By Robert C. Baldwin, James A. McPeek
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Additional resources for An Introduction to Philosophy through Literature
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23 In keeping with this thesis, Lodge is prepared to see no difference between the kind of choice a writer makes in deciding to call a character dark or fair, and the choice between synonyms such as dark and swarthy. All the choices the author makes are equally matters of language. 4 Comparing dualism and monism We can see the justice of Lodge’s claim that there is no discontinuity between the way language is used in prose and in poetry. But this conclusion should lead us to an accommodation between dualism and monism rather than the rejection of one in favour of the other.
To put it most simply, dualism is happier with prose, and monism with poetry. But this oversimplifies a more complex situation. If the difference between prose and poetry is defined at its most banal level, by the absence or presence of verse form, then some types of poetry are more ‘prosaic’ than others, and some types of prose are more ‘poetic’ than others. Here we may confront Lodge with his fellow critic–novelist, Anthony Burgess, who in Joysprick: an introduction to the language of James Joyce, proposes a division of novelists into ‘Class 1’ and ‘Class 2’.
The desk and the shelf above it on which rested the ledgers in which McCaslin recorded the slow outward trickle of food and supplies and equipment which returned each fall as cotton made and ginned and sold . . This is then ‘destransformed’ as follows: 18 Style and choice [9] . . the desk. The shelf was above it. The ledgers rested on the shelf. The ledgers were old. McCaslin recorded the trickle of food in the ledgers. McCaslin recorded the trickle of supplies in the ledgers. McCaslin recorded the trickle of equipment in the ledgers.