A Temple of Texts by William H. Gass

By William H. Gass

Winner of the 2007 Truman Capote Award for Literary feedback, A Temple of Texts is the newest severe assortment from one among America's maximum essayists and novelists. right here, William H. Gass can pay homage to the readerly part of the literary event via turning his severe sensibility upon the entire books that formed his personal improvement as a reader, author, and man or woman.

With essays on figures starting from William Shakespeare and Gertrude Stein to Flann O'Brien and Robert Burton, Gass creates a "temple" of readerly devotion, a suite of serious explorations as incredible and incisive as readers have come to count on from this literary grasp, but in addition a shockingly own window into the author's personal literary improvement.

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E. the sort of thing they seek or avoid, where that is not obvious. Hence there is no room for character in a speech on a purely indifferent subject. Thought, 38 Aristotle on the other hand, is shown in all they say when proving or disproving some particular point, or enunciating some universal proposition. e. as before explained, the expression of their thoughts in words, which is practically the same thing with verse as with prose. As for the two remaining parts, the melody is the greatest of the pleasurable accessories of tragedy.

Seventy years ago (499) Aeschylus began competing; fifty-five years ago (484), at the age of fortyone, he first won the coveted prize, an honor that fell to him thirteen times, all told, before he died. In 484 Sophocles was thirteen years old, Euripides an infant of one year; when he was a child of four, the Greeks overthrew the Persians in the seafight at Salamis. Thirty-nine years ago (468) Aeschylus lost the prize to Sophocles, who then began to compete. Ten years later (458) Aeschylus, on his last appearance, won with the Orestean trilogy; he died in 456, the year before Euripides first had plays accepted for presentation.

A third possibility is for one meditating some deadly injury to another, in ignorance of his relationship, to make the discovery in time to draw back. These exhaust the possibilities, since the deed must necessarily be either done or not done, and either knowingly or unknowingly. The worst situation is when the personage is with full knowledge on the point of doing the deed, and leaves it undone. It is odious and also, through the absence of suffering, untragic. g. Haemon and Creon in Antigone.

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