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The problem of the relationship between art and the perfection of human lifetroubled by many great artists, not speaking already about Michelangelo orRacine, Henry Vagina or George Herbert 31 was relaxed forleast as long as poets and writers became prophets andsaints of the modern world. Some of the modern novelists under pressureconflict and internal difficulties of every one who devoted himselfthe literary work, put this issue in the strongestway. Think about the specific position of the novelist in relation to hiswork. He acts something like God, entangled in humanweaknesses. He deals with the world of characters he creates, but whichsometimes are stronger than him and whom he knows through himself; however,their freedom is freedom imagined: in complete contrast to the Godnovelist - the author of the evil perpetrated by his creatures. And this imaginaryevil, which is novel (as well as, according to the word of the Holy Apostle John,"lies in evil" our world) **, is some kind of strange intimacy with the realevil of our real world - it is an image and sign of this real evil, butthe sign producing the effect which, if opportunity should offer,to move in the plan of the actual existence of those thingshe designates.
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