The man who mingles the useful with the sweet carries the day by charming his reader and at the same time instructing him. That’s the book to enrich the publisher, to be posted over seas, and to prolong its author’s fame.
[Omne tulit punctum, qui miscuit utile dulci,
lectorem delectando pariterque monendo.
Hic meret aera liber Sosiis, hic et mare transit
et longum noto scriptori prorogat aevum.]Horace (65–8 BC) Roman poet, satirist, soldier, politician [Quintus Horatius Flaccus]
Epistles [Epistularum, Letters], Book 2, ep. 3 “Art of Poetry [Ars Poetica; To the Pisos],” l. 343ff (2.3.343-346) (19 BC) [tr. Blakeney; ed. Kramer, Jr. (1936)]
(Source)
Horace advises on how to write a best-seller, by blending both entertainment and (moral) substance. The Sosii were famed booksellers in Rome.
(Source (Latin)). Other translations:He beares the bell in all respects who good with sweete doth minge:
Who can in delectable style good counsaile with him bring.
His bookes the stationers will bye, beyonte Sea it will goe,
And will conserve the authors name a thowsand yeare, and mo.
[tr. Drant (1567)]But he hath every suffrage can apply
Sweet mix'd with soure, to his reader, so
As doctrine and delight together goe.
This book will get thee Socij money; this
Will passe the Seas; and long as Nature is
With honour make the far-known Author live.
[tr. Jonson (1640), l. 490ff]But he that joyns instructions with delight,
Profit with pleasure, carries all the Votes;
These are the Volumes that enrich the Shops,
These pass with admiration through the World,
And bring their Author an Eternal fame.
[tr. Roscommon (1680)]Profit and pleasure, then, to mix with art,
To inform the judgment, nor to bend the heart,
Shall gain all votes; to booksellers shall raise
No trivial fortune, and across the seas
To distant nations spread the writer's fame,
And with immortal honours crown his name.
[tr. Francis (1747)]But he who precept with amusement blends,
And charms the fancy while the heart he mends,
Wins every suffrage. Rarely shall he miss
To enrich the Sosii with a piece like this:
Seas shall it traverse, and the writer's page
Hand down his glories to a distant age.
[tr. Howes (1845)]He who joins the instructive with the agreeable, carries off every vote, by delighting and at the same time admonishing the reader. This book gains money for the Sosii; this crosses the sea, and continues to its renowned author a lasting duration.
[tr. Smart/Buckley (1853)]But he who, mixing grave and gay, can teach
And yet give pleasure, gains a vote from each:
His works enrich the vendor, cross the sea,
And hand the author down to late posterity.
[tr. Conington (1874)]He wins all suffrages who, while he charms.
Instructs the soul, the heart to virtue warms,
And so what ministers to use unites
With what is beautiful in all he writes.
These are the works on which the Sosii thrive,
That cross the seas, to times remote survive.
[tr. Martin (1881)]He meets with acceptance everywhere who blends the practical with the pleasant, by equally delighting and instructing the reader. Such a book enriches the Sosii, travels across the sea, and confers immortality on its famous author.
[tr. Elgood (1893)]He has won every vote who has blended profit and pleasure, at once delighting and instructing the reader. That is the book to make money for the Sosii; this the one to cross the sea and extend to a distant day its author's fame.
[tr. Fairclough (Loeb) (1926)]He wins every vote who combines the sweet and the useful,
Charming the reader and warning him equally well.
This book will bring in money for Sosius and Son,
Booksellers, travel across the sea, and extend
Its author's fame a long distance into the future.
[tr. Palmer Bovie (1959)]The poet winning every vote blends the useful with the sweet,
giving pleasure to his reader while he offers him advice.
His book will make the Sosii money and travel overseas,
and far into the years ahead extend its author's name.
[tr. Fuchs (1977)]Tame sense with a dash of sugar,
Storke your reader's cheeks while you box his ears.
Then everyone reads you, your royalties mount
Like gushing oil, foreigners run for your latest title
And read you long after you've turned to dust.
So: make your own memorial!
[tr. Raffel (1983 ed.)]He who provides to all both profit and pleasure
Wins everybody's vote; his book will bring
Money for bookstore owners and fame across
The seas and down the years to the author himself.
[tr. Ferry (2001)]Everyone votes for the man who mixes wholesome and sweet,
giving his reader an equal blend of help and delight.
That book earns the Sosii money; it crosses the ocean,
winning fame for the author and ensuring long survival.
[tr. Rudd (2005 ed.)]Who can blend usefulness and sweetness wins every
Vote, at once delighting and teaching the reader.
That’s the book that earns the Sosii money, crosses
The seas, and wins its author fame throughout the ages.
[tr. Kline (2015)]He wins every hand who mingles profit with pleasure, by delighting and instructing the reader at the same time.
[ed. Bartlett's]
Quotations about:
literature
Note not all quotations have been tagged, so Search may find additional quotes on this topic.
But in reading great literature I become a thousand men and yet remain myself. Like the night sky in the Greek poem, I see with a myriad eyes, but it is still I who see. Here, as in worship, in love, in moral action, and in knowing, I transcend myself; and am never more myself than when I do.
C. S. Lewis (1898-1963) English writer, literary scholar, lay theologian [Clive Staples Lewis]
An Experiment in Criticism, Epilogue (1961)
(Source)
Closing words.
We find what we are looking for. If we are looking for life and love and openness and growth, we are likely to find them. If we are looking for witchcraft and evil, we’ll likely find them, and we may get taken over by them.
Madeleine L'Engle (1918-2007) American writer
Speech (1983-11-16), “Dare To Be Creative,” Lecture, Library of Congress, Washington, DC
(Source)
The writer whose words are going to be read by children has a heavy responsibility. And yet, despite the undeniable fact that the children’s minds are tender, they are also far more tough than many people realize, and they have an openness and an ability to grapple with difficult concepts which many adults have lost. Writers of children’s literature are set apart by their willingness to confront difficult questions.
Madeleine L'Engle (1918-2007) American writer
Speech (1983-11-16), “Dare To Be Creative,” Lecture, Library of Congress, Washington, DC
(Source)
But suppose one could not point to this great benefit, suppose that the study of literature conferred only enjoyment: even then, I believe, you would agree that this form of mental relaxation broadens and enlightens the mind like no other. For other forms of mental relaxation are in no way suited to every time, age, and place. But the study of literature sharpens youth and delights old age; it enhances prosperity and provides a refuge and comfort in adversity; it gives enjoyment at home without being a hindrance in the wider world; at night, and when travelling, and on country visits, it is an unfailing companion.
[Quod si non hic tantus fructus ostenderetur et si ex his studiis delectatio sola peteretur, tamen, ut opinor, hanc animi adversionem humanissimam ac liberalissimam iudicaretis. Nam ceterae neque temporum sunt neque aetatum omnium neque locorum: haec studia adolescentiam acuunt, senectutem oblectant, secundas res ornant, adversis perfugium ac solacium praebent, delectant domi, non impediunt foris, pernoctant nobiscum, peregrinantur, rusticantur.]
Marcus Tullius Cicero (106-43 BC) Roman orator, statesman, philosopher
Pro Archia Poeta [For Archia the Poet], ch. 7 / sec. 16 (62 BC) [tr. Berry (2000)]
(Source)
(Source (Latin)). Other translations:Though, even if there were no such great advantage to be reaped from it, and if it were only pleasure that is sought from these studies, still I imagine you would consider it a most reasonable and liberal employment of the mind: for other occupations are not suited to every time, nor to every age or place; but these studies are the food of youth, the delight of old age; the ornament of prosperity, the refuge and comfort of adversity; a delight at home, and no hindrance abroad; they are companions by night, and in travel, and in the country.
[tr. Yonge (1856)]But even if we had no promise of such great fruit as we have, if we were led to study merely for the sake of the pleasure afforded us by study itself, you would nevertheless, I think , come to the conclusion that this mental recreation was a most humane and liberal one. For there are other studies which belong neither to all times, nor to all ages, nor to all places; but these studies strengthen youth and divert age, adorn prosperity, and afford a refuge and a solace in adversity; are a pleasure to us at home, and no hindrance abroad; they spend the night and roam about and rusticate with us.
[tr. M'Donogh Mahony (1886)][...] Such studies nourish us in youth, and entertain us in old age; they embellish our prosperity, and provide for us a refuge and a solace in adversity ; they are a delight at home, yet no embarrassment abroad; they are with us throughout sleepless nights, on tedious journeys, in. our country retreats.
[tr. Harbottle (1897)]Even if this so great advantage should not be shown, and if delight only is sought from these studies, however, as I think, you should judge (that) this employment of the mind (is) most humane and liberal. For other (occupations) are (suited) neither (for) all times, Even if this so great advantage should not be shown, and if delight only is sought from these studies, however, as I think, you should judge (that) this employment of the mind (is) most humane and liberal. For other (occupations) are (suited) neither (for) all times, foster youth, delight old age, adorn prosperity, in adversity they offer refuge and comfort, they delight (us) at home, they do not hinder (us) outside [abroad], they pass the night with us, they travel abroad, they go to the country (with us).
[tr. Dewey (1916)]But let us for the moment waive these solid advantages; let us assume that entertainment is the sole end of reading; even so, I think you would hold that no mental employment is so broadening to the sympathies or so enlightening to the understanding. Other pursuits belong not to all times, all ages, all conditions; but this gives stimulus to our youth and diversion to our old age; this adds a charm to success, and offers a haven of consolation to failure. In the home it delights, in the world it hampers not. Through the night-watches, on all our journeying, and in our hours of country ease, it is our unfailing companion.
[tr. Watts (Loeb) (1923)]And yet if so great a profit were not held out to them, and if enjoyment only were sought from such studies, still, I fancy, you would decide that this is the mind's most refined and liberal relaxation. The other classes of enjoyment are not for every time or every age or every situation, but these pursuits are the food of youth and the charm of age; they are the ornament of prosperity, and lend a refuge and comfort to misfortune; at home they are a pleasure, abroad they are no hindrance; they are with us by night, upon our journeys, at our country seats.
[tr. Allcroft/Plaistowe (c. 1925)]But if such great fruit as this did not result, and if pleasure alone were sought from these studies, still in my opinion you should judge this relaxation of mind most refining and most liberalizing. For other relaxations are not suitable for every season, age, and place, but these studies nourish youth and delight old age; they are an ornament in prosperity, and furnish a refuge and a solace in adversity; they are a delight at home and not a hindrance abroad; they pass the night, travel afar, or go to the country with us.
[tr. Guinach (1962)]But if this clear profit [of studying literature] is not clear and if entertainment alone should be sought from these pursuits, I still believe that you would judge them the most humanizing and enlightening exercise of the mind. For other activities do not partake in all times, all ages, and all places -- reading literature sharpens us in youth and comforts us in old age. It brings adornment to our successes and solace to our failures. It delights when we are at home and creates no obstacle for us out in the world. It is our companion through long nights, long journeys, and months in rural retreats.
[tr. @sentantiq (2019)]
Do you think that what I say each day on such a variety of topics could come to me if I did not cultivate my mind with learning, or that my mind could bear such a strain if I did not relax it by this same learning?
Indeed I confess that I have devoted myself to these interests. Let others be ashamed who have so buried themselves in books that they can offer nothing for the common enjoyment and can bring nothing forward into the light and the sight of men; but, gentlemen of the jury, why should I be ashamed, I who have lived so long in such a way that leisurely interests have never lured me nor pleasure called me nor sleep kept me from timely service to anyone?
Who, I ask, can censure me on this account, who can rightfully be angry at me, if I take as much time for the pursuit of these studies as is granted others to attend to their interests, to celebrate the festive days of the games, as much time as they devote to other pleasures and the relaxation of mind and body, as much time as others give to early-opening banquets, or even to throwing dice and playing ball?[An tu existimas aut suppetere nobis posse quod cotidie dicamus in tanta varietate rerum, nisi animos nostros doctrina excolamus, aut ferre animos tantam posse contentionem, nisi eos doctrina eadem relaxemus?
Ego vero fateor me his studiis esse deditum: ceteros pudeat, si qui se ita litteris abdiderunt, ut nihil possint ex his neque ad communem adferre fructum neque in aspectum lucemque proferre: me autem quid pudeat, qui tot annos ita vivo, iudices, ut a nullius umquam me tempore aut commodo aut otium meum abstraxerit aut voluptas avocarit aut denique somnus retardarit?
Qua re quis tandem me reprehendat aut quis mihi iure suscenseat, si, quantum ceteris ad suas res obeundas, quantum ad festos dies ludorum celebrandos, quantum ad alias voluptates et ad ipsam requiem animi et corporis conceditur temporum, quantum alii tribuunt tempestivis conviviis, quantum denique alveolo, quantum pilae, tantum mihi egomet ad haec studia recolenda sumpsero?]Marcus Tullius Cicero (106-43 BC) Roman orator, statesman, philosopher
Pro Archia Poeta [For Archia the Poet], ch. 6 / sec. 12-13 (62 BC) [tr. Guinach (1962)]
(Source)
Cicero defends his reading and study habits.
(Source (Latin)). Other translations:Do you think it possible that we could find a supply for our daily speeches, when discussing such a variety of matters, unless we were to cultivate our minds by the study of literature; or that our minds could bear being kept so constantly on the stretch if we did not relax them by that same study?
But I confess that I am devoted to those studies, let others be ashamed of them if they have buried themselves in books without being able to produce anything out of them for the common advantage or anything which may bear the eyes of men and the light. But why need I be ashamed, who for many years have lived in such a manner as never to allow my own love of tranquility to deny me to the necessity or advantage of another or my fondness for pleasure to distract, or even sleep to delay my attention to such claims?
Who then can reproach me or who has any right to be angry with me, if I allow myself as much time for the cultivation of these studies as some take for the performance of their own business, or for celebrating days of festival and games, or for other pleasures, or even for the rest and refreshment of mind and body, or as others devote to early banquets, to playing at dice, or at ball?
[tr. Yonge (1856)]Do you think this can be afforded us as we speak every day in such a variety of cases, unless we abstract our minds from learning; or that our minds can bear such contention, unless we relax them from the same learning?
But I acknowledge I am devoted to these studies; the rest of my brethren may be ashamed if they withdraw from literature in such a manner as from it to be unable either to bear common fruit , or to bring it forth to light to be gazed on; but why am I to be ashamed that my sense of leisure has never led me to remain away in the hour of danger for convenience' sake, or pleasure never allured, or finally slumber never retarded me, who will thus continue to act for as many years as I live?
Why, indeed, should anyone blame me , or have a right to be angry with me if I employ , in the enumeration of these studies, as much time as is allowed to everyone else to attend to their own affairs, to celebrate the festal days of the games, to devote to other pleasures and to the rest of mind and body itself as much time as others devote to protracted banquets, or, in fine, to the gaming-table, or the javelin?
[tr. M'Donogh Mahony (1886)]Or do you suppose, either (that it) would be possible for us to have at hand, what we might utter daily, in such a variety of things [actions], unless we cultivated our minds by study, or (that) (our) minds could bear such great efforts, unless we relaxed them by the same study?
I indeed confess (that), I am given to these pursuits; let it shame others, if they hagve so buried themselves in letters, that they can neither bring nothing [anything] from these (studies), for the common advantage, nor to produce (anything) to view and to light. But why may I be ashamed, O judges who so many years live [have lived] so, that ever [never] either my leisure may have drawn me away or pleasure may have called (me) aside or in fine sleep may have kept (me) back from the emergency or the advantage of any one?
Wherefore who, pray, may reproach me, or who by right may be offended at me, if as much time as is conceded to others, for transacting their affairs, as much for celebrating festival days of games, as much for others pleasures, and for the rest itself of the mind and of the body; much as others devote to protracted banquets, as much in fine as to dice, as much as to ball playing.
[tr. Dewey (1916)]Do you think that I could find inspiration for my daily speeches on so manifold a variety of topics, did I not cultivate my mind with study, or that my mind could endure so great a strain, did not study too provide it with relaxation?
I am a votary of literature, and make the confession unashamed; shame belongs rather to the bookish recluse, who knows not how to apply his reading to the good of his fellows, or to manifest its fruits to the eyes of all. But what shame should be mine, gentlemen, who have made it a rule of my life for all these years never to allow the sweets of a cloistered ease or the seductions of pleasure or the enticements of repose to prevent me from aiding any man in the hour of his need?
How then can I justly be blamed or censured, if it shall be found that I have devoted to literature a portion of my leisure hours no longer than others without blame devote to the pursuit of material gain, to the celebration of festivals or games, to pleasure and the repose of mind and body, to protracted banqueting, or perhaps to the gaming-board? or to ball-playing?
[tr. Watts (Loeb) (1923)]Surely you do not believe that we can keep ourselves supplied with something to say every day on such a variety of topics, unless we thoroughly cultivate our minds by study? Surely you do not think that our minds could endure such strain unless we should give them the relaxation of the same study?
For my part I own that I am devoted to the pursuit of this. The rest of the world may be ashamed to have so buried themselves with literature as to be able neither to produce therefrom anything to the common profit, nor to bring it into sight and publicity. But why should I be ashamed , gentlemen of the jury, to have been living now so many years in such fashion, that neither has my love of retirement ever withdrawn me from any man's time of peril or season of advantage, nor has indulgence called me away, nor, in short, has sloth kept me back from it?
Who therefore, I pray, could find fault with me, or who could, with justice, be vexed with me, if I have myself appropriated to the resumption of such studies just so much out of my leisure hours as the rest of the world devotes to the transaction of their affairs, meeting of private engagements, or to attending the holidays of the Games, or to other indulgences and the mere rest of their minds and bodies? -- just so much time as some devote to lengthy dinners, or even to the dice-box and the tennis-ball?
[tr. Allcroft/Plaistowe (c. 1925)]How do you imagine I could find material for my daily speeches on so many different subjects if I did not train my mind with literary study, and how could my mind cope with so much strain if I did not use such study to help it unwind?
Yes, I for one am not ashamed to admit that I am devoted to the study of literature. Let others be ashamed if they have buried their heads in books and have not been able to find anything in them which could either be applied to the common good or brought out into the open and the light of day. But why should I be ashamed, gentlemen, given that in all the years I have lived my private pastimes have never distracted me, my own pleasures have never prevented me, and not even the need for sleep has ever called me away from helping anyone in his hour of danger or of need?
Who, then, can justly censure or reproach me if I allow myself the same amount of time for pursuing these studies as others set aside for dealing with their own personal affairs, celebrating festivals and games, indulging in other pleasures, and resting their minds and bodies, or as much as they devote to extended partying and to playing dice and ball?
[tr. Berry (2000)][...] I confess indeed that I am obsessed with studying literature. Let this fact shame others who do not know how to make use of their books so that they can’t provide anything from their reading to common profit or to make their benefit clear in sight.
Why, moreover, should I be ashamed when I have lived so many years in such a way that my hobby never prevented me from being useful to anyone at any time and its pleasure or sleepiness never distracted me or slowed me down? In what way, then, can anyone criticize me or censure me if I am discovered to have spent that very same amount of time in pursuing these studies as others do without blame in pursuing profit, or in celebrating festivals or games, in seeking the pleasure and rest of the body and mind, or dragging out hours in dining, gambling or ballgames?
[tr. @sentantiq (2019)]
In that strange island Iceland, — burst up, the geologists say, by fire from the bottom of the sea; a wild land of barrenness and lava; swallowed many months of every year in black tempests, yet with a wild gleaming beauty in summertime; towering up there, stern and grim, in the North Ocean with its snow jokuls, roaring geysers, sulphur-pools and horrid volcanic chasms, like the waste chaotic battle-field of Frost and Fire; — where of all places we least looked for Literature or written memorials, the record of these things was written down.
The Cool Stuff Theory of Literature states that all literature consists of whatever the writer thinks is cool, and the reader will enjoy the work to the degree that the reader and writer agree about what’s cool — and this functions all the way from the external trappings to deepest level of theme and to the way the writer uses words.
Steven Brust (b. 1955) American writer, systems programmer
Interview (2003-02-03) by Chris Olson, Strange Horizons
(Source)
Brust says the idea was taken from advice given by Gene Wolfe.
Society has always to demand a little more from human beings than it will get in practice. It has to demand faultless discipline and self-sacrifice, it must expect its subjects to work hard, pay their taxes, and be faithful to their wives, it must assume that men think it glorious to die on the battlefield and women want to wear themselves out with child-bearing. The whole of what one may call official literature is founded on such assumptions.
George Orwell (1903-1950) English journalist, essayist, writer [pseud. of Eric Arthur Blair]
Essay (1941-09), “The Art of Donald McGill,” Horizon Magazine
(Source)
Fear makes us blind, and we touch each fear with all the avid curiosity of self-interest, trying to make a whole out of a hundred parts, like the blind men with their elephant.
We sense the shape. Children grasp it easily, forget it, and relearn it as adults. The shape is there, and most of us come to realize what it is sooner or later: it is the shape of a body under a sheet. All our fears add up to one great fear, all our fears are part of that great fear — an arm, a leg, a finger, an ear. We’re afraid of the body under the sheet. It’s our body. And the great appeal of horror fiction through the ages is that it serves as a rehearsal for our own deaths.
At home we read Pinocchio instead. We read Black Beauty, Doctor Dolittle, Little Women, The Adventures of Huckleberry Finn. What I learned about darkness from stories, I learned from books like these — and also from the unedited works of the Brothers Grimm and Hans Christian Andersen.
According to a recent article in the New York Times, few parents expose their children to those works in the original these days, and some of their reasons make sense. Who wants children growing up with the idea that stepmothers are wicked, ugly people are evil, women can get by on their beauty, and princesses are all white? At the same time, I worry about children who grow up thinking that every story has a happy ending and no one gets permanently hurt along the way.Barbara Brown Taylor (b. 1951) American minister, academic, author
Learning to Walk in the Dark, ch. 1 (2014)
(Source)
So, confronted with this hoard of stolen riches, the question of who writes or who does not write for children becomes unimportant and, in fact, irrelevant. For every book is a message, and if children happen to receive and like it, they will appropriate it to themselves no matter what the author may say or what label he gives himself. And those who, against all odds and I’m one of them — protest that they do not write for children, cannot help being aware of this fact and are, I assure you, grateful.
P. L. Travers (1899-1996) Australian-British writer [Pamela Lyndon Travers; b. Helen Lyndon Goff]
Essay (1978-07-02), “I Never Wrote for Children,” New York Times
(Source)
Nothing I had written before “Mary Poppins” had anything to do with children, and I have always assumed, when I thought about it at all, that she had come out of the same well of nothingness as the poetry, myth and legend that had absorbed me all my writing life. If I had been told while I was working on the book that I was doing it for children, I think I would have been terrified.
P. L. Travers (1899-1996) Australian-British writer [Pamela Lyndon Travers; b. Helen Lyndon Goff]
Essay (1978-07-02), “I Never Wrote for Children,” New York Times
(Source)
You do not chop off a section of your imaginative substance and make a book specifically for children, for — if you are honest — you have no idea where childhood ends and maturity begins. It is all endless and all one.
P. L. Travers (1899-1996) Australian-British writer [Pamela Lyndon Travers; b. Helen Lyndon Goff]
Essay (1978-07-02), “I Never Wrote for Children,” New York Times
(Source)
KYLE: It’s all real. Think about it. Haven’t Luke Skywalker and Santa Claus affected your lives more than most real people in this room? I mean, whether Jesus is real or not, he’s had a bigger impact on the world than any of us have. And the same could be said of Bugs Bunny and Superman and Harry Potter. They’ve changed my life, changed the way I act on the Earth. Doesn’t that make them kind of “real”? They might be imaginary, but they’re more important than most of us here. And they’re all gonna be around long after we’re dead. So in a way, those things are more realer than any of us.
Trey Parker (b. 1969) American actor, animator, writer, musician [Randolph Severn "Trey" Parker III]
South Park, 11×12 “Imaginationland Episode III” (2007-10-31) [with Matt Stone, Brian Graden]
(Source)
We find little in a book but what we put there. But in great books, the mind finds room to put many things.
[On ne trouve guère dans un livre que ce qu’on y met. Mais dans les beaux livres, l’esprit trouve une place où il peut mettre beaucoup de choses.]
Joseph Joubert (1754-1824) French moralist, philosopher, essayist, poet
Pensées [Thoughts], ch. 23 “Des Qualités de l’Écrivain [Of the Qualities of Writers],” ¶ 212 (1850 ed.) [tr. Lyttelton (1899), ch. 22, ¶ 98]
(Source (French)). Alternate translation:There is little to be found in a book beyond what you bring to it. But in fine books the mind finds place to put many things.
[tr. Collins (1928), ch. 22]
If the young aspirant is not rich enough for Parliament, and is deterred by the basilisks or otherwise from entering on Law or Church, and cannot altogether reduce his human intellect to the beaverish condition, or satisfy himself with the prospect of making money, — what becomes of him in such case, which is naturally the case of very many, and ever of more? In such case there remains but one outlet for him, and notably enough that too is a talking one: the outlet of Literature, of trying to write Books.
Thomas Carlyle (1795-1881) Scottish essayist and historian
Essay (1850-05-01), “Stump-Orator,” Latter-Day Pamphlets, No. 5
(Source)
Indeed, it is a cruel truth of the history of all art and literature that most would-be poets, writers, and painters fail. The man or woman of real talent is rare, the born genius rarer still. For every book that survives the merciless judgment of time, there are nine hundred and ninety-nine rotting unread in libraries and nine thousand and ninety-nine that were never written in the first place.
Michael Harrington (1928-1989) American writer, political activist, political scientist [Edward Michael Harrington, Jr.]
Fragments of the Century, ch. 2 “The Death of Bohemia” (1973)
(Source)
There is of course a clash between ‘literary’ technique, and the fascination of elaborating in detail an imaginary mythical Age (mythical, not allegorical: my mind does not work allegorically). As a story, I think it is good that there should be a lot of things unexplained (especially if an explanation actually exists); and I have perhaps from this point of view erred in trying to explain too much, and give too much past history. Many readers have, for instance, rather stuck at the Council of Elrond. And even in a mythical Age there must be some enigmas, as there always are. Tom Bombadil is one (intentionally).
J.R.R. Tolkien (1892-1973) English writer, fabulist, philologist, academic [John Ronald Reuel Tolkien]
Letter to Naomi Mitchison (1954-04-25)
(Source)
Letter 144 in Humphrey Carpenter, ed., The Letters of J.R.R. Tolkien (1981).
I am beginning to feel a little more like an author now that I have had a book banned. The literary life, in this country, begins in jail.
E. B. White (1899-1985) American author, critic, humorist [Elwyn Brooks White]
Letter to Stanley Hart White (1944-06)
(Source)
On reading that the US Army and Navy had refused to publish an "Armed Services Edition" of his Harper's magazine essay collection, One Man's Meat (1942), for "political implications." The decision was later rescinded.
Nothing reveals more clearly men’s attitude to learning and literature, and what use they think these are to the State, than the low price they put on them, and their opinion of those who have chosen to practice them.
[Rien ne découvre mieux dans quelle disposition sont les hommes à l’égard des sciences et des belles-lettres, et de quelle utilité ils les croient dans la république, que le prix qu’ils y ont mis, et l’idée qu’ils se forment de ceux qui ont pris le parti de les cultiver.]
Jean de La Bruyère (1645-1696) French essayist, moralist
The Characters [Les Caractères], ch. 12 “Of Opinions [Des Jugements],” § 17 (12.17) (1688) [tr. Stewart (1970)]
(Source)
(Source (French)). Alternate translations:Nothing discovers better what disposition men have to Knowledge and Learning, and how profitable they are esteem'd to the Publick, than the price which is set on them, and the Idea they have formed of those who have taken the pains to improve them.
[Bullord ed. (1696)]Nothing discovers better what regard Men have to Science and polite Learning, and how profitable they esteem them to the Publick, than the price they set on them, and the Idea they form to themselves of those who have taken the pains to cultivate them.
[Curll ed. (1713)]Nothing better manifests the Regard paid to the Sciences and Literature, and Men's Sense of their Utility to the Public, than the Recompences assigned to them, and the Repute in which they stand who excel in them.
[Browne ed. (1752)]Nothing better demonstrates how men regard science and literature, and of what use they are considered in the State, than the recompense assigned to them, and the idea generally entertained of those persons who resolve to cultivate them.
[tr. Van Laun (1885)]
Imaginary evil is romantic and varied; real evil is gloomy, monotonous, barren, boring. Imaginary good is boring; real good is always new, marvelous, intoxicating.
Simone Weil (1909-1943) French philosopher
Gravity and Grace [La Pesanteur et la Grâce], “Evil” (1947) [ed. Thibon] [tr. Crawford/von der Ruhr (1952)]
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Speaking of the portrayal of good and evil in literature.
Books aren’t just commodities; the profit motive is often in conflict with the aims of art. We live in capitalism, its power seems inescapable — but then, so did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art. Very often in our art, the art of words.
Ursula K. Le Guin (1929-2018) American writer
Speech, accepting the National Book Foundation Medal (19 Nov 2014)
(Source)
On receiving the National Book Foundation Medal for Distinguished Contribution to American Letters at the 65th National Book Awards. Video of the speech.
The idea of compassion has become unfashionable. It’s gotten confused with sentimentality, though you English majors know the difference: sentimentality is emotion without responsibility; compassion is the recognition of shared humanity. Chalk and cheese. Sentimentality is superficial, easy listening that does nothing to expand our understanding. Compassion is quite different. Risky and exigent, it puts you inside someone else. This is one of literature’s greatest strengths
Roxana Robinson (b. 1946) American novelist and biographer
“The Writer’s Life,” Authors Guild Bulletin (Winter 2015)
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I think that the successful genres of a particular period are reflections of the needs and thoughts and social struggles of that time. When you see a bunch of similar projects meeting with success, you’ve found a place in the social landscape where a particular story (or moral or scenario) speaks to readers. You’ve found a place where the things that stories offer are most needed. And since the thing that stories most often offer is comfort, you’ve found someplace rich with anxiety and uncertainty. (That’s what I meant when I said to Melinda Snodgrass that genre is where fears pool.)
Daniel Abraham (b. 1969) American writer [pseud. James S. A. Corey (with Ty Franck), M. L. N. Hanover]
“100 Aspects of Genre: Learning from the Dead and the Dying,” blog entry (19 Oct 2010)
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Hundreds of times I have sat for hours in front of texts the meaning of which I understood perfectly, and yet been unable to see how they ought to be put into English in such a way as to re-embody not merely a series of correct dictionary meanings, but also the emphasis, the tone, the eloquence of the original.
Arthur Waley (1889-1966) English orientalist, sinologist, literary translator
“Notes on Translation,” Atlantic Monthly (Nov 1948)
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Reprinted in The Secret History of the Mongols (1963).
A variation of this quote is frequently found which appears to have been synthesized by Simon Leys (attributed to Waley) in his 2008 essay, "The Experience of Literary Translation":Hundreds of times I have sat, for hours on end, before passages whose meaning I understood perfectly, without seeing how to render them into English.
KEATING: When you read, don’t just consider what the author thinks, consider what you think.
KEATING: No matter what anybody tells you, words and ideas can change the world.
Tom Schulman (b. 1951) American screenwriter, director
Dead Poets Society (1989)
I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet’s, the writer’s, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.
William Faulkner (1897-1962) American novelist
Speech (1950-12-10), Nobel Prize Banquet, Stockholm
(Source)
Faulkner received the 1949 Nobel Prize for Literature.
That is part of the beauty of all literature. You discover that your longings are universal longings, that you’re not lonely and isolated from anyone. You belong.
F. Scott Fitzgerald (1896-1940) American writer [Francis Scott Key Fitzgerald]
Comment to Sheilah Graham (c. 1938)
Quoted in her book, Beloved Infidel: The Education of a Woman, ch. 22 (1958). Variant, in the 1959 film adaptation of the book:The beauty of literature is that it’s ageless. You discover that your longings are universal longings, that you’re not lonely and isolated from anyone. You belong.
See also Baldwin.
More discussion of this quotation: That Is Part of the Beauty of All Literature. You Discover that Your Longings Are Universal Longings – Quote Investigator.
Literature is the art of writing something that will be read twice; journalism what will be grasped at once, and they require separate techniques.
Cyril Connolly (1903-1974) English intellectual, literary critic and writer.
Enemies of Promise, Part 1, ch. 3 “The Challenge of the Mandarins” (1938)
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Experience is nearly always commonplace; the present is not romantic in the way the past is, and ideals and great visions have a way of becoming shoddy and squalid in practical life. Literature reverses this process.
Northrop Frye (1912-1991) Canadian literary critic and literary theorist
The Educated Imagination, Talk 3 “Giants in Time” (1963)
(Source)
No human society is too primitive to have some kind of literature. The only thing is that primitive literature hasn’t yet become distinguished from other aspects of life: it’s still embedded in religion, magic and social ceremonies.
Northrop Frye (1912-1991) Canadian literary critic and literary theorist
The Educated Imagination, Talk 2 “The Singing School” (1963)
(Source)
A person who knows nothing about literature may be an ignoramus, but many people don’t mind being that.
Northrop Frye (1912-1991) Canadian literary critic and literary theorist
The Educated Imagination, Talk 1 “The Motive for Metaphor” (1963)
(Source)
Those who are concerned with the arts are often asked questions, not always sympathetic ones, about the use or value of what they are doing. It is probably impossible to answer such questions directly, or at any rate to answer the people who ask them.
Northrop Frye (1912-1991) Canadian literary critic and literary theorist
Anatomy of Criticism, “Polemical Introduction” (1957)
(Source)
Who sneers at epigrams and feigns to scout them,
Believe me, does not know a thing about them.
The real bores are the dreary epic spinners
Who rant of Tereus’ or Thyestes’ dinners,
Who rave of cunning Daedalus applying
The wings to Icarus to teach him flying,
Or else to show what dullards they esteem us
Bleat endless pastorals on Polyphemus.
My unpretentious Muse is not bombastic,
But deems these robes of Tragedy fantastic.
“Such things,” you say, “earn all men’s commendation,
As works of genius and inspiration.”
Ah, very true — those pompous classic leaders
Do get the praise — but then I get the readers![Nescit, crede mihi, quid sint epigrammata, Flacce,
Qui tantum lusus ista iocosque vocat.
Ille magis ludit, qui scribit prandia saevi
Tereos, aut cenam, crude Thyesta, tuam,
Aut puero liquidas aptantem Daedalon alas,
Pascentem Siculas aut Polyphemon ovis.
A nostris procul est omnis vesica libellis,
Musa nec insano syrmate nostra tumet.
“Illa tamen laudant omnes, mirantur, adorant.”
Confiteor: laudant illa, sed ista legunt.]Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis]
Epigrams [Epigrammata], Book 4, epigram 49 (4.49) (AD 89) [tr. Pott & Wright (1921)]
(Source)
"To Valerius Flaccus." (Source (Latin)). Alternate translations:Flaccus thou knowest not Epigrams,
no more then babes or boyes:
Which deemst them to be nothyng els,
but sports and triflyng toyes:
He rather toyes, and sports it out,
whiche doeth in Verse recite
Fell Tereus dinner, or whiche doeth,
Thyestes supper write:
Or he whiche telles how Dedalus,
did teache his sonne to flie:
Which telleth eke of Plyphem,
the Shepheard with one eye.
From bookes of myne, are quight exempt,
all rancour, rage and gall:
No plaier in his euishe weeds,
heare prankyng see you shall:
Yet these men doe adore (thou sayest)
laude, like and love: in deed,
I graunt you sir those they do laude,
perdie but these thei reed.
[tr. Kendall (1577)]Thou know'st not, trust me, what are Epigrams,
Flaccus, who think'st them jest and wanton games.
He wantons more, who writes what horrid meat
The plagu'd Tyestes and vex't Tereus eat,
Or Daedalus fitting is boy to fly,
Or Polyphemus' flocks in Sicily.
My booke no windy words nor turgid needes,
Nor swells my Muse with mad Cothurnall weedes.
Yet those things all men praise, admire, adore.
True; they praise those, but read these poems more.
[tr. May (1629)]Though little know'st what epigram contains,
Who think'st it all a joke in jocund strains.
He direly jokes, who bids a Tereus dine;
Or dresses suppers like, Thyestes, thine;
Feins him who fits the boy with melting wings,
Or the sweet shepherd Polyphemus sings.
Or muse disdains by fustian to excel;
by rant to rattle, or in buskin swell.
Those strains the learn'd applaud, admire, adore.
Those they applaud, I own; but these explore.
[tr. Elphinston (1782), ep. 48]You little know what Epigram contains,
Who deem it but a jest in jocund strains.
He rather jokes, who writes what horrid meat
The plagued Thyestes and vex't Tereus eat;
Or tells who robed the boy with melting wings;
Or of the shepherd Polyphemus sings.
Our muse disdains by fustian to excel,
By rant to rattle, or in buskins swell.
Though turgid themes all men admire, adore,
Be well assured they read my poems more.
[Westminster Review (Apr 1853)]He knows not, Flaccus, believe me, what Epigrams really are,
who calls them mere trifles and frivolities.
He is much more frivolous, who writes of the feast of the cruel
Tereus; or the banquet of the unnatural Thyestes;
or of Daedalus fitting melting wings to his son's body;
or of Polyphemus feeding his Sicilian flocks.
From my effusions all tumid ranting is excluded;
nor does my Muse swell with the mad garment of Tragedy.
"But everything written in such a style is praised, admired, and adored by all."
I admit it. Things in that style are praised; but mine are read.
[tr. Bohn's Classical (1859)]He does not know, believe me, what epigrams are, Flaccus,
who styles them only frivolities and quips.
He is more frivolous who writes of the meal of savage
Tereus, or of thy banquet, dyspeptic Thyestes,
or of Daedalus fitting to his son melting wings,
or of Polyphemus pasturing Sicilian sheep.
Far from poems of mine is all turgescence,
nor does my Muse swell with frenzied tragic train.
"Yet all men praise those tragedies, admire, worship them."
I grant it: those they praise, but they read the others.
[tr. Ker (1919)]What makes an epigram he knows not best
Who deems it, Flaccus, but an idle jest.
They rather jest, who Tereus' crime indict
Or the foul banquet of Thyestes write,
Or Icarus equipped with waxen wing
Or Polyphemus and his shepherding.
No fustian ornaments my page abuse
Nor struts in senseless pomp my tragic Muse.
"Men praise," you say, "and call such verse divine."
Yes, they may praise it, but they study mine.
[tr. Francis & Tatum (1924), #188, "A Defence of Epigram"]He does not know what epigrams
Are really meant to be
Who calls them only jests and jokes
Or comic poetry --
A dimwit dilettante's delight,
Mere vers de societé
He really is the one who jests
Who writes about the stew
Served Tereus, or that loathsome meal
Of children served to you,
Thyestes, indigestion-prone,
Of sons your brother slew.
Or Daedalus fitting Icarus
With two liquescent wings,
Or who of Polyphemus tending
Sheep in Sicily sings,
And those huge, monstrous boulders which
He at Ulysses flings.
Far from my verse is any trace
Of rank turgidity.
My Muse has never donned the robes
Of pompous tragedy.
"But that's what's praised!" But what is read?
My earthy poetry!
[tr. Marcellino (1968)]To say that epigrams are only jokes and gags
is not to know what they are, my good friend Flaccus.
The poet is more entertaining who asks you to dine
at the cannibal board of Tereus, or describes,
oh indigestible Thyestes, your dinner party;
or the diverting poet turns your attention away
to the mythical sight of Daedalus, fittingly typed
as the one who tailored those tender wings for his son;
or wanders off with Polyphemus, the pastoral giant
pasturing preposterous sheep. Far be it from me
to enlarge on the standard rhetorical situation
and wax eloquent in the interests of inflation.
Our Muse makes no use of the billowing robes
that stalk the figures of Tragedy. "But those poems
are what everyone praises and adores."
I admit it, they praise them, but they read ours.
[tr. Bovie (1970)]Who deem epigrams mere trifles,
Flaccus, know not epigram.
He trifles who describes the meal
wild Tereus, rude Thyestes ate,
The Cretan Glider moulting wax,
the one-eyed shepherd herding sheep.
Foreign to my verse the tragic sock,
it's turgid, ranting rhetoric.
"Men praise -- esteem -- revere these works."
True: them they praise ... while reading me.
[tr. Whigham (1987)]Anybody who calls them just frivolities and jests, Flaccus, doesn't know what epigrams are, believe me. More frivolous is the poet who writes about the meal of savage Tereus or your dinner, dyspeptic Thyestes, or Daedalus fitting his boy with liquid wings, or Polyphemus feeding Sicilian sheep. All bombast is far from my little books, neither does my Muse swell with tragedy's fantastic robe. "And yet all the world praises such things and admires and marvels." I admit it: that they praise, but this they read.
[tr. Shackleton Bailey (1993)]Quite clueless, Flaccus, all these sorry folks
Who brand short poems mere badinage and jokes.
Want to know who's more idle? The big boys,
Our Epic Poets, who rehearse the joys
Of serving human flesh up à la carte --
Tereus' bloody banquet or the huge tart
Chez Thyestes ("It's a little gristly!").
Or they serve us crap, like how remissly
Daedalus made -- with wax, imagine! -- wings
For his poor doomed son. Then Big Epic sings
Of arms and the -- not "man" -- one-eyed giant?
Polyphemus: his brain was far from pliant,
So Homer made him watch sheep in Sicily.
Pardon me for carping so pissily,
Flaccus, at insults to my epigrams,
So far from the bloated whimsy that crams
Our big-assed epics. All men blare in praise
of these "classics," you say, and bask in their rays.
I will not disagree, but mark my word:
Some day, far off, a wise man will be heard
To say, "Classics we all want to have read,
Never to read." My books get read instead!
[tr. Schmidgall (2001)]You think my epigrams are silly?
Far worse is bombast uttered shrilly --
Like Tereus baking human pie.
Or Daedal son who tried to fly.
Monster Cyclopes keeping sheep.
My verse is of such nonsense free.
It poses not as tragedy.
But praise for those things does exceed?
Those things men praise -- but mine they read.
[tr. Wills (2007)]One doesn't fathom epigrams, believe me,
Flaccus, who labels them mere jokes and play.
He's trifling who writes of savage Tereus' mean
or yours, queasy Thyestes, or the way
Daedalus fit his boy with melting wings
or Polyphemus grazed Sicilian flocks.
My little books shun bombast and my Muse
won't rave in puffed-up tragedy's long frocks.
"Yet all admire, praise, honor those," Indeed,
they praise those, I confess, but these they read.
[tr. McLean (2014)]Trust me, Flaccus, anyone who says it's just "ditties" and "jokes"
doesn't know what epigram is.
The real joker is the poet who describes the feast of cruel
Tereus, or the dinner that gave Thyestes indigestion,
or Daedalus strapping melting wings to his son,
or Polyphemus pasturing his Sicilian sheep.
No puffery gets near my little books;
my Muse doesn't swell and strut in the trailing robe of Tragedy.
"But that stuff gets the applause, the awe, the worship."
I can't deny it: that stuff does get the applause. But my stuff gets read.
[tr. Nisbet (2015)]
Teaching literature is impossible; that is why it is difficult.
Northrop Frye (1912-1991) Canadian literary critic and literary theorist
“Criticism, Visible and Invisible,” Lecture, Trinity College, Hartford (1964)
(Source)
Reprinted in College English (Oct 1964), and in The Stubborn Structure, Part 1, ch. 6 (1970).
Any test that turns on what is offensive to the community’s standards is too loose, too capricious, too destructive of freedom of expression to be squared with the First Amendment. Under that test, juries can censor, suppress, and punish what they don’t like, provided the matter relates to “sexual impurity” or has a tendency “to excite lustful thoughts”. This is community censorship in one of its worst forms. It creates a regime where in the battle between the literati and the Philistines, the Philistines are certain to win.
William O. Douglas (1898–1980) American jurist, US Supreme Court justice (1939–75)
Roth v. United States, 354 U.S. 476, 512, dissenting opinion (1957)
(Source)
Just erotic. Nothing kinky. It’s the difference between using a feather and using a chicken.
Terry Pratchett (1948-2015) English author
Discworld No. 9, Eric (1990)
(Source)
Compare to Isabel Allende.
Books are the carriers of civilization. Without books, history is silent, literature dumb, science crippled, thought and speculation at a standstill.
Barbara W. Tuchman (1912-1989) American historian and author
Essay (1979-12-30), “Papyrus to Paperbacks: The World That Books Made,” Washington Post
(Source)
I’m not sure why it happened, and I’m not certain at all when it happened, but at some point, wanting a happy ending became uncool. Maybe it’s the relentless (and again, highly flawed) criticism that “such things aren’t realistic.” To which my response is, so the fuck what? It’s call fiction. If you want real, step outside.
Greg Rucka (b. 1969) American comic book writer and novelist
Lazarus: X+66 #3, letter column (Sep 2017)
This ideal University of Life … would never take the importance of culture for granted. It would know that culture is kept alive by a constant respectful questioning — not by an excessive and snobbish attitude of respect. Therefore, rather than leaving it hanging why one was reading Anna Karenina or Madame Bovary, an ideal course covering nineteenth-century literature would ask plainly “What is it that adultery ruins in a marriage?” Students in the ideal University of Life would end up knowing much the same material as their colleagues in other institutions, they would simply have learned it under a very different set of headings.
Alain de Botton (b. 1969) Swiss-British author
“Reclaiming the Intellectual Life for Posterity,” Liberal Education (Spring 2009)
(Source)
The Cool Stuff Theory of Literature is as follows: All literature consists of whatever the writer thinks is cool. The reader will like the book to the degree that he agrees with the writer about what’s cool. And that works all the way from the external trappings to the level of metaphor, subtext, and the way one uses words. In other words, I happen not to think that full-plate armor and great big honking greatswords are cool. I don’t like ’em. I like cloaks and rapiers. So I write stories with a lot of cloaks and rapiers in ’em, ’cause that’s cool.
Steven Brust (b. 1955) American writer, systems programmer
The Paths of the Dead (2002)
In the essay "Some Notes Toward Two Analyses of Auctorial Method and Voice" by Teresa Nielsen Hayden.
All of your scholarship, all your study of Shakespeare and Wordsworth would be vain if at the same time you did not build your character and attain mastery over your thoughts and your actions.
Mohandas Gandhi (1869-1948) Indian lawyer, anti-colonial nationalist, political ethicist [Mahatma Gandhi]
Speech to students, Agra, in Young India (19 Sep 1929)
I am always for getting a boy forward in his learning; for that is a sure good. I would let him at first read any English book which happens to engage his attention; because you have done a great deal when you have brought him to have entertainment from a book. He’ll get better books afterwards.
Samuel Johnson (1709-1784) English writer, lexicographer, critic
In James Boswell, The Life of Samuel Johnson “16 April 1779” (1791)
If you would understand your own age, read the works of fiction produced in it. People in disguise speak freely.
Arthur Helps (1813-1875) English writer and bureaucrat
Thoughts in the Cloister and the Cloud(1835)
(Source)
In a very real sense, people who have read good literature have lived more than people who cannot or will not read. […] It is not true that we have only one life to live; if we can read, we can live as many more lives and as many kinds of lives as we wish.
Samuel Ichiye "S. I." Hayakawa (1906-1992) Canadian-American academic and politician
Language in Thought and Action (1978)
Consider what you have in the smallest chosen library. A company of the wisest and wittiest men that could be picked out of all civil countries, in a thousand years, have set in best order the results of their learning and wisdom. The men themselves were hid and inaccessible, solitary, impatient of interruption, fenced by etiquette; but the thought which they did not uncover to their bosom friend is here written out in transparent words to us, the strangers of another age.
Ralph Waldo Emerson (1803-1882) American essayist, lecturer, poet
“Books,” Society and Solitude (1870)
The world of books is the most remarkable creation of man. Nothing else that he builds ever lasts. Monuments fall; nations perish; civilizations grow old and die out; and, after an era of darkness, new races build others. But in the world of books are volumes that have seen this happen again and again, and yet live on, still young, still as fresh as the day they were written, still telling men’s hearts of the hearts of men centuries dead.
Clarence Day (1874-1935) American author and cartoonist
The Story of the Yale University Press, ch. 2 (1920)
(Source)
Why are not more gems from our early prose writers scattered over the country by the periodicals? Selections are so far from preventing the study of the entire authors that they promote it. Who could read the extracts which Lamb has given from Fuller, without wishing to read more of the old Prebendary? But great old books of the great old authors are not in every body’s reach; and though it is better to know them thoroughly than to know them only here and there, yet it is a good work to give a little to those who have neither time nor means to get more. Let every bookworm, when, in any fragrant, scarce old tome, he discovers a sentence, a story, an illustration, that does his heart good, hasten to give it the widest circulation that newspapers and magazines, penny and halfpenny, can afford.
Hartley Coleridge (1796-1849) English poet, biographer, essayist, teacher
Biographia Borealis: or, Lives of Distinguished Northerns, “Roger Ascham” (1833)
(Source)
Speaking of the practice of including brief extracts -- quotations -- from famous authors in magazines and newspapers to fill up columns or create a break between stories. Ironically, this extracted quotation -- slightly paraphrased -- was widely circulated in the mid-late 19th and early 20th Century misattributed to his father, Samuel Taylor Coleridge, or simply labeled as "Coleridge" without citation, leading to the same confusion.
Usually quoted more succinctly as: "Why are not more gems from our great authors scattered over the country? Great books are not in everybody's reach; and though it is better to know them thoroughly, than to know them only here and there; yet it is a good work to give a little to those who have neither time nor means to get more. Let every bookworm, when in any fragrant, scarce old tome he discovers a sentence, a story, an illustration, that does his heart good, hasten to give it."
No matter how poor I am; no matter though the prosperous of my own time will not enter my obscure dwelling; if the sacred writers will enter and take up their abode under my roof, if Milton will cross my threshold to sing to me of Paradise; and Shakespeare to open to me the worlds of imagination and the workings of the human heart, and Franklin to enrich me with his practical wisdom, I shall not pine for want of intellectual companionship, and I may become a cultivated man though excluded from what is called the best society in the place where I live.
William E. Channing (1780-1842) American moralist, author, cleric, Unitarian theologian
“Self Culture,” lecture, Boston (Sep 1838)
Books are the carriers of civilization. Without books, history is silent, literature, dumb, science crippled, thought and speculation at a standstill. Without books, the development of civilization would have been impossible. The are engines of change (as the poet said), windows on the world, and lighthouses erected in the sea of time. They are companions, teachers, magicians, bankers of the treasures of the mind. Books are humanity in print.
Barbara W. Tuchman (1912-1989) American historian and author
“The Book,” Lecture, Library of Congress (1979-10-17)
(Source)
Reprinted in Authors' League Bulletin (1979-11/12) and as "Papyrus to Paperbacks: The World That Books Made," Washington Post (1979-12-30).
Life without literature is a life reduced to penury. It expands you in every way. It illuminates what you’re doing. It shows you possibilities you haven’t thought of. It enables you to live the lives of other people than yourself. It broadens you, it makes you more human. It makes life enjoyable.
M. H. Abrams (1912-2015) American literary critic [Meyer (Mike) Howard Abrams]
“Built to Last,” interview with Stephen Greenblatt, The New York Times: Sunday Book Review (23 Aug 2012)
(Source)
Science fiction is also a great way to pretend you are writing about the future when in reality you are attacking the recent past and the present.
Achilles exists only through Homer. Take away the art of writing from this world, and you will probably take away its glory.
François-René de Chateaubriand (1768-1848) French writer, politican, diplomat
Les Natchez (1826)
In the old times, women did not get their lives written, though I don’t doubt many of them were much better worth writing than the men’s.
Most people ignore most poetry because most poetry ignores most people.
Adrian Mitchell (1932-2008) English poet, novelist, playwright
Poems, Preface (1964)
Books are good enough in their own way, but they are a mighty bloodless substitute for life. It seems a pity to sit, like the Lady of Shalott, peering into a mirror, with your back turned on all the bustle and glamour of reality.
Paradise Lost is one of the books which the reader admires and lays down, and forgets to take up again. None ever wished it longer than it is.
Samuel Johnson (1709-1784) English writer, lexicographer, critic
Lives of the Most Eminent English Poets, “Milton” (1781)
(Source)
Also known as Lives of English Poets and Lives of the Poets.
It is reasonable to assume that, by and large, what is not read now will not be read, ever. It is also reasonable to assume that practically nothing that is read now will be read later. Finally, it is not too far-fetched to imagine a future in which novels are not read at all.
Gore Vidal (1925-2012) American novelist, dramatist, critic
“Thomas Love Peacock: The Novel of Ideas” (1980)
There is nothing which can better deserve your patronage, than the promotion of Science and Literature. Knowledge is in every country the surest basis of publick happiness.
George Washington (1732–1799) American military leader, Founding Father, US President (1789–1797)
State of the Union (8 Jan 1790)
If more politicians knew poetry, and more poets knew politics, I am convinced the world would be a little better place in which to live.
John F. Kennedy (1917-1963) American politician, author, journalist, US President (1961–63)
Speech, Harvard University (14 Jun 1956)
(Source)
Poetry is more philosophical and more serious than history; poetry utters universal truths, history particular statements.
[διὸ καὶ φιλοσοφώτερον καὶ σπουδαιότερον ποίησις ἱστορίας ἐστίν: ἡ μὲν γὰρ ποίησις μᾶλλον τὰ καθόλου, ἡ δ᾽ ἱστορία τὰ καθ᾽ ἕκαστον λέγει.]
Aristotle (384-322 BC) Greek philosopher
Poetics [Περὶ ποιητικῆς, De Poetica], ch. 9 / 1451b.5 (c. 335 BC) [tr. Kenny (2013)]
Original Greek. Alternate translations:Poetry, therefore, is a more philosophical and a higher thing than history: for poetry tends to express the universal, history the particular.
[tr. Butcher (1895)]Poetry is something more philosophic and of graver import than history, since its statements are of the nature rather of universals, whereas those of history are singulars.
[tr. Bywater (1909)]Poetry is the more scientific and the higher class; for it generalizes rather, whereas history particularizes.
[tr. Margoliouth (1911)]Poetry is something more scientific and serious than history, because poetry tends to give general truths while history gives particular facts.
[tr. Fyfe (1932)]Poetry is more philosophical and more serious than history; in fact, poetry speaks more of universals, whereas history of particulars.
[tr. Halliwell (1986)]Poetry is a more philosophical and more serious thing than history: poetry tends to speak of universals, history of particulars.
[tr. Janko (1987), sec. 3.2.3]Poetry is more philosophical and more serious than history; poetry tends to speak of universals, history of particulars.
[tr. Janko (1987), sec. 3.2.3]Poetry is more speculative and more serious business than history: for poetry deals more with universals, history with particulars.
[tr. Whalley (1997)]Poetry is a more philosophical and more serious thing than history, since poetry speaks more of things that are universal, and history of things that are particular.
[tr. Sachs (2006)]Poetry is finer and more philosophical than history; for poetry expresses the universal, and history only the particular.
[tr. Unknown]
You read something which you thought only happened to you, and you discover that it happened 100 years ago to Dostoyevsky. This is a very great liberation for the suffering, struggling person, who always thinks that he is alone. This is why art is important. Art would not be important if life were not important, and life is important.
James Baldwin (1924-1987) American novelist, playwright, activist
“An interview with James Baldwin” by Studs Terkel (1961), in Conversations With James Baldwin (1989)
(Source)
Baldwin revisited this theme multiple times.You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was Dostoevsky and Dickens who taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who had ever been alive. Only if we face these open wounds in ourselves can we understand them in other people. An artist is a sort of emotional or spiritual historian.
[Interview with Jane Howard, Life Magazine (24 May 1963)]You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was books that taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who had ever been alive.
["James Baldwin Recalls His Childhood," quoting from a television program, New York Times (31 May 1964)]
In anything fit to be called by the name of reading, the process itself should be absorbing and voluptuous; we should gloat over a book, be rapt clean out of ourselves, and rise from the perusal, our mind filled with the busiest, kaleidoscopic dance of images, incapable of sleep or of continuous thought. The words, if the book be eloquent, should run thenceforward in our ears like the noise of breakers, and the story, if it be a story, repeat itself in a thousand coloured pictures to the eye.
Robert Louis Stevenson (1850-1894) Scottish essayist, novelist, poet
Essay (1882-11), “A Gossip on Romance,” Longman’s Magazine, Vol. 1, No. 1
(Source)
Collected in Memories and Portraits, ch. 15 (1887).
For there are two ways of dealing with nonsense in this world. One way is to put nonsense in the right place; as when people put nonsense into nursery rhymes. The other is to put nonsense in the wrong place; as when they put it into educational addresses, psychological criticisms, and complaints against nursery rhymes or other normal amusements of mankind.
Gilbert Keith Chesterton (1874-1936) English journalist and writer
Essay (1921-10-15), “Child Psychology and Nonsense,” closing words, Illustrated London News, “Our Notebook” column
(Source)
Sure it’s simple, writing for kids. Just as simple as bringing them up. All you do is take all the sex out, and use little short words, and little dumb ideas, and don’t be too scary and be sure there’s a happy ending. Right? Nothing to it. Write down. Right on. If you do all that you might even write Jonathan Livingstone Seagull and make twenty million dollars and have every adult in America reading your book.
But you won’t have every kid in America reading your book. They will look at it, with their clear, cold, beady little eyes, and they will put it down, and they will go away. Kids will devour vast amounts of garbage (and it is good for them) but they are not like adults; they have not yet learned to eat plastic.Ursula K. Le Guin (1929-2018) American writer
“Dreams Must Explain Themselves” (1973)
The sole substitute for an experience which we have not ourselves lived through is art and literature.
Alexander Solzhenitsen (1918-2008) Russian novelist, emigre [Aleksandr Isayevich Solzhenitsyn]
Nobel Lecture (1972)
When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty, I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.
C. S. Lewis (1898-1963) English writer, literary scholar, lay theologian [Clive Staples Lewis]
“On Three Ways of Writing for Children,” lecture, Library Association Bournemouth Conference (29 Apr – 2 May 1952)
(Source)
Reprinted in On Stories (1966). Referencing 1 Corinthians 13:11.
In literature, as in love, we are astonished at what is chosen by others.
[En littérature comme en amour, on est surpris par les choix des autres.]
André Maurois (1885-1967) French author [b. Émile Salomon Wilhelm Herzog]
The Art of Living [Un Art de Vivre], ch. 6 “The Art of Working” (1939) [tr. Whitall (1940)]
(Source)
(Source (French)). Sometimes cited to the New York Times, but only because it was reprinted there in the article “Reading Matter: Some Bookish Quotes” (1963-04-14).
KEATING: We don’t read and write poetry because it’s cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. And medicine, law, business, engineering, these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love, these are what we stay alive for.