f a man does not
spend at least as much time in actively and definitely thinking about
what he has read as he has spent in reading, he is simply insulting
his author. If he does not submit himself to intellectual and
emotional fatigue in classifying the communicated ideas, and
in emphasising on his spirit the imprint of the communicated
emotions--then reading with him is a pleasant pastime and nothing
else. This is a distressing fact. But it is a fact. It is distressing,
for the reason that meditation is not a popular exercise. If a friend
asks you what you did last night, you may answer, "I was reading," and
he will be impressed and you will be proud. But if you answer, "I
was meditating," he will have a tendency to smile and you will have a
tendency to blush. I know this. I feel it myself. (I cannot offer any
explanation.) But it does not shake my conviction that the absence of
meditation is the main origin of disappointing stocktakings.
BY THE SAME AUTHOR
NOVELS
A MAN FROM THE NORTH
ANNA OF THE FIVE TOWNS
LEONORA
A GREAT MAN
SACRED AND PROFANE LOVE
WHOM GOD HATH JOINED
BURIED ALIVE
THE OLD WIVES' TALE
THE GLIMPSE
HELEN WITH THE HIGH HAND
CLAYHANGER
THE CARD
FANTASIAS
THE GRAND BABYLON HOTEL
THE GATES OF WRATH
TERESA OF WATLING STREET
THE LOOT OF CITIES
HUGO
THE GHOST
THE CITY OF PLEASURE
SHORT STORIES
TALES OF THE FIVE TOWNS
THE GRIM SMILE OF THE FIVE TOWNS
BELLES-LETTRES
JOURNALISM FOR WOMEN
FAME AND FICTION
HOW TO BECOME AN AUTHOR
THE TRUTH ABOUT AN AUTHOR
THE REASONABLE LIFE
HOW TO LIVE ON TWENTY-FOUR HOURS A DAY
THE HUMAN MACHINE
LITERARY TASTE
MENTAL EFFICIENCY
DRAMA
POLITE FARCES
CUPID AND COMMONSENSE
WHAT THE PUBLIC WANTS
(IN COLLABORATION WITH EDEN PHILLPOTTS)
THE SINEWS OF WAR: A ROMANCE
THE STATUE: A ROMANCE
***END OF THE PROJECT GUTENBERG EBOOK LITERARY TASTE: HOW TO FORM IT***
******* This file should be named 13852.txt or 13852.zip *******
This and all associated files of various formats will be found in:
http://www.gutenberg.org/dirs/1/3/8/5/13852
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without p
|