a fool in the forest


  • A fool, a fool! I met a fool i' the
    A motley fool; a miserable world!
    As I do live by food, I met a fool
    Who laid him down and bask'd him
        in the sun,
    And rail'd on Lady Fortune in good
    In good set terms and yet a motley

    As You Like It,
    Act II, Scene 7

    L'homme y passe à travers des
        forêts de symboles
    Qui l'observent avec des regards

    Les Fleurs du Mal,

    [T]here is almost no subject-matter, and what little one can disentangle is foolish....
    One would call the style verbose, except that by definition verbosity is the use of words in excess of the occasion, and there seems to be no occasion.

    Yvor Winters,
    Forms of Discovery, Ch. 7

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    « For the 4th | Main | Bringing New Meaning to the Term, "Culture War" »

    July 07, 2004


    Rick Coencas

    Glad to see we agree on the "immutables", like Gene Kelly, Eliot, Flannery O'Connor and Red Wine. But Wagner... Max... Wagner?

    George Wallace

    When the alternative is Verdi, that seems the correct choice. Perhaps I should have stated my preference for Richard Strauss over both of those options as my preferred Master Operatist.

    Another immutable perhaps: Mel Brooks over Woody Allen? Howzabout Woody, pre-Annie Hall or post- ?

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