000			02909cam a22003253u 4500
001			76777
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005			20260610134758.0
006			m
007			cr n
008			260607r20251911utu|||||o|||||||||||||| d
010			_a12000429
040			_aUtSlPG
041		7	_afr _2iso639-1
050		4	_aZ
100	1		_aFaguet, Émile, _d1847-1916
245	1	2	_aL'art de lire
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2025
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2025-08-31
508			_aLaurent Vogel (This file was produced from images generously made available by the Polona digital library)
520			_a"L''art de lire" by Émile Faguet is a literary essay and practical guide to reading written in the early 20th century. It sets out how to read not as a critic on duty but as a cultivated reader seeking the fullest pleasure and understanding. Faguet argues for slow, attentive reading and tailored methods for different kinds of works—philosophical, sentimental, and dramatic—so that readers think better, feel more truly, and see more clearly. The opening of the book contrasts reading to learn or to judge with reading for enjoyment, and declares the author’s aim: to teach the art of pleasurable, intelligent reading. First comes a cardinal rule—always read slowly, distrust first impressions, avoid skimming—because slowness both deepens comprehension and immediately separates worthwhile books from the rest. For books of ideas, he recommends a continual back-and-forth comparison within the text to uncover an author’s governing notions, their growth and contradictions, illustrating with Plato, Montesquieu, Descartes, and La Rochefoucauld; he frames this as a courteous intellectual fencing match that sharpens the reader’s mind without dogmatism. For books of sentiment, he urges initial surrender to emotion, then a second phase of judgment grounded in real-life observation and self-analysis, with cautions about “exceptional” cases and a brisk portrait gallery of reader types (narrative-chasers, realists, idealists, poetry devotees, seekers of the exceptional, and classicists). Turning to drama, he defends reading plays as an appeal from the theater, and advises reading them as if staged—seeing entrances, groupings, and gestures—especially in Greek tragedy; a detailed example unpacks the physical action embedded in Racine’s Phèdre before the discussion moves toward Athalie. (This is an automatically generated summary.)
534			_pOriginally published: _cParis: Hachette, 1911
653			_aBooks and reading -- France
856	4		_uhttps://polona.pl/preview/7e4c241c-6a74-4f49-bf1c-175875d95b2d
856	4	0	_uhttps://www.gutenberg.org/ebooks/76777
999			_c117502 _d117502