THREE:I dont know what to think, Dick admitted. No ghost does those things. A real person has some reason for doing them. Who? And why?Just the same, Larry insisted, many respected bank tellers have been discovered for what they were after bank money disappeared.
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THREE:In the department of novel writing, no age had yet produced such a constellation as Fielding, Richardson, Sterne, and Smollett. Their works[147] are still read with admiration by all who have a relish for vivid and masterly delineations of life; their only drawback being, that they are all more or less stained with the grossness and licentiousness of the age. From these faults Samuel Richardson (b. 1689; d. 1761) is most free, and in his "Sir Charles Grandison" he hasshown himself ahead of his age in the wisdom and liberality of his ideas. He discountenanced duelling, and taught the soundest principles of honour and morality. The photographic minuteness of his style prevents the general reading of his works in the present day of abundant new literature. The principal novels of Henry Fielding (b. 1707; d. 1754), "Joseph Andrews," "Tom Jones," and "Amelia," abound in wit, vigour, and knowledge of human nature. He wrote also some plays, and edited several periodicals. His sister, Sarah, also wrote "David Simple," a novel, and translated Xenophon's "Memoirs of Socrates." Tobias Smollett (b. 1721; d. 1771) paints life in strong, bold, but somewhat coarse lines, full of vigour, but with even more grossness than Fielding uses. "Peregrine Pickle," "Count Fathom," "Roderick Random," "Humphrey Clinker," and "Sir Launcelot Greaves," if not now generally read, have been carefully studied and made use of by some of our modern novelists. Smollett, besides, wrote plays, satires, poems, and edited "The Briton," a weekly newspaper. Laurence Sterne (b. 1713; d. 1768) struck out a style of writing peculiar to himself, and which still defies all successful imitation. Notwithstanding attempts to represent his pathos as grimace, and his humour as tinsel, the felicity of touch in "Tristram Shandy," and the flashes of wit and feeling in his "Sentimental Journey," will, in spite of detractors, and of the occasional indecency of the author, always send readers to Sterne.Again, this preference for mythological imagery on the part of the more original and poetical thinker seems to be closely connected with a more vivid interest in the practical duties of life. With Plotinus, the primal beauty or supreme good is something that can be isolated from all other beauty and goodness, something to be perceived and enjoyed in absolute seclusion from ones fellow-men. God is, indeed, described as the source and cause of all other good. But neither here nor elsewhere is there a hint that we should strive to resemble him by becoming, in our turn, the cause of good to others. Platonic love, on the contrary, first finds its reality and truth in unremitting efforts for the enlightenment and elevation of others, being related to the transmission of spiritual life just as the love inspired by visible beauty is related to the perpetuation and physical ennoblement of the race.
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THREE:Whats the matter, Parks?
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