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f a man does not spend at least as much time in actively and definitely thinking about what he has read as he has spent in reading, he is simply insulting his author. If he does not submit himself to intellectual and emotional fatigue in classifying the communicated ideas, and in emphasising on his spirit the imprint of the communicated emotions--then reading with him is a pleasant pastime and nothing else. This is a distressing fact. But it is a fact. It is distressing, for the reason that meditation is not a popular exercise. If a friend asks you what you did last night, you may answer, "I was reading," and he will be impressed and you will be proud. But if you answer, "I was meditating," he will have a tendency to smile and you will have a tendency to blush. I know this. I feel it myself. (I cannot offer any explanation.) But it does not shake my conviction that the absence of meditation is the main origin of disappointing stocktakings. BY THE SAME AUTHOR NOVELS A MAN FROM THE NORTH ANNA OF THE FIVE TOWNS LEONORA A GREAT MAN SACRED AND PROFANE LOVE WHOM GOD HATH JOINED BURIED ALIVE THE OLD WIVES' TALE THE GLIMPSE HELEN WITH THE HIGH HAND CLAYHANGER THE CARD FANTASIAS THE GRAND BABYLON HOTEL THE GATES OF WRATH TERESA OF WATLING STREET THE LOOT OF CITIES HUGO THE GHOST THE CITY OF PLEASURE SHORT STORIES TALES OF THE FIVE TOWNS THE GRIM SMILE OF THE FIVE TOWNS BELLES-LETTRES JOURNALISM FOR WOMEN FAME AND FICTION HOW TO BECOME AN AUTHOR THE TRUTH ABOUT AN AUTHOR THE REASONABLE LIFE HOW TO LIVE ON TWENTY-FOUR HOURS A DAY THE HUMAN MACHINE LITERARY TASTE MENTAL EFFICIENCY DRAMA POLITE FARCES CUPID AND COMMONSENSE WHAT THE PUBLIC WANTS (IN COLLABORATION WITH EDEN PHILLPOTTS) THE SINEWS OF WAR: A ROMANCE THE STATUE: A ROMANCE ***END OF THE PROJECT GUTENBERG EBOOK LITERARY TASTE: HOW TO FORM IT*** ******* This file should be named 13852.txt or 13852.zip ******* This and all associated files of various formats will be found in: http://www.gutenberg.org/dirs/1/3/8/5/13852 Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without p
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