The Defendant

"If, therefore, I am certain that most sensible people have forgotten the existence of this book—I do not speak in modesty or in pride—I wish only to state a simple and somewhat beautiful fact. In one respect the passing of the period during which a book can be considered current has afflicted me with some melancholy, for I had intended to write anonymously in some daily paper a thorough and crushing exposure of the work inspired mostly by a certain artistic impatience of the too indulgent tone of the critiques and the manner in which a vast number of my most monstrous fallacies have passed unchallenged."

"At first sight it would seem that the pessimist encourages improvement. But in reality it is a singular truth that the era in which pessimism has been cried from the house-tops is also that in which almost all reform has stagnated and fallen into decay. The reason of this is not difficult to discover. No man ever did, and no man ever can, create or desire to make a bad thing good or an ugly thing beautiful. There must be some germ of good to be loved, some fragment of beauty to be admired. The mother washes and decks out the dirty or careless child, but no one can ask her to wash and deck out a goblin with a heart like hell. No one can kill the fatted calf for Mephistopheles. The cause which is blocking all progress today is the subtle scepticism which whispers in a million ears that things are not good enough to be worth improving. If the world is good we are revolutionaries, if the world is evil we must be conservatives. These essays, futile as they are considered as serious literature, are yet ethically sincere, since they seek to remind men that things must be loved first and improved afterwards."

"In certain endless uplands, uplands like great flats gone dizzy, slopes that seem to contradict the idea that there is even such a thing as a level, and make us all realize that we live on a planet with a sloping roof, you will come from time to time upon whole valleys filled with loose rocks and boulders, so big as to be like mountains broken loose. The whole might be an experimental creation shattered and cast away. It is often difficult to believe that such cosmic refuse can have come together except by human means. The mildest and most cockney imagination conceives the place to be the scene of some war of giants. To me it is always associated with one idea, recurrent and at last instinctive. The scene was the scene of the stoning of some prehistoric prophet, a prophet as much more gigantic than after-prophets as the boulders are more gigantic than the pebbles. He spoke some words—words that seemed shameful and tremendous—and the world, in terror, buried him under a wilderness of stones. The place is the monument of an ancient fear."

"Religion has had to provide that longest and strangest telescope—the telescope through which we could see the star upon which we dwelt. For the mind and eyes of the average man this world is as lost as Eden and as sunken as Atlantis. There runs a strange law through the length of human history—that men are continually tending to undervalue their environment, to undervalue their happiness, to undervalue themselves. The great sin of mankind, the sin typified by the fall of Adam, is the tendency, not towards pride, but towards this weird and horrible humility."

"The pessimist is commonly spoken of as the man in revolt. He is not. Firstly, because it requires some cheerfulness to continue in revolt, and secondly, because pessimism appeals to the weaker side of everybody, and the pessimist, therefore, drives as roaring a trade as the publican. 'The person who is really in revolt is the optimist, who generally lives and dies in a desperate and suicidal effort to persuade all the other people how good they are. It has been proved a hundred times over that if you really wish to enrage people and make them angry, even unto death, the right way to do it is to tell them that they are all the sons of God. Jesus Christ was crucified, it may be remembered, not because of anything he said about God, but on a charge of saying that a man could in three days pull down and rebuild the Temple. Every one of the great revolutionists, from Isaiah to Shelley, have been optimists. They have been indignant, not about the badness of existence, but about the slowness of men in realizing its goodness. The prophet who is stoned is not a brawler or a marplot. He is simply a rejected lover. He suffers from an unrequited attachment to things in general."

"One of the strangest examples of the degree to which ordinary life is undervalued is the example of popular literature, the vast mass of which we contentedly describe as vulgar. The boy's novelette may be ignorant in a literary sense, which is only like saying that a modern novel is ignorant in the chemical sense, or the economic sense, or the astronomical sense; but it is not vulgar intrinsically—it is the actual centre of a million flaming imaginations."

"But people must have conversation, they must have houses, and they must have stories. The simple need for some kind of ideal world in which fictitious persons play an unhampered part is infinitely deeper and older than the rules of good art, and much more important."

"Literature and fiction are two entirely different things. Literature is a luxury; fiction is a necessity. A work of art can hardly be too short, for its climax is its merit. A story can never be too long, for its conclusion is merely to be deplored, like the last halfpenny or the last pipelight. And so, while the increase of the artistic conscience tends in more ambitious works to brevity and impressionism, voluminous industry still marks the producer of the true romantic trash. There was no end to the ballads of Robin Hood; there is no end to the volumes about Dick Deadshot and the Avenging Nine. These two heroes are deliberately conceived as immortal."

"But this is what we have done with this lumberland of foolish writing: we have probed, as if it were some monstrous new disease, what is, in fact, nothing but the foolish and valiant heart of man. Ordinary men will always be sentimentalists: for a sentimentalist is simply a man who has feelings and does not trouble to invent a new way of expressing them. These common and current publications have nothing essentially evil about them. They express the sanguine and heroic truisms on which civilization is built; for it is clear that unless civilization is built on truisms, it is not built at all."

"If the authors and publishers of 'Dick Deadshot,' and such remarkable works, were suddenly to make a raid upon the educated class, were to take down the names of every man, however distinguished, who was caught at a University Extension Lecture, were to confiscate all our novels and warn us all to correct our lives, we should be seriously annoyed. Yet they have far more right to do so than we; for they, with all their idiotcy, are normal and we are abnormal. It is the modern literature of the educated, not of the uneducated, which is avowedly and aggressively criminal. Books recommending profligacy and pessimism, at which the high-souled errand-boy would shudder, lie upon all our drawing-room tables. If the dirtiest old owner of the dirtiest old bookstall in Whitechapel dared to display works really recommending polygamy or suicide, his stock would be seized by the police. These things are our luxuries. And with a hypocrisy so ludicrous as to be almost unparalleled in history, we rate the gutter-boys for their immorality at the very time that we are discussing (with equivocal German Professors) whether morality is valid at all. At the very instant that we curse the Penny Dreadful for encouraging thefts upon property, we canvass the proposition that all property is theft. At the very instant we accuse it (quite unjustly) of lubricity and indecency, we are cheerfully reading philosophies which glory in lubricity and indecency. At the very instant that we charge it with encouraging the young to destroy life, we are placidly discussing whether life is worth preserving. But it is we who are the morbid exceptions; it is we who are the criminal class. This should be our great comfort. The vast mass of humanity, with their vast mass of idle books and idle words, have never doubted and never will doubt that courage is splendid, that fidelity is noble, that distressed ladies should be rescued, and vanquished enemies spared. There are a large number of cultivated persons who doubt these maxims of daily life."

"But the average man or boy writes daily in these great gaudy diaries of his soul, which we call Penny Dreadfuls, a plainer and better gospel than any of those iridescent ethical paradoxes that the fashionable change as often as their bonnets."

"And if we consider seriously and correctly the nature of vows, we shall, unless I am much mistaken, come to the conclusion that it is perfectly sane, and even sensible, to swear to chain mountains together, and that, if insanity is involved at all, it is a little insane not to do so. The man who makes a vow makes an appointment with himself at some distant time or place. The danger of it is that himself should not keep the appointment. And in modern times this terror of one's self, of the weakness and mutability of one's self, has perilously increased, and is the real basis of the objection to vows of any kind. A modern man refrains from swearing to count the leaves on every third tree in Holland Walk, not because it is silly to do so (he does many sillier things), but because he has a profound conviction that before he had got to the three hundred and seventy-ninth leaf on the first tree he would be excessively tired of the subject and want to go home to tea."

"And the end of all this is that maddening horror of unreality which descends upon the decadents, and compared with which physical pain itself would have the freshness of a youthful thing. The one hell which imagination must conceive as most hellish is to be eternally acting a play without even the narrowest and dirtiest greenroom in which to be human. And this is the condition of the decadent, of the aesthete, of the free-lover. To be everlastingly passing through dangers which we know cannot scathe us, to be taking oaths which we know cannot bind us, to be defying enemies who we know cannot conquer us—this is the grinning tyranny of decadence which is called freedom."

"The revolt against vows has been carried in our day even to the extent of a revolt against the typical vow of marriage. It is most amusing to listen to the opponents of marriage on this subject. They appear to imagine that the ideal of constancy was a yoke mysteriously imposed on mankind by the devil, instead of being, as it is, a yoke consistently imposed by all lovers on themselves. They have invented a phrase, a phrase that is a black and white contradiction in two words—'free-love'—as if a lover ever had been, or ever could be, free. It is the nature of love to bind itself, and the institution of marriage merely paid the average man the compliment of taking him at his word."

"Modern sages offer to the lover, with an ill-flavoured grin, the largest liberties and the fullest irresponsibility; but they do not respect him as the old Church respected him; they do not write his oath upon the heavens, as the record of his highest moment. They give him every liberty except the liberty to sell his liberty, which is the only one that he wants."

"But what have lovers to do with ridiculous affectations of fearing no man or woman? They know that in the turning of a hand the whole cosmic engine to the remotest star may become an instrument of music or an instrument of torture. They hear a song older than Suckling's, that has survived a hundred philosophies. 'Who is this that looketh out of the window, fair as the sun, clear as the moon, terrible as an army with banners?'."

"There are thrilling moments, doubtless, for the spectator, the amateur, and the aesthete; but there is one thrill that is known only to the soldier who fights for his own flag, to the ascetic who starves himself for his own illumination, to the lover who makes finally his own choice. And it is this transfiguring self-discipline that makes the vow a truly sane thing. It must have satisfied even the giant hunger of the soul of a lover or a poet to know that in consequence of some one instant of decision that strange chain would hang for centuries in the Alps among the silences of stars and snows. All around us is the city of small sins, abounding in backways and retreats, but surely, sooner or later, the towering flame will rise from the harbour announcing that the reign of the cowards is over and a man is burning his ships."

"But surely the idea that its leaves are the chief grace of a tree is a vulgar one, on a par with the idea that his hair is the chief grace of a pianist. When winter, that healthy ascetic, carries his gigantic razor over hill and valley, and shaves all the trees like monks, we feel surely that they are all the more like trees if they are shorn, just as so many painters and musicians would be all the more like men if they were less like mops. But it does appear to be a deep and essential difficulty that men have an abiding terror of their own structure, or of the structure of things they love. This is felt dimly in the skeleton of the tree: it is felt profoundly in the skeleton of the man."

"The truth is that man's horror of the skeleton is not horror of death at all. It is man's eccentric glory that he has not, generally speaking, any objection to being dead, but has a very serious objection to being undignified. And the fundamental matter which troubles him in the skeleton is the reminder that the ground-plan of his appearance is shamelessly grotesque. I do not know why he should object to this. He contentedly takes his place in a world that does not pretend to be genteel—a laughing, working, jeering world. He sees millions of animals carrying, with quite a dandified levity, the most monstrous shapes and appendages, the most preposterous horns, wings, and legs, when they are necessary to utility. He sees the good temper of the frog, the unaccountable happiness of the hippopotamus. He sees a whole universe which is ridiculous, from the animalcule, with a head too big for its body, up to the comet, with a tail too big for its head. But when it comes to the delightful oddity of his own inside, his sense of humour rather abruptly deserts him."

"An interesting essay might be written on the enormous number of words that are used as insults when they are really compliments. It is in itself a singular study in that tendency which, as I have said, is always making things out worse than they are, and necessitating a systematic attitude of defence. Thus, for example, some dramatic critics cast contempt upon a dramatic performance by calling it theatrical, which simply means that it is suitable to a theatre, and is as much a compliment as calling a poem poetical. Similarly we speak disdainfully of a certain kind of work as sentimental, which simply means possessing the admirable and essential quality of sentiment."

"Perhaps the most hideous and depressing object in the universe—far more hideous and depressing than one of Mr. H.G. Wells's shapeless monsters of the slime (and not at all unlike them)—is the statue of an English philanthropist. Almost as bad, though, of course, not quite as bad, are the statues of English politicians in Parliament Fields. Each of them is in an oratorical attitude, which has all the disadvantage of being affected without even any of the advantages of being theatrical. Let no one suppose that such abortions arise merely from technical demerit. In every line of those leaden dolls is expressed the fact that they were not set up with any heat of natural enthusiasm for beauty or dignity. They were set up mechanically, because it would seem indecorous or stingy if they were not set up. They were even set up sulkily, in a utilitarian age which was haunted by the thought that there were a great many more sensible ways of spending money."

"The two modes of commemorating a public man are a statue and a biography. They are alike in certain respects, as, for example, in the fact that neither of them resembles the original, and that both of them commonly tone down not only all a man's vices, but all the more amusing of his virtues."

"For this idea, this modern idea that sanctity is identical with secrecy, there is one thing at least to be said. It is for all practical purposes an entirely new idea; it was unknown to all the ages in which the idea of sanctity really flourished. The record of the great spiritual movements of mankind is dead against the idea that spirituality is a private matter. The most awful secret of every man's soul, its most lonely and individual need, its most primal and psychological relationship, the thing called worship, the communication between the soul and the last reality—this most private matter is the most public spectacle in the world. Anyone who chooses to walk into a large church on Sunday morning may see a hundred men each alone with his Maker. He stands, in truth, in the presence of one of the strangest spectacles in the world—a mob of hermits. And in thus definitely espousing publicity by making public the most internal mystery, Christianity acts in accordance with its earliest origins and its terrible beginning. It was surely by no accident that the spectacle which darkened the sun at noonday was set upon a hill. The martyrdoms of the early Christians were public not only by the caprice of the oppressor, but by the whole desire and conception of the victims."

"It is, I am inclined to think, a decadent and diseased purity which has inaugurated this notion that the sacred object must be hidden. The stars have never lost their sanctity, and they are more shameless and naked and numerous than advertisements of Pears' soap. It would be a strange world indeed if Nature was suddenly stricken with this ethereal shame, if the trees grew with their roots in the air and their load of leaves and blossoms underground, if the flowers closed at dawn and opened at sunset, if the sunflower turned towards the darkness, and the birds flew, like bats, by night."

"There are two equal and eternal ways of looking at this twilight world of ours: we may see it as the twilight of evening or the twilight of morning; we may think of anything, down to a fallen acorn, as a descendant or as an ancestor. There are times when we are almost crushed, not so much with the load of the evil as with the load of the goodness of humanity, when we feel that we are nothing but the inheritors of a humiliating splendour."

"Every great literature has always been allegorical—allegorical of some view of the whole universe. The 'Iliad' is only great because all life is a battle, the 'Odyssey' because all life is a journey, the Book of Job because all life is a riddle."

"Religion has for centuries been trying to make men exult in the 'wonders' of creation, but it has forgotten that a thing cannot be completely wonderful so long as it remains sensible. So long as we regard a tree as an obvious thing, naturally and reasonably created for a giraffe to eat, we cannot properly wonder at it. It is when we consider it as a prodigious wave of the living soil sprawling up to the skies for no reason in particular that we take off our hats, to the astonishment of the park-keeper. Everything has in fact another side to it, like the moon, the patroness of nonsense. Viewed from that other side, a bird is a blossom broken loose from its chain of stalk, a man a quadruped begging on its hind legs, a house a gigantesque hat to cover a man from the sun, a chair an apparatus of four wooden legs for a cripple with only two."

"Nonsense and faith (strange as the conjunction may seem) are the two supreme symbolic assertions of the truth that to draw out the soul of things with a syllogism is as impossible as to draw out Leviathan with a hook."

"For, despite Mr. Wardlaw Scott's horror at the Newtonian astronomy and its contradiction of the Bible, the whole distinction is a good instance of the difference between letter and spirit; the letter of the Old Testament is opposed to the conception of the solar system, but the spirit has much kinship with it. The writers of the Book of Genesis had no theory of gravitation, which to the normal person will appear a fact of as much importance as that they had no umbrellas. But the theory of gravitation has a curiously Hebrew sentiment in it—a sentiment of combined dependence and certainty, a sense of grappling unity, by which all things hang upon one thread. 'Thou hast hanged the world upon nothing,' said the author of the Book of Job, and in that sentence wrote the whole appalling poetry of modern astronomy. The sense of the preciousness and fragility of the universe, the sense of being in the hollow of a hand, is one which the round and rolling earth gives in its most thrilling form. Mr. Wardlaw Scott's flat earth would be the true territory for a comfortable atheist. Nor would the old Jews have any objection to being as much upside down as right way up. They had no foolish ideas about the dignity of man."

"Mr. Wardlaw Scott, for example, with genuine, if unconscious, imagination, says that according to astronomers, 'the sea is a vast mountain of water miles high.' To have discovered that mountain of moving crystal, in which the fishes build like birds, is like discovering Atlantis: it is enough to make the old world young again."

"Among all the strange things that men have forgotten, the most universal and catastrophic lapse of memory is that by which they have forgotten that they are living on a star."

"In the early days of the world, the discovery of a fact of natural history was immediately followed by the realization of it as a fact of poetry."

"But for some mysterious reason this habit of realizing poetically the facts of science has ceased abruptly with scientific progress, and all the confounding portents preached by Galileo and Newton have fallen on deaf ears. They painted a picture of the universe compared with which the Apocalypse with its falling stars was a mere idyll. They declared that we are all careering through space, clinging to a cannon-ball, and the poets ignore the matter as if it were a remark about the weather. They say that an invisible force holds us in our own armchairs while the earth hurtles like a boomerang; and men still go back to dusty records to prove the mercy of God. They tell us that Mr. Scott's monstrous vision of a mountain of sea-water rising in a solid dome, like the glass mountain in the fairy-tale, is actually a fact, and men still go back to the fairy-tale. To what towering heights of poetic imagery might we not have risen if only the poetizing of natural history had continued and man's fancy had played with the planets as naturally as it once played with the flowers!"

"The conception of the Ideal Shepherd seems absurd to our modern ideas. But, after all, it was perhaps the only trade of the democracy which was equalized with the trades of the aristocracy even by the aristocracy itself. The shepherd of pastoral poetry was, without doubt, very different from the shepherd of actual fact. Where one innocently piped to his lambs, the other innocently swore at them; and their divergence in intellect and personal cleanliness was immense. But the difference between the ideal shepherd who danced with Amaryllis and the real shepherd who thrashed her is not a scrap greater than the difference between the ideal soldier who dies to capture the colours and the real soldier who lives to clean his accoutrements, between the ideal priest who is everlastingly by someone's bed and the real priest who is as glad as anyone else to get to his own. There are ideal conceptions and real men in every calling; yet there are few who object to the ideal conceptions, and not many, after all, who object to the real men."

"So far from objecting to the Ideal Shepherd, I wish there were an Ideal Postman, an Ideal Grocer, and an Ideal Plumber. It is undoubtedly true that we should laugh at the idea of an Ideal Postman; it is true, and it proves that we are not genuine democrats."

"It is not difficult to realize that all of us, ignorant or cultivated, are primarily interested in murder and love-making."

"The merely educated can scarcely ever be brought to believe that this world is itself an interesting place. When they look at a work of art, good or bad, they expect to be interested, but when they look at a newspaper advertisement or a group in the street, they do not, properly and literally speaking, expect to be interested. But to common and simple people this world is a work of art, though it is, like many great works of art, anonymous. They look to life for interest with the same kind of cheerful and uneradicable assurance with which we look for interest at a comedy for which we have paid money at the door. To the eyes of the ultimate school of contemporary fastidiousness, the universe is indeed an ill-drawn and over-coloured picture, the scrawlings in circles of a baby upon the slate of night; its starry skies are a vulgar pattern which they would not have for a wallpaper, its flowers and fruits have a cockney brilliancy, like the holiday hat of a flower-girl. Hence, degraded by art to its own level, they have lost altogether that primitive and typical taste of man—the taste for news. By this essential taste for news , I mean the pleasure in hearing the mere fact that a man has died at the age of 110 in South Wales, or that the horses ran away at a funeral in San Francisco. Large masses of the early faiths and politics of the world, numbers of the miracles and heroic anecdotes, are based primarily upon this love of something that has just happened, this divine institution of gossip. When Christianity was named the good news, it spread rapidly, not only because it was good, but also because it was news."

"So it is that if any of us have ever spoken to a navvy in a train about the daily paper, we have generally found the navvy interested, not in those struggles of Parliaments and trades unions which sometimes are, and are always supposed to be, for his benefit; but in the fact that an unusually large whale has been washed up on the coast of Orkney, or that some leading millionaire like Mr. Harmsworth is reported to break a hundred pipes a year. The educated classes, cloyed and demoralized with the mere indulgence of art and mood, can no longer understand the idle and splendid disinterestedness of the reader of Pearson's Weekly. He still keeps something of that feeling which should be the birthright of men—the feeling that this planet is like a new house into which we have just moved our baggage."

"Those parts of the newspaper which announce the giant gooseberry and the raining frogs are really the modern representatives of the popular tendency which produced the hydra and the werewolf and the dog-headed men. Folk in the Middle Ages were not interested in a dragon or a glimpse of the devil because they thought that it was a beautiful prose idyll, but because they thought that it had really just been seen. It was not like so much artistic literature, a refuge indicating the dulness of the world: it was an incident pointedly illustrating the poetry of the world."

"There is a road from the eye to the heart that does not go through the intellect. Men do not quarrel about the meaning of sunsets; they never dispute that the hawthorn says the best and wittiest thing about the spring."

"Thus in the old aristocratic days there existed this vast pictorial symbolism of all the colours and degrees of aristocracy. When the great trumpet of equality was blown, almost immediately afterwards was made one of the greatest blunders in the history of mankind. For all this pride and vivacity, all these towering symbols and flamboyant colours, should have been extended to mankind. The tobacconist should have had a crest, and the cheesemonger a war-cry."

"Instead of doing this, the democrats made the appalling mistake—a mistake at the root of the whole modern malady—of decreasing the human magnificence of the past instead of increasing it. They did not say, as they should have done, to the common citizen, 'You are as good as the Duke of Norfolk,' but used that meaner democratic formula, 'The Duke of Norfolk is no better than you are.'"

"But with the Victorian era came a principle which conceived men not as comparatively, but as positively, mean and commonplace."

"And the consequence is that it is practically most difficult to propose any decoration or public dignity for modern men without making them laugh. They laugh at the idea of carrying crests and coats-of-arms instead of laughing at their own boots and neckties. We are forbidden to say that tradesmen should have a poetry of their own, although there is nothing so poetical as trade. A grocer should have a coat-of-arms worthy of his strange merchandise gathered from distant and fantastic lands; a postman should have a coat-of-arms capable of expressing the strange honour and responsibility of the man who carries men's souls in a bag; the chemist should have a coat-of-arms symbolizing something of the mysteries of the house of healing, the cavern of a merciful witchcraft."

"There were in the French Revolution a class of people at whom everybody laughed, and at whom it was probably difficult, as a practical matter, to refrain from laughing. They attempted to erect, by means of huge wooden statues and brand-new festivals, the most extraordinary new religions. They adored the Goddess of Reason, who would appear, even when the fullest allowance has been made for their many virtues, to be the deity who had least smiled upon them. But these capering maniacs, disowned alike by the old world and the new, were men who had seen a great truth unknown alike to the new world and the old. They had seen the thing that was hidden from the wise and understanding, from the whole modern democratic civilization down to the present time. They realized that democracy must have a heraldry, that it must have a proud and high-coloured pageantry, if it is to keep always before its own mind its own sublime mission."

"There are some people who state that the exterior, sex, or physique of another person is indifferent to them, that they care only for the communion of mind with mind; but these people need not detain us. There are some statements that no one ever thinks of believing, however often they are made."

"there is a confusion constantly made between being attracted by exterior, which is natural and universal, and being attracted by what is called physical beauty, which is not entirely natural and not in the least universal."

"The tyrants and deceivers of mankind in this matter have been the Greeks. All their splendid work for civilization ought not to have wholly blinded us to the fact of their great and terrible sin against the variety of life. It is a remarkable fact that while the Jews have long ago been rebelled against and accused of blighting the world with a stringent and one-sided ethical standard, nobody has noticed that the Greeks have committed us to an infinitely more horrible asceticism—an asceticism of the fancy, a worship of one aesthetic type alone."

"It is extraordinary to watch the gradual emasculation of the monsters of Greek myth under the pestilent influence of the Apollo Belvedere. The chimaera was a creature of whom any healthy-minded people would have been proud; but when we see it in Greek pictures we feel inclined to tie a ribbon round its neck and give it a saucer of milk."

"But this earthquake fancy terrified the Greeks, and their terror has terrified all mankind out of their natural love of size, vitality, variety, energy, ugliness. Nature intended every human face, so long as it was forcible, individual, and expressive, to be regarded as distinct from all others, as a poplar is distinct from an oak, and an apple-tree from a willow. But what the Dutch gardeners did for trees the Greeks did for the human form; they lopped away its living and sprawling features to give it a certain academic shape; they hacked off noses and pared down chins with a ghastly horticultural calm. And they have really succeeded so far as to make us call some of the most powerful and endearing faces ugly, and some of the most silly and repulsive faces beautiful."

"It is strange that we should resent people differing from ourselves; we should resent much more violently their resembling ourselves."

"But this frigid theory of the beautiful has not succeeded in conquering the art of the world, except in name. In some quarters, indeed, it has never held sway. A glance at Chinese dragons or Japanese gods will show how independent are Orientals of the conventional idea of facial and bodily regularity, and how keen and fiery is their enjoyment of real beauty, of goggle eyes, of sprawling claws, of gaping mouths and writhing coils. In the Middle Ages men broke away from the Greek standard of beauty, and lifted up in adoration to heaven great towers, which seemed alive with dancing apes and devils. In the full summer of technical artistic perfection the revolt was carried to its real consummation in the study of the faces of men. Rembrandt declared the sane and manly gospel that a man was dignified, not when he was like a Greek god, but when he had a strong, square nose like a cudgel, a boldly-blocked head like a helmet, and a jaw like a steel trap."

"We like to see a crag jut out in shameless decision from the cliff, we like to see the red pines stand up hardily upon a high cliff, we like to see a chasm cloven from end to end of a mountain. With equally noble enthusiasm we like to see a nose jut out decisively, we like to see the red hair of a friend stand up hardily in bristles upon his head, we like to see his mouth broad and clean cut like the mountain crevasse. At least some of us like all this; it is not a question of humour. We do not burst with amusement at the first sight of the pines or the chasm; but we like them because they are expressive of the dramatic stillness of Nature, her bold experiments, her definite departures, her fearlessness and savage pride in her children. The moment we have snapped the spell of conventional beauty, there are a million beautiful faces waiting for us everywhere, just as there are a million beautiful spirits."

"That these high and legitimate forms of art, glorified by Aristophanes and Molière, have sunk into such contempt may be due to many causes: I myself have little doubt that it is due to the astonishing and ludicrous lack of belief in hope and hilarity which marks modern aesthetics, to such an extent that it has spread even to the revolutionists (once the hopeful section of men), so that even those who ask us to fling the stars into the sea are not quite sure that they will be any better there than they were before."

"The artistic justification, then, of farce and pantomime must consist in the emotions of life which correspond to them. And these emotions are to an incredible extent crushed out by the modern insistence on the painful side of life only. Pain, it is said, is the dominant element of life; but this is true only in a very special sense. If pain were for one single instant literally the dominant element in life, every man would be found hanging dead from his own bed-post by the morning. Pain, as the black and catastrophic thing, attracts the youthful artist, just as the schoolboy draws devils and skeletons and men hanging. But joy is a far more elusive and elvish matter, since it is our reason for existing, and a very feminine reason; it mingles with every breath we draw and every cup of tea we drink. The literature of joy is infinitely more difficult, more rare and more triumphant than the black and white literature of pain. And of all the varied forms of the literature of joy, the form most truly worthy of moral reverence and artistic ambition is the form called 'farce'—or its wilder shape in pantomime."

"The old masters of a healthy madness, Aristophanes or Rabelais or Shakespeare, doubtless had many brushes with the precisians or ascetics of their day, but we cannot but feel that for honest severity and consistent self-maceration they would always have had respect. But what abysses of scorn, inconceivable to any modern, would they have reserved for an aesthetic type and movement which violated morality and did not even find pleasure, which outraged sanity and could not attain to exuberance, which contented itself with the fool's cap without the bells!"

"It is no part of my intention to defend humility on practical grounds. Practical grounds are uninteresting, and, moreover, on practical grounds the case for humility is overwhelming. We all know that the 'divine glory of the ego' is socially a great nuisance; we all do actually value our friends for modesty, freshness, and simplicity of heart. Whatever may be the reason, we all do warmly respect humility—in other people."

"The new philosophy of self-esteem and self-assertion declares that humility is a vice. If it be so, it is quite clear that it is one of those vices which are an integral part of original sin. It follows with the precision of clockwork every one of the great joys of life. No one, for example, was ever in love without indulging in a positive debauch of humility. All full-blooded and natural people, such as schoolboys, enjoy humility the moment they attain hero-worship."

"The pagans insisted upon self-assertion because it was the essence of their creed that the gods, though strong and just, were mystic, capricious, and even indifferent. But the essence of Christianity was in a literal sense the New Testament—a covenant with God which opened to men a clear deliverance. They thought themselves secure; they claimed palaces of pearl and silver under the oath and seal of the Omnipotent; they believed themselves rich with an irrevocable benediction which set them above the stars; and immediately they discovered humility. It was only another example of the same immutable paradox. It is always the secure who are humble."

"The talk of the upper strata of the educated classes is about the most shapeless, aimless, and hopeless literary product that the world has ever seen. Clearly in this, again, the upper classes have degenerated. We have ample evidence that the old leaders of feudal war could speak on occasion with a certain natural symbolism and eloquence that they had not gained from books.Read more at location 888"

"The real reason of this great development of eloquence among the lower orders again brings us back to the case of the aristocracy in earlier times. The lower classes live in a state of war, a war of words. Their readiness is the product of the same fiery individualism as the readiness of the old fighting oligarchs. Any cabman has to be ready with his tongue, as any gentleman of the last century had to be ready with his sword."

"The essential rectitude of our view of children lies in the fact that we feel them and their ways to be supernatural while, for some mysterious reason, we do not feel ourselves or our own ways to be supernatural. The very smallness of children makes it possible to regard them as marvels; we seem to be dealing with a new race, only to be seen through a microscope. I doubt if anyone of any tenderness or imagination can see the hand of a child and not be a little frightened of it. It is awful to think of the essential human energy moving so tiny a thing; it is like imagining that human nature could live in the wing of a butterfly or the leaf of a tree. When we look upon lives so human and yet so small, we feel as if we ourselves were enlarged to an embarrassing bigness of stature. We feel the same kind of obligation to these creatures that a deity might feel if he had created something that he could not understand."

"We may dream, perhaps, that it might be possible to have another and higher romance of London, that men's souls have stranger adventures than their bodies, and that it would be harder and more exciting to hunt their virtues than to hunt their crimes. But since our great authors (with the admirable exception of Stevenson) decline to write of that thrilling mood and moment when the eyes of the great city, like the eyes of a cat, begin to flame in the dark, we must give fair credit to the popular literature which, amid a babble of pedantry and preciosity, declines to regard the present as prosaic or the common as commonplace."

"If no type of chivalrous and purifying passion remained, there would be no one left to say that lust bore none of the marks of love, that lust was rapacious and love pitiful, that lust was blind and love vigilant, that lust sated itself and love was insatiable."

"For the first of all the marks of love is seriousness: love will not accept sham bulletins or the empty victory of words. It will always esteem the most candid counsellor the best. Love is drawn to truth by the unerring magnetism of agony; it gives no pleasure to the lover to see ten doctors dancing with vociferous optimism round a death-bed."

"A rude Athenian sailor may very likely have thought that the glory of Athens lay in rowing with the right kind of oars, or having a good supply of garlic; but Pericles did not think that this was the glory of Athens. With us, on the other hand, there is no difference at all between the patriotism preached by Mr. Chamberlain and that preached by Mr. Pat Rafferty, who sings 'What do you think of the Irish now?' They are both honest, simple-minded, vulgar eulogies upon trivialities and truisms."

"In painting and music we are inferior to many other nations; but in literature, science, philosophy, and political eloquence, if history be taken as a whole, we can hold our own with any. But all this vast heritage of intellectual glory is kept from our schoolboys like a heresy; and they are left to live and die in the dull and infantile type of patriotism which they learnt from a box of tin soldiers."

"An Englishman must love England for something; consequently, he tends to exalt commerce or prize-fighting, just as a German might tend to exalt music, or a Flamand to exalt painting, because he really believes it is the chief merit of his fatherland. It would not be in the least extraordinary if a claim of eating up provinces and pulling down princes were the chief boast of a Zulu. The extraordinary thing is, that it is the chief boast of a people who have Shakespeare, Newton, Burke, and Darwin to boast of."