From all these experiences the most important thing I have learned is that legibility and beauty stand close together and that type design, in its restraint, should be only felt but not perceived by the reader.
Reading [poetry], you know, is rather like opening the door to a horde of rebels who swarm out attacking one in twenty places at once - hit, roused, scraped, bared, swung through the air, so that life seems to flash by; then again blinded, knocked on the head - all of which are agreeable sensations for a reader (since nothing is more dismal than to open the door and get no response).
Hence, instead of Man Thinking, we have the bookworm. Hence, the book-learned class, who value books, as such; not as related to nature and the human constitution, but as making a sort of Third Estate with the world and the soul. Hence, the restorers of readings, the emendators, the bibliomaniacs of all degrees.
If you are resolutely determined to make a lawyer of yourself, the thing is more than half done already. It is but a small matter whether you read with anyone or not. I did not read with anyone. Get the books, and read and study them till you understand them in their principal features; and that is the main thing. It is of no consequence to be in a large town while you are reading. I read at New Salem, which never had three hundred people living in it. The books, and your capacity for understanding them, are just the same in all places.
Pity is for this life, pity is the worm inside the meat, pity is the meat, pity is the shaking pencil, pity is the shaking voice-- not enough money, not enough love--pity for all of us--it is our grace, walking down the ramp or on the moving sidewalk, sitting in a chair, reading the paper, pity, turning a leaf to the light, arranging a thorn.
Books are but waste paper unless we spend in action the wisdom we get from thought - asleep. When we are weary of the living, we may repair to the dead, who have nothing of peevishness, pride, or design in their conversation.
In an article on Bunyan lately published in the "Contemporary Review" - the only article on the subject worth reading on the subject I ever saw (yes, thank you, I am familiar with Macaulay's patronizing prattle about "The Pilgrim's Progress") etc.
I was under twenty when I deliberately put it to myself one night after good conversation that there are moments when we actually touch in talk what the best writing can only come near. The curse of our book language is not so much that it keeps forever to the same set phrases . . . but that it sounds forever with the same reading tones. We must go out into the vernacular for tones that haven't been brought to book.
Sometimes, reading a blog, which I do infrequently, I see that generations of Americans have been wilfully crippled, and can no longer spell or write a sentence.
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.
A learned man is a sedentary, concentrated solitary enthusiast, who searches through books to discover some particular grain of truth upon which he has set his heart. If the passion for reading conquers him, his gains dwindle and vanish between his fingers. A reader, on the other hand, must check the desire for learning at the outset; if knowledge sticks to him well and good, but to go in pursuit of it, to read on a system, to become a specialist or an authority, is very apt to kill what suits us to consider the more humane passion for pure and disinterested reading.