[I]f self-deception has to be risked anyhow, it might be better to risk it to take a broad view than a narrow view. It may be foolish, perhaps even dangerous, to wander too far from the highway and then be the dupe of fantasies; but it may be even more foolish, even more dangerous in the end, to be so determined to keep to the well-tested road that you wear blinkers, see nothing of the surrounding landscape, and find the road itself, all that you can see, more and more wearisome and detestable.

Shaw presumes that his friend Stalin has everything under control. Well, Stalin may have made special arrangements to see that Shaw comes to no harm, but the rest of us in Western Europe do not feel quite so sure of our fate, especially those of us who do not share Shaw's curious admiration for dictators.

Miss Matfield liked her fiction to be full of jungles, coral reefs, plantations, lagoons, hibiscus flowers, the scent of vanilla, schooners on the wide Pacific, tropical nights. So long as the young man was first shown to her dressed in white and lounging on a veranda, while a noiseless brown figure brought him something long and cool to drink, she was ready to follow his love story to the end. If the story had no love in it but had the right exotic setting, she would read it, but she preferred a fairly strong love interest. She had not bad taste, and if the story was written for her by Joseph Conrad, so much the better; but she was ready to endure if not to delight in authors of a very different cut from Conrad if they would only give her the jungles and lagoons and coral reefs and mysterious brown faces. The worst story about Malaysia was preferable to the best story about Marylebone.

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Fully to appreciate a play we have to maintain a delicate balance between what is taking place apparently on two different levels of the mind. On one level we are involved in the drama, are living imaginatively with its characters. On the other level we are enjoying a performance by actors on a stage, being fully aware that we are in a theatre.

Science can function only by abstracting from the reality in which the scientist has his being. In spite of the astonishing complications it discovers, with which it dazzles and almost blinds us, science is compelled by its own terms of reference to be a drastic simplification.

I have pointed out already how ideas seep down to wider and commoner levels of intelligence and feeling until at last they are believed to be solid realities. It is precisely the 'hard-headed and realistic' who all too often exist in cages made out of largely discredited hypotheses. They serve prison sentences behind walls and doors they only imagine are there.

If what we are all trying to do is to describe reality, an intuitive interpretation of actual experience, however loose the terms it employs, may bring us closer to it than the most rigorous linguistics and the severest logic. These last may leave so little room to manœuvre that they cannot capture any experience outside an accepted narrow pattern; and indeed they may operate (for philosophers do not live in a vacuum) to insist upon that pattern and to deny everything outside it.

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He was quite capable of talking just as men talk in bad stories in popular magazines, and Miss Matfield had sometimes wondered whether it was because he had read a great many bad stories or because the stories were nearer the truth than one thought and were worked up, on the fringes of Empire, out of men like Major Ansdell.

Because most children are highly imaginative, it is supposed by some that to reach maturity we ought to leave imagination behind, like the habit of smearing our faces with jam or chocolate. But an adult in whom imagination has withered is mentally lame and lopsided, in danger of turning into a zombie or a murderer. It is the creative imagination that has given our ruthless bloodthirsty species its occasional gleams of nobility, its hope of rising above the muck it spreads.