By Edmund Burke, Ian Harris
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Extra resources for Pre-Revolutionary Writings
When you know how to deal with poems and quintets and sculptures, you already know how to deal with all sorts of other things. You have no particular problem with the Walrus, Walrus feelings, and Walrus facts. You know what to do and what to expect in most cases. You know, for instance, that Walrus garrulity is not to be explained by natural selection. ” And you will sometimes be corrected by other people, though of course not by the Walrus, if you get it too wrong (but then again naturalists don’t get corrected by walruses either).
Alice never manages to demonstrate that their introductions were wrong and that she has been badly introduced. This means both that Alice cannot argue with those who describe her and that the impressions of those ﬁrst meetings cannot be corrected, as you would correct a mistaken calculation. In this she is just like the hapless ﬁsh-quintet. w h at art is lik e §89. ’ is supposed to be answered by introduction, though introductions may go wrong and you should not expect any immediate signs of wrongness, like, say, a rash developing.
Cried Alice hastily, afraid that she had hurt the poor animal’s feelings. ’ ” This seems to do the trick. ’ cried the Mouse in a shrill passionate voice. ’ ” So the Mouse knows both English and French. §79. The Mouse of course knows whatever Alice knows and will react to whatever language it knows. That it didn’t react to the English at ﬁrst may only show that it didn’t intend to. And its not intending to speak comes from the talking that is done about it. Having “looked at her rather inquisitively”, and having “seemed to her to wink one of its little eyes,” the mouse, soon to become Mouse, appears capable of looking back in deliberate ways, and probably also of asking questions, winking, and, more to the point, appears capable of wanting to do such things; and thus it appears perfectly capable of not wishing to speak.
Pre-Revolutionary Writings by Edmund Burke, Ian Harris