The International Typebook 111

TIMES

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890

abcdefghijklmnopqrstuvwxyzfifl.,()ÆŒœ?&-

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890
abcdefghijklmnopqrstuvwxyzfifl., ()ÆŒœ? &-
ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890
abcdefghijklmnopqrstuvwxyzfifl.’ ; : ()ÆŒœ?&-

14 POINT TIMES, ITALIC AND BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890
abcdefghijklmnopqrstuvwxyzfifl.,-l’;:()ÆŒœ?&-
ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890
abcdefghijklmnopqrstuvwxyzfifl-,-(’;:()ÆŒœ? &-
ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890
abcdefghijklmnopqrstuvwxyzfifl.,-‘’;:()ÆŒœ?&-

12 POINT TIMES, ITALIC AND BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890
abcdefghijklmnopqrstuvwxyzfifl. ()ÆŒœ?&-

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890
abcdefghijklmnopqrstuvwxyzfifl-,-'’ ;:()ÆŒœ?&-
ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890

abcdefghijklmnopqrstuvwxyzfifl.,-‘’;:()ÆŒœ?&-

11 POINT TIMES, ITALIC AND BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl.,-‘,;:()ÆŒœ?&-

ABCDEFGHJJKLMNOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl.,-";:()ÆŒœ?&-

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl.,-‘’;:()ÆŒœ?&-

10 POINT TIMES, ITALIC AND BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl.,-‘’;:()ÆŒœ?&-

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl-,-‘';:()ÆŒœ?&-

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzflfl.,-‘’;:()ÆŒœ?&-

9 POINT TIMES, ITALIC AND BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl.,-‘’;:()ÆŒœ?&-
ABCDEFGH IJ KLM NOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl ()ÆŒœ?&-

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl.,-‘’;:()ÆŒœ?&-

8 POINT TIMES, ITALIC AND BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl.,-‘’;:()ÆŒœ?&-

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl.,-”;:0ÆŒœ?&-

ABCDEFGHIJKLMNOPQRSTTJVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl.,-‘’;:()ÆŒœ?&-

7 POINT TIMES, ITALIC AND BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl.,-”;:()ÆŒœ?&-

ABCDEFGHIJKLMNOPQRSTUVWXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl.,-";:()ÆŒœ?&-

ABCDEFGHI,ÏKLMNOPQRSTUVVVXYZ$£1234567890abcdefghijklmnopqrstuvwxyzfifl.,-”î:()ÆŒœ?&-

6 POINT TIMES, ITALIC AND BOLD

PICAS

10 POINT

11 POINT

180

TIMES

SOLID

' wh.‘h ь Ѵь use the. novel as a PulPd or a platform, and I believe readers are
misguided when they suppose they can thus easily acquire knowledge. It is a great nuisance
üuuloiawledgB сш only be acquired by hard work. It would be fine if wc could swallow the
powder of profitable information made palatable by the jam of fiction. But the truth is that so
ZÍÍkHmñírF T- “ V a Tre that the powder will be profitable, for the knowledge the
know h 3h' ,h,£unre!,able: and 11 ls bettcr » know a thing at ail than to

SSV. il 3 d,stort?l.tfaahl9n- There ls n° reason why a novelist should be anything but a
ZjV ? en0U8h 'f hC ,S aag00d n0Velist' He should know a litlle about a great many
i к- unnecessary, and sometimes even harmful, for him to be a specialist in any
К ». suujec ní!e nef "“'и?1 a whole sheeP to know what mutton tastes like: it is enough
it he eats a chop. Then, by applying his imagination and his creative faculty to the chop he has
eaten, he can give you a pretty good idea of an Irish stew; but when he goes on from this to
broach his views on sheep-raising, the wool industry and the political situation in Australia it
is wise to accept them with reserve. '

» Iw Zv'ï is at ‘if I?ercy of his bias- ^ subjects he chooses, the characters he invents
and his attitude towards them arc conditioned by it. Whatever he writes is the expression of his
personality and it is the manifestation of his innate instincts, his feelings and his experience
However hard he tries to be objective, he remains the slave of his idiosyncrasies. However hard
he tries to be impartial, he cannot help taking sides. He loads his dice. By the mere fact of
introducing a character to your notice early in his novel, he enlists your interest and vour
SffiS 'ltbat cha!?c,er Henry James insisted again and again that the novelist must
dramatize. That is a telling, though perhaps not very lucid, way of saying that he must arrange
his tacts in such a manner as to capture and hold your attention. So, if need be, he will

SOLID

7/7 PT I think It an abuse to use the novel as a pulpit or a platform, and I believe readers
are misguided when they suppose they can thus easily acquire knowledge. It is a
great nuisance that knowledge can only be acquired by hard work. It would be
tine if we could swallow the powder of profitable information made palatable by
the jam of fiction. But the truth is that, so made palatable, we can’t be sure that
j P°wder "¡ill be profitable, for the knowledge the novelist imparts is biased
and thus unreliable; and it is better not to know a thing at all than to know it in a
distorted fashion. There is no reason why a novelist should be anything but a
novelist. It is enough if he is a good novelist. He should know a little äbout a
great many things, but it is unnecessary, and sometimes even harmful, for him to
be a specialist in any particular subject. He need not eat a whole sheep to know
what mutton tastes like: it is enough if he eats a chop. Then, by applying his
imagination and his creative faculty to the chop he has eaten, he can give you a
pretty good idea of an Irish stew; but when he goes on from this to broach his
views on sheep-raising, the wool industry and the political situation in Australia
it is wise to accept them with reserve.

The novelist is at the mercy of his bias. The subjects he chooses, the characters
he invents and his attitude towards them are conditioned by it. Whatever he
writes is the expression of his personality and it is the manifestation of his innate

2PT LEADED

6/8 PT I think it an abuse to use the novel as a pulpit or a platform, and I believe readers are
misguided when they suppose they can thus easily acquire knowledge. It is a great nuisance
that knowledge can only be acquired by hard work. It would be fine if we could swallow the
powder of profitable information made palatable by the jam of fiction. But the truth is that, so
made palatable, we can't be sure that the powder will be profitable, for the knowledge the
novelist imparts is biased and thus unreliable; and it is better not to know a thing at all than to
know it in a distorted fashion. There is no reason why a novelist should be anything but a
novelist. It is enough if he is a good novelist. He should know a little about a great many
things, but it is unnecessary, and sometimes even harmful, for him to be a specialist in any
particular subject. He need not eat a whole sheep to know what mutton tastes like: it is enough
if he eats a chop. Then, by applying his imagination and his creative faculty to the chop he has
eaten, he can give you a pretty good idea of an Irish stew; but when he goes on from this to
broach his views on sheep-raising, the wool industry and the political situation in Australia, it
is wise to accept them with reserve.

The novelist is at the mercy of his bias. The subjects he chooses, the characters he invents
and his attitude towards them arc conditioned by it. Whatever he writes is the expression of his
personality and it is the manifestation of his innate instincts, his feelings and his experience.

2PT LEADED

7/9 PT I think it an abuse to use the novel as a pulpit or a platform, and I believe readers
are misguided when they suppose they can thus easily acquire knowledge. It is a
great nuisance that knowledge can only be acquired by hard work. It would be
fine if we could swallow the powder of profitable information made palatable by
the jam of fiction. But the truth is that, so made palatable, we can’t be sure that
the powder will be profitable, for the knowledge the novelist imparts is biased
and thus unreliable; and it is better not to know a thing at all than to know it in a
distorted fashion. There is no reason why a novelist should be anything but a
novelist. It is enough if he is a good novelist. He should know a little about a
great many things, but it is unnecessary, and sometimes even harmful, for him to
be a specialist in any particular subject. He need not eat a whole sheep to know
what mutton tastes like: it is enough if he eats a chop. Then, by applying his
imagination and his creative faculty to the chop he has eaten, he can give you a
pretty good idea of an Irish stew; but when he goes on from this to broach his
views on sheep-raismg, the wool industry and the political situation in Australia,

4PT LEADED

6/10 PT I think it an abuse to use the novel as a pulpit or a platform, and I believe readers are
misguided when they suppose they can thus easily acquire knowledge. It is a great nuisance
that knowledge can only be acquired by hard work. It would be fine if we could swallow the
powder of profitable information made palatable by the jam of fiction. But the truth is that, so
made palatable, we can’t be sure that the powder will be profitable, for the knowledge the
novelist imparts is biased and thus unreliable; and it is better not to know a thing at all than to
know it in a distorted fashion. There is no reason why a novelist should be anything but a
novelist. It is enough if he is a good novelist. He should know a little about a great many
things, but it is unnecessary, and sometimes even harmful, for him to be a specialist in any
particular subject. He need not eat a whole sheep to know what mutton tastes like: it is enough
if he eats a chop. Then, by applying his imagination and his creative faculty to the chop he has
eaten, he can give you a pretty good idea of an Irish stew: but when he goes on from this to
broach his views on sheep-raising, the wool industry and the political situation in Australia, it
is wise to accept them with reserve.

4PT LEADED

7/11 PT I think It an abuse to use the novel as a pulpit or a platform, and I believe readers
are misguided when they suppose they can thus easily acquire knowledge. It is a
great nuisance that knowledge can only be acquired by hard work. It would be
fine if we could swallow the powder of profitable information made palatable by
the jam of fiction. But the truth is that, so made palatable, we can’t be sure that
the powder will be profitable, for the knowledge the novelist imparts is biased
and thus unreliable; and it is better not to know a thing at all than to know it in a
distorted fashion. There is no reason why a novelist should be anything but a
novelist. It is enough if he is a good novelist. He should know a little about a
great many things, but it is unnecessary, and sometimes even harmful, for him to
be a specialist in any particular subject. He need not eat a whole sheep to know
what mutton tastes like: it is enough if he eats a chop. Then, by applying his
imagination and his creative faculty to the chop he has eaten, he can give you a

4PT LEADED, CONDENSED TO THE CHARACTER WIDTH OF 5PT

6/10 PT I think it an abuse to use the novel as a pulpit or a platform, and I believe readers are misguided when they
suppose they ran thus easily acquire knowledge. It is a great nuisance that knowledge can only be acquired by
haid work. II would be fine if we could swallow (he powder of profitable information made palatable by the jam
of fiction. But the truth is that, so made palatable, we can’t be sure that the powder will be profitable, for the
knowledge the novelist imparts is biased and thus unreliable; and it is better not to know a thing at all than to
know it in a distorted fashion. There is no reason why a novelist should be anything but a novelist. It is enough if
he is a good novelist. He should know a little about a great many things, but it is unnecessary, and sometimes ewm
harmful, for him lo be a specialist in any particular subject. He need not eal a whole sheep lo know what mutton
tastes like: it is enough if he eats a chop. Then, by applying his imagination and his creative faculty to the chop he
has eaten, he can give you a pretty good idea of an Irish stew: but when he goes on from this to broach his views
on sheep-raising, the wool industiy and the political situation in Australia, it is wise to accept them with reserve.

The novelist is at the mercy of his bias. The subjects he chooses, the characters he invents and his attitude
towards them are conditioned by it. Whatever he writes is the expression of his personality and it is the
manifestation of his innate instincts, his feelings and his experience. However hard he tries to be objective, he

4PT LEADED, CONDENSED TO THE CHARACTER WIDTH OF 6PT

7/11 PT I think it an abuse to use the novel as a pulpit or a platform, and I believe readers are
misguided when they suppose they can thus easily acquire knowledge. It is a great nuisance
that knowledge can only be acquired by hard work. It would be fine if we could swallow the
powder of profitable information made palatable by the jam of fiction. But the truth is that, so
made palatable, we can't be sure that the powder will be profitable, for the knowledge the
novelist imparts is biased and thus unreliable; and it is better not to know a thing at all than to
know it in a distorted fashion. There is no reason why a novelist should be anything but a
novelist. It is enough if he is a good novelist. He should know a little about a great many
things, but it is unnecessary, and sometimes even harmful, for him to be a specialist in any
particular subject. He need not eat a whole sheep to know what mutton tastes like: it is enough
if he eats a chop. Then, by applying his imagination and his creative faculty to the chop he has
eaten, he can give you a pretty good idea of an Irish stew; but when he goes on from this to
broach his views on sheep-raising, the wool industry and the political situation in Australia, it

The Art of Fiction W Somerset Maugham

181