All Quotes

"The most offensive egotist is he that fears to say "I" and "me." "It will probably rain "—that is dogmatic. "I think it will rain"—that is natural and modest. Montaigne is the most delightful of essayists because so great is his humility that he does not think it important that we see not Montaigne. He so forgets himself that he employs no artifice to make us forget him."

"Montaigne is one of those perennial sources of mental health to which there needs no excuse for returning. He is always necessary and always being rediscovered."

"Montaigne the I-sayer. “I” as space, not as position."

"Never could I interest myself in a book if it were not the exact diet my mind required at the time, or in the very immediate future. The mind asked, received, and digested. So much was assimilated, so much expelled; then, after a season, similar demands were made, the same processes were repeated out of sight, below consciousness, as is the case in a well-ordered stomach."

"Europeans had often thought that somewhere in the world must dwell a noble race, remnants of that golden age before man became corrupted by civilization. As reports of Indians filtered back to Europe... Michelle de Montaigne took the trouble to talk with explorers, to read the traveler's chronicles, and even to meet three Indians who had been brought as curiosities to the Court of Versailles. He concluded that the Noble Savage has at last been found, for the Indian "hath... no name of magistrate, nor of politics... no contracts... no apparel but natural... The very words that import a lie, falsehood, treason, covetousness, envy, detraction, were not heard among them." Montaigne presented an idealized notion about the aborigines ...that foreshadowed the Noble Savage of Jean Jacques Rousseau."

"This great French writer deserves to be regarded as a classic, not only in the land of his birth, but in all countries and in all literatures. His Essays, which are at once the most celebrated and the most permanent of his productions, form a magazine out of which such minds as those of Bacon and Shakespeare did not disdain to help themselves; and, indeed, as Hallam observes, the Frenchman’s literary importance largely results from the share which his mind had in influencing other minds, coeval and subsequent. But, at the same time, estimating the value and rank of the essayist, we are not to leave out of the account the drawbacks and the circumstances of the period: the imperfect state of education, the comparative scarcity of books, and the limited opportunities of intellectual intercourse. Montaigne freely borrowed of others, and he has found men willing to borrow of him as freely. We need not wonder at the reputation which he with seeming facility achieved. He was, without being aware of it, the leader of a new school in letters and morals. His book was different from all others which were at that date in the world. It diverted the ancient currents of thought into new channels. It told its readers, with unexampled frankness, what its writer’s opinion was about men and things, and threw what must have been a strange kind of new light on many matters but darkly understood. Above all, the essayist uncased himself, and made his intellectual and physical organism public property. He took the world into his confidence on all subjects. His essays were a sort of literary anatomy, where we get a diagnosis of the writer’s mind, made by himself at different levels and under a large variety of operating influences"

"Of all egotists, Montaigne, if not the greatest, was the most fascinating, because, perhaps, he was the least affected and most truthful. What he did, and what he had professed to do, was to dissect his mind, and show us, as best he could, how it was made, and what relation it bore to external objects. He investigated his mental structure as a schoolboy pulls his watch to pieces, to examine the mechanism of the works; and the result, accompanied by illustrations abounding with originality and force, he delivered to his fellow-men in a book. Eloquence, rhetorical effect, poetry, were alike remote from his design. He did not write from necessity, scarcely perhaps for fame. But he desired to leave France, nay, and the world, something to be remembered by, something which should tell what kind of a man he was — what he felt, thought, suffered — and he succeeded immeasurably, I apprehend, beyond his expectations. It was reasonable enough that Montaigne should expect for his work a certain share of celebrity in Gascony, and even, as time went on, throughout France; but it is scarcely probable that he foresaw how his renown was to become world-wide; how he was to occupy an almost unique position as a man of letters and a moralist; how the Essays would be read, in all the principal languages of Europe, by millions of intelligent human beings, who never heard of Perigord or the League, and who are in doubt, if they are questioned, whether the author lived in the sixteenth or the eighteenth century. This is true fame. A man of genius belongs to no period and no country. He speaks the language of nature, which is always everywhere the same."

"Mr. Sensible learned only catchwords from them. He could talk like Epicurus of spare diet, but he was a glutton. He had from Montaigne the language of friendship, but no friend."

"Montaigne [puts] not self-satisfied understanding but a consciousness astonished at itself at the core of human existence."

"The manner in which Epictetus, Montaigne, and Salomon de Tultie wrote, is the most usual, the most suggestive, the most remembered, and the oftener quoted; because it is entirely composed of thoughts born from the common talk of life."

"Sixteen years of observing himself and reading and rereading the thousand books in the round library had convinced him not only that life was all there is but that "Each man bears the entire form of man's estate.""

"What the earliest utopians — Montaigne, Thomas More, Tommaso Campanella — understood was that they fought not for a place but for a new set of ideas through which to recognize what would count as Real: Equality, not hierarchical authority. Individual dignity, not slavish subservience. Our preeminent problem is that we recognize the Real in what is most deadly: a culture of duty to legalities that are, finally, cruel and destructive. We need to work inventively — as Christ did, as Thoreau did — in the spirit of disobedience for the purpose of refusing the social order into which we happen to have been born and putting in its place a culture of life-giving things."

"Ugliness is trivial, the monstrous is terrible."

"The lot of critics is to be remembered by what they failed to understand."

"Acting is therefore the lowest of the arts, if it is an art at all."

"The public will accept a masterpiece, but it will not accept an attempt to write a masterpiece."

"I have always noticed that when a fellow wants to finish a play, the only way to do it is to go away to the country and leave no address."

"He must put his shoulder to the wheel and get it right; one more push, that was all that was wanted."

"Faith goes out of the window when beauty comes in at the door."

"The mind petrifies if a circle be drawn around it, and it can hardly be denied that dogma draws a circle round the mind."

"A man travels the world over in search of what he needs and returns home to find it."

"A great artist is always before his time or behind it."

"The hours I spend with you I look upon as sort of a perfumed garden, a dim twilight, and a fountain singing to it... you and you alone make me feel that I am alive... Other men it is said have seen angels, but I have seen thee and thou art enough."

"My soul, so far as I understand it, has very kindly taken colour and form from the many various modes of life that self-will and an impetuous temperament have forced me to indulge in. Therefore I may say that I am free from original qualities, defects, tastes, etc. What is mine I have acquired, or, to speak more exactly, chance bestowed, and still bestows, upon me. I came into the world apparently with a nature like a smooth sheet of wax, bearing no impress, but capable of receiving any; of being moulded into all shapes."

"Terrible is the day when each sees his soul naked, stripped of all veil; that dear soul which he cannot change or discard, and which is so irreparably his."

"But if you want to be a painter you must go to France — France is the only school of Art."

"It does not matter how badly you paint so long as you don't paint badly like other people."

"The world is dying of machinery; that is the great disease, that is the plague that will sweep away and destroy civilization; man will have to rise against it sooner or later."

"Love — but not marriage. Marriage means a four-post bed and papa and mamma between eleven and twelve. Love is aspiration: transparencies, colour, light, a sense of the unreal. But a wife — you know all about her — who her father was, who her mother was, what she thinks of you and her opinion of the neighbours over the way. Where, then, is the dream?"

"Injustice we worship; all that lifts us out of the miseries of life is the sublime fruit of injustice. Every immortal deed was an act of fearful injustice; the world of grandeur, of triumph, of courage, of lofty aspiration, was built up on injustice. Man would not be man but for injustice."

"It is said that young men of genius come to London with great poems and dramas in their pockets and find every door closed against them. Chatterton's death perpetuated this legend. But when I, George Moore, came to London in search of literary adventure, I found a ready welcome. Possibly I should not have been accorded any welcome had I been anything but an ordinary person."

"I will admit that an artist may be great and limited; by one word he may light up an abyss of soul; but there must be this one magical and unique word. Shakespeare gives us the word, Balzac, sometimes, after pages of vain striving, gives us the word, Tourgueneff gives it with miraculous certainty; but Henry James, no; a hundred times he flutters about it; his whole book is one long flutter near to the one magical and unique word, but the word is not spoken; and for want of the word his characters are never resolved out of the haze of nebulae. You are on a bowing acquaintance with them; they pass you in the street, they stop and speak to you, you know how they are dressed, you watch the colour of their eyes."

"One thing that cannot be denied to the realists: a constant and intense desire to write well, to write artistically. When I think of what they have done in the matter of the use of words, of the myriad verbal effects they have discovered, of the thousand forms of composition they have created, how they have remodelled and refashioned the language in their untiring striving for intensity of expression for the very osmazome of art, I am lost in ultimate wonder and admiration."

"We all want notoriety; our desires on this point, as upon others, are not noble, but the human is very despicable vermin and only tolerable when it tends to the brute, and away from the evangelical."

"Humanity is a pigsty, where lions, hypocrites, and the obscene in spirit congregate."

"All reformers are bachelors."

"After all there is but one race — humanity."

"The difficulty in life is the choice."

"The wrong way always seems the more reasonable."

"It would appear that practical morality consists in making the meeting of men and women as casual as that of animals."

"I am filled with pride when I think of the noble and exalted world that must have existed before Christian doctrine caused men to look upon women with suspicion and bade them to think of angels instead."

"One must be in London to see the spring."

"We humans are more complicated than animals, and we love through the imagination."

"Self is man's main business; all outside of self is uncertain, all comes from self, all returns to self."

"...day before yesterday I read "Esther Waters" for the 60th time. It is a book I keep for very bad days, and it never fails me...I don't know why "Esther Waters" has this magic effect on me - because I do not like horses particularly or care about racing [. . . . . .] or servants (White. Black ones are nice). Or religion - Still there it is. Magic for me. Every time."

"George Moore had a ceaseless preoccupation with painting and the theatre, within certain limits a technical understanding of both; whatever idea possessed him, courage and explosive power; but sacrificed all that seemed to other men good breeding, honour, friendship, in pursuit of what he called the root facts of life."

"I told him that he was more mob than man, always an enthusiastic listener or noisy interrupter. Yet I admired him and found myself his advocate. I wrote to Lady Gregory: "He is constantly so likeable that one can believe no evil of him, and then in a moment a kind of a devil takes hold of him, his voice changes, his look changes, and he becomes hateful... It is so hard not to trust him, and yet he is quite untrustworthy. He has what Talleyrand calls 'the terrible gift of familiarity.'""

"I can't tell you how urbane and sprightly the old poll parrot was; and (this is what I think using the brain does for one), not a pocket, not a crevice, of pomp, humbug, respectability in him: he was fresh as a daisy."

"The aim of science is to seek the simplest explanations of complex facts. We are apt to fall into the error of thinking that the facts are simple because simplicity is the goal of our quest. The guiding motto in the life of every natural philosopher should be, "Seek simplicity and distrust it.""

"If science is not to degenerate into a medley of ad hoc hypotheses, it must become philosophical and must enter upon a thorough criticism of its own foundations."