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Page 9 text:
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PROLOGUE TO The Time Of Your Life In the time of your life, live — so that in that good time there shall be no ugliness or death for yourself or for any life your life touches. Seek goodness everywhere, and when it is found, bring it out of its hiding-place and let it be free and unashamed. Place in matter and in flesh the least of the values, for these are the things that hold death and must pass away. Discover in all things that which shines and is beyond corruption. Encourage virtue in what- ever heart it may have been driven into secrecy and sorrow by the shame and terror of the world. Ignore the obvious, for it is unworthy of the clear eye and the kindly heart. Be the inferior of no man, nor of any man be the superior. Remember that every man is a variation of yourself. No man’s guilt is not yours, nor is any man’s innocence a thing apart. Despise evil and ungodliness, but not men of ungodliness or evil. These understand. Have no shame in being kindly and gentle, but if the time comes in the time of your life to kill, kill and have no regret. In the time of your life, live — so that in that wondrous time you shall not add to the misery and sorrow of the world, but shall smile to the infinite delight and mystery of it. — William Saroyan By permission of Harcourt Brace Co. The Emersonian Eive
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Page 10 text:
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With respect this hook is dedicated ' ' And even the ivise are merry of tongue: ' — Yeats. He stood before us smiling gently, his hand clasping a half-opened volume bound in soft red leather. The book had a slightly worn, familiar look as if it had been used more often than not, but by someone who loved it well. His eyes, always dancing and warm, instantaneously took on more vigor than usual and seemed to be commanding us to listen to what he was about to say. He began to lecture on the sources and general characteristics of the play, and we became aware once more that he was sharing with us something which to him was very vitally alive — not Shakespeare from the sixteenth century redrawn for classical history, not Shakespeare of the dusty tombs and stuffy bookshelves, but Shakespeare as a man whose scope and thought and understanding had been written for us to grasp. We thought of all the plays which had come to us this way, new and bright and ready to be read — Hamlet, King Lear, Julius Caesar, Richard 111, Twelfth Night, A W mter ' s Tale — through the vast store of the little red volume bound in soft leather, filled with notes along the margins of the pages. We thought of the man now standing before us, and remembered the day he had taken the platform to interpret Romeo and Juliet, so that we should never forget the beauty and splendor and significance of the lines. He spoke now of Heminges and Condell, and of the first printing of Shake- speare in the Folios. Of Shakespeare he was speaking as of a man he had per- sonally known and loved well, as of a contemporary for whom he had the deep- est respect, yet someone he knew first as a person, then as an artist. His lecture sparkled with the richness of his interest, with the anecdotes and reminiscences which do not belong in text books, and for lack of which texts are sometimes very dull. He liked to talk of Kittridge, that man who had a similar love for Shake- speare. He liked to tell us of Quartos and Folios still in existence, where they are, and how they had been found. He had brought us to a point where we were anxious for the play itself, anxious for another chance to recapture Shakespeare as a whole and moving force, to understand again how well he knew the greatness of the strivings which make man finally a part of humanity where he meets a common destiny with the rest.
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