『Medieval English Literature』のカバーアート

Medieval English Literature

Medieval English Literature

著者： Willliam Paton Ker
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I have very little doubt in my own mind that why so many young men despise and even deride knowledge is because knowledge has been presented to them in so arid a form, so little connected with anything that concerns them in the remotest degree. We ought, I think, to wind our way slowly back into the past from the present; we ought to start with modern problems and modern ideas, and show people how they came into being; we ought to learn about the world, as it is, first, and climb the hill slowly. But what we do is to take the history of the past, Athens and Rome and Judæa, three glowing and shining realms, I readily admit; but we leave the gaps all unbridged, so that it seems remote, abstruse, and incomprehensible that men should ever have lived and thought so. I was reading a few days ago a little book by Professor Ker, on mediæval English, and reading it with a species of rapture. It all came so freshly and pungently out of a full mind, penetrated with zest and enjoyment. One followed the little rill of literary craftsmanship so easily out of the plain to its high source among the hills, till I wondered why on earth I had not been told some of these delightful things long ago, that I might have seen how our great literature took shape. Such scraps of knowledge as I possess fell into shape, and I saw the whole as in a map outspread. (excerpted from Joyous Gard by Arthur Christopher Benson)Copyright Horror Genre アート 天文学 天文学・宇宙科学 文学史・文学批評 科学
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  • Phaedo-Plato (Πλάτων)

    Phaedo-Plato (Πλάτων)
    2026/08/24
    I have very little doubt in my own mind that why so many young men despise and even deride knowledge is because knowledge has been presented to them in so arid a form, so little connected with anything that concerns them in the remotest degree. We ought, I think, to wind our way slowly back into the past from the present; we ought to start with modern problems and modern ideas, and show people how they came into being; we ought to learn about the world, as it is, first, and climb the hill slowly. But what we do is to take the history of the past, Athens and Rome and Judæa, three glowing and shining realms, I readily admit; but we leave the gaps all unbridged, so that it seems remote, abstruse, and incomprehensible that men should ever have lived and thought so. I was reading a few days ago a little book by Professor Ker, on mediæval English, and reading it with a species of rapture. It all came so freshly and pungently out of a full mind, penetrated with zest and enjoyment. One followed the little rill of literary craftsmanship so easily out of the plain to its high source among the hills, till I wondered why on earth I had not been told some of these delightful things long ago, that I might have seen how our great literature took shape. Such scraps of knowledge as I possess fell into shape, and I saw the whole as in a map outspread. (excerpted from Joyous Gard by Arthur Christopher Benson)
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    I have very little doubt in my own mind that why so many young men despise and even deride knowledge is because knowledge has been presented to them in so arid a form, so little connected with anything that concerns them in the remotest degree. We ought, I think, to wind our way slowly back into the past from the present; we ought to start with modern problems and modern ideas, and show people how they came into being; we ought to learn about the world, as it is, first, and climb the hill slowly. But what we do is to take the history of the past, Athens and Rome and Judæa, three glowing and shining realms, I readily admit; but we leave the gaps all unbridged, so that it seems remote, abstruse, and incomprehensible that men should ever have lived and thought so. I was reading a few days ago a little book by Professor Ker, on mediæval English, and reading it with a species of rapture. It all came so freshly and pungently out of a full mind, penetrated with zest and enjoyment. One followed the little rill of literary craftsmanship so easily out of the plain to its high source among the hills, till I wondered why on earth I had not been told some of these delightful things long ago, that I might have seen how our great literature took shape. Such scraps of knowledge as I possess fell into shape, and I saw the whole as in a map outspread. (excerpted from Joyous Gard by Arthur Christopher Benson)
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    1 時間 47 分
  • Cellar-House of Pervyse-Mairi Chisholm, Elsie Knocker

    Cellar-House of Pervyse-Mairi Chisholm, Elsie Knocker
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    I have very little doubt in my own mind that why so many young men despise and even deride knowledge is because knowledge has been presented to them in so arid a form, so little connected with anything that concerns them in the remotest degree. We ought, I think, to wind our way slowly back into the past from the present; we ought to start with modern problems and modern ideas, and show people how they came into being; we ought to learn about the world, as it is, first, and climb the hill slowly. But what we do is to take the history of the past, Athens and Rome and Judæa, three glowing and shining realms, I readily admit; but we leave the gaps all unbridged, so that it seems remote, abstruse, and incomprehensible that men should ever have lived and thought so. I was reading a few days ago a little book by Professor Ker, on mediæval English, and reading it with a species of rapture. It all came so freshly and pungently out of a full mind, penetrated with zest and enjoyment. One followed the little rill of literary craftsmanship so easily out of the plain to its high source among the hills, till I wondered why on earth I had not been told some of these delightful things long ago, that I might have seen how our great literature took shape. Such scraps of knowledge as I possess fell into shape, and I saw the whole as in a map outspread. (excerpted from Joyous Gard by Arthur Christopher Benson)
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    5 時間 38 分
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