Playwrights From England

"I don't think I am ghoulish in saying that I would like them, and every morally responsible citizen of the world, particularly my fellow Australians of the World War II period, to refresh their memories by referring regularly to the photographic record of the Hiroshima-Nagasaki happening — the rags of human flesh, the suppurating sores, the despair of families blown apart, the disturbed minds, the bleak black gritty plains where the homes of human beings like you and I once stood. Most of all, I would like every Australian couple born since Hiroshima and Nagasaki were blasted out of existence to consult these photographic records and for ever after do all in their power to prevent the children they are creating from suffering a fate similar to that thrust upon the children of those two Japanese cities. Let us rouse ourselves and realise this is what we shall have to face."

"I have derived immense comfort, hope, faith, inspiration from a great American, the Cistercian monk-teacher-activist Thomas Merton. Initially a contemplative religious, Merton's spiritual drive was aimed at halting the dehumanization of man in contemporary society, a sickness he saw as leading to mass violence and ultimately nuclear war. War of any kind is abhorrent. Remember that since the end of World War II, over 40 million people have been killed by conventional weapons. So, if we should succeed in averting nuclear war, we must not let ourselves be sold the alternative of conventional weapons for killing our fellow men. We must cure ourselves of the habit of war."

"The spirit may triumph where politics (the League and the United Nations), socio-political faiths such as Marxism, Italian Fascism and German National-Socialism — all have failed. I see our only hope in faith, charity, and in humbling ourselves before man and God."

"In recent years we have been served up a lot of claptrap about the need for a national identity. We have been urged to sing imbecile jingles, flex our muscles like the sportsmen from telly commercials, and display a heart optimism totally unconvincing because so superficial an unnatural. Those who preach this doctrine are usually the kind of chauvinist who is preparing his country, not to avert war, but to engage in it."

"Many of those who hear me believe I am putting on an act, while others who had considered I am one who surely knows the answers, are depressed to find that, by my own admission, I don't. What I do know for certain is that what is regarded as success in a rational materialistic society only impresses superficial minds. It amounts to nothing and will not help us rout the destructive forces threatening us today. What may be our salvation is the discovery of the identity hidden deep in any one of us, and which may be found in even the most desperate individual, if he cares to search the spiritual womb which contains the embryo of what can be one's personal contribution to truth and life."

"The ideal of non-attachment has been preached again and again in the course of the last 3000 years. It is found in Hinduism, the teachings of Buddha, the doctrine of Lao Tsu, in the philosophy of the Greek Stoics. The Gospel of Jesus is essentially one of non-attachment to the things of this world, and of attachment to God. What the Jewish philosopher Spinoza calls "blessedness" is simply the state of non-attachment, just as Spinoza's "human bondage" is the condition of one who identifies himself with his own desires, emotions, and thought processes, or with their objects in the external world."

"In the last couple of years I've been doing this sort of thing constantly, often repeating myself, becoming an avoidable Doomsday bore. But anything of importance — like a garden, a human relationship, a child, a religious faith, even the most convinced brand of atheism has to be worked on constantly if it is to survive."

"I am interested in detail. I enjoy decoration. By accumulating this mass of detail you throw light on things in a longer sense: in the long run it all adds up. It creates a texture — how shall I put it — a background, a period, which makes everything you write that much more convincing. Of course, all artists are terrible egoists. Unconsciously you are largely writing about yourself. I could never write anything factual; I only have confidence in myself when I am another character. All the characters in my books are myself, but they are a kind of disguise."

"I can only stick my neck out and offer my humble beliefs. If I become an outsider by doing so, this won't be a great hardship as I've been that as far back as I can remember — something strange and unacceptable in the eyes of those who believe they see straight. At least it's given me courage of a kind, which I'd like every Australian to acquire."

"In my books I have lifted bits from various religions in trying to come to a better understanding; I've made use of religious themes and symbols. Now, as the world becomes more pagan, one has to lead people in the same direction in a different way."

"Why can't a writer use writing as a painter uses paint? I try to. When I wrote The Tree of Man I felt I couldn't write about simple, illiterate people in a perfectly literate way; but in my present novel the language is more sophisticated. I think perhaps I have clarified my style quite a lot over the years. I find it a great help to hear the language going on around me; not that what I write, the narrative, is idiomatic Australian, but the whole work has a balance and rhythm which is influenced by what is going on around you. When you first write the narrative it might be unconscious, but when you come to work it over you do it more consciously. It gives what I am writing a greater feeling of reality."

"The essence of what you have to say you pick up before you're twenty."

"Religion. Yes, that's behind all my books. What I am interested in is the relationship between the blundering human being and God. I belong to no church, but I have a religious faith; it's an attempt to express that, among other things, that I try to do. Whether he confesses to being religious or not, everyone has a religious faith of a kind. I myself am a blundering human being with a belief in God who made us and we got out of hand, a kind of Frankenstein monster. Everyone can make mistakes, including God. I believe God does intervene; I think there is a Divine Power, a Creator, who has an influence on human beings if they are willing to be open to him."

"Conversation is imperative if gaps are to be filled, and old age, it is the last gap but one."

"Loonies speak their own language, like educated people."

"I always like to write three versions of a book. The first is always agony and chaos; no one could understand it. With the second you get the shape, it's more or less all right. I write both of those in longhand. The third draft I type out with two fingers: it's for refining of meaning, additions and subtractions. I think my novels usually begin with characters; you have them floating about in your head and it may be years before they get together in a situation. Characters interest me more than situations."

"If she had only been able to touch him, they might perhaps have pooled their secrets and discovered the reason for human confusion. But as that wasn't possible, she went outside, into the garden."

"I have the same idea with all my books: an attempt to come close to the core of reality, the structure of reality, as opposed to the merely superficial. The realistic novel is remote from art. A novel should heighten life, should give one an illuminating experience; it shouldn't set out what you know already. I just muddle away at it. One gets flashes here and there, which help. I am not a philosopher or an intellectual. Practically anything I have done of any worth I feel I have done through my intuition, not my mind - which the intellectuals disapprove of. And that is why I am anathema to certain kinds of Australian intellectual."

"Possibly all art flowers more readily in silence. Certainly the state of simplicity and humility is the only desirable one for artist or for man. While to reach it may be impossible, to attempt to do so is imperative. Stripped of almost everything that I had considered desirable and necessary, I began to try. Writing, which had meant the practice of an art by a polished mind in civilised surroundings, became a struggle to create completely fresh forms out of the rocks and sticks of words. I began to see things for the first time. Even the boredom and frustration presented avenues for endless exploration; even the ugliness, the bags and iron of Australian life, acquired a meaning. As for the cat's cradle of human intercourse, this was necessarily simplified, often bungled, sometimes touching. Its very tentativeness can be reward. There is always the possibility that the book lent, the record played, may lead to communication between human beings. There is the possibility that one may be helping to people a barely inhabited country with a race possessed of understanding. These, then, are some of the reasons why an expatriate has stayed, in the face of those disappointments which follow inevitably upon his return."

"I've lost interest in the theatre because you can't get what you want ever. I used to think it would be wonderful to see what you had written come to life. Here in Australia it's very hard to get an adequate performance because of the state of the theatre; but even if you have the best actors in the world it's never what you visualised. One can't say all one wants to say, one can't convey it."

"[William Henry] Harrison was speaking to Beckford about Bulwer. "A coxcomb", says Harrison. "Ay," said Beckford, "a cultivated one, and blows double!" Everybody has a spite at Bulwer because the public think him clever, and they don't."

"Lytton is one of the authors upon whose merits the critics have never agreed with the public. He won immense popularity in the face of generally hostile criticism, and even his success failed to obtain a reversal of the judgment. Some of his qualities, however, are incontestable. No English author has displayed more industry, energy, versatility, or less disposition to lapse into slovenliness. His last works are among his best; and though he often tried the experiment of publishing anonymously (as in The Caxtons and The Coming Race), his success showed that his popularity did not depend upon his previous fame."

"Lytton showed courage but hardly discretion in attempting to be more of a poet or philosopher than nature had made him. He had enough talent to convince himself that he had the genius which is above talent. He wrote some excellent verses in the style of Pope, but fancied that he could also be a Spenser. His characters show more shrewdness of observation than imaginative insight, and the stories, while most carefully designed and constructed, show, not creative impulse, but dexterous management and a quick eye for dramatic effect. His curious attempts at the mysterious too often remind us of spirit-rapping rather than excite the thrill of supernatural awe. He scarcely fails, however, unequivocally, unless in his attempts at the humorous or the descriptions of the lower orders. He shows so much ability and such sustained activity of thought that the critic feels some hesitation in disputing too strongly the claims of his admirers, and only regrets that he had not written at least one novel expressing his views of life frankly and vigorously, without aiming at the ideal or at the propitiation of the respectable. It might have been less edifying, but would certainly have been more interesting than his actual achievements."

"The sensation that is excited in the literary world by the simple announcement of a new work emanating from the pen of the talented E. L. Bulwer, is the precursor of the delight to be experienced by the perusal. Bulwer is the Napoleon of English literature—the great mover of that sphere in which he shines so resplendently—the individual whose magic quill, with one single drop of ink, can make thousands reflect. He is the metaphysician-novelist of England, as de Balzac is the pride of France. His works are not merely everyday books which we throw aside never to resume, after a hasty perusal: they are standard volumes in every library—they may occasionally serve as books of reference—their philosophy raises them to an eminence far above the common tale of interest purposely written to afford a momentary amusement."

"He Charles Greville] was the vainest being—I don't limit myself to man—that ever existed; and I don't forget Cicero and Lytton Bulwer."

"To complete the tale of my writings at this period, I may add that in 1833, at the request of Bulwer, who was just then completing his England and the English (a work, at that time, greatly in advance of the public mind), I wrote for him a critical account of Bentham's philosophy, a small part of which he incorporated in his text, and printed the rest (with an honourable acknowledgment), as an appendix In this, along with the favourable, a part also of the unfavourable side of my estimation of Bentham's doctrines, considered as a complete philosophy, was for the first time put into print."

"The good man does good merely by living."

"This demonstrates an energy of exertion, a fecundity of invention, and a readiness of composition rarely to be met with; and when taken in connexion with the unquestionable excellence of several of his works, fairly entitles him to rank as one of the most extraordinary geniuses of the age. He is, undoubtedly, in prose, whether we regard his matter or his style, one of the best of our living writers. His poetry, however, is beneath mediocrity, and cannot but produce in the minds of the thousands who have read his novels with delight, a regret that he should waste his time in putting together such an heterogeneous and unmeaning mass of metre and rhyme as is contained in the "Siamese Twins," and some other of his poems. As a novelist, he is, without doubt, the most popular writer now living."

"You could not have the Victorian Age without him. And this was not due to wholly superficial things like his dandyism, his dark, sinister good looks and a great deal of the mere polished melodrama that he wrote. There was something in his all-round interests; in the variety of things he tried; in his half-aristocratic swagger as poet and politician, that made him in some ways a real touchstone of the time."

"Memory, no less than hope, owes its charm to "the far-away.""

"A fresh mind keeps the body fresh. Take in the ideas of the day, drain off those of yesterday. As to the morrow, time enough to consider it when it becomes to-day."

"Life consists in the alternate process of learning and unlearning; but it is often wiser to unlearn than to learn."

"Of his own books, by far the best are the really charming comedies about The Caxtons and Kenelm Chillingley; none of his other works have a high literary importance now; with the possible exception of A Strange Story; but his Coming Race is historically interesting as foreshadowing those novels of the future which were afterwards such a weapon of the Socialists."

"There are times when the mirth of others only saddens us, especially the mirth of children with high spirits, that jar on our own quiet mood."

"In science, read, by preference, the newest works; in literature, the oldest. The classic literature is always modern."

"Truth makes on the ocean of nature no one track of light—every eye looking on finds its own."

"Strike from mankind the principle of Faith, and men would have no more history than a flock of sheep."

"My father died shortly after I was twenty-one; and being left well off, and having a taste for travel and adventure, I resigned, for a time, all pursuit of the almighty dollar, and became a desultory wanderer over the face of the earth."

"Men crowded to the House of Commons to hear the latest performance of "the orator of the century." Epigrams, antithesis, alliteration—all the conscious tricks of the trade—were packed into his ornate harangues, which no one now remembers."

"It is not study alone that produces a writer; it is Intensity."

"We cannot think or act, but the soul of some man, who has lived before, points the way. The dead never die."

"Earnest men never think in vain, though their thoughts may be errors."

"Master books, but do not let them master you. Read to live, not live to read."

"Love gains the shrine when Pity opes the door."

"He never errs who sacrifices self."

"It is an inevitable law that a man, in spite of himself, should live for something higher than his own happiness. He cannot live in himself or for himself, however egotistical he may try to be. Every desire he has links him with others."

"Childhood and genius have the same master-organ in common—inquisitiveness. Let childhood have its way, and as it began where genius begins, it may find what genius finds."

"The most useless creature that ever yawned at a club, or counted the vermin on his rags under the suns of Calabria, has no excuse for want of intellect. What men want is not talent, it is purpose,—in other words, not the power to achieve, but the will to labour."

"Why should the soul ever repose? God, its Principle, reposes never. While we speak, new worlds are sparkling forth—suns are throwing off their nebulae—nebulae are hardening into worlds. The Almighty proves His existence by creating."

"The brilliant chief, irregularly great, Frank, haughty, rash,— the Rupert of debate!"