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I am fully conscious that, not being a literary man , certain presumptuous persons will think that they may reasonably blame me; alleging that I am not a man of letters. Foolish folks! do they not know that I might retort as Marius did to the Roman Patricians by saying: That they, who deck themselves out in the labours of others will not allow me my own. They will say that I, having no literary skill, cannot properly express that which I desire to treat of, but they do not know that my subjects are to be dealt with by experience rather than by words; and experience has been the mistress of those who wrote well. And so, as mistress, I will cite her in all cases.

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They will say that I, having no literary skill, cannot properly express that which I desire to treat of, but they do not know that my subjects are to be dealt with by experience rather than by words. And [experience] has been the mistress of those who wrote well. And so, as mistress, I will cite her in all cases. Though I may not, like them, be able to quote other authors, I shall rely on that which is much greater and more worthy: on experience, the mistress of their masters.

Though I may not, like them, be able to quote other authors, I shall rely on that which is much greater and more worthy – on experience, the mistress of their Masters.

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They accuse me — <i>Me</i> — the present writer of
The present poem — of — I know not what, — A tendency to under-rate and scoff
At human power and virtue, and all that;
And this they say in language rather rough.
Good God! I wonder what they would be at!
I say no more than has been said in Dante's
Verse, and by Solomon and by Cervantes;

By Swift, by Machiavel, by Rochefoucault;
By Fenelon, by Luther and by Plato;
By Tillotson, and Wesley, and Rousseau,
Who knew this life was not worth a potato.
'Tis not their fault, nor mine, if this be so — For my part, I pretend not to be Cato,
Nor even Diogenes. — We live and die,
But which is best, you know no more than I.

But just understand the difference between a man like Reardon and a man like me. He is the old type of unpractical artist; I am the literary man of 1882. He won't make concessions, or rather, he can't make them; he can't supply the market. I — well, you may say that at present, I do nothing; but that's a great mistake, I am learning my business. Literature nowadays is a trade. Putting aside men of genius, who may succeed by mere cosmic force, your successful man of letters is your skilful tradesman. He thinks first and foremost of the markets; when one kind of goods begins to go off slackly, he is ready with something new and appetising. He knows perfectly all the possible sources of income. Whatever he has to sell, he'll get payment for it from all sorts of various quarters; none of your unpractical selling for a lump sum to a middleman who will make six distinct profits.

Practical men who believe themselves to be quite exempt from any intellectual influence, are usually the slaves of some defunct economist. Madmen in authority, who hear voices in the air, are distilling their frenzy from some academic scribbler of a few years back

I pray you, in your letters,
When you shall these unlucky deeds relate,
Speak of me as I am; nothing extenuate,
Nor set down aught in malice. Then must you speak
Of one that loved not wisely but too well;
Of one not easily jealous, but being wrought,
Perplexed in the extreme. . .

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In neither taste nor precision is any man's practice a court of last appeal, for writers all, both great and small, are habitual sinners against the light; and their accuser is cheerfully aware that his own work will supply ... many 'awful examples'...

there are some persons in this world, who, unable to give better proof of being wise, take a strange delight in showing what they think they have sagaciously read in mankind by uncharitable suspicions of them.

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