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Novels are excluded from “serious reading,” so that the man who, bent1 on self-improvement, has been deciding to devote ninety minutes three times a week to a complete study of the works of Charles Dickens will be well advised to alter his plans. The reason is not that novels are not serious — some of the great literature of the world is in the form of prose fiction — the reason is that bad novels ought not to be read, and that good novels never demand any appreciable2 mental application on the part of the reader. It is only the bad parts of Meredith’s novels that are difficult. A good novel rushes you forward like a skiff down a stream, and you arrive at the end, perhaps breathless, but unexhausted. The best novels involve the least strain. Now in the cultivation3 of the mind one of the most important factors is precisely4 the feeling of strain, of difficulty, of a task which one part of you is anxious to achieve and another part of you is anxious to shirk; and that feeling cannot be got in facing a novel. You do not set your teeth in order to read “Anna Karenina.” Therefore, though you should read novels, you should not read them in those ninety minutes.
Imaginative poetry produces a far greater mental strain than novels. It produces probably the severest strain of any form of literature. It is the highest form of literature. It yields the highest form of pleasure, and teaches the highest form of wisdom. In a word, there is nothing to compare with it. I say this with sad consciousness of the fact that the majority of people do not read poetry.
I am persuaded that many excellent persons, if they were confronted with the alternatives of reading “Paradise Lost” and going round Trafalgar Square at noonday on their knees in sack-cloth, would choose the ordeal5 of public ridicule6. Still, I will never cease advising my friends and enemies to read poetry before anything.
If poetry is what is called “a sealed book” to you, begin by reading Hazlitt’s famous essay on the nature of “poetry in general.” It is the best thing of its kind in English, and no one who has read it can possibly be under the misapprehension that poetry is a mediaeval torture, or a mad elephant, or a gun that will go off by itself and kill at forty paces. Indeed, it is difficult to imagine the mental state of the man who, after reading Hazlitt’s essay, is not urgently desirous of reading some poetry before his next meal. If the essay so inspires you I would suggest that you make a commencement with

1
bent
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n.爱好,癖好;adj.弯的;决心的,一心的 | |
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2
appreciable
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adj.明显的,可见的,可估量的,可觉察的 | |
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3
cultivation
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n.耕作,培养,栽培(法),养成 | |
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4
precisely
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adv.恰好,正好,精确地,细致地 | |
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5
ordeal
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n.苦难经历,(尤指对品格、耐力的)严峻考验 | |
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6
ridicule
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v.讥讽,挖苦;n.嘲弄 | |
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7
purely
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adv.纯粹地,完全地 | |
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8
narrative
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n.叙述,故事;adj.叙事的,故事体的 | |
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9
infinitely
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adv.无限地,无穷地 | |
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10
entirely
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ad.全部地,完整地;完全地,彻底地 | |
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11
antagonistic
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adj.敌对的 | |
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12
majestic
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adj.雄伟的,壮丽的,庄严的,威严的,崇高的 | |
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13
tyro
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n.初学者;生手 | |
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14
supreme
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adj.极度的,最重要的;至高的,最高的 | |
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15
lucid
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adj.明白易懂的,清晰的,头脑清楚的 | |
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16
futile
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adj.无效的,无用的,无希望的 | |
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17
derived
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vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取 | |
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18
fatiguing
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a.使人劳累的 | |
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