Book contents
- Frontmatter
- Contents
- General Introduction
- Introduction to Volume 2
- Chronology of the Life and Major Works of Andrew Lang
- A Note on the Text
- Acknowledgements
- I CRITICS AND CRITICISM
- 2 REALISM, ROMANCE AND THE READING PUBLIC
- 3 ON WRITERS AND WRITING
- 4 SCOTLAND, HISTORY AND BIOGRAPHY
- 5 THE BUSINESS AND INSTITUTIONS OF LITERARY LIFE
- ‘At the Sign of the Ship’, Longman's Magazine (March 1886)
- ‘At the Sign of the Ship’, Longman's Magazine (August 1886)
- ‘At the Sign of the Ship’, Longman's Magazine (July 1893)
- ‘At the Sign of the Ship’, Longman's Magazine (July 1893)
- ‘At the Sign of the Ship’, Longman's Magazine (July 1893)
- ‘At the Sign of the Ship’, Longman's Magazine (July 1893)
- ‘At the Sign of the Ship’, Longman's Magazine (July 1893)
- ‘The Teaching of Literature’, The Pilot (April 1901)
- APPENDIX: Names Frequently Cited By Lang
- Explanatory Notes
- Index
‘At the Sign of the Ship’, Longman's Magazine (July 1893)
from 5 - THE BUSINESS AND INSTITUTIONS OF LITERARY LIFE
Published online by Cambridge University Press: 25 October 2017
- Frontmatter
- Contents
- General Introduction
- Introduction to Volume 2
- Chronology of the Life and Major Works of Andrew Lang
- A Note on the Text
- Acknowledgements
- I CRITICS AND CRITICISM
- 2 REALISM, ROMANCE AND THE READING PUBLIC
- 3 ON WRITERS AND WRITING
- 4 SCOTLAND, HISTORY AND BIOGRAPHY
- 5 THE BUSINESS AND INSTITUTIONS OF LITERARY LIFE
- ‘At the Sign of the Ship’, Longman's Magazine (March 1886)
- ‘At the Sign of the Ship’, Longman's Magazine (August 1886)
- ‘At the Sign of the Ship’, Longman's Magazine (July 1893)
- ‘At the Sign of the Ship’, Longman's Magazine (July 1893)
- ‘At the Sign of the Ship’, Longman's Magazine (July 1893)
- ‘At the Sign of the Ship’, Longman's Magazine (July 1893)
- ‘At the Sign of the Ship’, Longman's Magazine (July 1893)
- ‘The Teaching of Literature’, The Pilot (April 1901)
- APPENDIX: Names Frequently Cited By Lang
- Explanatory Notes
- Index
Summary
Preface. This lecture was delivered at the South Kensington Museum, in aid of the College for Working Men and Women. As the Publishers, perhaps erroneously, believe that some of the few authors who were not present may be glad to study the advice here proffered, the Lecture is now printed. It has been practically re-written, and, like the kiss which the Lady returned to Rudolphe, is revu, corrigé, et considerablement augmenté.
What should be a man's or a woman's reason for taking literature as a vocation, what sort of success ought they to desire, what sort of ambition should possess them? These are natural questions, now that so many readers exist in the world, all asking for something new, now that so many writers are making their pens ‘in running to devour the way’ over so many acres of foolscap. The legitimate reasons for enlisting (too often without receiving the shilling) in this army of writers are not far to seek. A man may be convinced that he has useful, or beautiful, or entertaining ideas within him, he may hold that he can express them in fresh and charming language. He may, in short, have a ‘vocation,’ or feel conscious of a vocation, which is not exactly the same thing. There are ‘many thyrsus bearers, few mystics,’ many are called, few chosen. Still, to be sensible of a vocation is something, nay, is much, for most of us drift without any particular aim or predominant purpose. Nobody can justly censure people whose chief interest is in letters, whose chief pleasure is in study or composition, who rejoice in a fine sentence as others do in a well modelled limb, or a delicately touched landscape, nobody can censure them for trying their fortunes in literature. Most of them will fail, for, as the bookseller's young man told an author once, they have the poetic temperament, without the poetic power. Still among these whom Pendennis has tempted, in boyhood, to run away from school to literature as Marryat has tempted others to run away to sea, there must be some who will succeed. But an early and intense ambition is not everything, any more than a capacity for taking pains is everything in literature or in any art.
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- The Edinburgh Critical Edition of the Selected Writings of Andrew LangLiterary Criticism, History, Biography, pp. 275 - 290Publisher: Edinburgh University PressPrint publication year: 2015