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THE
ANATOMY
OF
CRITICISM
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igue
BY
HENRY HAZLITT
NEW YORKSIMON AND SCHUSTER
1933
 
COPYRIGHT, 1933, BY HENRY HAZLITTPUBLISHED BY SIMON AND SCHUSTER, INC386 FOURTH AVENUE, NEW YORK, N.Y.ALL RIGHTS RESERVED
MANUFACTURED IN THE UNITED STATES OF AMERICABY J. J. LITTLE & IVES COMPANY, NEW YORKDESIGNED BY ROBERT JOSEPHY
 
••••••••••••I
PREFACE
SOMEHOW I feel that I ought to apologize forhaving cast the present volume in dialogue. I donot know precisely why one should feel obliged tooffer excuses for employing a form that goes backat least to Plato, that has been used by Hobbes,Hume, Berkeley, Voltaire, Diderot, Schopenhauer,De Quincey, Landor, and, in our own day, by LowesDickinson and Santayana. But the fact remains thata large number of readers have a tendency to shyoff from a modern dialogue as they would from amodern tragedy in blank verse. Such an aversionis not without grounds. Most dialogue presents atleast two obstacles to the reader, one superficial, theother more deep-seated. The superficial obstacle isthe curious survival of the convention of endowingthe speakers with Greek names—names which, formost present-day readers, are either annoyinglyanachronistic, too long, too perilous to pronounce,too hard to keep in mind, or completely withoutmeaning. Certainly it would not add to the popu-larity of the modern drama if the same conventionhad been retained there also. The deeper obstacle
of 00

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