Sublime

For the drama to deepen, we must see the loneliness of the monster and the cunning of the innocent. Above all, it is the narrator who must complicate in order that the subject be given life.

The omniscient narrative voice therefore runs the risk of killing the dramatic tension you are trying to create.

But virtues should be signaled, and the signalers should act to make their virtues manifest.

The Medieval Model is, if we may use the word, anthropoperipheral. We are creatures of the Margin.

“…the stammerings of an old man who does not seem to have achieved a full psychic victory over an awkward adolescence…”

(Here being a veritable law of bureaucratic administration, it turned out: The more compassionate and effective the high-level official, the more unpleasant and Cerberusian the secretary who barred one’s access to him.)

Weaver was a professor of rhetoric.

Here was argument and counterargument, claim and counterclaim, criticism of relevant texts, the most careful scrutiny of the previously uttered sentences of one’s opponent.

There is a very good case for those who really are concerned about purposes and problems, and who find that they are very falsely and crookedly presented in dramas and stories.