Terry Eagleton Quotes - Page 5

For Aristotle, goodness is a kind of prospering in the precarious affair of being human.

Poetry is the most subtle of the literary arts, and students grow more ingenious by the year at avoiding it. If they can nip around Milton, duck under Blake and collapse gratefully into the arms of Jane Austen, a lot of them will.

It is true that some liberals and humanists, along with the laid-back Danes, deny the existence of evil. This is largely because they regard the word 'evil' as a device for demonising those who are really nothing more than socially unfortunate.

All propaganda or popularization involves a putting of the complex into the simple, but such a move is instantly deconstructive. For if the complex can be put into the simple, then it cannot be as complex as it seemed in the first place; and if the simple can be an adequate medium of such complexity, then it cannot after all be as simple as all that.

It is easy to see why a diversity of cultures should confront power with a problem. If culture is about plurality, power is about unity. How can it sell itself simultaneously to a whole range of life forms without being fatally diluted?

For the liberal state to accommodate a diversity of beliefs while having few positive convictions is one of the more admirable achievements of civilization.

Yahweh is presented in the Jewish Bible as stateless and nationless. He can’t be used as a totem or fetish in that way.

In conscious life, we achieve some sense of ourselves as reasonably unified, coherent selves, and without this action would be impossible. But all this is merely at the 'imaginary' level of the ego, which is no more than the tip of the iceberg of the human subject known to psychoanalysis. The ego is function or effect of a subject which is always dispersed, never identical with itself, strung out along the chains of the discourses which constitute it.

Anyone can be tolerant of those who are tolerant.

Like the rest of us, Tom Paulin is a bundle of contradictions. At its finest, his work is brave, adventurous, original and wonderfully idiosyncratic.

Writing seems to rob me of my being: it is a second hand mode of communication, a pallid, mechanical transcript of speech, and so always at one remove from my consciousness.

It is language which speaks in literature, in all its swarming 'polysemic' plurality, not the author himself.

The frontier between public and private shifts from time to time and culture to culture.

In the end, it is because the media are driven by the power and wealth of private individuals that they turn private lives into public spectacles. If every private life is now potentially public property, it is because private property has undermined public responsibility.

Most students of literature can pick apart a metaphor or spot an ethnic stereotype, but not many of them can say things like: 'The poem's sardonic tone is curiously at odds with its plodding syntax.

The most compelling confirmation of Marx's theory of history is late capitalist society. There is a sense in which this case is becoming truer as time passes.

I liked early Amis a lot, but I stopped reading him some time ago. I admire Hitchens on literary topics - I think he is very astute. McEwan, I read a bit. But I suppose it's more the ideological phenomenon that they represent together that interests me.

Readers are less and less seen as mere non-writers, the subhuman "other" or flawed derivative of the author; the lack of a pen is no longer a shameful mark of secondary status but a positively enabling space, just as within every writer can be seen to lurk, as a repressed but contaminating antithesis, a reader.

I do not know whether to be delighted or outraged by the fact that Literary Theory: An Introduction was the subject of a study by a well known U.S. business school, which was intrigued to discover how an academic text could become a best-seller.

Virtue is something you have to get good at, like playing the trombone or tolerating bores at parties. Being a virtuous human being takes practice; and those who are brilliant at being human (what Christians call the saints) are the virtuosi of the moral sphere - the Pavarottis and Maradonas of virtue.

What was needed was a literary theory which, while preserving the formalist bent of New Criticism, its dogged attention to literature as aesthetic object rather than social practice, would make something a good deal more systematic and 'scientific' out of all this. The answer arrived in 1957, in the shape of the Canadian Northrop Fryes mighty 'totalization' of all literary genres, Anatomy of Criticism .

The humanities should constitute the core of any university worth the name.

In the end, the humanities can only be defended by stressing how indispensable they are; and this means insisting on their vital role in the whole business of academic learning, rather than protesting that, like some poor relation, they don't cost much to be housed.

Irish fiction is full of secrets, guilty pasts, divided identities. It is no wonder that there is such a rich tradition of Gothic writing in a nation so haunted by history.

The most common mistake students of literature make is to go straight for what the poem or novel says, setting aside the way that it says it. To read like this is to set aside the ‘literariness’ of the work – the fact that it is a poem or play or novel, rather than an account of the incidence of soil erosion in Nebraska.