One does not argue about The Wind in the Willows.
Interpretation
The quote suggests that certain stories, like 'The Wind in the Willows,' stand on their own merit and evoke strong feelings that are beyond argument.
A. A. Milne's quote highlights the intrinsic value of classic literature, specifically 'The Wind in the Willows.' It implies that the emotional and aesthetic experience offered by such works is profound and universally understood, making it futile to debate their significance or quality. Instead, readers are encouraged to embrace the feelings and memories these stories invoke.
In practice
In a book club discussion, one might reference Milne's quote when sharing their love for classic adaptations.
And how are you?" said Winnie-the-Pooh. Eeyore shook his head from side to side. "Not very how," he said. "I don't seem to have felt at all how for a long time." "Dear, dear," said Pooh, "I'm sorry about that. Let's have a look at you.
Piglet was so excited at the idea of being Useful that he forgot to be frightened any more, and when Rabbit went on to say that Kangas were only Fierce during the winter months, being at other times of an Affectionate Disposition, he could hardly sit still, he was so eager to begin being useful at once.
Time is swift, it races by; Opportunities are born and die... Still you wait and will not try - A bird with wings who dares not rise and fly.
Did I miss?" you asked. "You didn't exactly miss," said Pooh, "But you missed the balloon." "I'm so sorry," you said, and you fired again, and this time you hit the balloon and the air came slowly out, and Winnie-the-Pooh floated down to the ground.
Come, come, come. Without a monster or two it's not a quest, merely a gaggle of friends wandering about.
Friendship," said Christopher Robin, "is a very comforting thing to have.
A big part of me would be very proud never having anything of mine adapted, because if you want the real experience, there's only one way to get it. You're going to actually have to be a reader.
Under adversity, under oppression, the words begin to fail, the easy words begin to fail. In order to convey things accurately, the human being is almost forced to find the most precise words possible, which is a precondition for literature.
Jane Austen is the pinnacle to which all other authors aspire.
Most contemporary novels are not really "written." They obtain what reality they have largely from an accurate rendering of the noises that human beings currently make in their daily simple needs of communication; and what part of a novel is not composed of these noises consists of a prose which is no more alive than that of a competent newspaper writer or government official. A prose that is altogether alive demands something of the reader that the ordinary novel-reader is not prepared to give.
I think often people don't realize the great diversity of Southern writing because in their minds, if you're not from the South, it can seem regional and small, and of course that's not the case at all when you start to read the work.
To say that such-and-such a circumstance is 'Kafkaesque' is to admit to the denigration of an imagination that has burned a hole in what we take to be modernism - even in what we take to be the ordinary fabric and intent of language. Nothing is like 'The Hunger Artist.' Nothing is like 'The Metamorphosis.'
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