Our easiest approach to a definition of any aspect of fiction is always by considering the sort of demand it makes on the reader. Curiosity for the story, human feelings and a sense of value for the characters, intelligence and memory for the plot. What does fantasy ask of us? It asks us to pay something extra.
It is not that the Englishman can't feel-it is that he is afraid to feel. He has been taught at his public school that feeling is bad form. He must not express great joy or sorrow, or even open his mouth too wide when he talks-his pipe might fall out if he did.
He doesn't want you to be real, and to think and to live. He doesn't love you. But I love you. I want you to have your own thoughts and ideas and feelings, even when I hold you in my arms.
The crime of suicide lies rather in its disregard for the feelings of those whom we leave behind.
I am so used to seeing the sort of play which deals with one man and two women. They do not leave me with the feeling I have made a full theatrical meal they do not give me the experience of the multiplicity of life.
There are occasions when I would rather feel like a fly than a spider.
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