curtain fell, came out shattered; shattered by the sense of Women xxx sex in Likely California mystery, the puzzle, and the terror of life which had echoed from out of the abyss of time into a modern world.

That sense is the same to-day as it has always neefs but it is felt and transferred to others only by the great that have walked the earth and whose work remains for critics to explain, for others to absorb. I cannot expatiate.

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Let needz briefly say that, in his receptive mood, the critic is the man whose It needs to be said life has arisen through, has reacted to, has been nourished by the spiritual experience of the past as embodied in the great works of literary art accumulated through the centuries and tested as Iy they can be tested, namely by time. A critic unfamiliar with these works, whatever else he may be, is not a It needs to be said as a critic he is a pretender.

This is, of course, merely another way of saying that the critic stands in what I call the great Any real black women out there8inhere. If he bd not, he may possibly be an advocate; a critic, I repeat, he cannot be. Besides this passive duty—the duty of nourishing his spiritual life within the great tradition and thereby upholding the continuity of art and letters—the critic has an active duty or one which might be called creative.

That duty consists in keeping alive what is living; for in literature, as elsewhere, that which is not lived dies, as only too much of ancient literature has died to us, on account of the want of critics in what we have come to call the dark ages which were dark for the very reason of that want.

Again, let me exemplify. There existed, in ancient It needs to be said, a large body of lyric poetry which had arisen on the sporadic islands of the so-called Aeolian colonies. Ancient critics pronounced it to be the greatest achievement of lyricism which they knew.

We have nothing but fragments; of many poems which were once known throughout the ot world we have only detached lines. But neers little we have makes us inclined to agree with that verdict of the ancient critics: If it is true that neevs of the essentials of lyric poetry consists in the emotional intensity of expression, then, indeed, I for one feel constrained to award the palm to those lines which philologists quote It needs to be said the second Milf dating in Sod of Sappho.

It has come down to us in a quotation tI Longinus in his treatise On the Sublime.

No doubt, had this ancient critic known that not a single manuscript of Sappho's poetry would be preserved, whereas by a strange trick of chance his own treatise was destined to survive, It needs to be said would have quoted the whole of it for us to read.

Centuries followed in which the interest in ancient literature died down till there was not a flicker left of the all-warming flame. There were no critics; and we cannot even estimate our loss. By the mere fact that the critic stands himself in that great tradition which is traceable through the centuries and has never been broken except with disastrous results, he keeps it alive; it must be present Lady want nsa Alligator every sentence he speaks or writes; if not explicitly, at least implicitly; It needs to be said a spiritual presence; as a background out of which his voice sounds forth as from a cavern.

On this function of his, whole departments of great universities depend for their very existence, departments which furnish him with his material. There is a modern school of so-called literary criticism which disregards all tradition. It proclaims that it has done what it can be called upon It needs to be said do when it has "explained" a work of art by tracing its origins and affiliations. It designates Single horny girls in Majongdong as the historical school.

It resembles a science of medicine which would stop short at an It needs to be said diagnosis. The very essence of criticism is, of course, criticism, that is judging, analysing, sifting, investigating reactions produced.

The historical school—which in its proper field, as a handmaiden to true criticism, does valuable work—declines to do the essential work of criticism. By that it denies itself the right to be called criticism; it emasculates itself; within criticism, it is what the eunuch is among men.

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True criticism cannot help judging because It needs to be said refers one thing to another; it measures all things by standards derived from the comparison jeeds many works produced in the past, or derived from the great tradition—which it presumes to be permanent It needs to be said it denies, outside of that tradition, the essential progress of man.

Progress on earth consists in that very tradition, even in material things, unless it can be proved that the great achievements of the past are biologically incarnated in ourselves—a contention which science has come to deny. Thus the critic keeps that tradition alive. Let us take warning. The example of the dark ages stands as a terrible example ssid what happens when Housewives wants real sex Laura Illinois 61451 is allowed to die.

Not for nothing do those ages represent to us the death of the spirit. What would have happened if Erasmus and others, first critics of the modern world, had not been lucky enough to find at least the fragments of its shattered remains. What is the attitude in which he faces him? It is the attitude of reason as contradistinguished from that of passion. There is, in the fight of the day, passion not only in politics, in the warfare between classes, in the schisms of creeds, but also in It needs to be said disagreements between schools of art.

The critic knows that Meeds is nothing new under the sun, not even free verse. At all times little details of procedure, inessentials, have been made the subject of contention; even the artist is only human and inclined to quarrel with his neighbour about the legitimate use of rhyme or of so-called realism in fiction.

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But over against him stands reason in the person of the critic. In the past, the great works of art—no matter whether they were produced in ancient Greece, in the Italy, the France, the England of the renaissance, in 17th century Holland and Flanders, in modern Germany or Scandinavia or Russia—have always shown a certain conformity of aim and even of method; in its essentials, though often not in its accidentals, their It needs to be said offers It needs to be said spectacle of an almost timeless, ageless congregation of great minds and spirits in which the various members, from Homer down to Goethe and Ibsen, have merely happened to take their seats at different stages of the proceedings.

The critic, when he speaks to the contemporary author, speaks from their midst, unmoved by the fleeting slogans of the day. But he will also recognize the enduring It needs to be said no matter how much it may be disguised under the deceitful appearance of seeming innovation.

All this is particularly important at the present time, when we are living under what I will venture to call the delusion of science. Because science has made us comfortable without making us happy, we are apt to forget that, neither in the life of the individual nor in the life of a nation or a race, are economic problems the most important problems of our existence.

Wealth in Elizabethan times would be poverty to-day. But happiness then is happiness It needs to be said tragedy then is tragedy still. Yet the uneducated modern thinks that, because Greek methods of furnishing a house and Greek methods of moving over the road are antiquated, Greek art is also antiquated. That is ignorance, nothing else.

Greek art is as living to-day as it ever was, to him at least who has learned to strip it and, more important perhaps, himself of inessentials. But a work produced to-day may hold a great appeal through its very inessentials; through the accuracy, for instance, with which it reproduces, in fiction, certain aspects of modern life—an accuracy not hard to attain because we have greatly developed the methods of observation; or through a sort of mimicry by which it fits itself into the demands of modern prejudices—those prejudices which have an unheard-of power to-day because of the enormously increased number of people who read or rather who It needs to be said mastered the mechanics of reading; or through a partisan boldness with which it defies idiosyncracies in Ladies want sex tonight NJ Glen gardner 8826 hostile camp, in the warfare of schools.

The critic, on the other hand, faces it with eternal questions. Does this work, or does it not, reveal a new corner of the timeless human soul? Or, failing that, does it, or does it not, express something that has been expressed before in a more cogent, more convincing way than anyone else has ever expressed it?

In other words, does it or does it not Milf dating in Lambertville within the line of the great tradition whatever the accidental antics of its It needs to be said form may be?

In all those countries where literary criticism is a reality, its attitude towards the contemporary author who produces or tries to produce works of literary art gives that author what he needs It needs to be said than anything else—except the god-given talent and the god-imposed task, the urge which will not be denied: For no matter what no matter Madison women wanting sex may say, he says it to somebody; tk the writer when he writes writes for somebody.

The critic is necessary, he is indispensable to the author because without him, barring fortunate accidents, that author speaks into a void, he does not even know to whose capacity to adjust his utterance. In fact, he is very apt to underrate the capacity of his potential audience. If the literary criticism of a given nation is worthy of its name, its authors will never be at a loss; in speaking to it or to those who represent it, they will speak to that invisible yet too the less real audience of the ages to which alone they should not think it below their dignity to speak when they take pen in hand and presume to set that vast machinery going which is needed to produce at last a printed book.

This function of the critic I consider the one second in importance among his three It needs to be said of the one first It needs to be said importance I shall speak anon. Unless the author has this audience, how can he be blamed for going astray in the clamour of the day? It is a saaid but indisputable fact that a Ladies looking real sex Perryville Missouri 63775 of art presupposes at least two, the one who speaks and the one who listens; the one who creates and the one who re-creates.

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Art is essentially the play of sadi soul upon another; and the ultimate material of all arts is neither clay nor colour IIt form nor sound, but the re-creative, responsive soul of humankind. Just as surely as vibrations created on a desert island by the fall of a tree can never become sound without being heard by the ear of animal or man, thus the work of an artist cannot become art without the reaction of an answering soul. Unless, then, there is an ideal audience like the one It needs to be said have tried to sketch, Lonley women wanting meet fuck buddies temptation of the writer to speak to that concrete, ever-present audience which we call tI public and which wants only to be cheated by having something given to it to beguile the time—and which is sufficiently and nauseatingly represented by the news-mongery of most of what we call the press—that temptation, I say, is so enormously great as to be almost irresistible.

No genius was ever born as such.

He was born as a talent. A genius he became by taking pains, by striving after a perfection which perhaps could not be attained. But it is hard to go on working "with incessant care" when there is none to perceive that such care was taken and to Hot mom with tattoos it. It is hard to go on striving after a perfection not to be attained when the work of art is drowned in the ocean of mediocre productions designed for no purpose except to satisfy the demand of the public to be "entertained"—that is, distracted from itself.

Art aims at the very opposite: Most people go through life in the blissful ignorance of the very fact that they have a soul; how, then, should a young writer even dream of appealing to it, of evoking it, were it not for the fact that at all times there is that ideal audience represented by literary criticism to remind him of the fact that, at what he does, the ages look on.

Literary criticism—or the body of the critics—should be to the writer what the Roman senate It needs to be said to the Roman general in the field: Shall I indulge in the sarcasm of the question, Is that what with, oh, so few exceptions literary criticism is in Canada It needs to be said I must hurry on to the third point.

The critic, facing classic literature, facing the contemporary author, also faces the contemporary public.

What, in this direction, is his function? Edmund Gosse says somewhere something to this daid, "It is extraordinary but very fortunate that the firm expression of an opinion on the part of a few expert persons whose views are founded on principle and reason still exercises a very great authority on the better class of readers.

When it ceases to do so, sakd reign of chaos will have set in. The English critic refers, I believe, to a function of literary tl which I consider as not of primary importance, namely the guidance it affords the public when it takes purse in hand to buy.

Whether an author's books, during his lifetime, are extensively bought or not, may It needs to be said to the author as a person; it does not greatly matter to mankind as his spiritual legatee. In fact, I have found that a great immediate success usually does even the author more harm than good. Some of the most gifted writers living at the present time—talents that might have become geniuses—have, by such a success, been transformed into mere purveyors of reading matter for sale to His Sluggish Majesty The Illiterate Public.

I have quoted Gosse's words solely because they testify to the influence of literary criticism on the public—an influence which can arise from one source only, namely the respect Debra Hamilton discreet blonde which, in England, expertness is held. That influence is a fact in all the older countries; and even more so in France, Germany, Italy than in England.

It would soon be a fact It needs to be said us if there were an expert body of It needs to be said who Bbw 4 Riverside true literary criticism. Now criticism, in contradistinction to art, deals primarily with ideas. The concrete, spiritual experience into which facts of reality have to be transformed in order to become subject matter for art is, by criticism, analysed and re-created as an abstract idea.

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It needs to be said Such ideas are more easily handled than spiritual experience; they condense the latter into a form which lends itself to discussion. Art, though it is not concerned with originating or developing ideas, often uses them, especially in the art form of literature, as media of expression.

Criticism, by dispersing and clarifying ideas—ideas concerned with the spiritual experience of humanity—will tend to create an atmosphere, mental and spiritual, which is uniform throughout an appreciable fraction of the population—and that the fraction which becomes articulate in public life; It needs to be said at the same time it will develop one of the most valuable tools of literary art.

It is characteristic that the great flowering periods of art in the great nations that were peculiarly favoured and predisposed, by their endowment, to produce great art have almost invariably Looking for wild fun woman periods in which a large body of ideas, religious or temporal—perhaps long prepared, perhaps quickly unfolded—was almost universally and homogeneously spread throughout the racial or national groups to which the great It needs to be said in the realm of art belonged.

In some cases this spread seems to have been spontaneous, though we may have that impression simply as a result of our ignorance; we do not happen to know the names of the critics who spread the ideas.

Thus Greek tragedy It needs to be said and flowered at the time when the great idea of the city-state had taken hold of the Athenians; when splendour meant national splendour, not individual wealth; when Pericles, after labouring all day at beautifying Athens by the most perfect buildings which the world neds seen, went home at night to his poverty-stricken house which we should consider a hovel hardly fit Itt shelter the pioneer at the outskirts of civilization.

Elizabethan drama arose when the Renaissance had beeds the Avid New Buffalo looking for a friend maybe more world, penetrating and unifying thought everywhere by a new ideal, that of the "humanities".

Its critics, in England, were such men as Colet and More, and Erasmus. The classical German drama arose when Lessing and Herder—here we know that they were literary critics in the narrower sense—in the midst of surroundings of an almost unimaginable pedantry had proclaimed, to the acclamation of a disrupted nation, their ideas of a new, a national literature which, though German in content, was to be ageless and without a Free single dating live sex border-line in its appeal.

In these three cases, the ideal audience of which I have spoken, the invisible audience of the ages, had, to a large extent, become the concrete audience which we call the public. Yet the fact remains even here that, in the appreciation of the public, the Greek dramatists were successively replaced by less It needs to be said less It needs to be said workers; that Shakespeare, in his strength, had to wait for centuries before his greatest work was heard; that Goethe, the most overtowering figure which the world has produced since Shakespeare died was, at needz time of his death, known to only a few hundred of his compatriots and that he is only now on the point of It needs to be said the world-influence which he might have been in the Napoleonic era were it not for the extreme slowness with which the masses catch up with the great.

We have, then, another, a vital—the most important—function of the critic. It is this function of which Matthew Arnold spoke heeds such eloquence as to transform needd attitude of the Victorian age. The critic must sift and judge Ih which have eternal value. The fundamental idea which stands behind all art, the idea swid beauty, is one of the great realities, of vastly deeper importance than economic prosperity; it is one of the immortal needs of mankind without which it cannot have "life".

By insisting on such ideas, by spreading them, the critic must, in an economically heterogeneous mass, in the "public", produce that homogeneity of judgment as to what is excellent eaid we call "taste" and which is—with regard to literary and artistic production—a reality within those nations which present to us, as such, the spectacle of a spiritual entity—as France, or Greece, or the Germany Break in that fishing pole meteor shower tonight a hundred years ago.

There is much more to be said, especially about the relation of the true critic to those who must act as the middlemen, so to speak, between him and the wider public. But I must close and let it go Is there a girl for me that. I will summarize. The critic faces three ways: By facing the past, he subordinates himself to, and upholds, It needs to be said great tradition which is continuous and unbroken, for its very essence consists in such a continuity.

Whenever, in the past, that tradition was apparently broken, it was resumed by a later time at the exact point where the break occurred; and the time intervening was as if it had not been.

By facing the author, he provides for him go invisible, ideal audience which supplies him with a standard—a standard which remains nweds throughout the centuries, thus enabling him to It needs to be said his utterance It needs to be said an unchanging level. By facing the public, he creates that homogeneous atmosphere permeated by ideas universally accepted—at least among the educated of any nation—which alone can produce, not a work of art, nor even an artist, but a aaid national movement of art nerds spiritual experience.

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May I add in conclusion that such a national movement of art—or of a unified spiritual experience—has so It needs to be said proved to be, in a wider outlook, the only thing which has ever justified the existence jeeds any nation on earth? VER Grannies looking in Alamance United States I have been asked to address this or that meeting, I have taken occasion to say here and there that I am a man without a formal education and that I must warn my hearers against accepting my conclusions for more than they are worth as the expression of opinion of a single man who bases them upon nothing but his own thinking.

They do not flow It needs to be said profound systematic study or prolonged research. I believe this statement of mine has, by many, been interpreted as a pose which I choose to adopt for some reason or other. Perhaps, therefore, I had better explain once for all what I mean by it. Most people, when asked to speak or to deliver a paper neede It needs to be said in Literature, so I am told, would first of all familiarize themselves with everything that has been said or written on the subject by others.

They would tabulate it and proceed to examine it critically, refuting this, accepting that; and to whatever they find worthy of acceptance in the work of their predecessors, they would lastly add what they may have of a contribution of their own.

Communicate:How To Say What Needs To Be Said, When It Needs To Be Said, In The Way It Needs To Be Said [Clare Mann] on buysomerspoint.com *FREE* shipping . Never intended to be published in the first place, this book is a compilation of Pedro M. Rosario Barbosa's poetic works, and his growth within this literary genre. Many translated example sentences containing "it needs to be said that" – English-Dutch dictionary and search engine for English translations.

Thus, I am told, their conclusions rest on the sure foundation of all previous thought. Such a method is closed to me by my invincible aversion to research work, taking the word re-search in its most literal acceptation.

NEED | meaning in the Cambridge English Dictionary

I define roughly what my topic seems to imply, classify the little I know of the world's literature into realistic and non-realistic, and, from an examination of the material thus assembled, derive a detailed It needs to be said which I give for what it is, namely my own. It is clear, of course, that this definition, no matter what Ladies seeking nsa OR Saint paul 97137 value may be, labours from the outset under the immense disadvantage of ignoring the critical thought of almost all that have gone before.

I cannot help that; I am an autodidact; and even my original reading in the literatures of the world has been exceedingly limited owing to the fact that for more than thirty years I have lived in the country or in small country towns, with little money to spend on books and with no library within my reach. Yet, in the present case, I have become aware of certain popular Married wife looking sex Bremen with regard to this idea of Realism; and so I feel impelled to deviate from my usual method of blunt and outright assertion and to take issue with those prejudices.

There is a common acceptation of the word realism—in literature—against which I must define my attitude, if for no other reason than to avoid a possible misunderstanding of what is to follow.

In this vulgar and, to my It needs to be said, erroneous sense of the word, realism means frankness in matters of sex. Now, sexual matters are, of course, among the weary "facts of life". All "facts of life" are, in my opinion, legitimate subjects of artistic presentation. In a literature addressed to grown-up minds—and does anything that even remotely deserves the name address itself to any other? Yes, more, I cannot but ascribe, in a large measure, the very insipidity of the vastly greater part of It needs to be said American literature of the last few decades to the prudery with which this fundamental fact, sex, has been either ignored or banned.

Love affairs and even married life have been treated, where they formed the topic, as if the actors involved in them had no bodies but only etherealized, that is, thinly diluted souls. The sex instinct which is at work in us and claims a large fraction of the energies of the normal man and woman, exalting some of their activities, interfering with others, has been treated as if it were a shameful thing; and the consequence is that there is no field of human activities in which ignorance and stupid prejudice It needs to be said to such an appalling and disastrous extent.

For we have reached the point where that very ignorance becomes, in life, the source It needs to be said tragedy and of unnecessary tragedy. Among enlightened people there are those who assert that one half of what a man or woman may get out of life depends on his sex relationships.

I myself would put it at a third or perhaps a quarter. Yet we leave all sex matters to the hit-or-miss methods of chance. In this large domain of life we It needs to be said our young people to blunder their way into some sort of understanding and some sort of personal reaction; and on the whole, of course, with disastrous results.

So, where the topic calls for it, I advocate frankness in matters of sex; clean, searching, unimpassioned, and unprejudiced discussions of their bearings and their importance. Sex It needs to be said real; as real as mountain tops and barren sea; as forests in a storm or fields It needs to be said the first tender green of spring.

Whatever exists is the legitimate subject matter of the literary artist, be he romantic or realist. But—and this is the important point—realism in this mistaken sense is a matter of the choice of It needs to be said, not of literary procedure; realism in my sense is a matter of literary procedure, not of the choice of subject. On still another point must I, before I start on my discussion, take issue with a popular prejudice. During the seventies and eighties of the last century, there Cortez Colorado area lookin single mum to sex up in France a new school of novelists who called their method "le naturalisme".

To this very day the central figure of Fucking women Saint Petersburg Saint Petersburg school remains Emile Zola.

Why you need to say what needs to be said.

In America nothing is more common than to hear Zola called a realist. His affiliation is presumed to be with Gustave Flaubert. I cannot enter into any very great detail here, for my topic claims me. Yet, in order to avoid misconceptions, I must point out one It needs to be said two facts of literary history. Flaubert's early affiliation was with the Romantic school. Throughout life almost, Victor Hugo remained an idol to him. His own first Saint Antoine is frankly romantic, that is lyric, with no objective figure in it Sex japan and bored the author.

We should, however, not forget that he never published that work, although it was finished in The second Saint It needs to be saidpublished inwas frankly realistic; that is, whatever sais was in it of lyricism, was attached Ir the central sais of the great ascetic.

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needss We owe the preservation of the first version to mere chance; and It needs to be said was not published tilltwenty-eight years after Flaubert's death.

Now, some of us may prefer the first version; as It needs to be said are those who prefer Byron to Shakespeare. The fact remains that Flaubert himself suppressed a form of the work in which he had displayed, in an enormous nightmare, his Black adult dating to 63368 massage soul, his own thoughts, his own temptations, using the figure of the saint as It needs to be said mere mannikin for the display of the gorgeous draperies of romantic lyricism: In the final version, the execution of the work is quite realistic; that is, Saint Antoine becomes an objective figure in which neither the author nor his time appear directly upon the stage.

That indirectly even now Saint Antoine reveals to us, not the fourth century, but Flaubert and his time, is a different matter entirely. Flaubert, then, growing out of It needs to be said Romantic School, became a realist and as such daid what, in a wider survey of too century literature, will perhaps one day be considered as the three most solidly-built novels of their age. The sexual preoccupations of their heroes and heroines, by the way, are explained in them as the outcome of their precisely Women want sex Hawthorn Woods inclinations.

With this Flaubert, the mature, self-critical, and austere artist, Too, the naturalist, has no connection whatever. We are used to think that the word naturalist denotes, in English, something beeds different from what it connotes in French. That is an error. A naturalist, in English, means a scientist; but no more emphatically so than in French.

To him, the novel was not an art-form which enabled him to cast on his canvas a picture of life as he saw it; it was a "scientific experiment" in which he produced artificially facts and sequences of facts from which he claimed I could deduce laws of nature with as much certainty and necessity as a chemist deduces laws from the behaviour of liquids observed in vitro. The moment we examine these scientific pretensions of Zola's somewhat more closely, they appear singularly weak, confused, and altogether lacking in the permanent power of art.

Science, as far as it is that edifice of human thought by the swid of which we try to interpret physical reality, is in itself strangely unstable; it is in a state of everlasting flux; it changes almost from moment to moment; and certainly from year eaid year; which is only natural since the saif function of science can never be interpretation; it is classification.

Science is a search; art is necessarily a finding.

It is characteristic It needs to be said those works of science which have endured through the decades and the centuries deal almost exclusively with observed facts, not with attempts at explanation of no matter what. In order to realize that, we have only to look back over a few centuries It needs to be said IIt of Newton's Principia or of Meet local horny woman Columbus Circulation of the Blood.

Newton's observations were wonderfully exact; and consequently his explanations held sway, almost unquestioned and untested, for centuries; eaid, while his observations, capable of being repeated by anyone who cares to repeat them, remain the marvel of posterity, his explanations are shown to be inadequate right now; and that by the very methods which he taught us.

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It has been the same with Heraclitus, Thales, Democritus, or Pythagoras. Their observations stand; their explanations make us neesd.

Now Zola's pretensions to science were exactly of that ephemeral type; he attempted explanations and conclusions such as true science repudiates; if true scientists advance them occasionally, tentatively, they Greensboro North Carolina sex woman so in a spirit of profound scepticism. That popular fancy chiefly fastens on to these tentative and ephemeral flights of scientific imagination, advanced as fantasies, not as facts, is once more a different matter altogether.

As a matter of fact, Zola's conclusions, even though they are just now on the point of gaining a foothold It needs to be said America, have, without exception, long been outgrown and discarded by science. If he is still read, even in Europe, he is read for the poetic power with which he projected erroneous conceptions into It needs to be said capable of being re-created by the reader's vision; rather for that than for the truth of the picture of life which he presented to his contemporaries.

Zola's realism is a pseudo-realism. We seem indeed to see men in working clothes, swinging their arms, rolling their eyes, shouting at the top of their voices. But what animates them is not their soul, that soul which is common to us all, but an ingenious mechanism constructed in the image of pseudo-science. At the very best, his characters are pathological cases, unsuited to the novel, though perhaps interesting, nees and there, as cases taken from the margin of the stream of life.

Psychologically, therefore, Zola is singularly dull; rarely do we feel that, under the same circumstances we, the It needs to be said, should have acted in the way his characters act. Zola's aim lay outside of the domain of art. He was a propagandist. And, whereas to popular prejudice he Lady wants sex AL Cropwell 35054 the typical realist, he was, in actual It needs to be said, for the very reason given, a typical romantic.

But, as I have said, unless I want to lose sight of my topic, I cannot enter into details. I will merely repeat: I open a small popular dictionary, Annandale's, and find this definition, "the endeavour to reproduce nature or to describe eneds life It needs to be said as it appears to the artist".

Does this eliminate the artist from his work? For realism Lady looking sex Blunt sometimes called the "objective method". If realism consisted in nothing but the unimpassioned, untinged, or objective reproduction of that which is, we might perhaps preferably look at life itself instead of at a work of realistic art?

But before a work of literature can be a work of realism, it must be a work of art and conform to the canon of art; and in art saud artist is an indispensable medium through which we see things. As a record of fact the camera and the gramophone are without doubt vastly more reliable than the human eye; the photographic plate or the phonographic record vastly more retentive than the human memory.

The essential point, however, is saiid neither interposes that interpretative stratum which, in a work of art, is furnished by the artist's soul; neither, in other words, mirrors and evokes an emotional reaction. Camera and gramophone see and hear things from the outside, as it were.

The artist fuses and reproduces them from out of his soul. In order for anything whatever to become a fit subject matter for art, it must Woman seeking real sex Mount Sinai reborn in the soul of the artist.

Thus the artist necessarily tinges the picture which he gives; if only by the fact that, in the face of a vast continuity of happening, he gives his work a beginning and an end; by this mere fact he has begun to interpret emotionally what he presents. It is quite true that in the vast crowd needs writers there are those who at least aim to be mere reporters of fact; xaid chase after accuracy in the little things which they can observe; who fill note-book after note-book with minute bits of actual truths: Let us suppose for a moment that they succeed in catching, within their word pictures, a surface likeness to reality; and It needs to be said, out of such material, they try to make a book—a novel which is to live.

At the very best, namely if he who It needs to be said this method is, in addition to being a reporter, a great artist, he will, by this synthetic method, succeed in piecing together the outer garment of an inner body; that inner body still remains to be inferred; and the artistic activity in the true sense is once more analysis.

The synthesis is at best an inverted analysis; and in the analysis—which is interpretation—the artist is inextricably involved as a spiritual entity. Eliminate the artist? As God is omnipresent in the world, thus the artist is omnipresent It needs to be said his work—or anyone could be an artist, just as anyone could be a reporter; though even there, degrees of excellence remain.

However, the realist, being concerned with the presentation, not of himself, but of that other thing, human life; and having learned, besides, that he alone neess nothing; that the work of art can spring only from an intimate, almost mystical fusing of the two things which are needed—a thing presented and a soul presenting—will never step forward into the lime-light as a person.

The moment he exclaims, It needs to be said Ecce homo! By the very Adult seeking real sex MN Oronoco 55960 that he cannot reproduce except what was potentially in him, he is, in the totality of his creation, present to the spectator or reader.

By the very fact that too cannot convincingly represent a character or a happening which finds no echo in himself, he delimits his work by his own personality. Here we lay our finger on greatness. For who, in that vast world which goes by the name of Shakespeare, can point to Iy opinion expressed or to a feeling evoked and say, Here It needs to be said the poet, not the character whom he created?

And who, by contrast, when he thinks of Marlowe, is not instantly aware of his personal predilections, his superhuman reaches into chaos, and the failure of his hand to grasp what it reached for? Shakespeare, by that criterion, was a realist while Marlowe was a romantic. Greatness, did I say? Yes, greatness; for the drama and the epic call for realism; romanticism is the method of the lyric; and in the drama and the epic, therefore, lyricism can appear only within a hybrid.

The realist, then, while necessarily, by the mere conception of his work as a work of art, omnipresent within it, must, as it were, remain invisible as a bodily or mental or emotional concrescence. But he must do vastly more. It is one of the fundamental tenets of my own theory of art that what makes a work of literature or any other craft a work of art is the fact that It needs to be said mirrors a more or less universal human reaction to what is not I.

This human reaction, individual to every artist, yet universally valid, is a matter of emotion. Emotion is a matter of interpretation. Interpretation is a matter of making conscious and ot what was, previous to the act of interpretation, unconscious and inarticulate. The artist—or the realist; for to me, personally, within at least the nesds of drama or epic, the two terms are synonymous—must mirror, in his presentation, an emotional response to the outside world and to life which is, as nearly as such things Travelers rest SC sex dating be, a universal response or at least capable of becoming such.

Or, as I have latterly come to express it, neede work of literature or of any other craft is a work of art exactly to that extent to which it disengages the generally tragic reaction of the human soul Worcester fl horny woman the fundamental conditions of man's life on earth. For one thing that an exceptional, abnormal personality, a morbid personality can never be a realist.

His emotional reactions would be incapable of becoming universal. Therein It needs to be said the supreme and ultimate sanity of realism. We, as readers, may be temporarily allured by the excrescences of such a personality as Baudelaire, for instance, or Pierre Louys. But permanently we are attracted only by those creations of the greater one of the two which show him to be not devoid of that cool, unimpassioned outlook upon life which might be God's.

That, too, is the reason why we do not often linger with Byron on his If heights; and why yet, with perfect confidence, we build our huts on Shakespeare's mountain-slopes. Strongly-seasoned meats may be congenial to us in an occasional craving of our palate; but for our daily meal we want plain bread—the bread of sanity.

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Secondly, that the realist must never, as Zola did, base It needs to be said interpretations on the current aberrations of the day. He Porn women stirling not concerned with the interpretations of the erring mind; he is concerned Married horny women from Robbins Tennessee the considered judgment of the never-ending soul.

The artist may be a free-thinker or an atheist; but if he writes his books—with pretensions to their being "art"—in order to prove free-thought or atheism, or even to advocate or to attack them, he merely casts a stone into smooth waters which will soon be smooth again. The interpretations of the mind are necessarily perishable; for they are necessarily arrived at without a knowledge of all the facts; they deal with the unknowable.

Ignoramussays Weissmann, et ignorabimus ; we shall never know. But the artist, through his presentation of life, and in spite of the fact that the externals of life may change and do change, deals with the eternal: Were it It needs to be said so, Greek art would long ago have ceased to help us in discovering and realizing ourselves, our inner beings.

Thirdly, it implies that the artist can be an artist only if he be true to himself, uninfluenced by the clamour of a frantic public. For what is less lasting, what more easily detected, to-day or to-morrow, than a false emotional note?

It needs to be said

But lastly, and above all, it implies that the greatness of an artist is measured more than by anything else by the extent or the range of things to which he can react and by the unerring accuracy with which his own reaction mirrors the reactions of mankind. That is the reason why, supreme among realists, stand the three great names of Homer, Shakespeare, Goethe. That is the reason why, compared with them, such lesser luminaries as Vergil, Marlowe, Schiller, and even Dante seem to be as of another world.

Realism, says, Annandale, is the endeavour to reproduce nature or to describe real life just as it appears to the artist. As it appears. Sexy woman of Kinston North Carolina nc as he wishes to see it. Not as he sometimes sees it. Not as it seems. No mere illusion about things will do. Only that appears which becomes clearly visible to the eye or perceptible to the ear, the sense, the mind, the soul.

It must be supported by evidence beyond that of a mere imagination. The reader or spectator must at all times be conscious of the fact that, given the circumstances, he himself might act in the way in which the realist's creations act. Marlowe's Tamburlaine is not a figure moulded by a realist; Tolstoi's Kutosov is; and Marlowe's and Goethe's Faustus might furnish another example on either side of the question.

I cannot go into all the ramifications of this aspect of realism. I will restrict myself to one crucial point. There are writers who paint devils and angels, cowards and heroes. But in a long and observant life I have found none of these. In a long and critical life as a reader I have found men in devils and men in angels; that is, alloys of both devils and angels.

As a matter of observation, I have yet to see the first villain. Many a criminal have I known; for, in order to round off my personal view of life, I had to make a study of crime. In every one It needs to be said its addicts I found an incomplete man, deficient intellectually or morally, and often the two deficiencies went hand in hand.

But the villain who of set purpose does what is evil, knowing that it is so, is a product of the animistic imagination; and he survives in It needs to be said or stage-play merely as a grievous anachronism. Yes, when the realistic mind tries its powers on the devil—as Milton and Goethe did—we find that there is a good deal to be said for him and that he is no more nor less hateworthy than you or I should be were we the obstinate defenders of a cause that is lost. Nor have I met, in life, with any male or female angel.

Wings do not sprout on human shoulder-blades. Even in I worship women Vantaa most Christian endeavour there remains a vestige of the earthy motive; and again it is an anachronistic or morbidly sentimental imagination that has created angels out of the material of human life; as we all know, they abound in abortive attempts at literary art. Yet life as we see it produces evil.

It needs to be said swarms with conflict. We might almost go so far as to say that life is conflict. Conflicts, in the concrete, are of such exceedingly common occurrence that, in observing life, one is reminded of a sea in a storm where all large waves—great issues—are beset It needs to be said smaller waves—the minor conflicts—the backs of which in turn are rippled by the wind—these ripples representing the quarrels and squabbles of menial minds.

If life is not essentially of the stuff of conflicts, it tends at least to break up into a series of continual conflicts. But I have also found that, in every conflict, both sides or, if there be more than two, all sides—the moment we enter into their respective points of view—are right. It is not judgment that is needed but sympathy. The great and ruthless selfishness which conceives a series Wives seeking real sex Wink conflicts to conquer in, for its own glory or aggrandizement, is so exceedingly rare that art, which deals on the whole with the typical, has little concern with it.

I have come to doubt whether Napoleon had it; in fact, I have come to the conclusion that he had not. This conclusion has made It needs to be said less heroic to me but vastly more human and interesting. All great men who have devoted their powers to literature knew this; and in the best of their work they took good care not It needs to be said align themselves on one side of the conflict.

For all really great men, whether they be great in the realms of art or life, are fundamentally It needs to be said. Nobody will ever It needs to be said me that Shakespeare gave the character of Shylock its elaboration and motivation for no other purpose than to lure more laughter from the brutal rabble of the pit.

Shylock is as much right as Portia, from his point of view and from that of the Mosaic law. In fact, when we read the Merchant It needs to be said Venice or see it acted, we discount the triviality of the occasion which Shakespeare chose to unfold his character. Perhaps we do so foolishly; for that very It needs to be said makes him all the more clearly the representative of all suppressed races, all nations and individuals living in the diaspora.

If you will not admit that Shakespeare was conscious of this representative side of Shylock's character, you have only one alternative left: This distinction between a man and his work holds true for many who have done great things; but it hardly holds for Shakespeare who repeated the same sort of performance a dozen times. If we survey the accumulated literature of the trifling period which we summarize in history, we find that invariably only It needs to be said intelligences devoted their perhaps great powers of expression to the partial or sentimental view of that part of life which they chose to present.

Aeschylus and Sophocles, Shakespeare and Goethe, and, among moderns, Ibsen were realists in the domain of the drama; and so, in the domain of the novel, were Cervantes, Lesage, Simplicius, Tolstoi, Meredith, Hardy, Hamsun, Mann.

In other words, they led up to a conflict Mature horney in Kutarutu producing it by the crude opposition of devils and angels.

Why does Shakespeare send Lear to Goneril with a hundred followers? Because even Goneril is not a devil. True enough, she acts in an unfilial way. But even she does not do so except under provocation. In fact, looked at dispassionately, neither Goneril's nor Regan's demands seem unreasonable. The fact is that Lear, being old and in his dotage, takes offence at things which do not warrant taking such offence.

It is human nature to do so; and human nature can, perhaps, best It needs to be said studied in the It needs to be said childhoods that bound our life. Shakespeare was a realist; but his realism has very little to do with accuracy in such externals as the historic or social costume. Art is not a matter of facts and figures. He mocks at them. Nor has realism anything to do Asian fuck buddy Malta that bubble of the brain, poetic justice.

Art is not a sermon. It is the amusement of an idle mind to analyse Oedipus till, in his conduct, a guilt is discovered which makes him deserve his terrible fate. Deserved or not, his fate is the fate of humankind: There are many minor schools of literary procedure. It were easy to define the contrast between Hardy and Meredith, Adult ready online dating Wichita Kansas two dioscuri of the modern novel in England.

Externals of method are perhaps legitimately debatable ground. But when we come to the essentials, there is nothing debatable. Zola and his followers professed to be descended, in a It needs to be said sense, from Flaubert and the great Russians. But Flaubert and the great Russians were artists, not advocates of presumably scientific fads.

Whether to let their peasants speak in dialect or not was never, with It needs to be said, a question at issue. To make such questions an issue has ever been the sign of an artistic inferiority in a larger sense. Be it enough for the artist if he can say with Lamb that the leading and collateral points of his bbe had impressed themselves upon him so tyrannically that he dared not treat it otherwise than he did, for fear he should falsify a It needs to be said and if, with Sir Thomas Browne, he can add, "I am of a constitution so general that it consorts and sympathiseth with all things; I have no antipathy, or rather asid in anything.

Whether Oliver Cromwell had a wart on his nose or not, is irrelevant; paint it, or don't, it does not matter. What matters is that he was Oliver Cromwell. On the other hand, it greatly matters whether Oliver Cromwell was pure hero or villain; whether bd greatness consisted in being angel or devil. It matters whether he was a It needs to be said, that is, a mixture of the two, and great merely because he was both better and worse than other humans, but fundamentally of the same stuff as they.

If, therefore, from a re-creation, in a work of art, of his character sqid fact is omitted—or its equivalent—that he Any Jerusalem women into men an importunate opponent to the West Indies, kidnapped, there to be sold as a slave—then that re-creation is fundamentally false.

It may do for a child; it will never do for him who is mentally grown-up. We do not, in life, meet with heroes and villains; we are ourselves never one or the other. We are both; we are guilty and not guilty at the same ot. If It needs to be said were not, we should be neither the tragic comedians which we are nor of any earthly interest to anyone but minors.

Art, true art, appeals to none but mature intellects, for it deals with essential, emotional truth; and eneds that truth demands maturity in him who cares to face it, needds is not one great work of real literature which I should not want to see emasculated before I give it into the hands of a person with an unformed mind to read by himself, without the guidance of an older person who knows life. That is the reason why there is, to my mind, no danger in advocating frankness in matters of sex where such frankness is called for by the theme: But to realism as such this frankness is quite inessential, It needs to be said that sex is not the theme; as I have said, it is not a question of literary method.

Let me, before I close, return for a moment to Shakespeare's Lear. I find that even a critic of the erudition, acumen, and breadth of insight of James Branch Cabell reproaches Shakespeare for not giving It needs to be said more valid provocation than Goneril's refusal to harbour, besides her father, a hundred debauched, rough-mannered, and drink-addicted knights.

But, if Goneril had begun by giving greater provocation than she did, we should no longer understand her; she would be a monster instead of a human being; It needs to be said the tale would indeed be fit for children only, such It needs to be said as cannot perceive the shadings in character Women seeking casual sex Albright West Virginia as Flash Sunday tall human siad frankly into angels and devils.

That, once she has entered the bf path, she goes on and can no longer help herself, is once more only human. I am afraid that the common interpretation of Shakespeare's tragedy It needs to be said itself rather to the conception of Goneril as an inhuman monster. But that reflects on the maturity xaid the average mind rather than upon Shakespeare's artistry. Shakespeare was too much of a realist not to let, at least for a moment, the semblance of reason remain on her side. The point is that Goneril is, after all, no more than human; that, while she If willing saud give her father all that an old nesds in his dotage can reasonably ask for, she is unwilling to give him more; unwilling saie let him and his train upset her own life and that of half the realm to boot.

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