Volume Ii Part 13 (2/2)
WRITING AND DESIRE FOR VICTORY.-Writing should always indicate a victory, indeed a conquest of oneself which must be communicated to others for their behoof. There are, however, dyspeptic authors who only write when they cannot digest something, or when something has remained stuck in their teeth. Through their anger they try unconsciously to disgust the reader too, and to exercise violence upon him-that is, they desire victory, but victory over others.
153.
A GOOD BOOK NEEDS TIME.-Every good book tastes bitter when it first comes out, for it has the defect of newness. Moreover, it suffers damage from its living author, if he is well known and much talked about. For all the world is accustomed to confuse the author with his work. Whatever of profundity, sweetness, and brilliance the work may contain must be developed as the years go by, under the care of growing, then old, and lastly traditional reverence. Many hours must pa.s.s, many a spider must have woven its web about the book. A book is made better by good readers and clearer by good opponents.
154.
EXTRAVAGANCE AS AN ARTISTIC MEANS.-Artists well understand the idea of using extravagance as an artistic means in order to convey an impression of wealth. This is one of those innocent wiles of soul-seduction that the artist must know, for in his world, which has only appearance in view, the means to appearance need not necessarily be genuine.
155.
THE HIDDEN BARREL-ORGAN.-Genius, by virtue of its more ample drapery, knows better than talent how to hide its barrel-organ. Yet after all it too can only play its seven old pieces over and over again.
156.
THE NAME ON THE t.i.tLE-PAGE.-It is now a matter of custom and almost of duty for the author's name to appear on the book, and this is a main cause of the fact that books have so little influence. If they are good, they are worth more than the personalities of their authors, of which they are the quintessences. But as soon as the author makes himself known on the t.i.tle-page, the quintessence, from the reader's point of view, becomes diluted with the personal, the most personal element, and the aim of the book is frustrated. It is the ambition of the intellect no longer to appear individual.
157.
THE MOST CUTTING CRITICISM.-We make the most cutting criticism of a man or a book when we indicate his or its ideal.
158.
LITTLE OR NO LOVE.-Every good book is written for a particular reader and men of his stamp, and for that very reason is looked upon unfavourably by all other readers, by the vast majority. Its reputation accordingly rests on a narrow basis and must be built up by degrees.-The mediocre and bad book is mediocre and bad because it seeks to please, and does please, a great number.
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