It is absurd to think that the only way to tell if a poem is lasting is to wait and see if it lasts. The right reader of a good poem can tell the moment it strikes him that he has taken an immortal wound-that he will never get over it.
The process of reading is not a half sleep, but in the highest sense, an exercise, a gymnast's struggle: that the reader is to do something for him or herself, must be on the alert, just construct indeed the poem, argument, history, metaphysical essay--the text furnishing the hints, the clue, the start, the framework.
We want our teachers to be trained so they can meet the obligations, their obligations as teachers. We want them to know how to teach the science of reading. In order to make sure there's not this kind of federal-federal cufflink.
PALMISTRY, n. The 947th method . . . of obtaining money by false pretences [by] "reading character" in the wrinkles [of] the hand. The pretence is not altogether false. . . for the wrinkles in every hand submitted plainly spell the word "dupe."
If you're reading something from a Nobel Prize-winning physicist next to some guy in his underwear writing in his basement, or his mom's basement, on text, it looks like it's equally plausible.
What, however, left a deep impression on me was the reading of the Ramayana before my father. During part of his illness my father was in Porbandar. There every evening he used to listen to the Ramayana.
An imaginative book renders us much more service at first, by stimulating us through its tropes, than afterward, when we arrive atthe precise sense of the author. I think nothing is of any value in books, excepting the transcendental and extraordinary.