Short Story Writers From Ireland

"Shaw's relations with women have always been gallant, coy even. The number he has surrendered to physically have been few – perhaps not half a dozen in all – the first man to have cut a path through the theatre and left it strewn with virgins."

"Just as work is the curse of the drinking classes of this country," [Wilde] said laughing, "so education is the curse of the acting classes."

"Strong men are made by opposition; like kites they go up against the wind."

"gothics are slow. I had somebody that had never read Dracula before and they read it and they told me, “It’s just a bunch of journal entries. It’s such a boring piece of crap.” And I said, “Yes, it is.” Well, not just journal entries, but like train tape timetables and lots of stuff. It does tell a story, and it does get kind of creepy, but they wanted the vampire jumping out on page two and biting into somebody, and that just doesn’t happen."

"THE DEAD TRAVEL FAST"

"Go home, Johann — Walpurgis nacht doesn't concern Englishmen."

"Burton had a most vivid way of putting things — especially of the East. He had both a fine imaginative power and a memory richly stored not only from study but from personal experience. As he talked, fancy seemed to run riot in its alluring power; and the whole world of thought seemed to flame with gorgeous colour. Burton knew the East. Its brilliant dawns and sunsets; its rich tropic vegetation, and its arid fiery deserts; its cool, dark mosques and temples; its crowded bazaars; its narrow streets; its windows guarded for out-looking and from in-looking eyes; the pride and swagger of its passionate men, and the mysteries of its veiled women; its romances; its beauty; its horrors."

"My first impression of the man as of steel was consolidated and enhanced. He told us, amongst other things, of the work he had in hand. Three great books were partially done. The translation of the Arabian Nights, the metrical translation of Camoëns, and the Book of the Sword. These were all works of vast magnitude and requiring endless research. But he lived to complete them all."

"I could not but be struck by the strangers. The lady was a big, handsome blonde woman, clever-looking and capable. But the man riveted my attention. He was dark, and forceful, and masterful, and ruthless. I have never seen so iron a countenance. I did not have much time to analyse the face; the bustle of arrival prevented that. But an instant was enough to make up my mind about him. We separated in the carriage after cordial wishes that we might meet again. When we were on the platform, I asked Irving: "Who is that man?" "Why," he said, " I thought I introduced you!" "So you did, but you did not mention the names of the others!" He looked at me for an instant and said inquiringly as though something had struck him: "Tell me, why do you want to know?" "Because," I answered, "I never saw any one like him. He is steel! He would go through you like a sword!" "You are right!" he said. "But I thought you knew him. That is Burton — Captain Burton who went to Mecca!"

"The fame of an actor is won in minutes and seconds, not in years. The latter are only helpful in the recurrence of opportunities; in the possibilities of repetition. It is not feasible, therefore, adequately to record the progress of his work. Indeed that work in its perfection cannot be recorded; words are, and can be, but faint suggestions of awakened emotion. The student of history can, after all, but accept in matters evanescent the judgment of contemporary experience. Of such, the weight of evidence can at best incline in one direction; and that tendency is not susceptible of further proof. So much, then, for the work of art that is not plastic and permanent. There remains therefore but the artist. Of him the other arts can make record in so far as external appearance goes. Nay, more, the genius of sculptor or painter can suggest — with an understanding as subtle as that of the sun-rays which on sensitive media can depict what cannot be seen by the eye — the existence of these inner forces and qualities whence accomplished works of any kind proceed. It is to such art that we look for the teaching of our eyes. Modern science can record something of the actualities of voice and tone. Writers of force and skill and judgment can convey abstract ideas of controlling forces and purposes; of thwarting passions; of embarrassing weaknesses; of all the bundle of inconsistencies which make up an item of concrete humanity. From all these may be derived some consistent idea of individuality. This individuality is at once the ideal and the objective of portraiture."

"Logically speaking, even the life of an actor has no preface. He begins, and that is all. And such beginning is usually obscure; but faintly remembered at the best. Art is a completion; not merely a history of endeavour. It is only when completeness has been obtained that the beginnings of endeavour gain importance, and that the steps by which it has been won assume any shape of permanent interest. After all, the struggle for supremacy is so universal that the matters of hope and difficulty of one person are hardly of general interest. When the individual has won out from the huddle of strife, the means and steps of his succeeding become of interest, either historically or in the educational aspect — but not before. From every life there may be a lesson to some one; but in the teeming millions of humanity such lessons can but seldom have any general or exhaustive force. The mere din of strife is too incessant for any individual sound to carry far. Fame, who rides in higher atmosphere, can alone make her purpose heard. Well did the framers of picturesque idea understand their work when in her hand they put a symbolic trumpet."

"Seven years ago we all went through the flames. And the happiness of some of us since then is, we think, well worth the pain we endured."

"You think to baffle me, you—with your pale faces all in a row, like sheep in a butcher's."

"One and all we felt that the holy calm that lay like sunshine over the wasted face and form was only an earthly token and symbol of the calm that was to reign for ever."

"Despair has its own calms."

"No man knows till he has suffered from the night how sweet and dear to his heart and eye the morning can be."

"Listen to them — the children of the night. What music they make."

"We are in Transylvania, and Transylvania is not England. Our ways are not your ways, and there shall be to you many strange things."

"Do not grieve for her! Who knows, but she may have found the joy she sought? Love and patience are all that make for happiness in this world; or in the world of the past or of the future; of the living or the dead. She dreamed her dream; and that is all that any of us can ask."

"In my College days I had been Auditor of the Historical Society — a post which corresponds to the Presidency of the Union in Oxford or Cambridge — and had got medals, or certificates, for History, Composition and Oratory. I had been President of the Philosophical Society; had got Honours in pure mathematics. I had won numerous silver cups for races of various kinds. I had played for years in the University football team, where I had received the honour of a “cap”! I was physically immensely strong. In fact I feel justified in saying I represented in my own person something of that aim of university education mens sana in corpore sano"

"I was naturally thoughtful, and the leisure of long illness gave opportunity for many thoughts which were fruitful according to their kind in later years."

"He have done this alone; all alone! from a ruin tomb in a forgotten land. What more may he not do when the greater world of thought is open to him?"

"Tennyson had at times that lifting of the upper lip which shows the canine tooth, and which is so marked an indication of militant instinct."

"Much has been said of his relation to Henry Irving, but I wonder how many were really aware of the whole depth and significance of that association. Bram seemed to give up his life to it. .. I say without any hesitation that never have I seen, never do I expect to see, such absorption of one man’s life in the life of another."

"As to its effect, I had no adequate words. I can only say that after a few seconds of stony silence following his collapse I burst out into something like a violent fit of hysterics…. In those moments of our mutual emotion he too had found a friend and knew it. Soul had looked into soul! From that hour began a friendship as profound, as close, as lasting as can be between two men."

"Be careful of my guest — his safety is most precious to me. Should aught happen to him, or if he be missed, spare nothing to find him and ensure his safety. He is English and therefore adventurous. There are often dangers from snow and wolves and night. Lose not a moment if you suspect harm to him. I answer your zeal with my fortune."

"Though the pen is mightier than the sword, the sword speaks louder and stronger at any given moment."

"a Yea might turn in to a Nae and vice versa if a sufficient quantity of wordage was applied. In other talk you argument out until you get the answer you want."

"I think women should make a habit of canceling the wars."

"Only in a house where one has learnt to be lonely does one have this solicitude for things. One's relation to them, the daily seeing or touching, begins to become love, and to lay one open to pain."

"[T]here is a flaw in civilization from the instant it has to admit fear."

"Intimacies between women go backwards, beginning in revelations and ending up in small talk without loss of esteem."

"Experience isn't interesting until it begins to repeat itself — in fact, till it does that, it hardly is experience."

"I am sick of the governessy attitude of our age, which is coming to be more genuinely presumptuous, nosier and more busybody than the Victorian."

"It is thought that women inspire by their beauty; more often they do so by their longings."

"Cicero, in invoking the law of heaven, invoked what was by nature of heaven: law — inviolable principle, better than the vacillating gods."

"The heart may think it knows better: the senses know that absence blots people out. We have really no absent friends."

"[U]ntruths are thieves, robbing us of a birthright."

"Fate is not an eagle, it creeps like a rat."

"This is the worst of love, this unmeant mystification — someone smiling and going out without saying where, or a letter arriving, being read in your presence, put away, not explained, or: "No, alas, I can't to-night" on the telephone — that, one person having set up without knowing, the other cannot undo without the where? who? why? that brings them both down a peg. Jealousy is no more than feeling alone against smiling enemies."

"And yet in a way I would rather fail point blank. Things one can do have no value. I don't mind feeling small myself, but I dread finding the world is."

"It is a wary business, walking about a strange house you are to know well. Only cats and dogs with their more expressive bodies enact the tension we share with them at such times. The you inside you gathers up defensively: something is stealing upon you every moment; you will never be quite the same again. These new unsmiling lights, reflections and objects are to become your memories, riveted to you closer than friends or lovers, going with you, even, into the grave: worse, they may become dear and fasten like so many leeches on your heart."

""What's the matter with this country is the matter with the lot of us individually— our sense of personality is a sense of outrage and we'll never get outside of it."But the hold of the country was that, she considered, it could be thought of in terms of oneself, so interpreted."

"One of the greatest writers of [the 20th] century."

"It was quite dark when he went by the towers of Tor, where archers shoot ivory arrows at strangers lest any foreigner should alter their laws, which are bad, but not to be altered by mere aliens."

"I imagine that as one penetrated out from some enormous forest of the tropics, the wild beasts would become fewer, the gloom would lighten, and the horror of the place would slowly lift. Yet as one emerges nearer to the edge of London, and nearer to the beautiful influence of the hills, the houses become uglier, the streets viler, the gloom deepens, the errors of civilisation stand bare to the scorn of the fields."

"It is many a year ago, they say, when the vintage was last gathered in from the vineyards that I knew, where it is all desert now. It was a radiant day, and the people of the city were dancing by the vineyards, while here and there one played upon the kalipac. The purple flowering shrubs were all in bloom, and the snow shone upon the Hills of Hap. Outside the copper gates they crushed the grapes in vats to make the syrabub. It had been a goodly vintage. In the little gardens at the desert's edge men beat the tambang and the tittibuk, and blew melodiously the zootibar."

"Indeed when we trace it all back to its origin we find at the beginning of this unhappy story a man who was only an emperor and wished to be something more. He would have ruled the world but has only meddled with it; and his folly has brought misery to millions, and there lies his broken dream on the broken earth."

"Once, as Mung went his way athwart the Earth and up and down its cities and across its plains, Mung came upon a man who was afraid when Mung said: “I am Mung!”"

"Then said the people to the prophet: “Shall not black hills draw round in some forsaken land, to make a vale-wide cauldron wherein the molten rock shall seethe and roar, and where the crags of mountains shall be hurled upward to the surface and bubble and go down again, that there our enemies may boil for ever?”"