Thursday, October 27, 2011

Essentials for Chaucer

VIRTUES &VICES: Countering the Deadly Vices with Godly Virtues

IV
COUNTERING THE "DEADLY" VICES WITH VIRTUES

"Therefore put on the full armor of God, so that when the day of evil comes, you may be able to stand your ground, and after you have done everything, to stand" (Eph. 6:13).
We need to see the deadly vices in the context of the spiritual warfare we are engaged in as Christians. We are in mortal combat with an enemy, Satan and his host of evil spirits, who seek to destroy us and to take from us the reward of heaven-an inseparable union with an all-loving and all-wise Creator. While the encounter with vices may be inevitable, we need not counter them unarmed. The virtues are like a warrior's armor and weaponry. At worst they blunt the blows of the deadly vices; but at their best they enable us to defeat the enemy decisively. The Apostle Paul exhorts us to "put to death, therefore, whatever belongs to your earthly nature" (Col. 3:5). He goes on to list a number of deadly vices: sexual immorality, impurity, lust, evil desires, greed, anger, rage, malice, slander, filthy language, and lies (Col. 3:5,8,9). He instructs us to "put on the new self, which is being renewed in knowledge in the image of its Creator" (Col. 3:10). This new self is characterized by virtue: compassion, kindness. humility, gentleness, patience, and love (Col. 3:12,14).

The necessity of countering the vices with virtues was long recognized by Christians. Francis of Assisi, a 13th century reformer, describes the power of the virtues in destroying vices in his poetic discourse on The Praises of the Virtues (Salutatio Virtutum)26

0 most holy Virtues, may the Lord protect all of you, from Whom you come and proceed. There is surely no one in the entire world who can possess any one of you unless he dies first. Whoever possesses one (of you) and does not offend the others, possesses all. And whoever offends one (of you) does not possess any and offends all. And each one destroys vices and sins. Holy Wisdom destroys Satan and all his subtlety. ...Holy Charity destroys every temptation of the devil and of the flesh and every carnal fear.
Writings on the seven deadly sins or vices can be traced back to the early church fathers, such as Cassian, a 4th century writer. Geoffrey Chaucer, a 14th century English writer, included a treatise on repentance and the nature of the seven deadly sins or vices in his book The Canterbury Tales (last chapter, "The Parson's Tale"). Chaucer used the image of a tree in describing the deadly vices as "principle sins because they are the chief sins and the trunk from which branch all others. And the root of these seven sins is pride, which is the general root of all evils; for from this root spring certain branches, as anger, envy, acedia or sloth, avarice (or coveteousness, for vulgar understanding), gluttony, and lechery. And each of these principal sins has its branches and its twigs..." Chaucer remarked that the visible acts of sin are indications of what is within a man's heart, just as the sign outside the tavern is a sign of the wine that is within the cellar. Chaucer identified a virtue for countering each of the deadly vices:
Seven Deadly Vices
Virtues
PrideHumility
Greed, avarice, coveteousnessLiberality, mercy
LustChastity, continence
AngerPatience, meekness
GluttonyTemperance, abstinence, self-control
EnvyLove of God, love of neighbor, love of enemy
SlothFortitude, courage

Wednesday, October 19, 2011

POETRY MASTER SCHEDULE

Perrine’s Reading Schedule Tentative
The Elements of Poetry

Directions: You will be required to annotate/outline all chapters within the poetry unit of the Perrine’s textbook. As you track your notes, you MUST select ONE poem per chapter and answer the questions asked about that specific chapter. You might want to use a separate spiral notebook for this assignment or you could possibly use legal pads (your predilection).

I ask this of you because you MUST become “the scholar” of poetry analysis. You will then “knock out” all poetry multiple choice questions AND write an amazing response for Question #1. You will have pop quizzes periodically.

Chapter One—What is Poetry?
Chapter Two—Reading the Poem
October 24th Chapter Three—Denotation and Connotation
October 25th Chapter Four—Imagery
October 26th Chapter Five—Figurative Language I
October 27th Chapter Six—Figurative Language II
October 28th Chapter Seven—Figurative Language III
October 29th Chapter Eight—Allusion
October 30th Chapter Nine—Meaning and Idea
October 31th Chapter Ten—Tone
November 1st Chapter Eleven—Musical Devices
November 2nd Chapter Twelve—Rhythm and Meter
November 3rd Chapter Thirteen—Sound and Meaning
November 4th Chapter Fourteen—Pattern
November 5th Chapter Fifteen and Sixteen—Evaluating Poetry I, II

Friday, October 14, 2011

College Admission Essay Topics

The one hundred college application essay prompts (below) have been used by various universities in recent years. If you are required to write a "personal statement" for your college application, look through these questions for ideas. While these may not contain the exact question your college asks, many of them can generate ideas for you, especially if your essay is the generic, "Tell us something about yourself that we don't already know."

Apologies if the list does not contain your particular college/university question. Speaking of apologies, keep this one in mind as you write your final draft, and as you remember those tired admissions officers who must sift through 20 or 30 applications before lunch:

1.What work of art, music, science, mathematics, or literature has influenced your thinking, and in what way? (University of Virginia applicants to the College of Arts and Sciences)
2.Discuss how a particular work of music, literature, or art has inspired your life. (William and Mary)
3.Tell us how a particular book, play, film, piece of music, dance performance, scientific theory or experiment or work of art has influenced you. If you choose a novel, film or play, assume we know the plot. (University of Notre Dame)
4.Consider the books you have read in the last year or two either for school or for leisure. Please discuss the way in which one of them changed your understanding of the world,other people, or yourself. (Duke University)
5.Tell us about a situation where you have not been successful and what you have learned from the experience. (William and Mary)
6.First experiences can be defining. Cite a first experience that you have had and explain its impact on you. (University of Pennsylvania)
7.Recall an occasion when you took a risk that you now know was the right thing to do. (University of Pennsylvania)
8.Tell us what you think about a current scientific or social controversy. (William and Mary)
9.Most people belong to many different communities‹groups defined by (among other things) shared geography, religion, ethnicity, income, cuisine, interest, race, ideology, or intellectual heritage. Choose one of the communities to which you belong, and describe that community and your place within it. Limit your response to half a page, or approximately 250 words. (University of Virginia all applicants)
10.What can you contribute to a multi-cultural world? (William and Mary)
11.The quality of Rice¹s academic life and the residential college system is heavily influenced by the unique life experiences and cultural traditions each student brings. What perspective do you feel that you will be able to share with others as a result of your own life experiences and background? Cite a personal experience to illustrate this. Most applicants are able to respond successfully in two to three pages. (Rice University)
12.Northwestern is a community of individuals from diverse cultures and regions of the world and with a myriad of interests and talents. Is there a type of individual you have not had much contact with in your community whom you would like to meet on campus? What do you think would be the outcome of that meeting, and what would be its effect on you? (Northwestern)
13.Respond to the question: How can I prepare educationally for a global society? (Hampton University)
14.Once you have completed your education, would you return to your hometown to begin your adult life? Why or why not? (William and Mary)
15.Names have a mysterious reality of their own. We may well feel an unexpected kinship with someone who shares our name, or may feel uneasy at the thought that our name is not as much our own as we imagined. Most of us do not choose our names; they come to us unbidden, sometimes with ungainly sounds and spellings, complicated family histories, allusions to people we never knew. Sometimes we have to make our peace with them, sometimes we bask in our names¹ associations. Ruminate on names and naming, your name, and your name¹s relationship to you. (University of Chicago)
16.The late William Burroughs once wrote that "language is a virus from outer space." We at the University of Chicago think he¹s right, of course, and this leaves us wondering what else came here with it. Could this finally explain such improbable features of modern life as the Federal Tax Code, non-dairy creamer, Dennis Rodman, and the art of mime? Name something that you assert cannot have originated any other way. Offer a thorough defense of your hypothesis for extraterrestrial origins, including alternate explanations and reasons for eliminating them from consideration. (University of Chicago)
17.What effect has any voluntary or independent research, reading or study, work in the arts, science project, etc. (outside of school), had on your intellectual and personal growth in recent years? Discuss what influence this involvement has had on your academic goals. (Northwestern)
18.What has been your most profound or surprising intellectual experience? (Duke University)
19.Anatole France said, "If 50 million people say a foolish thing, it is still a foolish thing." On what subject do you disagree with most people, and why? (Northwestern)
20.According to Stephen Carter, we can admire those with integrity even if we disagree with them. Are there people you admire even though you deeply disagree with them? What do you admire about them? How do you reconcile this apparent contradiction in your assessment? (Duke University)
21.Who is the secondary school teacher who has had the greatest positive impact on your development? Please describe the ways in which this teacher has influenced you. (Bowdoin College)
22.Reflect on these words of Dorothy Day: "No one has the right to sit down and feel hopeless. There's too much work to do." What is "the work to be done" for your generation, and what impact does this have on your future as a leader? Write a creative, reflective, or provocative essay. (University of Notre Dame)
23.Read Martin Luther King Jr.'s "Letter from Birmingham Jail." It can be found in several anthologies, most recently King Remembered (W.W Norton & Company, 1986). Drawing upon personal experience, write a creative, reflective or provocative essay. (University of Notre Dame)
24.What characteristics of Penn, and yourself, make the University a particularly good match for you? Briefly describe how you envision your first year in college. How will your presence be known on campus? (University of Pennsylvania)
25.Why did you first become interested in William and Mary? (William and Mary)
26.Why do you consider Duke a good match for you? Is there something in particular you anticipate contributing to the Duke community? If you are applying to the School of Engineering, you may discuss your interest in the field of engineering in general or your interest in Duke's program specifically. (Duke University)
27.You have just completed your 300-page autobiography. Please submit page 217. (University of Pennsylvania)
28.Imagine you have written a short story, film, or play about your last four years. Briefly describe the one moment or scene that your audience will most remember from this autobiographical piece. What will they learn about you from that moment? (Northwestern)
29.What do you think people who know you would be surprised to learn about you? Limit your response to one page.(Rice University)
30."The instructor said,/Go home and write/a page tonight./And let that page come out of you‹/Then, it will be true." The second line of this poem by Langston Hughes, "Theme for English B," goes on to ask: "I wonder if it¹s that simple?" We ask you here to write a truthful page about yourself, beginning where Hughes begins: "I am twenty-two, colored, born in Winston-Salem./I went to school there, then Durham, then here/to this college on the hill above Harlem./I am the only colored student in my class." That is to say, each of us is at a certain stage of life and has a history. Each of us has lived somewhere and gone to school. We each are what we feel and see and hear, as the poem goes on to say. Begin there and see what happens. (University of Chicago)
31.Pose a question of your own, the answer to which you believe will display your best qualities as a writer, thinker, visionary, social critic, sage, sensible woman or man, citizen of the world, or future citizen of the University of Chicago. (University of Chicago)
32.Tell us the question you think a selective college should ask. Why? (William and Mary)
33.The Committee on Undergraduate Admissions is interested in learning more about you. Please use this essay to relay information about you that cannot be found elsewhere on your application. You may choose to write about your future ambitions and goals, a special talent or unusual interest that sets you apart from your peers, or a significant event or relationship that has influenced you during your life. (George Mason University/Virginia Tech)
34.Please submit a final piece of writing on any subject you choose. Limit your response to one page, or approximately 500 words. (University of Virginia all applicants)
35.Please write on a matter of importance to you. Any topic, and any form of written expression, is acceptable. If you have written something for another purpose--even an essay for another college--that you believe represents you particularly well, feel free to submit it here. As a guideline, remember that we are especially interested in issues of personal significance. (Duke University)
36.Which of the majors in the School of Architecture‹architecture, architectural history, or urban and environmental planning‹most appeals to you, and why? (University of Virginia applicants to the School of Architecture)
37.Please respond to each of the following: 1) What aspirations, experiences, or relationships have motivated you to pursue the study of architecture? 2) Outside of academics, what do you enjoy most or find most challenging? Responses should be one page each. (Rice University applicants to the School of Architecture)
38.Engineers will face many challenges over the next twenty years. Which of these challenges seems the most compelling to you, and how do you plan to help meet it? (University of Virginia applicants to the School of Engineering)
39.Select a creative work: a novel, a film, a poem, a musical piece, a painting or other work of art that has influenced the way you view the world and the way you view yourself. Discuss the work and its effect on you. (University of Virginia/William and Mary/NYU)
40.What book, poem, piece of music, or artwork has influenced you? Write down your thoughts and feelings about this work and write a dialogue in which the work responds to you.
41.Name one book you have read in the past year, describe your reason for considering this book significant and what you gained from reading it. (Lewis and Clark College)
42.Discuss how something you have read has affected you or changed your mind about something. 5.Tell us about the biggest mistake you¹ve ever made, or heard of. (University of Virginia)
43.Describe a risk that you have taken and discuss its impact on your life. (Kalamazoo College)44..Tell us about the most embarrassing moment of your life. (Santa Clara University) 8.Tell us about the neighborhood that you grew up in and how it helped shape you into the kind of person you are today. (Yale and the University of Chicago) 9.Read Annie Dillard¹s "An American Childhood." Choose one of her observations or ideas and write a creative, reflective or provocative essay. (Notre Dame) 10.What are the responsibilities of an educated person? (University of Puget Sound).Identity and culture are clearly intertwined. How has your experience of culture influenced the development of your own personal identity? (NYU)
44. At Colorado College, diversity is considered an integral component of every student's liberal arts education. Discuss your division of "diversity" and the ways in which you expect it to affect your college experience. (Colorado College)
45. Of all the activities you listed above, which one has proved to be the best, or the worst, use of your time, and why? Use one specific example to illustrate how this activity has, or has not, been worthwhile. (University of Virginia) 14.Sartre said "Hell is other people," while Streisand sang, "People who need people are the luckiest people in the world." With whom do you agree? (Amherst) 15.Discuss an important personal relationship you have had and explain how it has changed your life.
46. Who are the people who have done the most to influence your personal development and in what ways were they influential? (Carleton College) .Defend your least conventional belief. (University of Virginia)
47. If you were to protest something, for or against, what would it be and why? 19.Are you honorable? How do you know? (University of Virginia)
48. Relate a personal experience that caused you to discern or refine a value that you hold. (University of Virginia) 21.Relate an incident in your life in which honesty or character (or both) were at issue. (University of Virginia) 22.Describe a situation in which your values or beliefs were challenged. How did you react? (NYU)
49. As a prospective 21st century college graduate, you will enter a workforce and live in a society with an increasingly global perspective. How will your current knowledge of international issues and cultures influence your undergraduate study? (NYU)
50. If you could invent something, what would it be, and why? (University of Virginia) 25.Using a piece of wire, a car window sticker, an egg carton, and any inexpensive hardware store item, create something that would solve a problem. Tell us about your creation, but don't worry: we won't require proof that it works. (Johns Hopkins)
51. What invention would the world be better off without, and why? (Kalamazoo College)
52. If you were to write a book, on what theme or subject matter would it be based, and why? (Stanford)
53. What is your favorite word, and why? (University of Virginia)
54. What effect has any voluntary or independent research, reading or study, work in the arts, science project, etc., had on your intellectual and personal goals in recent years? Discuss what influence this involvement has had on your academic goals. (Northwestern)
55. Describe your most important academic accomplishment or intellectual experience to date. We don't want to know about test scores or course grades, rather we want to know about your creativity, your willingness to take intellectual risks or your affinity for scholarly endeavors. (MIT)
56. Describe an intellectual experience of the past two years that has given you great satisfaction. (Amherst)
57. Do you believe that your academic record accurately reflects your abilities? Explain. 33.What confuses you most in life, and why? (University of Virginia)
58. George Washington said, "Associate with men of good quality, if you esteem your own reputation; it is better to be alone than in bad company." About which of your friends do you and your parents disagree? Why do you feel that the continued company of this friend is a good thing? (Northwestern)
59. Explain how your experiences as a teenager significantly differ from those of your friends. Include comparisons. (University of Puget Sound)
60. Imagine you have written a short story, film, or play about your last four years. Briefly describe the moment or scene that you think your audience will most remember after they have finished this autobiographical piece. What will they learn about you from that moment? (Northwestern)
61. If you were to look back on your high school years, what advice would you give to someone beginning their high school career? (Simmons)
62. Imagine that you are a "hero" or "heroine" for one day during any time period and under any circumstances. Write a creative essay describing your experience. (Notre Dame)
63. What is the best advice you ever received? Why? And did you follow it? (University of Pennsylvania)
64. Tell us about a conversation you've had that changed your perspective or was otherwise meaningful to you. (Stanford)
65. If we could only admit one more student to ________ University, why should it be you? (University of Pittsburgh)
66. Of all the things you hope or expect to gain from your college experience, which two or three would you place at the top of your list? Explain what you want to gain and why these experiences are most important to you.
67. You are about to write your future college roommate a letter. Please provide the roommate with a personal story that will give him/her some insight into your personality. (St. Mary¹s College, MD)
68. Tell one story about yourself that would best provide us, either directly or indirectly, with an insight into the kind of person you are. For example, the story can simply relate a personal experience, or a humorous anecdote; it can tell about an especially significant academic encounter or about an unusual test of character. The possibilities are unlimited (well, almost so). You choose. Just relax and write it. (Princeton)
69. .Please provide information that you feel will give a more complete and accurate picture of yourself, e.g., background, personal philosophy or traits, goals, etc. Be sure to describe the influence of these factors. Please be concise and limit your response to one or two pages. (Pomona College)
70. What single adjective do you think would be most frequently used to describe you by those who know you best? Briefly explain. (Stanford)
71.If you were to describe yourself by a quotation, what would the quote be? Explain your answer. (Dartmouth)
72. Create a metaphor for yourself using something you would find in your kitchen or your garage. List as many similarities or relationships between yourself and this object as you can think of, then elaborate on this comparison in an essay. Why is this object a good representation of you? (adapted from U. of Chicago)
73.Discuss how some negative experience (disability, illness, failure) has had a positive influence on your life.
74..Describe a personal habit that helps to define you as a person.
75.Discuss how a specific place can be used to help illustrate your personality. 52.If you had to describe yourself as an animal, what animal would you select and why?
76. Describe a fictional character. Be sure to point out what you do or do not like about the character and relate these attributes to yourself.
77. What have you undertaken or done on your own in the last year or two that has nothing to do with academic work? (Northwestern)
78. Discuss how your travel experiences have affected you as a student and a citizen of the world.
79. If money and family obligations left you entirely free, how and where would you spend the summer before college?
80. If you were given the opportunity to spend one year in service on behalf of others, which area would you choose? Explain what you would do and why.
81. If you had a day to spend as you wish, how would you use your time? (Carleton College)
82. .Imagine that you have the opportunity to travel back through time. At what point in history would you like to stop and why? (Swarthmore)
83. .What do you think has been the most important social or political movement of the twentieth century? Do you share a personal identification with this cause? (Trinity College, CT)
84. History has recorded the American Revolution, the Industrial Revolution, and the Sexual Revolution. Today we are witnessing a revolution in the way we receive information. What do you think will be the next great revolution, and what will be its impact on you and your society? (Northwestern)
85. If you were to develop a Mt. Rushmore representing the 20th century, whose faces would you select and why? (William and Mary) 63.If you could be a fly on the wall to observe any situation--historical, personal, or otherwise--describe what you would choose to observe and why. What would you hope to learn and how would it benefit you? (University of Pittsburgh)
86. If you could spend a year with any real or fictional person in the past, present, or future, whom would you choose? Why? (Kalamazoo College)
87. If you could hold a conversation with someone (living or deceased) you consider significant, who would you talk to and what would you talk about? Describe your conversation. (University of Oregon)
88. If you could meet any famous person, living or dead, who would it be? Write a dialogue between you and that person.
89. If you could become another person, real or fictional, for one day, who would you become and why?
90. If you had the power to change three things in your community or in the world, what would you change and why? (Middle East Technical University in Turkey) 69.If you could change the course of a singular event in history, what event would you affect, and why? In addition, please provide insight on how you would implement your decision. (St. Mary¹s College, MD) 70.If you could go back and change one day in your life, what would you change and why? (Santa Clara University)
91. Please write a personal journal entry as if the date were Sept. 20, 2030. (St. Mary¹s College, MD.)
92.It has been said [by Andy Warhol] that in the future everyone will be famous for fifteen minutes. Describe your fifteen minutes. (New York University)
93.Recent developments in technology have revolutionized the way we gather information, communicate with one another, and even express ourselves as individuals. If there is a computer in your life, tell us how you use it. If there is not a computer in your life, tell us how you would. (William and Mary)
94.Select a technological innovation of this century and discuss its effects on your family, local community or nation. (Notre Dame)
95.Look through old family photos and pull out a few that remind you of important times or significant moments. (Remember that the impact of a moment is what makes it significant. A hike through the woods can sometimes be more significant than a birthday.) Choose one of these "Kodak Moment" to describe and explain its significance to you. Speak about the photograph and your feelings about what you see in it.
96.Attach a small photograph of something important to you and explain its significance. (Stanford)
97.You are on your dream vacation and have just finished shooting a roll of film. As you go to develop the film, the local merchant offers to make a postcard of one of your photos. Describe the photo, why you selected it and write a brief note to your friends back home. (Be sure to include where you are and what you have been doing there.) (University of the Pacific)
98.Elvis is alive! Okay, maybe not, but we have been persuaded that recent Elvis sightings in highway rest areas, grocery stores and laundromats are part of a wider conspiracy involving five of the following: the metric system, the Mall of America, the crash of the Hindenberg, Heisenberg's uncertainty principle, lint, J.D. Salinger, and wax fruit. Construct your own theory of how and why five of these items are related. (University of Chicago)
99.The subject of food is never far from our minds here in College Admissions. It is a topic of serious conversation this year on campus, too, with the publication of a book called The Hungry Soul: Eating and the Perfecting of our Nature, by Leon Kass, M.D., a Chicago faculty member who teaches in the College. The book takes a philosophical look at what food, eating, and table manners have to tell us about our human estate. Compose an essay about a memorable meal you have eaten. We are especially interested in the details: the occasion, your company at this meal, its physical setting, the kinds of foods you ate, or their preparation. (University of Chicago)
100.Ask and answer the one important question which you wish we had asked. (Carleton College)

Senior BOAST

Directions: You must write a one page BOAST. You will deliver this in a vocal fashion as a Scope would have done in the Anglo Saxon Tradition.

Requirements:
1. Your BOAST must be no longer than one page, no longer.
2. In this Boast you must include your genealogy, your acts of courage, your victories over enemies, any other achievements and awards, and, in closing, your next great act.
3. Remember to use elevated language, exaggeration (hyperbole), specific details, and poetic devises (similes, metaphors, imagery, alliteration, assonance, kennings, and personification)
4. You will deliver the Boast orally and should be prepared to turn in a typed copy (double spaced) with your name, date, and period (single spaced at the top left hand corner of the page)

Friday, September 16, 2011

Criticism over WHY I WRITE you say??

Check THIS out!

Mark Wallace--Irish Graduate and contributer.

Justification for 1984

George Orwell: Why I Write

From a very early age, perhaps the age of five or six, I knew that when I grew up I should be a writer. Between the ages of about seventeen and twenty-four I tried to abandon this idea, but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books.

I was the middle child of three, but there was a gap of five years on either side, and I barely saw my father before I was eight. For this and other reasons I was somewhat lonely, and I soon developed disagreeable mannerisms which made me unpopular throughout my schooldays. I had the lonely child's habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life. Nevertheless the volume of serious — i.e. seriously intended — writing which I produced all through my childhood and boyhood would not amount to half a dozen pages. I wrote my first poem at the age of four or five, my mother taking it down to dictation. I cannot remember anything about it except that it was about a tiger and the tiger had ‘chair-like teeth’ — a good enough phrase, but I fancy the poem was a plagiarism of Blake's ‘Tiger, Tiger’. At eleven, when the war or 1914-18 broke out, I wrote a patriotic poem which was printed in the local newspaper, as was another, two years later, on the death of Kitchener. From time to time, when I was a bit older, I wrote bad and usually unfinished ‘nature poems’ in the Georgian style. I also attempted a short story which was a ghastly failure. That was the total of the would-be serious work that I actually set down on paper during all those years.

However, throughout this time I did in a sense engage in literary activities. To begin with there was the made-to-order stuff which I produced quickly, easily and without much pleasure to myself. Apart from school work, I wrote vers d'occasion, semi-comic poems which I could turn out at what now seems to me astonishing speed — at fourteen I wrote a whole rhyming play, in imitation of Aristophanes, in about a week — and helped to edit a school magazines, both printed and in manuscript. These magazines were the most pitiful burlesque stuff that you could imagine, and I took far less trouble with them than I now would with the cheapest journalism. But side by side with all this, for fifteen years or more, I was carrying out a literary exercise of a quite different kind: this was the making up of a continuous ‘story’ about myself, a sort of diary existing only in the mind. I believe this is a common habit of children and adolescents. As a very small child I used to imagine that I was, say, Robin Hood, and picture myself as the hero of thrilling adventures, but quite soon my ‘story’ ceased to be narcissistic in a crude way and became more and more a mere description of what I was doing and the things I saw. For minutes at a time this kind of thing would be running through my head: ‘He pushed the door open and entered the room. A yellow beam of sunlight, filtering through the muslin curtains, slanted on to the table, where a match-box, half-open, lay beside the inkpot. With his right hand in his pocket he moved across to the window. Down in the street a tortoiseshell cat was chasing a dead leaf’, etc. etc. This habit continued until I was about twenty-five, right through my non-literary years. Although I had to search, and did search, for the right words, I seemed to be making this descriptive effort almost against my will, under a kind of compulsion from outside. The ‘story’ must, I suppose, have reflected the styles of the various writers I admired at different ages, but so far as I remember it always had the same meticulous descriptive quality.

When I was about sixteen I suddenly discovered the joy of mere words, i.e. the sounds and associations of words. The lines from Paradise Lost —

So hee with difficulty and labour hard
Moved on: with difficulty and labour hee.


which do not now seem to me so very wonderful, sent shivers down my backbone; and the spelling ‘hee’ for ‘he’ was an added pleasure. As for the need to describe things, I knew all about it already. So it is clear what kind of books I wanted to write, in so far as I could be said to want to write books at that time. I wanted to write enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their own sound. And in fact my first completed novel, Burmese Days, which I wrote when I was thirty but projected much earlier, is rather that kind of book.

I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development. His subject matter will be determined by the age he lives in — at least this is true in tumultuous, revolutionary ages like our own — but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. It is his job, no doubt, to discipline his temperament and avoid getting stuck at some immature stage, in some perverse mood; but if he escapes from his early influences altogether, he will have killed his impulse to write. Putting aside the need to earn a living, I think there are four great motives for writing, at any rate for writing prose. They exist in different degrees in every writer, and in any one writer the proportions will vary from time to time, according to the atmosphere in which he is living. They are:

(i) Sheer egoism. Desire to seem clever, to be talked about, to be remembered after death, to get your own back on the grown-ups who snubbed you in childhood, etc., etc. It is humbug to pretend this is not a motive, and a strong one. Writers share this characteristic with scientists, artists, politicians, lawyers, soldiers, successful businessmen — in short, with the whole top crust of humanity. The great mass of human beings are not acutely selfish. After the age of about thirty they almost abandon the sense of being individuals at all — and live chiefly for others, or are simply smothered under drudgery. But there is also the minority of gifted, willful people who are determined to live their own lives to the end, and writers belong in this class. Serious writers, I should say, are on the whole more vain and self-centered than journalists, though less interested in money.

(ii) Aesthetic enthusiasm. Perception of beauty in the external world, or, on the other hand, in words and their right arrangement. Pleasure in the impact of one sound on another, in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed. The aesthetic motive is very feeble in a lot of writers, but even a pamphleteer or writer of textbooks will have pet words and phrases which appeal to him for non-utilitarian reasons; or he may feel strongly about typography, width of margins, etc. Above the level of a railway guide, no book is quite free from aesthetic considerations.

(iii) Historical impulse. Desire to see things as they are, to find out true facts and store them up for the use of posterity.

(iv) Political purpose. — Using the word ‘political’ in the widest possible sense. Desire to push the world in a certain direction, to alter other peoples’ idea of the kind of society that they should strive after. Once again, no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude.

It can be seen how these various impulses must war against one another, and how they must fluctuate from person to person and from time to time. By nature — taking your ‘nature’ to be the state you have attained when you are first adult — I am a person in whom the first three motives would outweigh the fourth. In a peaceful age I might have written ornate or merely descriptive books, and might have remained almost unaware of my political loyalties. As it is I have been forced into becoming a sort of pamphleteer. First I spent five years in an unsuitable profession (the Indian Imperial Police, in Burma), and then I underwent poverty and the sense of failure. This increased my natural hatred of authority and made me for the first time fully aware of the existence of the working classes, and the job in Burma had given me some understanding of the nature of imperialism: but these experiences were not enough to give me an accurate political orientation. Then came Hitler, the Spanish Civil War, etc. By the end of 1935 I had still failed to reach a firm decision. I remember a little poem that I wrote at that date, expressing my dilemma:

A happy vicar I might have been
Two hundred years ago
To preach upon eternal doom
And watch my walnuts grow;


But born, alas, in an evil time,
I missed that pleasant haven,
For the hair has grown on my upper lip
And the clergy are all clean-shaven.


And later still the times were good,
We were so easy to please,
We rocked our troubled thoughts to sleep
On the bosoms of the trees.


All ignorant we dared to own
The joys we now dissemble;
The greenfinch on the apple bough
Could make my enemies tremble.


But girl's bellies and apricots,
Roach in a shaded stream,
Horses, ducks in flight at dawn,
All these are a dream.


It is forbidden to dream again;
We maim our joys or hide them:
Horses are made of chromium steel
And little fat men shall ride them.


I am the worm who never turned,
The eunuch without a harem;
Between the priest and the commissar
I walk like Eugene Aram;


And the commissar is telling my fortune
While the radio plays,
But the priest has promised an Austin Seven,
For Duggie always pays.


I dreamt I dwelt in marble halls,
And woke to find it true;
I wasn't born for an age like this;
Was Smith? Was Jones? Were you?


The Spanish war and other events in 1936-37 turned the scale and thereafter I knew where I stood. Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it. It seems to me nonsense, in a period like our own, to think that one can avoid writing of such subjects. Everyone writes of them in one guise or another. It is simply a question of which side one takes and what approach one follows. And the more one is conscious of one's political bias, the more chance one has of acting politically without sacrificing one's aesthetic and intellectual integrity.

What I have most wanted to do throughout the past ten years is to make political writing into an art. My starting point is always a feeling of partisanship, a sense of injustice. When I sit down to write a book, I do not say to myself, ‘I am going to produce a work of art’. I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing. But I could not do the work of writing a book, or even a long magazine article, if it were not also an aesthetic experience. Anyone who cares to examine my work will see that even when it is downright propaganda it contains much that a full-time politician would consider irrelevant. I am not able, and do not want, completely to abandon the world view that I acquired in childhood. So long as I remain alive and well I shall continue to feel strongly about prose style, to love the surface of the earth, and to take a pleasure in solid objects and scraps of useless information. It is no use trying to suppress that side of myself. The job is to reconcile my ingrained likes and dislikes with the essentially public, non-individual activities that this age forces on all of us.

It is not easy. It raises problems of construction and of language, and it raises in a new way the problem of truthfulness. Let me give just one example of the cruder kind of difficulty that arises. My book about the Spanish civil war, Homage to Catalonia, is of course a frankly political book, but in the main it is written with a certain detachment and regard for form. I did try very hard in it to tell the whole truth without violating my literary instincts. But among other things it contains a long chapter, full of newspaper quotations and the like, defending the Trotskyists who were accused of plotting with Franco. Clearly such a chapter, which after a year or two would lose its interest for any ordinary reader, must ruin the book. A critic whom I respect read me a lecture about it. ‘Why did you put in all that stuff?’ he said. ‘You've turned what might have been a good book into journalism.’ What he said was true, but I could not have done otherwise. I happened to know, what very few people in England had been allowed to know, that innocent men were being falsely accused. If I had not been angry about that I should never have written the book.

In one form or another this problem comes up again. The problem of language is subtler and would take too long to discuss. I will only say that of late years I have tried to write less picturesquely and more exactly. In any case I find that by the time you have perfected any style of writing, you have always outgrown it. Animal Farm was the first book in which I tried, with full consciousness of what I was doing, to fuse political purpose and artistic purpose into one whole. I have not written a novel for seven years, but I hope to write another fairly soon. It is bound to be a failure, every book is a failure, but I do know with some clarity what kind of book I want to write.

Looking back through the last page or two, I see that I have made it appear as though my motives in writing were wholly public-spirited. I don't want to leave that as the final impression. All writers are vain, selfish, and lazy, and at the very bottom of their motives there lies a mystery. Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand. For all one knows that demon is simply the same instinct that makes a baby squall for attention. And yet it is also true that one can write nothing readable unless one constantly struggles to efface one's own personality. Good prose is like a windowpane. I cannot say with certainty which of my motives are the strongest, but I know which of them deserve to be followed. And looking back through my work, I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages, sentences without meaning, decorative adjectives and humbug generally.

1946

THE END

Friday, August 26, 2011

How to set up a Twitter account and receive Mr. Killackey’s updates.

1. Go to Twitter.com

2. Create account with User Name, valid Email address, and password

3. Follow step 1 and 2 (these steps are for your own preferences)

4. Get to Step 3 and search for: aplitkillackey You will see a baby picture of Scout wearing star shaped pink sunglasses at a year old

5. Click on my account and “follow” me

6. Once you have activated your account and are following ME, locate your user name at the top right of the screen. Click the drop arrow for a choice between: settings, help, and sign out

7. Click SETTINGS

8. You will see a tab menu of Account, Password, Mobile, Notifications, Profile, and Design

9. Click MOBILE

10. Read the directions and enter your mobile phone number in the box, Click START

11. Verify your phone by texting GO to 4040 (read the directions AND Twitter Commands on the right)

Congratulations!! You will now receive my messages in TEXT form from the number 4040.