English Novels

"He was just a word for me. I did not see the man in the name any more than you do. Do you see him? Do you see the story? Do you see anything? It seems to me I am trying to tell you a dream — making a vain attempt, because no relation of a dream can convey the dream-sensation, that commingling of absurdity, surprise, and bewilderment in a tremor of struggling revolt, that notion of being captured by the incredible which is of the very essence of dreams."

"It's queer how out of touch with truth women are. They live in a world of their own, and there had never been anything like it, and never can be. It is too beautiful altogether, and if they were to set it up it would go to pieces before the first sunset."

"Lights of ships moved in the fairway — a great stir of lights going up and going down. And farther west on the upper reaches the place of the monstrous town was still marked ominously on the sky, a brooding gloom in sunshine, a lurid glare under the stars. "And this also," said Marlow suddenly, "has been one of the dark places of the earth.""

"When a truckle bed with a sick man (some invalid agent from up-country) was put in there, he exhibited a gentle annoyance. "The groans of this sick person," he said, " Distract my attention, and without that it is extremely difficult to guard against clerical errors in this climate.""

"To tear treasure out of the bowels of the land was their desire, with no more moral purpose at the back of it than there is in burglars breaking into a safe. Who paid the expenses of the noble enterprise I don’t know; but the uncle of our manager was leader of that lot."

"Hunters for gold or pursuers of fame, they all had gone out on that stream, bearing the sword, and often the torch, messengers of the might within the land, bearers of a spark from the sacred fire. What greatness had not floated on the ebb of that river into the mystery of an unknown earth! . . . The dreams of men, the seed of commonwealths, the germs of empires."

"The ship, a fragment detached from the earth, went on lonely and swift like a small planet."

"The yarns of seamen have a direct simplicity, the whole meaning of which lies within the shell of a cracked nut. But Marlow was not typical (if his propensity to spin yarns be excepted), and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the spectral illumination of moonshine."

"Goodbye brothers! You were a good crowd. As good a crowd as ever fisted with wild cries the beating canvas of a heavy foresail; or tossing aloft, invisible in the night, gave back yell for yell to a westerly gale."

"It is impossible to convey the life-sensation of any given epoch of one's existence — that which makes its truth, its meaning — its subtle and penetrating essence. It is impossible. We live, as we dream — alone. . . ."

"My task which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel — it is, before all, to make you see. That — and no more, and it is everything. If I succeed, you shall find there according to your deserts: encouragement, consolation, fear, charm — all you demand; and, perhaps, also that glimpse of truth for which you have forgotten to ask."

"To snatch in a moment of courage, from the remorseless rush of time, a sapping phase of life is only the beginning of the task. The task approached in tenderness and faith is to hold up unquestioningly, without choice and without fear, the rescued fragment before all eyes and in the light of a sincere mood. It is to show its vibration, its colour, its form; and through its movement, its form, and its colour, reveal the substance of its truth — disclose its inspiring secret: the stress and passion within the core of each convincing moment. In a single-minded attempt of that kind, if one be deserving and fortunate, one may perchance attain to such clearness of sincerity that at last the presented vision of regret or pity, of terror or mirth, shall awaken in the hearts of the beholders that feeling of unavoidable solidarity; of the solidarity in mysterious origin, in toil, in joy, in hope, in uncertain fate, which binds men to each other and all mankind to the visible world."

"Art is long and life is short, and success is very far off. And thus, doubtful of strength to travel so far, we talk a little about the aim — the aim of art, which, like life itself, is inspiring, difficult — obscured by mists. It is not in the clear logic of a triumphant conclusion; it is not in the unveiling of one of those heartless secrets which are called the Laws of Nature. It is not less great, but only more difficult."

"Temperament, whether individual or collective, is not amenable to persuasion. All art, therefore, appeals primarily to the senses, and the artistic aim when expressing itself in written words must also make its appeal through the senses, if its high desire is to reach the secret spring of responsive emotions. It must strenuously aspire to the plasticity of sculpture, to the colour of painting, and to the magic suggestiveness of music — which is the art of arts. And it is only through complete, unswerving devotion to the perfect blending of form and substance; it is only through an unremitting, never-discouraged care for the shape and ring of sentences that an approach can be made to plasticity, to colour; and the light of magic suggestiveness may be brought to play for an evanescent instant over the commonplace surface of words: of the old, old words, worn thin, defaced by ages of careless usage."

"A work that aspires, however humbly, to the condition of art should carry its justification in every line. And art itself may be defined as a single-minded attempt to render the highest kind of justice to the visible universe, by bringing to light the truth, manifold and one, underlying its every aspect. It is an attempt to find in its forms, in its colours, in its light, in its shadows, in the aspects of matter and in the facts of life, what of each is fundamental, what is enduring and essential — their one illuminating and convincing quality — the very truth of their existence."

"To arrest, for the space of a breath, the hands busy about the work of the earth, and compel men entranced by the sight of distant goals to glance for a moment at the surrounding vision of form and colour, of sunshine and shadows; to make them pause for a look, for a sigh, for a smile — such is the aim, difficult and evanescent, and reserved only for a very few to achieve. But sometimes, by the deserving and the fortunate, even that task is accomplished. And when it is accomplished — behold! — all the truth of life is there: a moment of vision, a sigh, a smile — and the return to an eternal rest."

"The changing wisdom of successive generations discards ideas, questions facts, demolishes theories. But the artist appeals to that part of our being which is not dependent on wisdom: to that in us which is a gift and not an acquisition — and, therefore, more permanently enduring. He speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation — and to the subtle but invincible, conviction of solidarity that knits together the loneliness of innumerable hearts: to the solidarity in dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity — the dead to the living and the living to the unborn."

"Beyond the fence the forest stood up spectrally in the moonlight, and through that dim stir, through the faint sounds of that lamentable courtyard, the silence of the land went home to one’s very heart — its mystery, its greatness, the amazing reality of its concealed life."

"The men who could understand his silence were gone — those men who knew how to exist beyond the pale of life and within sight of eternity. They had been strong, as those are strong who know neither doubts nor hopes. They had been impatient and enduring, turbulent and devoted, unruly and faithful. Well-meaning people had tried to represent those men as whining over every mouthful of their food; as going about their work in fear of their lives. But in truth they had been men who knew toil, privation, violence, debauchery — but knew not fear, and had no desire of spite in their hearts. Men hard to manage, but easy to inspire; voiceless men — but men enough to scorn in their hearts the sentimental voices that bewailed the hardness of their fate. It was a fate unique and their own; the capacity to bear it appeared to them the privilege of the chosen! Their generation lived inarticulate and indispensable, without knowing the sweetness of affections or the refuge of a home — and died free from the dark menace of a narrow grave. They were the everlasting children of the mysterious sea. Their successors are the grown-up children of a discontented earth. They are less naughty, but less innocent; less profane, but perhaps also less believing; and if they had learned how to speak they have also learned how to whine. But the others were strong and mute, they were effaced, bowed and enduring, like stone caryatides that hold up in the night the lighted halls of a resplendent and glorious edifice. They are gone now — and it does not matter. The sea and the earth are unfaithful to their children: a truth, a faith, a generation of men goes — and is forgotten, and it does not matter! Except, perhaps, to the few of those who believed the truth, confessed the faith — or loved the men."

"I don't like work — no man does — but I like what is in work — the chance to find yourself. Your own reality — for yourself, not for others — what no other man can ever know."

"In a few days the Eldorado Expedition went into the patient wilderness, that closed upon it as the sea closes over a diver. Long afterwards the news came that all the donkeys were dead. I know nothing as to the fate of the less valuable animals. They, no doubt, like the rest of us, found what they deserved. I did not inquire."

"It was no longer the full-nosed roaring of a forty-winks catnapper, but the well-paced growling of someone who wanted to make a night of it."

"Death put down his drink and stepped forward."

"Granny stepped forward, her eyes two sapphires of bitterness. "I'm goin' to give you the hidin' our Mam never gave you, Lily Weatherwax. Not with magic, not with headology, not with a stick like our Dad had, aye, and he used a fair bit as I recall—but with skin. And not because you was the bad one. Not because you meddled with stories. Everyone has a path they got to tread. But because, and I wants you to understand this prop'ly, after you went I had to be the good one. You had all the fun. An' there's no way I can make you pay for that, Lily, but I'm surely goin' to give it a try...""

""I could make some new gods and get everyone to believe in 'em real good. How about that?" said Mrs. Gogol. Nanny shook her head."

"The nobles of Genua had enough experience to know what it means when a ruler says something is not compulsory. (p. 325)."

""Good and bad is tricky," she said. "I ain't too certain about where people stand. P'raps what matters is which way you face." (pp. 348-349)"

""I don't want to hurt you, Mistress Weatherwax," said Mrs. Gogol."

"Greebo wasn't a happy cat. People had made a fuss just because he'd dragged a roast turkey off the table. (p. 294)"

"You can't go around building a better world for people. Only people can build a better world for people. Otherwise it's just a cage. (p. 305)"

"Don't you talk to me about progress. Progress just means bad things happen faster. (p. 305)"

"He'd never told people they ought to be happy, and imposed a kind of happiness on them. The invisible people knew that happiness is not the natural state of mankind, and is never achieved from the outside in. (p. 293)"

"Nanny Ogg looked him up and down or, at least, down and further down."

"The wages of sin is death but so is the salary of virtue, and at least the evil get to go home early on Fridays. (p. 282)"

"Greebo's technique was unscientific and wouldn't have stood a chance against any decent swordsmanship, but on his side was the fact that it is almost impossible to develop decent swordsmanship when you seem to have run into a food mixer that is biting your ear off. (p. 312)"

"She hated everything that predestined people, that fooled them, that made them slightly less than human. (p. 291)"

"The footman, recognizing instantly the boundless bad manners of the well-bred, backed away quickly. (p. 262)"

"This one was quite likely looting towns when he should have been learning to read. (p. 267)"

"For wolves and pigs and bears, thinking that they're human is a tragedy. For a cat, it's an experience. (p. 268)."

"Anyway, it'll be int'resting to see if it works."

"Magrat was annoyed. She was also frightened, which made her even more annoyed. It was hard for people when Magrat was annoyed. It was like being attacked by damp tissue. (p. 229)"

"Apart from being as well-adapted a parasite as the oak bracket fungus, Lady Volentia D'Arrangement was, by and large, a blameless sort of person. (p. 272)"

""I ain't against adventure, in moderation," said Granny, "but not when I'm eatin'." (p. 247)"

"Magic's far too important to be used for rulin' people. (p. 316)"

""Baths is unhygienic," Granny declared. "You know I've never agreed with baths. Sittin' around in your own dirt like that." (p. 184)"

"Racism was not a problem on the Discworld, because—what with trolls and dwarfs and so on—speciesism was more interesting. Black and white lived in perfect harmony and ganged up on green. (p. 201)"

"Genua had once controlled the river mouth and taxed its traffic in a way that couldn't be called piracy because it was done by the city government. (p. 176)"

"Nanny Ogg quite liked cooking, provided there were other people around to do things like chop up the vegetables and wash the dishes afterwards. (pp. 203-204)"

"Magrat plunged on with the brave desperation of someone dancing in the light of their burning bridges. (p. 161)"

"Asking someone to repeat a phrase you'd not only heard very clearly but were also exceedingly angry about was around Defcon II in the lexicon of squabble. (p. 162)"