"But it has also enabled me to find my feet as a lecturer and a reader of my own plays to audiences who like to hear them; and that experience of immediate appreciation gives greater pleasure and more stimulus towards further activity than even the most laudatory of reviews"
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There is a quiet rebuke hiding in Housman’s gratitude: the critic’s rave is inert, but a roomful of listeners is combustible. As a playwright speaking in his own voice, he’s describing an artistic upgrade from mediated approval to direct contact. “Find my feet” signals more than professional confidence; it’s bodily language for a craft that becomes real only when it lands in air, in time, in other people’s attention. Reviews, however “laudatory,” arrive after the fact, embalming the work into verdicts. An audience’s “immediate appreciation” is feedback you can feel while the work is still alive.
The subtext is also economic and cultural. Housman came up in a literary ecosystem where gatekeepers could make a reputation but rarely offered a sustaining relationship with the public. Lecturing and reading plays aloud were early 20th-century ways of bypassing institutions: a creator curates his own reception, turning performance into both proof-of-life and propulsion. He’s not anti-intellectual so much as anti-remote. The line “audiences who like to hear them” is modest on the surface, but it’s doing strategic work: it frames popularity not as pandering, but as a legitimate artistic condition.
What makes the passage effective is its calibrated contrast. “Immediate” versus “most laudatory” doesn’t just rank pleasures; it ranks kinds of authority. Housman is arguing that the truest stimulus comes from communion, not commentary - a surprisingly modern defense of liveness in an age already leaning toward professionalized criticism.
The subtext is also economic and cultural. Housman came up in a literary ecosystem where gatekeepers could make a reputation but rarely offered a sustaining relationship with the public. Lecturing and reading plays aloud were early 20th-century ways of bypassing institutions: a creator curates his own reception, turning performance into both proof-of-life and propulsion. He’s not anti-intellectual so much as anti-remote. The line “audiences who like to hear them” is modest on the surface, but it’s doing strategic work: it frames popularity not as pandering, but as a legitimate artistic condition.
What makes the passage effective is its calibrated contrast. “Immediate” versus “most laudatory” doesn’t just rank pleasures; it ranks kinds of authority. Housman is arguing that the truest stimulus comes from communion, not commentary - a surprisingly modern defense of liveness in an age already leaning toward professionalized criticism.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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