Novelists From England

"An artist produces an effect in virtue of the distinctness with which he sees the objects he represents, seeing them not vaguely as in vanishing apparitions, but steadily, and in their most characteristic relations. To this Vision he adds artistic skill with which to make us see. He may have clear conceptions, yet fail to make them clear to us: in this case he has imagination, but is not an artist. Without clear Vision no skill can avail. Imperfect Vision necessitates imperfect representation; words take the place of ideas."

"I wish to guard the Principle of Vision from certain misconceptions which might arise on a simple statement of it. The principle insists on the artist assuring himself that he distinctly sees what he attempts to represent. What he sees, and how he represents it, depend on other principles. To make even this principle of Vision thoroughly intelligible in its application to all forms of Literature and Art, it must be considered in connection with the two other principles — Sincerity and Beauty, which are involved in all successful works."

"The discoverer and the poet are inventors; and they are so because their mental vision detects the unapparent, unsuspected facts, almost as vividly as ocular vision rests on the apparent and familiar."

"Every one who has seriously investigated a novel question, who has really interrogated Nature with a view to a distinct answer, will bear me out in saying that it requires intense and sustained effort of imagination. The relations of sequence among the phenomena must be seen; they are hidden; they can only be seen mentally; a thousand suggestions rise before the mind, but they are recognised as old suggestions, or as inadequate to reveal what is sought; the experiments by which the problem may be solved have to be imagined; and to imagine a good experiment is as difficult as to invent a good fable, for we must have distinctly present — clear mental vision — the known qualities and relations of all the objects, and must see what will be the effect of introducing some new qualifying agent. If any one thinks this is easy, let him try it: the trial will teach him a lesson respecting the methods of intellectual activity not without its use."

"Philosophy and Art both render the invisible visible by imagination. Where Sense observes two isolated objects, Imagination discloses two related objects. This relation is the nexus visible. We had not seen it before; it is apparent now. Where we should only see a calamity the poet makes us see a tragedy. Where we could only see a sunrise he enables us to see"

"A work is imaginative in virtue of the power of its images over our emotions; not in virtue of any rarity or surprisingness in the images themselves."

"In Science the paramount appeal is to the Intellect — its purpose being instruction; in Art, the paramount appeal is to the Emotions — its purpose being pleasure. A work of Art must of course indirectly appeal to the Intellect, and a work of Science will also indirectly appeal to the Feelings; nevertheless a poem on the stars and a treatise on astronomy have distinct aims and distinct methods. But having recognised the broadly-marked differences, we are called upon to ascertain the underlying resemblances. Logic and Imagination belong equally to both. It is only because men have been attracted by the differences that they have overlooked the not less important affinities."

"It is always understood as an expression of condemnation when anything in Literature or Art is said to be done for effect; and yet to produce an effect is the aim and end of both."

"Foolish critics often betray their ignorance by saying that a painter or a writer "only copies what he has seen, or puts down what he has known." They forget that no man imagines what he has not seen or known, and that it is in the selection of the characteristic details that the artistic power is manifested."

"The only cure for grief is action."

"A man may be buoyed up by the efflation of his wild desires to brave any imaginable peril; but he cannot calmly see one he loves braving the same peril; simply because he cannot feel within turn that which prompts another. He sees the danger, and feels not the power that is to overcome it."

"Science is the systematic classification of experience."

"Many a genius has been slow of growth. Oaks that flourish for a thousand years do not spring up into beauty like a reed."

"To some men popularity is always suspicious. Enjoying none themselves, they are prone to suspect the validity of those attainments which command it."

"We must never assume that which is incapable of proof."

"The greatest artist is he who is greatest in the highest reaches of his art, even although he may lack the qualities necessary for the adequate execution of some minor details. It is not by his faults, but by his excellences, that we measure a great man. The strength of a beam is measured by its weakest part, of a man by his strongest.."

"Men who are never flagrantly dishonest are at times unveracious in small matters, colouring or suppressing facts with a conscious purpose; and writers who never stole an idea nor pretended to honours for which they had not striven, may be found lapsing into small insincerities, speaking a language which is not theirs, uttering opinions which they expect to gain applause rather than the opinions really believed by them. But if few men are perfectly and persistently sincere, Sincerity is nevertheless the only enduring strength. The principle is universal, stretching from the highest purposes of Literature down to its smallest details. It underlies the labour of the philosopher, the investigator, the moralist, the poet, the novelist, the critic, the historian, and the compiler. It is visible in the publication of opinions, in the structure of sentences, and in the fidelity of citations."

"Shakespeare is a good raft whereon to float securely down the stream of time; fasten yourself to that and your immortality is safe."

"In the development of the great series of animal organisms, the Nervous System assumes more and more of an imperial character. The rank held by any animal is determined by this character, and not at all by its bulk, its strength, or even its utility. In like manner, in the development of the social organism, as the life of nations becomes more complex, Thought assumes a more imperial character; and Literature, in its widest sense, becomes a delicate index of social evolution. Barbarous societies show only the germs of literary life. But advancing civilisation, bringing with it increased conquest over material agencies, disengages the mind from the pressure of immediate wants, and the loosened energy finds in leisure both the demand and the means of a new activity: the demand, because long unoccupied hours have to be rescued from the weariness of inaction; the means, because this call upon the energies nourishes a greater ambition and furnishes a wider arena."

"Literature is at once the cause and the effect of social progress. It deepens our natural sensibilities, and strengthens by exercise our intellectual capacities. It stores up the accumulated experience of the race, connecting Past and Present into a conscious unity; and with this store it feeds successive generations, to be fed in turn by them. As its importance emerges into more general recognition, it necessarily draws after it a larger crowd of servitors, filling noble minds with a noble ambition."

"It is impossible to deny that dishonest men often grow rich and famous, becoming powerful in their parish or in parliament. Their portraits simper from shop windows; and they live and die respected. This success is theirs; yet it is not the success which a noble soul will envy. Apart from the risk of discovery and infamy, there is the certainty of a conscience ill at ease, or if at ease, so blunted in its sensibilities, so given over to lower lusts, that a healthy instinct recoils from such a state. Observe, moreover, that in Literature the possible rewards of dishonesty are small, and the probability of detection great. In Life a dishonest man is chiefly moved by desires towards some tangible result of money or power; if he get these he has got all. The man of letters has a higher aim: the very object of his toil is to secure the sympathy and respect of men; and the rewards of his toil may be paid in money, fame, or consciousness of earnest effort. The first of these may sometimes be gained without Sincerity. Fame may also, for a time, be erected on an unstable ground, though it will inevitably be destroyed again. But the last and not least reward is to be gained by every one without fear of failure, without risk of change. Sincere work is good work, be it never so humble; and sincere work is not only an indestructible delight to the worker by its very genuineness, but is immortal in the best sense, for it lives for ever in its influence. There is no good Dictionary, not even a good Index, that is not in this sense priceless, for it has honestly furthered the work of the world, saving labour to others, setting an example to successors."

"There are many justifications of silence; there can be none of insincerity."

"Murder, like talent, seems occasionally to run in families."

"The moral nature of man is more sacred in my eyes than his intellectual nature. I know they cannot be divorced — that without intelligence we should be Brutes — but it is the tendency of our gaping, wondering dispositions to give pre-eminence to those faculties which most astonish us. Strength of character seldom, if ever, astonishes; goodness, lovingness, and quiet self-sacrifice, are worth all the talents in the world."

"An orator whose purpose is to persuade men must speak the things they wish to hear; an orator, whose purpose is to move men, must also avoid disturbing the emotional effect by any obtrusion of intellectual antagonism; but an author whose purpose is to instruct men, who appeals to the intellect, must be careless of their opinions, and think only of truth. It will often be a question when a man is or is not wise in advancing unpalateable opinions, or in preaching heresies; but it can never be a question that a man should be silent if unprepared to speak the truth as he conceives it. Deference to popular opinion is one great source of bad writing, and is all the more disastrous because the deference is paid to some purely hypothetical requirement. When a man fails to see the truth of certain generally accepted views, there is no law compelling him to provoke animosity by announcing his dissent. He may be excused if he shrink from the lurid glory of martyrdom; he may be justified in not placing himself in a position of singularity. He may even be commended for not helping to perplex mankind with doubts which he feels to be founded on limited and possibly erroneous investigation. But if allegiance to truth lays no stern command upon him to speak out his immature dissent, it does lay a stern command not to speak out hypocritical assent."

"Instead, therefore, of saying that Man is the creature of Circumstance, it would be nearer the mark to say that Man is the architect of Circumstance. It is Character which builds an existence out of Circumstance. Our strength is measured by our plastic power. From the same materials one man builds palaces, another hovels, one warehouses, another villas."

"A man must be himself convinced if he is to convince others. The prophet must be his own disciple, or he will make none. Enthusiasm is contagious: belief creates belief. There is no influence issuing from unbelief or from languid acquiescence. This is peculiarly noticeable in Art, because Art depends on sympathy for its influence, and unless the artist has felt the emotions he depicts we remain unmoved: in proportion to the depth of his feeling is our sympathetic response; in proportion to the shallowness or falsehood of his presentation is our coldness or indifference."

"Rolfe's vice was spiritual more than it was carnal: it might be said that he was a pander and a swindler, because he cared for nothing but his faith. He would be a priest or nothing, so nothing it had to be…If he could not have Heaven, he would have Hell, and the last footprints seem to point unmistakably towards the Inferno."

"I have…read it with a good deal of amusement and enjoyment. The latter is due, I suppose, entirely to the subject – for everyone likes to imagine what a man could do if he were a dictator or Pope, or Caliph; the amusement is mainly at the author's expence. The style is one of the most preposterous I have ever read, and I doubt if I ever saw so much pedantry combined with so much ignorance."

"He was a confidence-man, pauper, tutor, blackmailer, paedophile, translator – and author of seven novels and a number of short stories. Rolfe was a trickster whose failed life stank to himself as to the few friends whom he had and betrayed. But he was a fascinating figure: a bore, but also a pseudo-Borgian freak whose vindictiveness and paranoia have deservedly become legendary."

"He seems to have been a serpent of serpents in the bosom of all the nineties. That in itself endears him to one."

"That cold white candent voice which was more caustic than silver nitrate and more thrilling than a scream."

"Most people have only half developed their single personalities. That a man should split his into four and more; and should develop each separately and perfectly, was so abnormal that many normals failed to understand it."

"He wrote with great care, and with a sharpness, vivacity, and variety of epithet that give immediate and continuing pleasure, but he was not in any serious sense a novelist or even a writer of fiction. His emotionally injured self is the sole character of his fictions, with everybody else seen through the haze of his paranoia, like figures in a fun-fair mirror."

"Pray for the repose of His soul. He was so tired."

"It's all nonsense to say that the Fifteenth Century can't possibly speak to the Twentieth, because it is the Fifteenth and not the Twentieth, and because those two Centuries haven't got a Common Denominator. They have. It's Human Nature."

"Remember that every drop that falls, bears into the bosom of the earth a quality of beautiful fertility."

"Brisk and prompt to war, soft and not in the least able to resist calamity, fickle in catching at schemes, and always striving after novelties – French characteristics remained unaltered twenty centuries after Julius Caesar made a note of them for all time."

"He took the imperial hand and shook it in the glad-to-see-you-but-keep-off English fashion."

"An appeal to a goodness which is not in him is, to a vain and sensitive soul, a stinging insult."

"No man really thinks and feels monotonously. If he is monotonous in his manner of setting forth his thoughts and feelings, that is either because he has not learned the art of writing, or because he is more or less consciously imitating the manner of others. The subtle play of thought will give movement and life to his style if he do not clog it with critical superstitions. I do not say that it will give him grace and power; I do not say that relying on perfect sincerity will make him a fine writer, because sincerity will not give talent; but I say that sincerity will give him all the power that is possible to him, and will secure him the inestimable excellence of Variety."

"The great desire of this age is for a Doctrine which may serve to condense our knowledge, guide our researches, and shape our lives, so that Conduct may really be the consequence of Belief."

"No deeply-rooted tendency was ever extirpated by adverse argument. Not having originally been founded on argument, it cannot be destroyed by logic."

"The art of a great writer is seen in the perfect fitness of his expressions. He knows how to blend vividness with vagueness, knows where images are needed, and where by their vivacity they would be obstacles to the rapid appreciation of his thought."

"Obedient to the primary impulse of adequate expression, the style of a complex subject should be complex; of a technical subject, technical; of an abstract subject, abstract; of a familiar subject, familiar; of a pictorial subject, picturesque."

"The novelist with a prudent prodigality may employ descriptions, dialogues, and episodes, which would be fatal in a drama. Characters may be introduced and dismissed without having any important connection with the plot; it is enough if they serve the purpose of the chapter in which they appear. Although as a matter of fine art no character should have a place in a novel unless it form an integral element of the story, and no episode should be introduced unless it reflects some strong light on the characters or incidents, this is a critical demand which only fine artists think of satisfying, and only delicate tastes appreciate. For the mass of readers it is enough if they are mused; and indeed all readers, no matter how critical their taste, would rather be pleased by a transgression of the law than wearied by prescription. Delight condones offence. The only question for the writer is, whether the offence is so trivial as to be submerged in the delight. And he will do well to remember that the greater flexibility belonging to the novel by no means removes the novel from the laws which rule the drama."

"Whatever lies beyond the limits of experience, and claims another origin than that of induction and deduction from established data, is illegitimate."

"Simplicity of structure means organic unity, whether the organism be simple or complex; and hence in all times the emphasis which critics have laid upon Simplicity, though they have not unfrequently confounded it with narrowness of range."

"An energetic crudity, even a riotous absurdity, has more promise in it than a clever and elegant mediocrity, because it shows that the young man is speaking out of his own heart, and struggling to express himself in his own way rather than in the way he finds in other men's books. The early works of original writers are usually very bad; then succeeds a short interval of imitation in which the influence of some favourite author is distinctly traceable; but this does not last long, the native independence of the mind reasserts itself, and although perhaps academic and critical demands are somewhat disregarded, so that the original writer on account of his very originality receives but slight recognition from the authorities, nevertheless if there is any real power in the voice it soon makes itself felt in the world."

"There are occasions when the simplest and fewest words surpass in effect all the wealth of rhetorical amplification. An example may be seen in the passage which has been a favourite illustration from the days of Longinus to our own. "God said: Let there be light! and there was light." This is a conception of power so calm and simple that it needs only to be presented in the fewest and the plainest words, and would be confused or weakened by any suggestion of accessories."