§.08—Our author continues, remarking upon material modalities.
“Unless an author takes the material on which he writes out of his own head, that is to say, from his own observation, he is not worth reading. Book manufacturers, compilers, the common run of history writers, and many others of the same class, take their material immediately out of books; and the material goes straight to their finger-tips without even paying freight or undergoing examination as it passes through their heads, to say nothing of elaboration or revision. How very learned many a man would be if he knew everything that was in his own books! The consequence of this is that these writers talk in such a loose and vague manner, that the reader puzzles his brains in vain to understand what it is of which they are really thinking. They are thinking of nothing. It may now and then be the case that the book from which they copy has been composed exactly in the same way; so that writing of this sort is like a plaster cast of a cast; and in the end, the bare outline of the face, and that, too, hardly recognisable, is all that is left of your Antinous¹.” (A. Schopenhauer, The Art of Literature, p. 6)
§.09—“… a plaster cast of a cast,” how perfectly apt is this description; how many stories of ‘chosen ones,’ or the ‘girl interrupted,’ wherein the distinctive attributes are merely cosmetic—a name, a setting, a hairdo, a historical reference—yet the form and function is essentially the same as popular narratives preceding it. However, I differ from Schopenhauer in holding authors who “take their material immediately out of books” in such totalizing contempt; what is of paramount importance in the question of textual information acquisition is the quality of the information contained and (as he notes) its verification (for whatever qualities). Given that the information acquisition and exploitation from a text is fundamentally no different than any other kind of information acquisition and exploitation, it is mistaken to vitiate information derived from a text and information derived from studying a tree or a stone (ie. one’s own observation”). That is to say that the writer is always writing “out of his own head” a distinction that may seem trivially semantic, but which is conceptually crucial.
- Arthur Schopenhauer. (1893) The Art of Literature. Swan Sonnenschein & Co.; MacMillan & Co.
- Elena Martinique. (2016) Is Consumerism Depicted in Art Relevant a Relevant Critique of Contemporary Society and Culture? Widewalls.
- Farooq A. Kperogi. (2016) Myth of the Decline in Standard of English Usage and Grammar. Nigeria Village Square.
- Ranulf Higden, trans. John Travisa. (1364; eng. trans. 1865) Polychronicon Ranulphi Higden Maonachi Cestrensis.
- R. L. S. (2015) Johnson: Language anxieties: A Long Decline. The Economist.
- Sabina Nedelius. (2017) The Myth of Language Decay: Do Youths Really Not Know How To Speak? The Historical Linguist Channel.
- Sarah Waters. (1995). The Most Famous Fairy in History: Antinous and Homosexual Fantasy. Journal of the History of Sexuality. University of Texas Press. 6 (2): 194–230.
- Steven Pinker. (2014) The Sense of Style: The Thinking Person’s Guide To Writing In The 21st Century. Penguin.
- Stuart Henry. (1897) Hours With Famous Parisians. Way & Williams.
- Thomas Adajian. (2018) The Definition of Art. The Stanford Encyclopedia of Philosophy.
¹ Antinous (also Antinoüs or Antinoös) was a Bithynian Greek, friend and lover of the Roman Emperor Hadrian. After his mysterious death, the emperor deified Antinous and organized a cult in his honor. Schopenhauer, in the passage above, utilizes ‘Antinous’ as a metaphor for the artist’s creation.