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+The Project Gutenberg eBook of The Arnold Bennett Calendar, by Enoch Arnold
+Bennett
+
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online at
+www.gutenberg.org. If you are not located in the United States, you will
+have to check the laws of the country where you are located before using
+this eBook.
+
+Title: The Arnold Bennett Calendar
+
+Author: Enoch Arnold Bennett
+
+Compiler: Frank C. Bennett
+
+Release Date: Mar 27, 2021 [eBook #64933]
+
+Language: English
+
+Produced by: D A Alexander, David E. Brown, and the Online Distributed
+             Proofreading Team at https://www.pgdp.net (This file was
+             produced from images generously made available by The
+             Internet Archive)
+
+*** START OF THE PROJECT GUTENBERG EBOOK THE ARNOLD BENNETT CALENDAR ***
+
+
+
+
+
+_The Arnold Bennett Calendar_
+
+
+
+
+BY ARNOLD BENNETT
+
+
+NOVELS
+
+  THE OLD WIVES’ TALE
+  HELEN WITH THE HIGH HAND
+  THE MATADOR OF THE FIVE TOWNS
+  THE BOOK OF CARLOTTA
+  BURIED ALIVE
+  A GREAT MAN
+  LEONORA
+  WHOM GOD HATH JOINED
+  A MAN FROM THE NORTH
+  ANNA OF THE FIVE TOWNS
+  THE GLIMPSE
+
+POCKET PHILOSOPHIES
+
+  HOW TO LIVE ON 24 HOURS A DAY
+  THE HUMAN MACHINE
+  LITERARY TASTE
+  MENTAL EFFICIENCY
+
+PLAYS
+
+  CUPID AND COMMONSENSE
+  WHAT THE PUBLIC WANTS
+  POLITE FARCES
+  MILESTONES
+  THE HONEYMOON
+
+MISCELLANEOUS
+
+  THE TRUTH ABOUT AN AUTHOR
+  THE FEAST OF ST. FRIEND
+
+
+  GEORGE H. DORAN COMPANY
+  NEW YORK
+
+
+
+
+  _The
+  Arnold Bennett
+  Calendar_
+
+  _Compiled By
+  Frank Bennett_
+
+  [Illustration]
+
+  _New York_
+  _George H· Doran Company_
+
+
+
+
+  COPYRIGHT, 1912
+  BY GEORGE H. DORAN COMPANY
+
+  THE·PLIMPTON·PRESS
+  [W·D·O]
+  NORWOOD·MASS·U·S·A
+
+
+_Enoch Arnold Bennett was born at Hanley-in-the-Potteries (one of the
+“Five Towns” frequently appearing in his writings) on 27th May 1867.
+He was educated at the endowed Middle School, Newcastle-under-Lyme,
+and matriculated in the London University. From school he went into
+the office of his father, who practised as a solicitor at Hanley,
+and stayed with him until 1889, when he took a post in a solicitor’s
+office in London, which he held until 1893. In that year he abandoned
+the law finally to become assistant editor of_ Woman, _and succeeded
+to the editorship in 1896. This post he resigned in 1900 to devote
+himself exclusively to literature. In the meantime several of his
+works had been issued, the first being “A Man from the North”
+(1898) and a handbook, “Journalism for Women,” followed in the next
+year by the publication of a volume of plays, “Polite Farces,” his
+first experiments in drama. Afterwards appeared in rapid succession
+nine other novels, two volumes of short stories, seven volumes of
+belles-lettres, and seven fantasias. Besides these he wrote two plays,
+“Cupid and Common-Sense,” produced by the Stage Society in 1908, and
+“What the Public Wants,” also produced by the Stage Society in 1909,
+and afterwards by Mr. Hawtrey at the New Royalty Theatre. Both these
+plays were subsequently staged in Glasgow, and by Miss Horniman’s
+Company. The most important of his publications include:--among
+novels, “Leonora,” “A Great Man,” “Sacred and Profane Love,” “Whom
+God Hath Joined----,” “The Old Wives’ Tale,” and “Clayhanger”; among
+the belles-lettres, “The Truth about an Author,” “Literary Taste,”
+“The Reasonable Life,” “The Human Machine,” and “How to Live on
+Twenty-Four Hours a Day” (the last four contributed originally to_ T.
+P.’s Weekly, _and containing indications of Mr. Bennett’s theories of
+life); and in the short stories, “Tales of the Five Towns,” and “The
+Grim Smile of the Five Towns.” Mr. Bennett has very definite leanings
+towards Socialism, and, under a pseudonym, writes regularly for_ The
+New Age. _He also contributes from time to time to the most important
+progressive weekly and monthly magazines._
+
+                                                              _F. C. B._
+
+
+
+
+_The Arnold Bennett Calendar_
+
+
+
+
+_January_
+
+
+_One_
+
+  The individual who scoffs at New Year’s resolutions resembles the
+  woman who says she doesn’t look under the bed at nights; the truth is
+  not in him.
+
+
+_Two_
+
+  To give pleasure is the highest end of any work of art, because the
+  pleasure procured from any art is tonic, and transforms the life into
+  which it enters.
+
+
+_Three_
+
+  There are only two fundamental differences in the world--the
+  difference between sex and sex, and the difference between youth and
+  age.
+
+
+_Four_
+
+  The only class of modern play in which it is possible to be both
+  quite artistic and quite marketable, is the farce.
+
+
+_Five_
+
+  To enjoy a work of imagination is no pastime, rather a sweet but
+  fatiguing labour. After a play of Shakespeare or a Wagnerian opera
+  repose is needed. Only a madman like Louis of Bavaria could demand
+  _Tristan_ twice in one night.
+
+
+_Six_
+
+  Great books do not spring from something accidental in the great
+  men who wrote them. They are the effluence of their very core, the
+  expression of the life itself of the authors.
+
+
+_Seven_
+
+  It is within the experience of everyone that when pleasure and pain
+  reach a certain intensity they are indistinguishable.
+
+
+_Eight_
+
+  One of the main obstacles to the cultivation of poetry in the average
+  sensible man is an absurdly inflated notion of the ridiculous.
+
+
+_Nine_
+
+  The crudest excitement of the imaginative faculty is to be preferred
+  to a swinish preoccupation with the gross physical existence.
+
+
+_Ten_
+
+  The brain is the diplomatist which arranges relations between our
+  instinctive self and the universe, and it fulfils its mission when it
+  provides for the maximum of freedom to the instincts with the minimum
+  of friction.
+
+
+_Eleven_
+
+  A woman who has beauty wants to frame it in beauty. The eye is a
+  sensualist, and its appetites, once aroused, grow. A beautiful woman
+  takes the same pleasure in the sight of another beautiful woman as
+  a man does; only jealousy or fear prevents her from admitting the
+  pleasure.
+
+
+_Twelve_
+
+  The beginning of wise living lies in the control of the brain by the
+  will.
+
+
+_Thirteen_
+
+  To utter a jeremiad upon the decadence of taste, to declare that
+  literature is going to the dogs because a fourth-rate novel has been
+  called a masterpiece and has made someone’s fortune, would be absurd.
+  I have a strong faith that taste is as good as ever it was, and that
+  literature will continue on its way undisturbed.
+
+
+_Fourteen_
+
+  There is a loveliness of so imperious, absolute, dazzling a kind
+  that it banishes from the hearts of men all moral conceptions, all
+  considerations of right and wrong, and leaves therein nothing but
+  worship and desire.
+
+
+_Fifteen_
+
+  When homage is reiterated, when the pleasure of obeying a command and
+  satisfying a caprice is begged for, when roses are strewn, and even
+  necks put down in the path, one forgets to be humble; one forgets
+  that in meekness alone lies the sole good; one confuses deserts with
+  the hazards of heredity.
+
+
+_Sixteen_
+
+  There are men who are capable of loving a machine more deeply than
+  they can love a woman. They are among the happiest men on earth.
+
+
+_Seventeen_
+
+  The uncultivated reader is content to live wholly in and for the
+  moment, sentence by sentence. Keep him amused and he will ask no
+  more. You may delude him, you may withhold from him every single
+  thing to which he is rightfully entitled, but he will not care. The
+  more crude you are, the better will he be pleased.
+
+
+_Eighteen_
+
+  It is only in the stress of fine ideas and emotions that a man may be
+  truly said to live.
+
+
+_Nineteen_
+
+  Oh, innocence! Oh, divine ignorance! Oh, refusal! None knows your
+  value save her who has bartered you! And herein is the woman’s
+  tragedy.
+
+
+_Twenty_
+
+  To extract from the brain, at will and by will, concentration on
+  a given idea for even so short a period as half an hour is an
+  exceedingly difficult feat--and a fatiguing! It needs perseverance.
+
+
+_Twenty-one_
+
+  A merely literary crudity will affect the large public neither one
+  way nor the other, since the large public is entirely uninterested in
+  questions of style; but all other crudities appeal strongly to that
+  public.
+
+
+_Twenty-two_
+
+_“Cupid and Commonsense” produced._
+
+  Everyone who has driven a motor-car knows the uncanny sensation that
+  ensues when for the first time in your life you engage the clutch,
+  and the Thing beneath you begins mysteriously and formidably to move.
+  It is at once an astonishment, a terror, and a delight. I felt like
+  that as I watched the progress of my first play.
+
+
+_Twenty-three_
+
+  Can you see the sun over the viaduct at Loughborough Junction of
+  a morning, and catch its rays in the Thames off Dewar’s whisky
+  monument, and not shake with the joy of life? If so, you and
+  Shakespeare are not yet in communication.
+
+
+_Twenty-four_
+
+  Adults have never yet invented any institution, festival or diversion
+  specially for the benefit of children. The egoism of adults makes
+  such an effort impossible, and the ingenuity and pliancy of
+  children make it unnecessary. The pantomime, for example, which is
+  now pre-eminently a diversion for children, was created by adults
+  for the amusement of adults. Children have merely accepted it and
+  appropriated it. Children, being helpless, are of course fatalists
+  and imitators. They take what comes, and they do the best they can
+  with it. And when they have made something their own that was adult,
+  they stick to it like leeches.
+
+
+_Twenty-five_
+
+  The living speak of the uncanniness of the dead. It does not occur
+  to them that manifestations of human existence may be uncanny to the
+  dead.
+
+
+_Twenty-six_
+
+  There is no royal road to the control of the brain. There is no
+  patent dodge about it, and no complicated function which a plain
+  person may not comprehend. It is simply a question of: “I will, _I_
+  will, and I _will_.”
+
+
+_Twenty-seven_
+
+  I knew that when love lasted, the credit of the survival was due
+  far more often to the woman than to the man. The woman must husband
+  herself, dole herself out, economise herself so that she might be
+  splendidly wasteful when need was. The woman must plan, scheme,
+  devise, invent, reconnoitre, take precautions; and do all this
+  sincerely and lovingly in the name and honour of love. A passion for
+  her is a campaign; and her deadliest enemy is satiety.
+
+
+_Twenty-eight_
+
+  Efficient living, living up to one’s best standard, getting the last
+  ounce of power out of the machine with the minimum of friction: these
+  things depend on the disciplined and vigorous condition of the brain.
+
+
+_Twenty-nine_
+
+  In the world of books, as in every other world, one-half does not
+  know how the other half lives. In literary matters the literate
+  seldom suspect the extreme simplicity and _naïveté_ of the
+  illiterate. They wilfully blind themselves to it; they are afraid to
+  face it.
+
+
+_Thirty_
+
+  The mysteriousness of woman vanishes the instant you brutally face
+  it. Boys and ageing celibates are obsessed by the mysteriousness of
+  woman. The obsession is a sign either of immaturity or of morbidity.
+  The mysteriousness of woman,--take her, and see then if she is
+  mysterious!
+
+
+_Thirty-one_
+
+  Train journeys have too often been sorrowful for me, so much so that
+  the conception itself of a train, crawling over the country like
+  a snake, or flying across it like a winged monster, fills me with
+  melancholy. Trains loaded with human parcels of sadness and illusion
+  and brief joy, wandering about, crossing, and occasionally colliding
+  in the murk of existence; trains warmed and lighted in winter; trains
+  open to catch the air of your own passage in summer; night-trains
+  that pierce the night with your yellow, glaring eyes, and waken
+  mysterious villages, and leave the night behind and run into the dawn
+  as into a station; trains that carry bread and meats for the human
+  parcels, and pillows and fountains of fresh water; trains that sweep
+  haughtily and wearily indifferent through the landscapes and the
+  towns, sufficient unto yourselves, hasty, panting, formidable, and
+  yet mournful entities: I have understood you in your arrogance and
+  your pathos!
+
+
+
+
+_February_
+
+
+_One_
+
+  The ecstasy of longing is better than the assuaging of desire.
+
+
+_Two_
+
+  As regards facts and ideas, the great mistake made by the average
+  well-intentioned reader is that he is content with the names of
+  things instead of occupying himself with the causes of things.
+
+
+_Three_
+
+  Time and increasing knowledge of the true facts have dissipated for
+  me the melancholy and affecting legend of literary talent going
+  a-begging because of the indifference of publishers. O young author
+  of talent, would that I could find you and make you understand how
+  the publisher yearns for you as the lover for his love.
+
+
+_Four_
+
+  The brain can be disciplined by learning the habit of obedience. And
+  it can learn the habit of obedience by the practice of concentration.
+
+
+_Five_
+
+  You can attach any ideas you please to music, but music, if you will
+  forgive me saying so, rejects them all equally. Art has to do with
+  emotions not with ideas, and the great defect of literature is that
+  it can only express emotions by means of ideas. What makes music the
+  greatest of all the arts is that it can express emotions without
+  ideas. Literature can appeal to the soul only through the mind.
+  Music goes direct. Its language is a language which the soul alone
+  understands, but which the soul can never translate.
+
+
+_Six_
+
+  If a man does not spend at least as much time in actively and
+  definitely thinking about what he has read as he spent in reading, he
+  is simply insulting his author.
+
+
+_Seven_
+
+  He was of that small and lonely minority of men who never know
+  ambition, ardour, zeal, yearning, tears; whose convenient desires are
+  capable of immediate satisfaction; of whom it may be said that they
+  purchase a second-rate happiness cheap at the price of an incapacity
+  for deep feeling.
+
+
+_Eight_
+
+  No man, except a greater author, can teach an author his business.
+
+
+_Nine_
+
+  Size is the quality which most strongly and surely appeals to the
+  imagination of the multitude. Of all modern monuments the Eiffel
+  Tower and the Big Wheel have aroused the most genuine curiosity and
+  admiration: they are the biggest. As with this monstrous architecture
+  of metals, so with the fabric of ideas and emotions: the attention
+  of the whole crowd can only be caught by an audacious hugeness, an
+  eye-smiting enormity of dimensions so gross as to be nearly physical.
+
+
+_Ten_
+
+  Genius apart, woman is usually more touchingly lyrical than man in
+  the yearning for the ideal.
+
+
+_Eleven_
+
+  I had fast in my heart’s keeping the new truth that in the body, and
+  the instincts of the body, there should be no shame but rather a
+  frank, joyous pride.
+
+
+_Twelve_
+
+  A person is idle because his thoughts dwell habitually on the instant
+  pleasures of idleness.
+
+
+_Thirteen_
+
+  By love I mean a noble and sensuous passion, absorbing the energies
+  of the soul, fulfilling destiny, and reducing all that has gone
+  before it to the level of a mere prelude.
+
+
+_Fourteen_
+
+  For myself, I have never valued work for its own sake, and I never
+  shall.
+
+
+_Fifteen_
+
+  Having once decided to achieve a certain task, achieve it at all
+  costs of tedium and distaste. The gain in self-confidence of having
+  accomplished a tiresome labour is immense.
+
+
+_Sixteen_
+
+  All who look into their experience will admit that the failure
+  to replace old habits by new ones is due to the fact that at the
+  critical moment the brain does not remember; it simply forgets.
+
+
+_Seventeen_
+
+  Many writers, and many clever writers, use the art of literature
+  merely to gain an end which is connected with some different art, or
+  with no art. Such a writer, finding himself burdened with a message
+  prophetic, didactic, or reforming, discovers suddenly that he has
+  the imaginative gift, and makes his imagination the servant of his
+  intellect, or of emotions which are not artistic emotions.
+
+
+_Eighteen_
+
+  I only value mental work for the more full and more intense
+  consciousness of being alive which it gives me.
+
+
+_Nineteen_
+
+  Whatever the vagaries of human nature, the true philosopher is never
+  surprised by them. And one vagary is not more strange than another.
+
+
+_Twenty_
+
+  You can control nothing but your own mind. Even your two-year-old
+  babe may defy you by the instinctive force of its personality.
+
+
+_Twenty-one_
+
+  To take the common grey things which people know and despise, and,
+  without tampering, to disclose their epic significance, their
+  essential grandeur--that is realism as distinguished from idealism or
+  romanticism. It may scarcely be, it probably is not, the greatest art
+  of all; but it is art precious and indisputable.
+
+
+_Twenty-two_
+
+  There are few mental exercises better than learning great poetry or
+  prose by heart.
+
+
+_Twenty-three_
+
+  The British public will never be convinced by argument. But two drops
+  of perspiration on the cheeks of a nice-looking girl with a torn
+  skirt and a crushed hat will make it tremble for the safety of its
+  ideals, and twenty drops will persuade it to sign anything for the
+  restoration of decency. You surely don’t suppose that _argument_ will
+  be of any use!
+
+
+_Twenty-four_
+
+  Some people have a gift of conjuring with conversations. They are
+  almost always frankly and openly interested in themselves. You may
+  seek to foil them; you may even violently wrench the conversation
+  into other directions. But every effort will be useless. They will
+  beat you. You had much better lean back in your chair and enjoy their
+  legerdemain.
+
+
+_Twenty-five_
+
+  The voice of this spirit says that it has lost every illusion about
+  life, and that life seems only the more beautiful. It says that
+  activity is but another form of contemplation, pain but another form
+  of pleasure, power but another form of weakness, hate but another
+  form of love, and that it is well these things should be so. It says
+  there is no end, only a means; and that the highest joy is to suffer,
+  and the supreme wisdom is to exist. If you will but live, it cries,
+  that grave but yet passionate voice--if you will but live! Were
+  there a heaven, and you reached it, you could do no more than live.
+  The true heaven is here where you live, where you strive and lose,
+  and weep and laugh. And the true hell is here, where you forget to
+  live, and blind your eyes to the omnipresent and terrible beauty of
+  existence.
+
+
+_Twenty-six_
+
+  The most important preliminary to self-development is the faculty of
+  concentrating at will.
+
+
+_Twenty-seven_
+
+  Diaries, save in experienced hands, are apt to get themselves
+  done with the very minimum of mental effort. They also tend to an
+  exaggeration of egotism, and if they are left lying about they tend
+  to strife.
+
+
+_Twenty-eight_
+
+  The English world of home is one of the most perfectly organized
+  microcosms on this planet, not excepting the Indian _purdah_. The
+  product of centuries of culture, it is regarded, not too absurdly,
+  as the fairest flower of Christian civilisation. It exists chiefly,
+  of course, for women, but it could never have been what it is had
+  not men bound themselves to respect the code which they made for it.
+  It is the fountain of refinement and of consolation, the nursery of
+  affection. It has the peculiar faculty of nourishing itself, for it
+  implicitly denies the existence of anything beyond its doorstep, save
+  the constitution, a bishop, a rector, the seaside, Switzerland, and
+  the respectful poor.
+
+
+_Twenty-nine_
+
+  I have always been a bookman. From adolescence books have been one of
+  my passions. Books not merely--and perhaps not chiefly--as vehicles
+  of learning or knowledge, but books as books, books as entities,
+  books as beautiful things, books as historical antiquities, books
+  as repositories of memorable associations. Questions of type, ink,
+  paper, margins, watermarks, paginations, bindings, are capable of
+  really agitating me.
+
+
+
+
+_March_
+
+
+_One_
+
+  It is characteristic of the literary artist with a genuine vocation
+  that his large desire is, not to express in words any particular
+  thing, but to express _himself_, the sum of his sensations. He feels
+  the vague, disturbing impulse to write long before he has chosen
+  his first subject from the thousands of subjects which present
+  themselves, and which in the future he is destined to attack.
+
+
+_Two_
+
+  In the mental world what counts is not numbers but co-ordination.
+
+
+_Three_
+
+  In England, nearly all the most interesting people are social
+  reformers: and the only circles of society in which you are not
+  bored, in which there is real conversation, are the circles of social
+  reform.
+
+
+_Four_
+
+  Anthology construction is one of the pleasantest hobbies that a
+  person who is not mad about golf and bridge--that is to say, a
+  thinking person--can possibly have.
+
+
+_Five_
+
+  That part of my life which I conduct by myself, without reference--or
+  at any rate without direct reference--to others, I can usually manage
+  in such a way that the gods do not positively weep at the spectacle
+  thereof.
+
+
+_Six_
+
+  It’s quite impossible to believe that a man is a genius, if you’ve
+  been to school with him, or even known his father.
+
+
+_Seven_
+
+  It is the privilege of only the greatest painters not to put letters
+  on the corners of their pictures in order to keep other painters from
+  taking the credit for them afterwards.
+
+
+_Eight_
+
+  Your own mind has the power to transmute every external phenomenon to
+  its own purposes.
+
+
+_Nine_
+
+  Anything would be a success in London on Sunday night. People are so
+  grateful.
+
+
+_Ten_
+
+  The one cheerful item in a universe of stony facts is that no one can
+  harm anybody except himself.
+
+
+_Eleven_
+
+  The eye that has learned to look life full in the face without a
+  quiver of the lid should find nothing repulsive. Everything that is,
+  is the ordered and calculable result of environment. Nothing can be
+  abhorrent, nothing blameworthy, nothing contrary to nature. Can we
+  exceed nature? In the presence of the primeval and ever-continuing
+  forces of nature, can we maintain our fantastic conceptions of sin
+  and of justice? We are, and that is all we should dare to say.
+
+
+_Twelve_
+
+  The art of life, the art of extracting all its power from the human
+  machine, does not lie chiefly in processes of bookish-culture, nor
+  in contemplations of the beauty and majesty of existence. It lies
+  chiefly in keeping the peace, the whole peace, and nothing but the
+  peace, with those with whom one is “thrown.”
+
+
+_Thirteen_
+
+  We have our ideals now, but when they are mentioned we feel
+  self-conscious and uncomfortable, like a school-boy caught praying.
+
+
+_Fourteen_
+
+  After the crest of the wave the trough--it must be so; but how
+  profound the instinct which complains!
+
+
+_Fifteen_
+
+  The performance of some pianists is so wonderful that it seems as if
+  they were crossing Niagara on a tight-rope, and you tremble lest they
+  should fall off.
+
+
+_Sixteen_
+
+  The secret of calm cheerfulness is kindliness; no person can be
+  consistently cheerful and calm who does not consistently think kind
+  thoughts.
+
+
+_Seventeen_
+
+  It is indubitable that a large amount of what is known as
+  self-improvement is simply self-indulgence--a form of pleasure which
+  only incidentally improves a particular part of the human machine,
+  and even that part to the neglect of far more important parts.
+
+
+_Eighteen_
+
+  The average man has this in common with the most exceptional genius,
+  that his career in its main contours is governed by his instincts.
+
+
+_Nineteen_
+
+  The most beautiful things, and the most vital things, and the most
+  lasting things are often mysterious and inexplicable and sudden.
+
+
+_Twenty_
+
+  An accurate knowledge of _any_ subject, coupled with a carefully
+  nurtured sense of the relativity of that subject to other subjects,
+  implies an enormous self-development.
+
+
+_Twenty-one_
+
+  The great artist may force you to laugh, or to wipe away a tear, but
+  he accomplishes these minor feats by the way. What he mainly does is
+  to _see_ for you. If, in presenting a scene, he does not disclose
+  aspects of it which you would not have observed for yourself, then he
+  falls short of success. In a physical and psychical sense power is
+  visual, the power of an eye seeing things always afresh, virginally
+  as though on the very morn of creation.
+
+
+_Twenty-two_
+
+  It is well, when one is judging a friend, to remember that he is
+  judging you with the same god-like and superior impartiality.
+
+
+_Twenty-three_
+
+  He who speaks, speaks twice. His words convey his thoughts, and his
+  tone conveys his mental attitude towards the person spoken to.
+
+
+_Twenty-four_
+
+  The man who loses his temper often thinks he is doing something
+  rather fine and majestic. On the contrary, so far is this from being
+  the fact, he is merely making an ass of himself.
+
+
+_Twenty-five_
+
+  The female sex is prone to be inaccurate and careless of apparently
+  trivial detail, because this is the general tendency of mankind.
+  In men destined for a business or a profession, the proclivity is
+  harshly discouraged at an early stage. In women, who usually are not
+  destined for anything whatever, it enjoys a merry life, and often
+  refuses to be improved out of existence when the sudden need arises.
+  No one by taking thought can deracinate the mental habits of, say,
+  twenty years.
+
+
+_Twenty-six_
+
+  Kindliness of heart is not the greatest of human qualities--and
+  its general effect on the progress of the world is not entirely
+  beneficent--but it is the greatest of human qualities in friendship.
+
+
+_Twenty-seven_
+
+  There is a certain satisfaction in hopelessness amid the extreme
+  of misery. You press it to you as the martyr clutched the burning
+  fagot. You enjoy it. You savour, piquantly, your woe, your shame,
+  your abjectness, the failure of your philosophy. You celebrate the
+  perdition of the man in you. You want to talk about it brazenly; even
+  to exaggerate it, and to swagger over it.
+
+
+_Twenty-eight_
+
+  The great public is no fool. It is huge and simple and slow in mental
+  processes, like a good-humoured giant, easy to please and grateful for
+  diversion. But it has a keen sense of its own dignity; it will not be
+  trifled with; it resents for ever the tongue in the cheek.
+
+
+_Twenty-nine_
+
+  The beauty of horses, timid creatures, sensitive and graceful and
+  irrational as young girls, is a thing apart; and what is strange
+  is that their vast strength does not seem incongruous with it. To
+  be above that proud and lovely organism, listening, apprehensive,
+  palpitating, nervous far beyond the human, to feel one’s self almost
+  part of it by intimate contact, to yield to it, and make it yield,
+  to draw from it into one’s self some of its exultant vitality--in a
+  word, to ride--I can comprehend a fine enthusiasm for that.
+
+
+_Thirty_
+
+  The respectable portion of the male sex in England may be divided
+  into two classes, according to its method and manner of complete
+  immersion in water. One class, the more dashing, dashes into a cold
+  tub every morning. Another, the more cleanly, sedately takes a warm
+  bath every Saturday night. There can be no doubt that the former
+  class lends tone and distinction to the country, but the latter is
+  the nation’s backbone.
+
+
+_Thirty-one_
+
+  Although you may easily practise upon the credulity of a child in
+  matters of fact, you cannot cheat his moral and social judgment. He
+  will add you up, and he will add anybody up, and he will estimate
+  conduct, upon principles of his own and in a manner terribly
+  impartial. Parents have no sterner nor more discerning critics than
+  their own children.
+
+
+
+
+_April_
+
+
+_One_
+
+  A person’s character is, and can be, nothing else but the total
+  result of his habits of thought.
+
+
+_Two_
+
+  Beware of hope, and beware of ambition! Each is excellently tonic,
+  like German competition, in moderation, but all of you are suffering
+  from self-indulgence in the first, and very many of you are ruining
+  your constitutions with the second.
+
+
+_Three_
+
+  As a matter of fact, people “indulge” in remorse; it is a somewhat
+  vicious form of spiritual pleasure.
+
+
+_Four_
+
+  When a thing is thoroughly well done it often has the air of being a
+  miracle.
+
+
+_Five_
+
+  After all the shattering discoveries of science and conclusions of
+  philosophy, mankind has still to live with dignity amid hostile
+  nature, and in the presence of an unknowable power, and mankind can
+  only succeed in this tremendous feat by the exercise of faith and of
+  that mutual goodwill which is based in sincerity and charity.
+
+
+_Six_
+
+  All the days that are to come will more or less resemble the present
+  day, until you die.
+
+
+_Seven_
+
+  In literature, when nine hundred and ninety-nine souls ignore you,
+  but the thousandth buys your work, or at least borrows it--that is
+  called enormous popularity.
+
+
+_Eight_
+
+  If life is not a continual denial of the past, then it is nothing.
+
+
+_Nine_
+
+  The profoundest belief of the average man is that virtue ought never
+  to be its own reward. Shake that belief and you commit a cardinal
+  sin; you disturb his mental quietude.
+
+
+_Ten_
+
+  It is notorious that the smaller the community, and the more
+  completely it is self-contained, the deeper will be its preoccupation
+  with its own trifling affairs.
+
+
+_Eleven_
+
+  To my mind, most societies with a moral aim are merely clumsy
+  machines for doing simple jobs with the maximum of friction, expense
+  and inefficiency. I should define the majority of these societies as
+  a group of persons each of whom expects the others to do something
+  very wonderful.
+
+
+_Twelve_
+
+  There is nothing like a sleepless couch for a clear vision of one’s
+  environment.
+
+
+_Thirteen_
+
+  The supreme muddlers of living are often people of quite remarkable
+  intellectual faculty, with a quite remarkable gift of being wise for
+  others.
+
+
+_Fourteen_
+
+  Our leading advertisers have richly proved that the public will
+  believe anything if they are told of it often enough.
+
+
+_Fifteen_
+
+  Here’s a secret. No writer likes writing, at least not one in a
+  hundred, and the exception, ten to one, is a howling mediocrity.
+  That’s a fact. But all the same, they’re miserable if they don’t
+  write.
+
+
+_Sixteen_
+
+  The first and noblest aim of imaginative literature is not either to
+  tickle or to stab the sensibilities, but to render a coherent view
+  of life’s apparent incoherence, to give shape to the amorphous, to
+  discover beauty which was hidden, to reveal essential truth.
+
+
+_Seventeen_
+
+  There is a theory that a great public can appreciate a great novel,
+  that the highest modern expression of literary art need not appeal in
+  vain to the average reader. And I believe this to be true--provided
+  that such a novel is written with intent, and with a full knowledge
+  of the peculiar conditions to be satisfied; I believe that a novel
+  could be written which would unite in a mild ecstasy of praise the
+  two extremes--the most inclusive majority and the most exclusive
+  minority.
+
+
+_Eighteen_
+
+  “Give us more brains, Lord!” ejaculated a great writer. Personally, I
+  think he would have been wiser if he had asked first for the power to
+  keep in order such brains as we have.
+
+
+_Nineteen_
+
+  Under the incentive of a woman’s eyes, of what tremendous efforts
+  is a clever man not capable, and, deprived of it, to what depths of
+  stagnation will he not descend!
+
+
+_Twenty_
+
+  Elegance is a form of beauty. It not only enhances beauty, but it is
+  the one thing which will console the eye for the absence of beauty.
+
+
+_Twenty-one_
+
+  There are several ways of entering upon journalism. One is at once to
+  found or purchase a paper, and thus achieve the editorial chair at a
+  single step. This course is often adopted in novels, sometimes with
+  the happiest results; and much less often in real life, where the end
+  is invariably and inevitably painful.
+
+
+_Twenty-two_
+
+  Existence rightly considered is a fair compromise between two
+  instincts--the instinct of hoping one day to live, and the instinct
+  to live here and now.
+
+
+_Twenty-three_
+
+  Your own mind is a sacred enclosure into which nothing harmful can
+  enter except by your permission.
+
+
+_Twenty-four_
+
+  The average man is not half enough of an egotist. If egotism means a
+  terrific interest in one’s self, egotism is absolutely essential to
+  efficient living.
+
+
+_Twenty-five_
+
+  Events have no significance except by virtue of the ideas from which
+  they spring; the clash of events is the clash of ideas, and out of
+  this clash the moral lesson inevitably emerges, whether we ask for
+  it or no. Hence every great book is a great moral book, and there is
+  a true and fine sense in which the average reader is justified in
+  regarding art as the handmaid of morality.
+
+
+_Twenty-six_
+
+_William Shakespeare’s Birthday_
+
+  Shakespeare is “taught” in schools; that is to say, the Board of
+  Education and all authorities pedagogic bind themselves together in a
+  determined effort to make every boy in the land a lifelong enemy of
+  Shakespeare. It is a mercy they don’t “teach” Blake.
+
+
+_Twenty-seven_
+
+_Herbert Spencer’s Birthday_
+
+  There are those who assert that Spencer was not a supreme genius! At
+  any rate he taught me intellectual courage; he taught me that nothing
+  is sacred that will not bear inspection; and I adore his memory.
+
+
+_Twenty-eight_
+
+  Unite the colossal with the gaudy, and you will not achieve the
+  sublime; but, unless you are deterred by humility and a sense
+  of humour, you may persuade yourself that you have done so, and
+  certainly most people will credit you with the genuine feat.
+
+
+_Twenty-nine_
+
+  The average reader (like Goethe and Ste. Beuve) has his worse and his
+  better self, and there are times when he will yield to the former;
+  but on the whole his impulses are good. In every writer who earns
+  his respect and enduring love there is some central righteousness,
+  which is capable of being traced and explained, and at which it is
+  impossible to sneer.
+
+
+_Thirty_
+
+  Literature is the art of using words. This is not a platitude, but a
+  truth of the first importance, a truth so profound that many writers
+  never get down to it, and so subtle that many other writers who think
+  they see it never in fact really comprehend it. The business of the
+  author is with words. The practisers of other arts, such as music and
+  painting, deal with ideas and emotions, but only the author has to
+  deal with them by means of words. Words are his exclusive possession
+  among creative artists and craftsmen. They are his raw material,
+  his tools and instruments, his manufactured product, his alpha and
+  omega. He may abound in ideas and emotions of the finest kind,
+  but those ideas and emotions cannot be said to have an effective
+  existence until they are expressed; they are limited to the extent of
+  their expression; and their expression is limited to the extent of
+  the author’s skill in the use of words. I smile when I hear people
+  say, “If I could _write_, if I could only put down what I feel--!”
+  Such people beg the whole question. The ability to _write_ is the
+  sole thing peculiar to literature--not the ability to think nor the
+  ability to feel, but the ability to write, to utilise words.
+
+
+
+
+_May_
+
+
+_One_
+
+  Only a small minority of authors overwrite themselves. Most of the
+  good and the tolerable ones do not write enough.
+
+
+_Two_
+
+  The entire business of success is a gigantic tacit conspiracy on the
+  part of the minority to deceive the majority.
+
+
+_Three_
+
+  There are at least three women-journalists in Europe to-day whose
+  influence is felt in Cabinets and places where they govern (proving
+  that sex is not a bar to the proper understanding of _la haute
+  politique_); whereas the man who dares to write on fashions does not
+  exist.
+
+
+_Four_
+
+  Habits are the very dickens to change.
+
+
+_Five_
+
+  Not only is art a factor in life; it is a factor in all lives. The
+  division of the world into two classes, one of which has a monopoly
+  of what is called “artistic feeling,” is arbitrary and false.
+  Everyone is an artist, more or less; that is to say, there is no
+  person quite without that faculty of poetising, which, by seeing
+  beauty, creates beauty, and which, when it is sufficiently powerful
+  and articulate, constitutes the musical composer, the architect, the
+  imaginative writer, the sculptor, and the painter.
+
+
+_Six_
+
+  Is it nothing to you to learn to understand that the world is not a
+  dull place?
+
+
+_Seven_
+
+  In neither faith nor enthusiasm can a child compete with a convinced
+  adult. No child could believe in anything as passionately as the
+  modern millionaire believes in money, or as the modern social
+  reformer believes in the virtue of Acts of Parliament.
+
+
+_Eight_
+
+  Literature, instead of being an accessory, is the fundamental _sine
+  qua non_ of complete living.
+
+
+_Nine_
+
+  No novelist, however ingenious, who does not write what he feels,
+  and what, by its careful finish, approximately pleases himself,
+  can continue to satisfy the average reader. He may hang for years
+  precariously on the skirts of popularity, but in the end he will
+  fall; he will be found out.
+
+
+_Ten_
+
+  Only the fool and the very young expect happiness. The wise merely
+  hope to be interested, at least not to be bored, in their passage
+  through this world. Nothing is so interesting as love and grief, and
+  the one involves the other.
+
+
+_Eleven_
+
+  One of the commonest characteristics of the successful man is his
+  idleness, his immense capacity for wasting time.
+
+
+_Twelve_
+
+  People who regard literary taste simply as an accomplishment, and
+  literature simply as a distraction, will never truly succeed, either
+  in acquiring the accomplishment or in using it half-acquired as a
+  distraction.
+
+
+_Thirteen_
+
+  The finest souls have their reactions, their rebellions against wise
+  reason.
+
+
+_Fourteen_
+
+  My theory is that politeness, instead of decreasing with
+  intimacy--should increase! And when I say “Politeness” I mean common,
+  superficial politeness. I don’t mean the deep-down sort of thing that
+  you can only detect with a divining-rod.
+
+
+_Fifteen_
+
+  Marcus Aurelius is assuredly regarded as the greatest of writers in
+  the human machine school, and not to read him daily is considered by
+  many to be a bad habit.
+
+
+_Sixteen_
+
+  Part of the secret of Balzac’s unique power over the reader is the
+  unique tendency of his own interest in the thing to be told.
+
+
+_Seventeen_
+
+_“Anna of the Five Towns” finished 1901_
+
+  The art of fiction is the art of telling a story. This statement is
+  not so obvious and unnecessary as it may seem. Most beginners and
+  many “practised hands” attend to all kinds of things before they
+  attend to the story. With them the art of fiction is the art of
+  describing character or landscape, of getting “atmosphere,” and of
+  being humorous, pathetic, flippant, or terrifying; while the story
+  is a perfunctory excuse for these feats. They are so busy with the
+  traditional paraphernalia of fiction, with the tricks of the craft,
+  that what should be the principal business is reduced to a subsidiary
+  task. They forget that character, landscape, atmosphere, humour,
+  pathos, etc., are not ends in themselves, but only means toward an
+  end.
+
+
+_Eighteen_
+
+  How true it is that the human soul is solitary, that content is the
+  only true riches, and that to be happy we must be good.
+
+
+_Nineteen_
+
+  Men of letters who happen to have genius do not write for men of
+  letters. They write, as Wagner was proud to say he composed, for the
+  ordinary person.
+
+
+_Twenty_
+
+  Great success never depends on the practice of the humbler virtues,
+  though it may occasionally depend on the practice of the prouder
+  vices.
+
+
+_Twenty-one_
+
+  “I’ve been to the National Gallery twice, and, upon my word, I was
+  almost the only person there! And it’s free, too! People don’t
+  _want_ picture-galleries. If they did, they’d go. Who ever saw a
+  public-house empty, or Peter Robinson’s? And you have to pay there!”
+
+
+_Twenty-two_
+
+  He who has not been “presented to the freedom” of literature has not
+  wakened up out of his prenatal sleep. He is merely not born. He can’t
+  see; he can’t hear; he can’t feel in any full sense. He can only eat
+  his dinner.
+
+
+_Twenty-three_
+
+  All the arts are a conventionalisation, an ordering of nature.
+
+
+_Twenty-four_
+
+  The aim of literary study is not to amuse the hours of leisure; it is
+  to awake oneself, it is to be alive, to intensify one’s capacity for
+  pleasure, for sympathy, and for comprehension.
+
+
+_Twenty-five_
+
+  Like every aging artist of genuine accomplishment, he knew--none
+  better--that there is no satisfaction save the satisfaction of
+  fatigue after honest endeavour. He knew--none better--that wealth and
+  glory and fine clothes are naught, and that striving is all.
+
+
+_Twenty-six_
+
+  Prepare to live by all means, but for Heaven’s sake do not forget to
+  live.
+
+
+_Twenty-seven_
+
+_My Birthday_
+
+  Sometimes I suddenly halt and address myself: “You may be richer or
+  you may be poorer; you may live in greater pomp and luxury, or in
+  less. The point is, that you will always be, essentially, what you
+  are now. You have no real satisfaction to look forward to except
+  the satisfaction of continually inventing, fancying, imagining,
+  scribbling. Say another thirty years of these emotional ingenuities,
+  these interminable variations on the theme of beauty. Is it good
+  enough?” And I answered: “Yes.” But who knows? Who can preclude the
+  regrets of the dying couch?
+
+
+_Twenty-eight_
+
+  The balanced sanity of a great mind makes impossible exaggeration,
+  and, therefore, distortion.
+
+
+_Twenty-nine_
+
+  No art that is not planned in form is worth consideration, and no
+  life that is not planned in convention can ever be satisfactory.
+
+
+_Thirty_
+
+  The value of restraint is seldom inculcated upon women. Indeed,
+  its opposites--gush and a tendency to hysteria--are regarded, in
+  many respectable quarters, as among the proper attributes of true
+  womanliness; attributes to be artistically cultivated.
+
+
+_Thirty-one_
+
+  There grows in the North Country a certain kind of youth of whom
+  it may be said that he is born to be a Londoner. The metropolis,
+  and everything that appertains to it, that comes down from it, that
+  goes up into it, has for him an imperious fascination. Long before
+  schooldays are over he learns to take a doleful pleasure in watching
+  the exit of the London train from the railway station. He stands by
+  the hot engine and envies the very stoker. Gazing curiously into the
+  carriages he wonders that men and women, who in a few hours will be
+  treading streets called Piccadilly and the Strand, can contemplate
+  the immediate future with so much apparent calmness; some of them
+  even have the audacity to look bored. He finds it difficult to keep
+  from throwing himself in the guard’s van as it glides past him; and
+  not until the last coach is a speck upon the distance does he turn
+  away and, nodding absently to the ticket-clerk, who knows him well,
+  go home to nurse a vague ambition and dream of town.
+
+
+
+
+_June_
+
+
+_One_
+
+  To cultivate and nourish a grievance when you have five hundred
+  pounds in your pocket, in cash, is the most difficult thing in the
+  world.
+
+
+_Two_
+
+  The full beauty of an activity is never brought out until it is
+  subjected to discipline and strict ordering and nice balancing.
+
+
+_Three_
+
+  The unfading charm of classical music is that you never tire of it.
+
+
+_Four_
+
+  The spirit of literature is unifying; it joins the candle and the
+  star, and by the magic of an image shows that the beauty of the
+  greater is in the less.
+
+
+_Five_
+
+  If people, by merely wishing to do so, could regularly and seriously
+  read, observe, write, and use every faculty and sense, there would be
+  very little mental inefficiency.
+
+
+_Six_
+
+  Laws and rules, forms and ceremonies, are good in themselves, from
+  a merely æsthetic point of view, apart from their social value and
+  necessity.
+
+
+_Seven_
+
+  Fashionable women have a manner of sitting down quite different
+  from that of ordinary women. They only touch the back of the chair
+  at the top. They don’t loll but they only escape lolling by dint of
+  gracefulness. It is an affair of curves, slants, descents, nicely
+  calculated. They elaborately lead your eye downwards over gradually
+  increasing expanses, and naturally you expect to see their feet--and
+  you don’t see their feet. The thing is apt to be disturbing to
+  unhabituated beholders.
+
+
+_Eight_
+
+  There are moments in the working day of every novelist when
+  he feels deeply that anything--road-mending, shop-walking,
+  housebreaking--would be better than this eternal torture of the
+  brain; but such moments pass.
+
+
+_Nine_
+
+  During a long and varied career as a bachelor, I have noticed that
+  marriage is usually the death of politeness between a man and a
+  woman. I have noticed that the stronger the passion the weaker the
+  manners.
+
+
+_Ten_
+
+  My sense of security amid the collisions of existence lies in the
+  firm consciousness that just as my body is the servant of my mind, so
+  is my mind the servant of _me_.
+
+
+_Eleven_
+
+  The fault of the epoch is the absence of meditativeness.
+
+
+_Twelve_
+
+  People who don’t want to live, people who would sooner hibernate than
+  feel intensely, will be wise to eschew literature.
+
+
+_Thirteen_
+
+  No one is so sure of achieving the aims of the literary craftsman as
+  the man who has something to say and wishes to say it simply and have
+  done with it.
+
+
+_Fourteen_
+
+  The mind can only be conquered by regular meditation, by deciding
+  beforehand what direction its activity ought to take, and insisting
+  that its activity take that direction; also by never leaving it idle,
+  undirected, masterless, to play at random like a child in the streets
+  after dark.
+
+
+_Fifteen_
+
+  The enterprise of forming one’s literary taste is an agreeable one;
+  if it is not agreeable it cannot succeed.
+
+
+_Sixteen_
+
+  The attitude of the average decent person towards the classics of his
+  own tongue is one of distrust--I had almost said, of fear.
+
+
+_Seventeen_
+
+  Am I, a portion of the Infinite Force that existed billions of years
+  ago, and which will exist billions of years hence, going to allow
+  myself to be worried by any terrestrial physical or mental event? I
+  am not.
+
+
+_Eighteen_
+
+  There is not a successful inexpert author writing to-day who would
+  not be more successful--who would not be better esteemed and in
+  receipt of a larger income--if he had taken the trouble to become
+  expert. Skill does count; skill is always worth its cost in time and
+  labour.
+
+
+_Nineteen_
+
+  It is easier to go down a hill than up, but the view is from the top.
+
+
+_Twenty_
+
+  For me there is no supremacy in art. When fifty artists have
+  contrived to be supreme, supremacy becomes impossible. Take a little
+  song by Grieg. It is perfect, it is supreme. No one could be greater
+  than Grieg was great when he wrote that song. The whole last act
+  of _The Twilight of the Gods_ is not greater than a little song of
+  Grieg’s.
+
+
+_Twenty-one_
+
+  We talked books. We just simply enumerated books without end,
+  praising or damning them, and arranged authors in neat pews, like
+  cattle in classes at an agricultural show. No pastime is more
+  agreeable to people who have the book disease, and none more quickly
+  fleets the hours, and none is more delightfully futile.
+
+
+_Twenty-two_
+
+  The law of gravity is absurd and indefensible when you fall
+  downstairs; but you obey it.
+
+
+_Twenty-three_
+
+  It is difficult to make a reputation, but it is even more difficult
+  seriously to mar a reputation once properly made--so faithful is the
+  public.
+
+
+_Twenty-four_
+
+  That which has cost a sacrifice is always endeared.
+
+
+_Twenty-five_
+
+  If literary aspirants genuinely felt that literature was the art
+  of using words, bad, slipshod writing--writing that stultifies the
+  thought and emotion which it is designed to render effective--would
+  soon be a thing of the past. For they would begin at the beginning as
+  apprentices to all other arts are compelled to. The serious student
+  of painting who began his apprenticeship by trying to paint a family
+  group, would be regarded as a lunatic. But the literary aspirant
+  who begins with a novel is precisely that sort of lunatic, and the
+  fact that he sometimes gets himself into print does not in the least
+  mitigate his lunacy.
+
+
+_Twenty-six_
+
+  In spite of all the differences which we have invented, mankind is
+  a fellowship of brothers, overshadowed by insoluble and fearful
+  mysteries, and dependent upon mutual goodwill and trust for the
+  happiness it may hope to achieve.
+
+
+_Twenty-seven_
+
+  The brain is a servant, exterior to the central force of the Ego. If
+  it is out of control, the reason is not that it is uncontrollable but
+  merely that its discipline has been neglected.
+
+
+_Twenty-eight_
+
+  I have been told by one of our greatest novelists that he constantly
+  reads the dictionary, and that in his youth he read the dictionary
+  through several times. I may recount the anecdote of Buckle, the
+  historian of civilisation, who, when a certain dictionary was
+  mentioned in terms of praise, said: “Yes, it is one of the few
+  dictionaries I have read through with pleasure.”
+
+
+_Twenty-nine_
+
+  The public may, and generally does, admire a great artist. But it
+  begins (and sometimes ends) by admiring him for the wrong things.
+  Shakespeare is more highly regarded for his philosophy than for his
+  poetry, as the applause at any performance of “Hamlet” will prove.
+  Balzac conquers by that untamed exuberance and those crude effects of
+  melodrama which are the least valuable parts of him.
+
+
+_Thirty_
+
+  You cannot divide literature into two elements and say: This is
+  matter and that style. Further, the significance and the worth of
+  literature are to be comprehended and assessed in the same way as the
+  significance and the worth of any other phenomenon: by the exercise
+  of common-sense. Common-sense will tell you that nobody, not even a
+  genius, can be simultaneously vulgar and distinguished, or beautiful
+  and ugly, or precise and vague, or tender and harsh. And common-sense
+  will therefore tell you that to try to set up vital contradictions
+  between matter and style is absurd. If you refer literature to the
+  standards of life, common-sense will at once decide which quality
+  should count heaviest in your esteem.
+
+
+
+
+_July_
+
+
+_One_
+
+  When one has really something to say, one does not use clichés; one
+  cannot.
+
+
+_Two_
+
+  The extinguishing of desire, with an accompanying indifference, be it
+  high or low, is bad for youth.
+
+
+_Three_
+
+  Do you suppose that if the fame of Shakespeare depended on the man in
+  the street, it would survive a fortnight?
+
+
+_Four_
+
+  Common-sense will solve any problem--any!--always provided it is
+  employed simultaneously with politeness.
+
+
+_Five_
+
+  London is the most provincial town in England--invariably vulgar,
+  reactionary, hysterical, and behind the rest of the country. A nice
+  sort of place England would be if we in the provinces had to copy
+  London.
+
+
+_Six_
+
+  Progress is the gradual result of the unending battle between human
+  reason and human instinct, in which the former slowly but surely wins.
+
+
+_Seven_
+
+  As an athlete trains, as an acrobat painfully tumbles in private, so
+  must the literary aspirant write.
+
+
+_Eight_
+
+  A classic is a work which gives pleasure to the minority which is
+  intensely and permanently interested in literature.
+
+
+_Nine_
+
+  It is said that geography makes history. In England, and especially
+  in London, weather makes a good deal of history.
+
+
+_Ten_
+
+  The one primary essential to literary taste is a hot interest in
+  literature. If you have that, all the rest will come.
+
+
+_Eleven_
+
+  In the Five Towns human nature is reported to be so hard that you can
+  break stones on it. Yet sometimes it softens, and then we have one
+  of our rare idylls of which we are very proud, while pretending not
+  to be. The soft and delicate South would possibly not esteem highly
+  our idylls, as such. Nevertheless they are our idylls, idyllic for
+  us, and reminding us, by certain symptoms, that, though we never cry,
+  there is concealed somewhere within our bodies a fount of happy tears.
+
+
+_Twelve_
+
+  Reason is the basis of personal dignity.
+
+
+_Thirteen_
+
+  It is by the passionate few that the renown of genius is kept alive
+  from one generation to another.
+
+
+_Fourteen_
+
+  We are all of us the same in essence; what separates us is merely
+  differences in our respective stages of evolution.
+
+
+_Fifteen_
+
+  It is well known that dignity will only bleed while you watch it.
+  Avert your eyes and it instantly dries up.
+
+
+_Sixteen_
+
+  All literature is the expression of feeling, of passion, of emotion,
+  caused by a sensation of the interestingness of life.
+
+
+_Seventeen_
+
+  Just as science is the development of common-sense, so is literature
+  the development of common daily speech.
+
+
+_Eighteen_
+
+  Every man who thinks clearly can write clearly, if not with grace and
+  technical correctness.
+
+
+_Nineteen_
+
+  It is important, if you wish ultimately to have a wide, catholic
+  taste, to guard against the too common assumption that nothing modern
+  will stand comparison with the classics.
+
+
+_Twenty_
+
+  In the matter of its own special activities the brain is usually
+  undisciplined and unreliable. We never know what it will do next.
+
+
+_Twenty-one_
+
+  It’s the dodge of every begging-letter writer in England to mark his
+  envelope “Private and Urgent.”
+
+
+_Twenty-two_
+
+  Women grow old; women cease to learn; but men, never.
+
+
+_Twenty-three_
+
+  In literature, but in nothing else, I am a propagandist; I am not
+  content to keep my opinion and let others keep theirs. To have a
+  worthless book in my house (save in the way of business), to know
+  that any friend is enjoying it, actually distresses me. That book
+  must go, the pretensions of that book must be exposed, if I am to
+  enjoy peace of mind.
+
+
+_Twenty-four_
+
+  I have often thought: If a son could look into a mother’s heart, what
+  an eyeopener he would have!
+
+
+_Twenty-five_
+
+  When a writer expresses his individuality and his mood with accuracy,
+  lucidity, and sincerity, and with an absence of ugliness, then he
+  achieves good style. Style--it cannot be too clearly understood--is
+  not a certain splendid something which the writer adds to his
+  meaning. It is _in_ the meaning; it is that part of the meaning which
+  specially reflects his individuality and his mood.
+
+
+_Twenty-six_
+
+  Crime is simply a convenient monosyllable which we apply to what
+  happens when the brain and the heart come into conflict and the brain
+  is defeated.
+
+
+_Twenty-seven_
+
+  Reflect that, as a rule, the people whom you have come to esteem
+  communicated themselves to you gradually, that they did not begin the
+  entertainment with fireworks.
+
+
+_Twenty-eight_
+
+  To devise the contents of an issue, to plan them, to balance them;
+  to sail with this wind and tack against that; to keep a sensitive,
+  cool finger on the faintly beating pulse of the terrible many-headed
+  patron; to walk in a straight line through a forest black as
+  midnight; to guess the riddle of the circulation-book week by week;
+  to know by instinct why Smiths sent in a repeat order, or why
+  Simpkins’ was ten quires less; to keep one eye on the majestic march
+  of the world, and the other on the vagaries of a bazaar-reporter
+  who has forgotten the law of libel; these things, and seventy-seven
+  others, are the real journalism. It is these things that make editors
+  sardonic, grey, unapproachable.
+
+
+_Twenty-nine_
+
+  I will be bold enough to say that quite seventy per cent. of ambition
+  is never realised at all, and that ninety per cent. of all realised
+  ambition is fruitless.
+
+
+_Thirty_
+
+  To comply with the regulations ordained by English Society for the
+  conduct of successful painters, he ought, first, to have taken the
+  elementary precaution of being born in the United States. He ought,
+  after having refused all interviews for months, to have ultimately
+  granted a special one to a newspaper with the largest circulation. He
+  ought to have returned to England, grown a mane and a tufted tail,
+  and become the king of beasts; or at least to have made a speech at a
+  banquet about the noble and purifying mission of art. Assuredly, he
+  ought to have painted the portrait of his father or grandfather as an
+  artisan to prove that he was not a snob.
+
+
+_Thirty-one_
+
+  Women enjoy a reputation for slipshod style. They have earned it.
+  A long and intimate familiarity with the manuscript of hundreds
+  of women-writers, renowned and otherwise, has convinced me that
+  not ten per cent. of them can be relied upon to satisfy even the
+  most ordinary tests in spelling, grammar, and punctuation. I do
+  not hesitate to say that if twenty of the most honoured and popular
+  women-writers were asked to sit for an examination in these simple
+  branches of learning, the general result (granted that a few might
+  emerge with credit) would not only startle themselves, but would
+  provide innocent amusement for the rest of mankind.
+
+
+
+
+_August_
+
+
+_One_
+
+  My theory is that if a really big concern is properly organized, the
+  boss ought to be absolutely independent of all routine. He ought to
+  be free for anything that turns up unexpectedly.
+
+
+_Two_
+
+  Often I have felt that: “I know enough, I feel enough. If my future
+  is as long as my past, I shall still not be able to put down the
+  tenth part of what I have already acquired.”
+
+
+_Three_
+
+  In journalism, as probably in no other profession, success depends
+  wholly upon the loyal co-operation, the perfect reliability, of a
+  number of people--some great, some small, but none irresponsible.
+
+
+_Four_
+
+  The significance and the worth of literature are to be comprehended
+  and assessed in the same way as the significance and the worth of any
+  other phenomenon: by the exercise of common-sense.
+
+
+_Five_
+
+  All wrong-doing is done in the sincere belief that it is the best
+  thing to do.
+
+
+_Six_
+
+  There is always a mental inferior handy, just as there is always a
+  being more unhappy than we are.
+
+
+_Seven_
+
+  Often have I said inwardly: “World, when I talk with you, dine with
+  you, wrangle with you, love you, and hate you, I condescend.” Every
+  artist has said that. People call it conceit; people may call it what
+  they please.
+
+
+_Eight_
+
+  The artistic pleasures of an uncultivated mind are generally violent.
+
+
+_Nine_
+
+  Literature cannot be said to have served its true purpose until it
+  has been translated into the actual life of him who reads.
+
+
+_Ten_
+
+  When you cannot express yourself, depend upon it that you have
+  nothing precise to express.
+
+
+_Eleven_
+
+  Monotony, solitude, are essential to the full activity of the artist.
+  Just as a horse is seen best when coursing alone over a great
+  plain, so the fierce and callous egotism of the artist comes to its
+  perfection in a vast expanse of custom, leisure, and apparently
+  vacuous reverie.
+
+
+_Twelve_
+
+  There can be no doubt that the average man blames much more than
+  he praises. His instinct is to blame. If he is satisfied he says
+  nothing; if he is not, he most illogically kicks up a row.
+
+
+_Thirteen_
+
+  We can no more spend all our waking hours in consciously striving
+  towards higher things than we can dine exclusively off jam.
+
+
+_Fourteen_
+
+  All spending is a matter of habit.
+
+
+_Fifteen_
+
+  The views from Richmond Hill or Hindhead, or along Pall Mall
+  at sunset, the smell of the earth, the taste of fruit and of
+  kisses--these things are unaffected by the machinations of trusts and
+  the hysteria of stock exchanges.
+
+
+_Sixteen_
+
+  If there is one point common to all classics, it is the absence of
+  exaggeration.
+
+
+_Seventeen_
+
+  It is only people of small moral stature who have to stand on their
+  dignity.
+
+
+_Eighteen_
+
+  When you live two and a half miles from a railway you can cut a dash
+  on an income which in London spells omnibus instead of cab. For
+  myself, I have a profound belief in the efficacy of cutting a dash.
+
+
+_Nineteen_
+
+  No one can write correctly without deliberately and laboriously
+  learning how to write correctly. On the other hand, everyone can
+  learn to write correctly who takes sufficient trouble. Correct
+  writing is a mechanical accomplishment; it could be acquired by a
+  stockbroker.
+
+
+_Twenty_
+
+  An understanding appreciation of literature means an understanding
+  appreciation of the world, and it means nothing else.
+
+
+_Twenty-one_
+
+  Much ingenuity with a little money is vastly more profitable and
+  amusing than much money without ingenuity.
+
+
+_Twenty-two_
+
+  Nothing is easier than to explain an accomplished fact in a nice,
+  agreeable, conventional way.
+
+
+_Twenty-three_
+
+  Literature is the art of using words. This is not a platitude, but a
+  truth of the first importance, a truth so profound that many writers
+  never get down to it, and so subtle that many other writers who think
+  they see it never in fact really comprehend it.
+
+
+_Twenty-four_
+
+  In the choice of reading the individual must count; caprice must
+  count, for caprice is often the truest index to the individuality.
+
+
+_Twenty-five_
+
+  There is an infection in the air of London, a zymotic influence
+  which is the mysterious cause of unnaturalness, pose, affectation,
+  artificiality, moral neuritis, and satiety. One loses grasp of the
+  essentials in an undue preoccupation with the vacuities which society
+  has invented. The distractions are too multiform. One never gets a
+  chance to talk common-sense with one’s soul.
+
+
+_Twenty-six_
+
+  An early success is a snare. The inexperienced author takes too much
+  for granted. Conceit overcomes him. He regards himself with an undue
+  seriousness. He thinks that he is founded on granite for ever.
+
+
+_Twenty-seven_
+
+  The splendid pertinacity and ingenuity of the American journalist
+  in wringing copy out of any and every side of existence cannot fail
+  to quicken the pulse of those who are accustomed to the soberer,
+  narrower, sleepier ways of English newspapers. Fleet Street pretends
+  to despise and contemn American methods, yet a gradual Americanising
+  of the English press is always taking place, with results on the
+  whole admirable.
+
+
+_Twenty-eight_
+
+  Stand defiantly on your own feet, and do not excuse yourself to
+  yourself.
+
+
+_Twenty-nine_
+
+  This is a matter of daily observation: that people are frantically
+  engaged in attempting to get hold of things which, by universal
+  experience, are hideously disappointing to those who have obtained
+  possession of them.
+
+
+_Thirty_
+
+  It is a current impression that style is something apart from,
+  something foreign to, matter--a beautiful robe which, once it is
+  found, may be used to clothe the nudity of matter. Young writers
+  wander forth searching for style, as one searches for that which is
+  hidden. They might employ themselves as profitably in looking for the
+  noses on their faces. For style is personal, as much a portion of
+  one’s self as the voice. It is within, not without; it needs only to
+  be elicited, brought to light.
+
+
+_Thirty-one_
+
+  When I had been in London a decade, I stood aside from myself and
+  reviewed my situation with the god-like and detached impartiality
+  of a trained artistic observer. And what I saw was a young man who
+  pre-eminently knew his way about, and who was apt to be rather too
+  complacent over this fact; a young man with some brilliance but far
+  more shrewdness; a young man with a highly developed faculty for
+  making a little go a long way; a young man who was accustomed to be
+  listened to when he thought fit to speak, and who was decidedly more
+  inclined to settle questions than to raise them.
+
+
+
+
+_September_
+
+
+_One_
+
+  It is of no use beginning to air one’s views until one has collected
+  an audience.
+
+
+_Two_
+
+  A man whom fate had pitched into a canal might accomplish miracles in
+  the way of rendering himself amphibian: he might stagger the world by
+  the spectacle of his philosophy under amazing difficulties; people
+  might pay sixpence a head to come and see him; but he would be less
+  of a nincompoop if he climbed out and arranged to live definitely on
+  the bank.
+
+
+_Three_
+
+  The contemplation of hills is uplifting to the soul; it leads to
+  inspiration and induces nobility of character.
+
+
+_Four_
+
+  Plot is the primary thing in fiction. Only a very clever craftsman
+  can manipulate a feeble plot so as to make it even passably
+  interesting. Whereas, the clumsiest bungler in narration cannot
+  altogether spoil a really sound plot.
+
+
+_Five_
+
+  It cannot be too clearly understood that the professional author, the
+  man who depends entirely on his pen for the continuance of breath,
+  and whose income is at the mercy of an illness or a headache, is
+  eternally compromising between glory and something more edible and
+  warmer at nights. He labours, in the first place, for food, shelter,
+  tailors, a woman, European travel, horses, stalls at the opera, good
+  cigars, ambrosial evenings in restaurants; and he gives glory the
+  best chance he can. I am not speaking of geniuses with a mania for
+  posterity; I am speaking of human beings.
+
+
+_Six_
+
+  The average man flourishes and finds his ease in an atmosphere of
+  peaceful routine. Men destined for success flourish and find their
+  ease in an atmosphere of collision and disturbance.
+
+
+_Seven_
+
+  There are simply thousands of agreeable and good girls who can
+  accomplish herring-bone, omelettes, and simultaneous equations in a
+  breath, as it were. They are all over the kingdom, and may be seen in
+  the streets and lanes thereof about half-past eight in the morning
+  and again about five o’clock in the evening. But the fact is not
+  generally known. Only the stern and base members of School Boards or
+  Education Committees know it. And they are so used to marvels that
+  they make nothing of them.
+
+
+_Eight_
+
+  In the sea of literature every part communicates with every other
+  part; there are no land-locked lakes.
+
+
+_Nine_
+
+  With an obedient, disciplined brain a man may live always right up to
+  the standard of his best moments.
+
+
+_Ten_
+
+  A prig is a pompous fool who has gone out for a ceremonial walk, and,
+  without knowing it, has lost an important part of his attire, namely,
+  his sense of humour.
+
+
+_Eleven_
+
+  If I have an aptitude for anything at all in letters, it is for
+  criticism. Whenever I read a book of imagination, I am instantly
+  filled with ideas concerning it; I form definite views about its
+  merit or demerit, and, having formed them, I hold those views with
+  strong conviction. Denial of them rouses me; I must thump the table
+  in support of them; I must compel people to believe that what I say
+  is true; I cannot argue without getting serious, in spite of myself.
+
+
+_Twelve_
+
+  The great convenience of masterpieces is that they are so
+  astonishingly lucid.
+
+
+_Thirteen_
+
+  It is as well not to chatter too much about what one is doing, and
+  not to betray a too-pained sadness at the spectacle of a whole world
+  deliberately wasting so many hours out of every day, and therefore
+  never really living. It will be found, ultimately, that in taking
+  care of one’s self one has quite all one can do.
+
+
+_Fourteen_
+
+  Think as well as read. I know people who read and read, and, for all
+  the good it does them, they might just as well cut bread-and-butter.
+  They take to reading as better men take to drink. They fly through
+  the shires of literature on a motor-car, their sole object being
+  motion. They will tell you how many books they have read in a year.
+
+
+_Fifteen_
+
+  The mass could not, and never at any period of history did,
+  appreciate fine art, but could and would appreciate and support
+  passable deteriorations of fine art.
+
+
+_Sixteen_
+
+  Honesty, in literature as in life, is the quality that counts first
+  and counts last.
+
+
+_Seventeen_
+
+  No author ever lived who could write a page without giving himself
+  away.
+
+
+_Eighteen_
+
+  To be one’s natural self is the most difficult thing in literature.
+  To be one’s natural self in a drawing-room full of observant eyes
+  is scarcely the gift of the simple debutant, but rather of the
+  experienced diner-out. So in literature: it is not the expert but the
+  unpractised beginner who is guilty of artificiality.
+
+
+_Nineteen_
+
+  Much nonsense has been talked about the short story. It has been
+  asserted that Englishmen cannot write artistic short stories, that
+  the short story does not come naturally to the Anglo-Saxon. Whereas
+  the truth is that nearly all the finest short-story writers in the
+  world to-day are Englishmen, and some of the most wonderful short
+  stories ever written have been written by Englishmen within the last
+  twenty years.
+
+
+_Twenty_
+
+  If a book really moves you to anger, the chances are that it is a
+  good book.
+
+
+_Twenty-one_
+
+  In the cultivation of the mind one of the most important factors is
+  precisely the feeling of strain, of difficulty, of a task which one
+  part of you is anxious to achieve and another part of you is anxious
+  to shirk.
+
+
+_Twenty-two_
+
+  The very greatest poetry can only be understood and savoured by
+  people who have put themselves through a considerable mental
+  discipline. To others it is an exasperating weariness.
+
+
+_Twenty-three_
+
+_Samuel Johnson’s Birthday_
+
+  Even Johnson’s Dictionary is packed with emotion.
+
+
+_Twenty-four_
+
+  All blame, uttered or unexpressed, is wrong. I do not blame myself. I
+  can explain myself to myself. I can invariably explain myself.
+
+
+_Twenty-five_
+
+  When one has thoroughly got imbued into one’s head the leading
+  truth that nothing happens without a cause, one grows not only
+  large-minded, but large-hearted.
+
+
+_Twenty-six_
+
+  If an editor knows not peace, he knows power. In Fleet Street, as
+  in other streets, the population divides itself into those who want
+  something and those who have something to bestow; those who are
+  anxious to give a lunch, and those who deign occasionally to accept
+  a lunch; those who have an axe to grind, and those who possess the
+  grindstone.
+
+
+_Twenty-seven_
+
+  Regard, for a moment, the average household in the light of a
+  business organisation for lodging and feeding a group of individuals;
+  contrast its lapses, makeshifts, delays, irregularities, continual
+  excuses with the awful precision of a city office. Is it a matter
+  for surprise that the young woman who is accustomed gaily to remark,
+  “Only five minutes late this morning, father,” or “I quite forgot to
+  order the coals, dear,” confident that a frown or a hard word will
+  end the affair, should carry into business (be it never so grave) the
+  laxities so long permitted her in the home?
+
+
+_Twenty-eight_
+
+  This I know and affirm, that the average woman-journalist is the
+  most loyal, earnest, and teachable person under the sun. I begin
+  to feel sentimental when I think of her astounding earnestness,
+  even in grasping the live coal of English syntax. Syntax, bane of
+  writing-women, I have spent scores of ineffectual hours in trying to
+  inoculate the ungrammatical sex against your terrors!
+
+
+_Twenty-nine_
+
+  I have never refused work when the pay has been good.
+
+
+_Thirty_
+
+  There is no logical answer to a guffaw.
+
+
+
+
+_October_
+
+
+_One_
+
+  A most curious and useful thing to realise is that one never knows
+  the impression one is creating on other people.
+
+
+_Two_
+
+  At seventy men begin to be separated from their fellow-creatures. At
+  eighty they are like islets sticking out of a sea. At eighty-five,
+  with their trembling and deliberate speech, they are the abstract
+  voice of human wisdom. They gather wisdom with amazing rapidity in
+  the latter years, and even their folly is wise then.
+
+
+_Three_
+
+  In its essence all fiction is wildly improbable, and its fundamental
+  improbability is masked by an observance of probability in details.
+
+
+_Four_
+
+  Only reviewers have a prejudice against long novels.
+
+
+_Five_
+
+  The most important of all perceptions is the continual perception of
+  cause and effect--in other words, the perception of the continuous
+  development of the universe--in still other words, the perception of
+  the course of evolution.
+
+
+_Six_
+
+  No reading of books will take the place of a daily, candid, honest
+  examination of what one has recently done, and what one is about to
+  do--of a steady looking at one’s self in the face (disconcerting
+  though the sight may be).
+
+
+_Seven_
+
+  The beauty of a classic is not at all apt to knock you down. It will
+  steal over you, rather.
+
+
+_Eight_
+
+  Self-respect is at the root of all purposefulness, and a failure in
+  an enterprise deliberately planned deals a desperate wound at one’s
+  self-respect.
+
+
+_Nine_
+
+  A man may be a sub-editor, or even an assistant-editor, for half
+  a lifetime, and yet remain ignorant of the true significance of
+  journalism.
+
+
+_Ten_
+
+  Happiness does not spring from the procuring of physical or mental
+  pleasure, but from the development of reason and the adjustment of
+  conduct to principles.
+
+
+_Eleven_
+
+  The heart is convinced that custom is a virtue. The heart of the
+  dirty working-man rebels when the State insists that he shall be
+  clean, for no other reason than that it is his custom to be dirty.
+
+
+_Twelve_
+
+  To be honest with oneself is not so simple as it appears.
+
+
+_Thirteen_
+
+  “My wife will never understand,” said Mr. Brindley, “that complete
+  confidence between two human beings is impossible.”
+
+
+_Fourteen_
+
+  Demanding honesty from your authors, you must see that you render it
+  yourself.
+
+
+_Fifteen_
+
+  Imagine the technical difficulties of a painter whose canvas was
+  always being rolled off one stick on to another stick, and who was
+  compelled to do his picture inch by inch, seeing nothing but the
+  particular inch which happened to be under his brush. That difficulty
+  is only one of the difficulties of the novelist.
+
+
+_Sixteen_
+
+  It is a fact that few novelists enjoy the creative labour, though
+  most enjoy thinking about the creative labour. Novelists enjoy
+  writing novels no more than ploughmen enjoy following the plough.
+  They regard business as a “grind.”
+
+
+_Seventeen_
+
+  The born journalist comes into the world with the fixed notion
+  that nothing under the sun is uninteresting. He says: “I cannot
+  pass along the street, or cut a finger, or marry, or catch a cold
+  or a fish, or go to church, or perform any act whatever, without
+  being impressed anew by the interestingness of mundane phenomena,
+  and without experiencing a desire to share this impression with my
+  fellow-creatures.”
+
+
+_Eighteen_
+
+  Any change, even a change for the better, is always accompanied by
+  drawbacks and discomforts.
+
+
+_Nineteen_
+
+  It is much easier to begin a novel than to finish it. This statement
+  applies to many enterprises, but to none with more force than to a
+  long art-work such as a novel or a play.
+
+
+_Twenty_
+
+  A true book is not always great. But a great book is never untrue.
+
+
+_Twenty-one_
+
+  The impossible had occurred. I was no longer a mere journalist; I was
+  an author. “After all, it’s nothing,” I said, with that intense and
+  unoriginal humanity which distinguishes all of us. And in a blinding
+  flash I saw that an author was in essence the same thing as a grocer
+  or a duke.
+
+
+_Twenty-two_
+
+  When the reason and the heart come into conflict the heart is
+  invariably wrong.
+
+
+_Twenty-three_
+
+  Marriage is excessively prosaic and eternal, not at all what you
+  expect it to be.
+
+
+_Twenty-four_
+
+  I do not forget that the realism of one age is the conventionality
+  of the next. In the main the tendency of art is always to reduce
+  and simplify its conventions, thus necessitating an increase of
+  virtuosity in order to obtain the same effects of shapeliness and
+  rhythm.
+
+
+_Twenty-five_
+
+  For the majority of people the earth is a dull planet. It is only a
+  Stevenson who can say: “I never remember being bored,” and one may
+  fairly doubt whether even Stevenson uttered truth when he made that
+  extraordinary statement. None of us escapes boredom entirely; some of
+  us, indeed, are bored during the greater part of our lives. The fact
+  is unpalatable, but it is a fact.
+
+
+_Twenty-six_
+
+  An average of over an hour a day given to the mind should permanently
+  and completely enliven the whole activity of the mind.
+
+
+_Twenty-seven_
+
+  A large class of people positively resent being thrilled by a work of
+  fiction, and the domestic serial is meant to appeal to this class.
+
+
+_Twenty-eight_
+
+  It is natural that people who concern themselves with art only in
+  their leisure moments, demanding from it nothing but a temporary
+  distraction, should prefer the obvious to the recondite, and should
+  walk regardless of beauty unless it forces itself upon their
+  attention by means of exaggerations and advertisement. The public
+  wants to be struck, hit squarely in the face; then it will take
+  notice.
+
+
+_Twenty-nine_
+
+  When a book attains a large circulation one usually says that it
+  succeeds. But the fine books succeed of themselves, by their own
+  virtue, and apart from the acclamatory noises of fame. Immure them in
+  cabinets, cast them into Sahara; still they imperturbably succeed.
+  If, on a rare occasion, such a book sells by scores of thousands, it
+  is not the book but the public which succeeds; it is not the book but
+  the public which has emerged splendidly from a trial.
+
+
+_Thirty_
+
+  The artists who have courage fully to exploit their own temperaments
+  are always sufficiently infrequent to be peculiarly noticeable and
+  welcome. Still more rare are they who, leaving it to others to sing
+  and emphasise the ideal and obvious beauties which all can in some
+  measure see, will exclusively exercise the artist’s prerogative as an
+  explorer of hidden and recondite beauty in unsuspected places.
+
+
+_Thirty-one_
+
+  Bad books, by flattering you, by caressing, by appealing to the weak
+  or the base in you, will often persuade you what fine and splendid
+  books they are.
+
+
+
+
+_November_
+
+
+_One_
+
+  It is well to remind ourselves that literature is first and last a
+  means of life, and that the enterprise of forming one’s literary
+  taste is an enterprise of learning how best to use this means of life.
+
+
+_Two_
+
+  Instead of saying, “Sorry I can’t see you, old chap, but I have to
+  run off to the tennis club,” you must say, “... But I have to work.”
+  This, I admit, is intensely difficult to say. Tennis is so much more
+  urgent than the immortal soul.
+
+
+_Three_
+
+  A talent never persuades or encourages the owner of it; it drives him
+  with a whip.
+
+
+_Four_
+
+  One of the chief things which one has to learn is that the mental
+  faculties are capable of a continuous hard activity; they do not tire
+  like an arm or a leg. All they want is change, not rest, except in
+  sleep.
+
+
+_Five_
+
+  Characterisation, the feat of individualising characters, is the
+  inmost mystery of imaginative literary art. It is of the very essence
+  of the novel. It never belongs to this passage or that. It is
+  implicit in the whole. It is always being done, and is never finished
+  till the last page is written.
+
+
+_Six_
+
+  Can you deny that when you have something definite to look forward to
+  at eventide, something that is to employ all your energy, the thought
+  of that something gives a glow and a more intense vitality to the
+  whole day?
+
+
+_Seven_
+
+  Most good books have begun by causing anger which disguised itself as
+  contempt.
+
+
+_Eight_
+
+  When a thing is supreme there is nothing to be said.
+
+
+_Nine_
+
+_Ivan Sergeïtch Turgenev’s Birthday_
+
+  The author of a miracle like _On the Eve_ may be born, but he is
+  also made. In the matter of condensation alone Turgenev was unique
+  among the great literary artificers. He could say more in a chapter
+  of two thousand words than any other novelist that ever lived. What
+  he accomplishes again and again in a book of sixty thousand words,
+  Tolstoi could not have accomplished under a quarter of a million.
+
+
+_Ten_
+
+  Fine taste in fiction is almost as rare among novelists as among the
+  general public.
+
+
+_Eleven_
+
+  I have never once produced any literary work without a preliminary
+  incentive quite other than the incentive of ebullient imagination.
+  I have never “wanted to write,” until the extrinsic advantages of
+  writing had presented themselves to me.
+
+
+_Twelve_
+
+  Beauty is strangely various. There is the beauty of light and joy and
+  strength exulting; but there is also the beauty of shade, of sorrow
+  and sadness, and of humility oppressed. The spirit of the sublime
+  dwells not only in the high and remote; it shines unperceived amid
+  all the usual meannesses of our daily existence.
+
+
+_Thirteen_
+
+  Always give your fellow creature credit for good intentions. Do not
+  you, though sometimes mistakenly, always act for the best? You know
+  you do. And are you alone among mortals in rectitude?
+
+
+_Fourteen_
+
+  There is no such case as the average case, just as there is no such
+  man as the average man. Every man and every man’s case is special.
+
+
+_Fifteen_
+
+  Outside the department of fiction there are two kinds of
+  authors--those who want to write because they have something definite
+  to say, and those who want something definite to say because they can
+  write.
+
+
+_Sixteen_
+
+  A lover is one who deludes himself; a journalist is one who deludes
+  himself and other people.
+
+
+_Seventeen_
+
+  Although a very greedy eater of literature, I can only enjoy reading
+  when I have little time for reading. Give me three hours of absolute
+  leisure with nothing to do but read, and I instantly become almost
+  incapable of the act.
+
+
+_Eighteen_
+
+  I would point out that literature by no means comprises the whole
+  field of knowledge, and that the disturbing thirst to improve one’s
+  self--to increase one’s knowledge--may well be slaked quite apart
+  from literature.
+
+
+_Nineteen_
+
+  The public, by its casual approval, may give notoriety and a vogue
+  which passes, but it is incapable of the sustained ardour of
+  appreciation which alone results in authentic renown. It is incapable
+  because it is nonchalant. To the public art is a very little thing--a
+  distraction, the last resort against _ennui_. To the critics art
+  looms enormous. They do not merely possess views; they are possessed
+  by them. Their views amount to a creed, and that creed must be
+  spread. Quiescence is torment to the devotee. He cannot cry peace
+  when there is no peace. Passionate conviction, like murder, will out.
+  “I believe; therefore you must believe”: that is the motto which
+  moves the world.
+
+
+_Twenty_
+
+  Only those who have lived at the full stretch seven days a week for
+  a long time can appreciate the full beauty of a regularly recurring
+  idleness.
+
+
+_Twenty-one_
+
+  Publishers as a commercial class are neither more nor less honourable
+  than any other commercial class, and authors are neither more nor
+  less honourable than publishers. In the world of commerce one fights
+  for one’s own hand and keeps within the law; the code is universally
+  understood, and the man who thinks it ought to be altered because
+  _he_ happens to be inexperienced, is a fool.
+
+
+_Twenty-two_
+
+  There can be no sort of doubt that unless I was prepared to flout the
+  wisdom of the ages, I ought to have refused his suggestion. But is
+  not the wisdom of the ages a medicine for majorities? And, indeed, I
+  was prepared to flout it, as in our highest and our lowest moments we
+  often are.
+
+
+_Twenty-three_
+
+  London is chiefly populated by greyhaired men who for twenty years
+  have been about to become journalists and authors. And but for a
+  fortunate incident--the thumb of my Fate has always been turned
+  up--I might ere this have fallen back into that tragic rearguard of
+  Irresolutes.
+
+
+_Twenty-four_
+
+  I think it is rather fine, this necessity for the tense bracing of
+  the will before anything worth doing can be done. I rather like it
+  myself. I feel it to be the chief thing that differentiates me from
+  the cat by the fire.
+
+
+_Twenty-five_
+
+  The most important preliminary to the task of arranging one’s life so
+  that one may live fully and comfortably within one’s daily budget of
+  twenty-four hours, is the calm realisation of the extreme difficulty
+  of the task, of the sacrifices and the endless effort it demands.
+
+
+_Twenty-six_
+
+  Whatever sin a man does he either does for his own benefit or for the
+  benefit of society.
+
+
+_Twenty-seven_
+
+  The critic’s first requisite is that he should be interested. A man
+  may have an instinctive good taste, but if his attitude is one of
+  apathy, then he is not a true critic. The opinions of the public are
+  often wrong; the opinions of the critic are usually right. But the
+  fundamental difference between these two bodies does not lie here; it
+  lies in the fact that the critics “care,” while the public does not
+  care.
+
+
+_Twenty-eight_
+
+  When, after the theatre, a woman precedes a man into a carriage, does
+  she not publish and glory in the fact that she is his? Is it not the
+  most delicious of avowals? There is something in the enforced bend of
+  one’s head as one steps in. And when the man shuts the door with a
+  masculine snap----
+
+
+_Twenty-nine_
+
+  Ardour in well-doing is a misleading and a treacherous thing. It
+  cries out loudly for employment; you can’t satisfy it at first; it
+  wants more and more; it is eager to move mountains and divert the
+  course of rivers; it isn’t content till it perspires. And then, too
+  often, when it feels the perspiration on its brow, it wearies all
+  of a sudden and dies, without even putting itself to the trouble of
+  saying, “I’ve had enough of this.”
+
+
+_Thirty_
+
+  Literature exists so that where one man has lived finely ten thousand
+  may afterwards live finely.
+
+
+
+
+_December_
+
+
+_One_
+
+  To hear a master play a scale, to catch that measured, tranquil
+  succession of notes, each a different jewel of equal splendour, each
+  dying precisely when the next was born--this is to perceive at last
+  what music is made of, to have glimpses of the divine magic that is
+  the soul of the divinest art.
+
+
+_Two_
+
+  When the swimmer unclothes, and abandons himself to the water, naked,
+  letting the water caress the whole of his nakedness, moving his limbs
+  in voluptuous ease untrammelled by even the lightest garment, then,
+  as never under other conditions, he is aware of his body; and perhaps
+  the thought occurs to him that to live otherwise than in that naked
+  freedom is not to live.
+
+
+_Three_
+
+  Has it never struck you that you have at hand a machine wonderful
+  beyond all mechanisms in sheds, intricate, delicately adjustable, of
+  astounding and miraculous possibilities, interminably interesting?
+  That machine is yourself.
+
+
+_Four_
+
+  The sound reputation of an artist is originally due never to the
+  public, but to the critics. I do not use the word “critic” in a
+  limited, journalistic sense; it is meant to include all those
+  persons, whether scribes or not, who have genuine convictions about
+  art.
+
+
+_Five_
+
+  The movement for opening museums on Sundays is the most natural
+  movement that could be conceived. For if ever a resort was invented
+  and fore-ordained to chime with the true spirit of the British
+  Sabbath, that resort is the average museum.
+
+
+_Six_
+
+  The manufacture of musical comedy is interesting and curious, but I
+  am not aware that it has anything to do with dramatic art.
+
+
+_Seven_
+
+  Though you have the wealth of a cloak-room attendant at the Carlton
+  Hotel, you cannot buy yourself a minute more time than I have, or the
+  cat by the fire has.
+
+
+_Eight_
+
+  The man of business, even in the very daily act of deceit, will never
+  yield up the conviction that, after all, at bottom he is crystal
+  honest. It is his darling delusion.
+
+
+_Nine_
+
+  Happiness is not joy, and it is not tranquillity. It is something
+  deeper and something more disturbing. Perhaps it is an acute sense of
+  life, a realisation of one’s secret being, a continual renewal of the
+  mysterious savour of existence.
+
+
+_Ten_
+
+  Our best plays, as works of art, are strikingly inferior to our best
+  novels. A large section of the educated public ignores the modern
+  English theatre as being unworthy of attention.
+
+
+_Eleven_
+
+  Romance, interest, dwell not in the thing seen, but in the eye of the
+  beholder.
+
+
+_Twelve_
+
+  Every bookish person has indulgently observed the artless absorption
+  and surrender with which a “man of action” reads when by chance a
+  book captures him, his temporary monomania, his insistence that
+  the bookish person shall share his joy, and his impatience at any
+  exhibition of indifference. For the moment the terrible man of action
+  is a child again; he who has straddled the world is like a provincial
+  walking with open-mouthed delight through the streets of the capital.
+
+
+_Thirteen_
+
+  The woman who quarrels with a maid is clumsy, and the woman who
+  quarrels with a good maid is either a fool or in a nervous,
+  hysterical condition, or both.
+
+
+_Fourteen_
+
+  Men have a habit of taking themselves for granted, and that habit is
+  responsible for nine-tenths of the boredom and despair on the face of
+  the planet.
+
+
+_Fifteen_
+
+  Anyone can learn to write, and to write well, in any given style;
+  but to see, to discern the interestingness which is veiled from the
+  crowd--that comes not by tuition; rather by intuition.
+
+
+_Sixteen_
+
+  The forms of faith change, but the spirit of faith is immortal amid
+  its endless vicissitudes.
+
+
+_Seventeen_
+
+  Consider the attitude of Dissenters of the trading and industrial
+  classes towards the art of literature.... That attitude is at once
+  timid, antagonistic, and resentful. Timid, because print still has
+  for the unlettered a mysterious sanction; antagonistic because
+  Puritanism and the arts have by no means yet settled their quarrel;
+  resentful because the autocratic power of art over the imagination
+  and the intelligence is felt without being understood.
+
+
+_Eighteen_
+
+  It is said that men are only interested in themselves. The truth is
+  that, as a rule, men are interested in every mortal thing except
+  themselves.
+
+
+_Nineteen_
+
+  It is less difficult, I should say, to succeed moderately in
+  journalism than to succeed moderately in dressmaking.
+
+
+_Twenty_
+
+  Music cannot be said. One art cannot be translated into another.
+
+
+_Twenty-one_
+
+  A deep-seated objection to the intrusion of even the most loved male
+  at certain times is common, I think, to all women. Women are capable
+  of putting love aside, like a rich dress, and donning the _peignoir_
+  of matter-of-fact dailiness, in a way which is an eternal enigma to
+  men.
+
+
+_Twenty-two_
+
+  There’s nothing like a corpse for putting everything at sixes and
+  sevens.
+
+
+_Twenty-three_
+
+  Great grief is democratic, levelling--not downwards but upwards.
+  It strips away the inessential and makes brothers. It is impatient
+  with all the unavailable inventions which obscure the brotherhood of
+  mankind.
+
+
+_Twenty-four_
+
+  The expression of the soul by means of the brain and body is what we
+  call the art of “living.”
+
+
+_Twenty-five_
+
+  That Christmas has lost some of its magic is a fact that the
+  common-sense of the western hemisphere will not dispute. To blink the
+  fact is infantile. To confront it, to try to understand it, to reckon
+  with it, and to obviate any evil that may attach to it--this course
+  alone is meet for an honest man.
+
+
+_Twenty-six_
+
+  It must be admitted in favour of the Five Towns that, when its
+  inhabitants spill milk, they do not usually sit down on the pavement
+  and adulterate the milk with their tears. They pass on. Such passing
+  on is termed callous and coldhearted in the rest of England, which
+  loves to sit down on pavements and weep into irretrievable milk.
+
+
+_Twenty-seven_
+
+  At thirty the chances are that a man will understand better the
+  draughts of a chimney than his own respiratory apparatus--to name one
+  of the simple, obvious things; and as for understanding the working
+  of his own brain--what an idea!
+
+
+_Twenty-eight_
+
+  Science is making it increasingly difficult to conceive matter apart
+  from spirit. Everything lives. Even my razor gets “tired.”
+
+
+_Twenty-nine_
+
+  No book in any noble library is so interesting, so revealing, as the
+  catalogue of it.
+
+
+_Thirty_
+
+  Love is the greatest thing in life; one may, however, question
+  whether it should be counted greater than life itself.
+
+
+_Thirty-one_
+
+  The indispensable preparation for brain-discipline is to form the
+  habit of regarding one’s brain as an instrument exterior to one’s
+  self, like a tongue or a foot.
+
+
+
+
+TRANSCRIBER’S NOTES:
+
+
+  Italicized text is surrounded by underscores: _italics_.
+
+  Obvious typographical errors have been corrected.
+
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+<div style='text-align:center; font-size:1.1em; font-weight:bold; margin-bottom:1em;'>
+The Project Gutenberg EBook of The Arnold Bennett Calendar, by Enoch Arnold Bennett
+</div>
+
+<div style='display:block; margin:1em 0'>
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online
+at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
+are not located in the United States, you will have to check the laws of the
+country where you are located before using this eBook.
+</div>
+
+<div style='display:table;margin-bottom:1em;'>
+  <div style='display:table-row;'>
+    <div style='display:table-cell;padding-right:0.5em;'>Title:</div>
+    <div style='display:table-cell;'>The Arnold Bennett Calendar</div>
+  </div>
+</div>
+  <div style='display:table-row;'>
+    <div style='display:table-cell;padding-right:0.5em;'>Author: </div>
+    <div style='display:table-cell;'>Enoch Arnold Bennett</div>
+  </div>
+<div style='height:10px'></div>
+  <div style='display:table-row;'>
+    <div style='display:table-cell;padding-right:0.5em;'>Compiler: </div>
+    <div style='display:table-cell;'>Frank C. Bennett</div>
+  </div>
+<div style='height:10px'></div>
+<div style='margin-bottom:1em;'>
+Release Date: Mar 27, 2021 [eBook #64933]
+</div>
+
+<div style='margin-bottom:1em;'>
+Language: English
+</div>
+
+<div style='display:table;margin-bottom:1em;'>
+  <div style='display:table-row;'>
+    <div style='display:table-cell;vertical-align:top;'>Produced&nbsp;by:&nbsp;</div>
+    <div style='display:table-cell;'>D A Alexander, David E. Brown, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</div>
+  </div>
+</div>
+
+<div style='margin-top:1em;margin-bottom:1.5em;'>*** START OF THE PROJECT GUTENBERG BOOK OF THE ARNOLD BENNETT CALENDAR ***</div>
+
+
+<div class="figcenter"><img src="images/cover.jpg" width="40%" alt="" /></div>
+
+<hr class="chap x-ebookmaker-drop" />
+
+<h1><i>The Arnold Bennett Calendar</i></h1>
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+
+<div class="poetry-container">
+<div class="poetry">
+
+<div class="bbox">
+<p class="ph1">BY ARNOLD BENNETT</p>
+
+
+<div class="stanza">
+<div class="verse">NOVELS</div>
+
+<div class="indent"><span class="smcap">The Old Wives&#8217; Tale</span></div>
+<div class="indent"><span class="smcap">Helen with the High Hand</span></div>
+<div class="indent"><span class="smcap">The Matador of the Five Towns</span></div>
+<div class="indent"><span class="smcap">The Book of Carlotta</span></div>
+<div class="indent"><span class="smcap">Buried Alive</span></div>
+<div class="indent"><span class="smcap">A Great Man</span></div>
+<div class="indent"><span class="smcap">Leonora</span></div>
+<div class="indent"><span class="smcap">Whom God Hath Joined</span></div>
+<div class="indent"><span class="smcap">A Man from the North</span></div>
+<div class="indent"><span class="smcap">Anna of the Five Towns</span></div>
+<div class="indent"><span class="smcap">The Glimpse</span></div>
+</div>
+<div class="stanza">
+<div class="verse">POCKET PHILOSOPHIES</div>
+
+<div class="indent"><span class="smcap">How to Live on 24 Hours A Day</span></div>
+<div class="indent"><span class="smcap">The Human Machine</span></div>
+<div class="indent"><span class="smcap">Literary Taste</span></div>
+<div class="indent"><span class="smcap">Mental Efficiency</span></div>
+</div>
+<div class="stanza">
+<div class="verse">PLAYS</div>
+
+<div class="indent"><span class="smcap">Cupid and Commonsense</span></div>
+<div class="indent"><span class="smcap">What the Public Wants</span></div>
+<div class="indent"><span class="smcap">Polite Farces</span></div>
+<div class="indent"><span class="smcap">Milestones</span></div>
+<div class="indent"><span class="smcap">The Honeymoon</span></div>
+</div>
+<div class="stanza">
+<div class="verse">MISCELLANEOUS</div>
+
+<div class="indent"><span class="smcap">The Truth About an Author</span></div>
+<div class="indent"><span class="smcap">The Feast of St. Friend</span></div>
+</div>
+
+
+<p class="center">GEORGE H. DORAN COMPANY<br />
+NEW YORK</p>
+</div></div></div></div>
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="titlepage">
+
+<p><span class="xlarge"><i>The<br />
+Arnold Bennett<br />
+Calendar</i></span></p>
+
+<p><i>Compiled By<br />
+<span class="large">Frank Bennett</span></i></p>
+
+<div class="figcenter"><img src="images/i_title.jpg" alt="" /></div>
+
+<p><i>New York</i><br />
+<span class="large"><i>George H&middot; Doran Company</i></span></p>
+</div>
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+<p class="center">
+COPYRIGHT, 1912<br />
+BY GEORGE H. DORAN COMPANY<br />
+<br />
+THE&middot;PLIMPTON&middot;PRESS<br />
+[W&middot;D&middot;O]<br />
+NORWOOD&middot;MASS&middot;U&middot;S&middot;A</p></div>
+
+<hr class="chap x-ebookmaker-drop" />
+
+<p><span class="pagenum" id="Page_v">[v]</span></p>
+
+
+<p><span class="xxlarge">E</span><i>noch Arnold Bennett was born at
+Hanley-in-the-Potteries (one of the &#8220;Five Towns&#8221;
+frequently appearing in his writings) on 27th
+May 1867. He was educated at the endowed Middle
+School, Newcastle-under-Lyme, and matriculated
+in the London University. From school he went
+into the office of his father, who practised as a
+solicitor at Hanley, and stayed with him until
+1889, when he took a post in a solicitor&#8217;s office
+in London, which he held until 1893. In that
+year he abandoned the law finally to become assistant
+editor of</i> Woman, <i>and succeeded to the editorship in
+1896. This post he resigned in 1900 to devote himself
+exclusively to literature. In the meantime several
+of his works had been issued, the first being &#8220;A Man
+from the North&#8221; (1898) and a handbook, &#8220;Journalism
+for Women,&#8221; followed in the next year by the
+publication of a volume of plays, &#8220;Polite Farces,&#8221; his
+first experiments in drama. Afterwards appeared in
+rapid succession nine other novels, two volumes of
+short stories, seven volumes of belles-lettres, and seven
+fantasias. Besides these he wrote two plays, &#8220;Cupid
+and Common-Sense,&#8221; produced by the Stage Society
+in 1908, and &#8220;What the Public Wants,&#8221; also produced
+by the Stage Society in 1909, and afterwards
+by Mr. Hawtrey at the New Royalty Theatre. Both<span class="pagenum" id="Page_vi">[vi]</span>
+these plays were subsequently staged in Glasgow, and
+by Miss Horniman&#8217;s Company. The most important
+of his publications include:&mdash;among novels, &#8220;Leonora,&#8221;
+&#8220;A Great Man,&#8221; &#8220;Sacred and Profane Love,&#8221; &#8220;Whom
+God Hath Joined&mdash;&mdash;,&#8221; &#8220;The Old Wives&#8217; Tale,&#8221; and
+&#8220;Clayhanger&#8221;; among the belles-lettres, &#8220;The Truth
+about an Author,&#8221; &#8220;Literary Taste,&#8221; &#8220;The Reasonable
+Life,&#8221; &#8220;The Human Machine,&#8221; and &#8220;How to
+Live on Twenty-Four Hours a Day&#8221; (the last four
+contributed originally to</i> T. P.&#8217;s Weekly, <i>and containing
+indications of Mr. Bennett&#8217;s theories of life); and
+in the short stories, &#8220;Tales of the Five Towns,&#8221; and
+&#8220;The Grim Smile of the Five Towns.&#8221; Mr. Bennett
+has very definite leanings towards Socialism, and,
+under a pseudonym, writes regularly for</i> The New
+Age. <i>He also contributes from time to time to the
+most important progressive weekly and monthly
+magazines.</i></p>
+
+<p class="right"><i>F. C. B.</i></p>
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+
+<p class="ph2"><i>The Arnold Bennett Calendar</i></p>
+</div>
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+<span class="pagenum2" id="Page_9">[9]</span>
+<h2 class="nobreak"><i>January</i></h2>
+</div>
+
+<div class="hangingindent">
+
+<h3><i>One</i></h3>
+
+<div class="blockquot">
+
+<p>The individual who scoffs at New Year&#8217;s
+resolutions resembles the woman who
+says she doesn&#8217;t look under the bed at
+nights; the truth is not in him.</p>
+</div>
+
+
+<h3><i>Two</i></h3>
+
+<div class="blockquot">
+
+<p>To give pleasure is the highest end of
+any work of art, because the pleasure
+procured from any art is tonic, and
+transforms the life into which it enters.</p>
+</div>
+
+
+<h3><i>Three</i></h3>
+
+<div class="blockquot">
+
+<p>There are only two fundamental differences
+in the world&mdash;the difference between
+sex and sex, and the difference
+between youth and age.</p>
+</div>
+
+
+<h3><i>Four</i></h3>
+
+<div class="blockquot">
+
+<p>The only class of modern play in which
+it is possible to be both quite artistic
+and quite marketable, is the farce.</p>
+</div>
+
+<p><span class="pagenum" id="Page_10">[10]</span></p>
+
+
+<h3><i>Five</i></h3>
+
+<div class="blockquot">
+
+<p>To enjoy a work of imagination is no
+pastime, rather a sweet but fatiguing
+labour. After a play of Shakespeare or
+a Wagnerian opera repose is needed.
+Only a madman like Louis of Bavaria
+could demand <i>Tristan</i> twice in one
+night.</p>
+</div>
+
+
+<h3><i>Six</i></h3>
+
+<div class="blockquot">
+
+<p>Great books do not spring from something
+accidental in the great men who
+wrote them. They are the effluence of
+their very core, the expression of the life
+itself of the authors.</p>
+</div>
+
+
+<h3><i>Seven</i></h3>
+
+<div class="blockquot">
+
+<p>It is within the experience of everyone
+that when pleasure and pain reach a
+certain intensity they are indistinguishable.</p>
+</div>
+
+
+<h3><i>Eight</i></h3>
+
+<div class="blockquot">
+
+<p>One of the main obstacles to the cultivation
+of poetry in the average sensible
+man is an absurdly inflated notion of
+the ridiculous.</p>
+</div>
+
+<p><span class="pagenum" id="Page_11">[11]</span></p>
+
+
+<h3><i>Nine</i></h3>
+
+<div class="blockquot">
+
+<p>The crudest excitement of the imaginative
+faculty is to be preferred to a swinish
+preoccupation with the gross physical
+existence.</p>
+</div>
+
+
+<h3><i>Ten</i></h3>
+
+<div class="blockquot">
+
+<p>The brain is the diplomatist which arranges
+relations between our instinctive
+self and the universe, and it fulfils its
+mission when it provides for the maximum
+of freedom to the instincts with
+the minimum of friction.</p>
+</div>
+
+
+<h3><i>Eleven</i></h3>
+
+<div class="blockquot">
+
+<p>A woman who has beauty wants to
+frame it in beauty. The eye is a sensualist,
+and its appetites, once aroused,
+grow. A beautiful woman takes the
+same pleasure in the sight of another
+beautiful woman as a man does; only
+jealousy or fear prevents her from admitting
+the pleasure.</p>
+</div>
+
+
+<h3><i>Twelve</i></h3>
+
+<div class="blockquot">
+
+<p>The beginning of wise living lies in the
+control of the brain by the will.</p>
+</div>
+
+<p><span class="pagenum" id="Page_12">[12]</span></p>
+
+
+<h3><i>Thirteen</i></h3>
+
+<div class="blockquot">
+
+<p>To utter a jeremiad upon the decadence
+of taste, to declare that literature is
+going to the dogs because a fourth-rate
+novel has been called a masterpiece and
+has made someone&#8217;s fortune, would be
+absurd. I have a strong faith that taste
+is as good as ever it was, and that literature
+will continue on its way undisturbed.</p>
+</div>
+
+
+<h3><i>Fourteen</i></h3>
+
+<div class="blockquot">
+
+<p>There is a loveliness of so imperious, absolute,
+dazzling a kind that it banishes
+from the hearts of men all moral conceptions,
+all considerations of right and
+wrong, and leaves therein nothing but
+worship and desire.</p>
+</div>
+
+
+<h3><i>Fifteen</i></h3>
+
+<div class="blockquot">
+
+<p>When homage is reiterated, when the
+pleasure of obeying a command and
+satisfying a caprice is begged for, when
+roses are strewn, and even necks put
+down in the path, one forgets to be
+humble; one forgets that in meekness
+alone lies the sole good; one confuses
+deserts with the hazards of heredity.</p>
+</div>
+
+<p><span class="pagenum" id="Page_13">[13]</span></p>
+
+
+<h3><i>Sixteen</i></h3>
+
+<div class="blockquot">
+
+<p>There are men who are capable of loving
+a machine more deeply than they can
+love a woman. They are among the
+happiest men on earth.</p>
+</div>
+
+
+<h3><i>Seventeen</i></h3>
+
+<div class="blockquot">
+
+<p>The uncultivated reader is content to
+live wholly in and for the moment,
+sentence by sentence. Keep him amused
+and he will ask no more. You may delude him,
+you may withhold from him
+every single thing to which he is rightfully
+entitled, but he will not care. The
+more crude you are, the better will he
+be pleased.</p>
+</div>
+
+
+<h3><i>Eighteen</i></h3>
+
+<div class="blockquot">
+
+<p>It is only in the stress of fine ideas and
+emotions that a man may be truly said
+to live.</p>
+</div>
+
+
+<h3><i>Nineteen</i></h3>
+
+<div class="blockquot">
+
+<p>Oh, innocence! Oh, divine ignorance! Oh,
+refusal! None knows your value save
+her who has bartered you! And herein
+is the woman&#8217;s tragedy.</p>
+</div>
+
+<p><span class="pagenum" id="Page_14">[14]</span></p>
+
+
+<h3><i>Twenty</i></h3>
+
+<div class="blockquot">
+
+<p>To extract from the brain, at will and
+by will, concentration on a given idea
+for even so short a period as half an hour
+is an exceedingly difficult feat&mdash;and
+a fatiguing! It needs perseverance.</p>
+</div>
+
+
+<h3><i>Twenty-one</i></h3>
+
+<div class="blockquot">
+
+<p>A merely literary crudity will affect the
+large public neither one way nor the
+other, since the large public is entirely
+uninterested in questions of style; but
+all other crudities appeal strongly to
+that public.</p>
+</div>
+
+
+<h3><i>Twenty-two</i></h3>
+
+<h4><i>&#8220;Cupid and Commonsense&#8221; produced.</i></h4>
+
+<div class="blockquot">
+
+<p>Everyone who has driven a motor-car knows
+the uncanny sensation that ensues
+when for the first time in your life
+you engage the clutch, and the Thing
+beneath you begins mysteriously and
+formidably to move. It is at once an
+astonishment, a terror, and a delight.
+I felt like that as I watched the progress
+of my first play.</p>
+</div>
+
+<p><span class="pagenum" id="Page_15">[15]</span></p>
+
+
+<h3><i>Twenty-three</i></h3>
+
+<div class="blockquot">
+
+<p>Can you see the sun over the viaduct at
+Loughborough Junction of a morning,
+and catch its rays in the Thames off
+Dewar&#8217;s whisky monument, and not
+shake with the joy of life? If so, you
+and Shakespeare are not yet in communication.</p>
+</div>
+
+
+<h3><i>Twenty-four</i></h3>
+
+<div class="blockquot">
+
+<p>Adults have never yet invented any institution,
+festival or diversion specially
+for the benefit of children. The
+egoism of adults makes such an effort
+impossible, and the ingenuity and pliancy
+of children make it unnecessary.
+The pantomime, for example, which is
+now pre-eminently a diversion for children,
+was created by adults for the
+amusement of adults. Children have
+merely accepted it and appropriated it.
+Children, being helpless, are of course
+fatalists and imitators. They take what
+comes, and they do the best they can
+with it. And when they have made
+something their own that was adult,
+they stick to it like leeches.</p>
+</div>
+
+<p><span class="pagenum" id="Page_16">[16]</span></p>
+
+
+<h3><i>Twenty-five</i></h3>
+
+<div class="blockquot">
+
+<p>The living speak of the uncanniness of the
+dead. It does not occur to them that
+manifestations of human existence may
+be uncanny to the dead.</p>
+</div>
+
+
+<h3><i>Twenty-six</i></h3>
+
+<div class="blockquot">
+
+<p>There is no royal road to the control of
+the brain. There is no patent dodge
+about it, and no complicated function
+which a plain person may not comprehend.
+It is simply a question of: &#8220;I
+will, <i>I</i> will, and I <i>will</i>.&#8221;</p>
+</div>
+
+
+<h3><i>Twenty-seven</i></h3>
+
+<div class="blockquot">
+
+<p>I knew that when love lasted, the credit
+of the survival was due far more often
+to the woman than to the man. The
+woman must husband herself, dole herself
+out, economise herself so that she might
+be splendidly wasteful when need was.
+The woman must plan, scheme, devise,
+invent, reconnoitre, take precautions;
+and do all this sincerely and lovingly in
+the name and honour of love. A passion
+for her is a campaign; and her deadliest
+enemy is satiety.</p>
+</div>
+
+<p><span class="pagenum" id="Page_17">[17]</span></p>
+
+
+<h3><i>Twenty-eight</i></h3>
+
+<div class="blockquot">
+
+<p>Efficient living, living up to one&#8217;s best
+standard, getting the last ounce of power
+out of the machine with the minimum
+of friction: these things depend on the
+disciplined and vigorous condition of the
+brain.</p>
+</div>
+
+
+<h3><i>Twenty-nine</i></h3>
+
+<div class="blockquot">
+
+<p>In the world of books, as in every other
+world, one-half does not know how the
+other half lives. In literary matters the
+literate seldom suspect the extreme simplicity
+and <i>na&iuml;vet&eacute;</i> of the illiterate. They
+wilfully blind themselves to it; they are
+afraid to face it.</p>
+</div>
+
+
+<h3><i>Thirty</i></h3>
+
+<div class="blockquot">
+
+<p>The mysteriousness of woman vanishes
+the instant you brutally face it. Boys
+and ageing celibates are obsessed by the
+mysteriousness of woman. The obsession
+is a sign either of immaturity or
+of morbidity. The mysteriousness of
+woman,&mdash;take her, and see then if she
+is mysterious!</p>
+</div>
+
+<p><span class="pagenum" id="Page_18">[18]</span></p>
+
+
+<h3><i>Thirty-one</i></h3>
+
+<div class="blockquot">
+
+<p>Train journeys have too often been sorrowful
+for me, so much so that the conception
+itself of a train, crawling over
+the country like a snake, or flying across
+it like a winged monster, fills me with
+melancholy. Trains loaded with human
+parcels of sadness and illusion and brief
+joy, wandering about, crossing, and
+occasionally colliding in the murk of
+existence; trains warmed and lighted in
+winter; trains open to catch the air of
+your own passage in summer; night-trains
+that pierce the night with your
+yellow, glaring eyes, and waken mysterious
+villages, and leave the night behind
+and run into the dawn as into a station;
+trains that carry bread and meats for
+the human parcels, and pillows and
+fountains of fresh water; trains that
+sweep haughtily and wearily indifferent
+through the landscapes and the towns,
+sufficient unto yourselves, hasty, panting,
+formidable, and yet mournful entities:
+I have understood you in your
+arrogance and your pathos!</p>
+</div>
+</div>
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+
+<span class="pagenum2" id="Page_19">[19]</span>
+
+<h2 class="nobreak"><i>February</i></h2>
+</div>
+
+<div class="hangingindent">
+
+<h3><i>One</i></h3>
+
+<div class="blockquot">
+
+<p>The ecstasy of longing is better than
+the assuaging of desire.</p>
+</div>
+
+
+<h3><i>Two</i></h3>
+
+<div class="blockquot">
+
+<p>As regards facts and ideas, the great
+mistake made by the average well-intentioned
+reader is that he is content with
+the names of things instead of occupying
+himself with the causes of things.</p>
+</div>
+
+
+<h3><i>Three</i></h3>
+
+<div class="blockquot">
+
+<p>Time and increasing knowledge of the
+true facts have dissipated for me the
+melancholy and affecting legend of literary
+talent going a-begging because of
+the indifference of publishers. O young
+author of talent, would that I could find
+you and make you understand how the
+publisher yearns for you as the lover for
+his love.</p>
+</div>
+
+<p><span class="pagenum" id="Page_20">[20]</span></p>
+
+
+<h3><i>Four</i></h3>
+
+<div class="blockquot">
+
+<p>The brain can be disciplined by learning
+the habit of obedience. And it can learn
+the habit of obedience by the practice
+of concentration.</p>
+</div>
+
+
+<h3><i>Five</i></h3>
+
+<div class="blockquot">
+
+<p>You can attach any ideas you please to
+music, but music, if you will forgive me
+saying so, rejects them all equally. Art
+has to do with emotions not with ideas,
+and the great defect of literature is that
+it can only express emotions by means
+of ideas. What makes music the greatest
+of all the arts is that it can express
+emotions without ideas. Literature can
+appeal to the soul only through the mind.
+Music goes direct. Its language is a
+language which the soul alone understands,
+but which the soul can never
+translate.</p>
+</div>
+
+
+<h3><i>Six</i></h3>
+
+<div class="blockquot">
+
+<p>If a man does not spend at least as much
+time in actively and definitely thinking
+about what he has read as he spent in
+reading, he is simply insulting his author.</p>
+</div>
+
+<p><span class="pagenum" id="Page_21">[21]</span></p>
+
+
+<h3><i>Seven</i></h3>
+
+<div class="blockquot">
+
+<p>He was of that small and lonely minority
+of men who never know ambition, ardour,
+zeal, yearning, tears; whose convenient
+desires are capable of immediate satisfaction;
+of whom it may be said that
+they purchase a second-rate happiness
+cheap at the price of an incapacity for
+deep feeling.</p>
+</div>
+
+
+<h3><i>Eight</i></h3>
+
+<div class="blockquot">
+
+<p>No man, except a greater author, can teach
+an author his business.</p>
+</div>
+
+
+<h3><i>Nine</i></h3>
+
+<div class="blockquot">
+
+<p>Size is the quality which most strongly
+and surely appeals to the imagination of
+the multitude. Of all modern monuments
+the Eiffel Tower and the Big
+Wheel have aroused the most genuine
+curiosity and admiration: they are the
+biggest. As with this monstrous architecture
+of metals, so with the fabric of
+ideas and emotions: the attention of the
+whole crowd can only be caught by an
+audacious hugeness, an eye-smiting enormity
+of dimensions so gross as to be
+nearly physical.</p>
+</div>
+
+<p><span class="pagenum" id="Page_22">[22]</span></p>
+
+
+<h3><i>Ten</i></h3>
+
+<div class="blockquot">
+
+<p>Genius apart, woman is usually more touchingly
+lyrical than man in the yearning
+for the ideal.</p>
+</div>
+
+
+<h3><i>Eleven</i></h3>
+
+<div class="blockquot">
+
+<p>I had fast in my heart&#8217;s keeping the new
+truth that in the body, and the instincts
+of the body, there should be no shame
+but rather a frank, joyous pride.</p>
+</div>
+
+
+<h3><i>Twelve</i></h3>
+
+<div class="blockquot">
+
+<p>A person is idle because his thoughts
+dwell habitually on the instant pleasures
+of idleness.</p>
+</div>
+
+
+<h3><i>Thirteen</i></h3>
+
+<div class="blockquot">
+
+<p>By love I mean a noble and sensuous
+passion, absorbing the energies of the
+soul, fulfilling destiny, and reducing all
+that has gone before it to the level of a
+mere prelude.</p>
+</div>
+
+
+<h3><i>Fourteen</i></h3>
+
+<div class="blockquot">
+
+<p>For myself, I have never valued work for
+its own sake, and I never shall.</p>
+</div>
+
+<p><span class="pagenum" id="Page_23">[23]</span></p>
+
+
+<h3><i>Fifteen</i></h3>
+
+<div class="blockquot">
+
+<p>Having once decided to achieve a certain
+task, achieve it at all costs of tedium and
+distaste. The gain in self-confidence of
+having accomplished a tiresome labour
+is immense.</p>
+</div>
+
+
+<h3><i>Sixteen</i></h3>
+
+<div class="blockquot">
+
+<p>All who look into their experience will
+admit that the failure to replace old
+habits by new ones is due to the fact
+that at the critical moment the brain
+does not remember; it simply forgets.</p>
+</div>
+
+
+<h3><i>Seventeen</i></h3>
+
+<div class="blockquot">
+
+<p>Many writers, and many clever writers,
+use the art of literature merely to gain
+an end which is connected with some
+different art, or with no art. Such a
+writer, finding himself burdened with a
+message prophetic, didactic, or reforming,
+discovers suddenly that he has the
+imaginative gift, and makes his imagination
+the servant of his intellect,
+or of emotions which are not artistic
+emotions.</p>
+</div>
+
+<p><span class="pagenum" id="Page_24">[24]</span></p>
+
+
+<h3><i>Eighteen</i></h3>
+
+<div class="blockquot">
+
+<p>I only value mental work for the more
+full and more intense consciousness of
+being alive which it gives me.</p>
+</div>
+
+
+<h3><i>Nineteen</i></h3>
+
+<div class="blockquot">
+
+<p>Whatever the vagaries of human nature,
+the true philosopher is never surprised
+by them. And one vagary is not more
+strange than another.</p>
+</div>
+
+
+<h3><i>Twenty</i></h3>
+
+<div class="blockquot">
+
+<p>You can control nothing but your own
+mind. Even your two-year-old babe
+may defy you by the instinctive force of
+its personality.</p>
+</div>
+
+
+<h3><i>Twenty-one</i></h3>
+
+<div class="blockquot">
+
+<p>To take the common grey things which
+people know and despise, and, without
+tampering, to disclose their epic significance,
+their essential grandeur&mdash;that is
+realism as distinguished from idealism
+or romanticism. It may scarcely be, it
+probably is not, the greatest art of all;
+but it is art precious and indisputable.</p>
+</div>
+
+<p><span class="pagenum" id="Page_25">[25]</span></p>
+
+
+<h3><i>Twenty-two</i></h3>
+
+<div class="blockquot">
+
+<p>There are few mental exercises better than
+learning great poetry or prose by heart.</p>
+</div>
+
+
+<h3><i>Twenty-three</i></h3>
+
+<div class="blockquot">
+
+<p>The British public will never be convinced
+by argument. But two drops of
+perspiration on the cheeks of a nice-looking
+girl with a torn skirt and a
+crushed hat will make it tremble for the
+safety of its ideals, and twenty drops
+will persuade it to sign anything for
+the restoration of decency. You surely
+don&#8217;t suppose that <i>argument</i> will be of
+any use!</p>
+</div>
+
+
+<h3><i>Twenty-four</i></h3>
+
+<div class="blockquot">
+
+<p>Some people have a gift of conjuring
+with conversations. They are almost
+always frankly and openly interested
+in themselves. You may seek to foil
+them; you may even violently wrench
+the conversation into other directions.
+But every effort will be useless. They
+will beat you. You had much better
+lean back in your chair and enjoy their
+legerdemain.</p>
+</div>
+
+<p><span class="pagenum" id="Page_26">[26]</span></p>
+
+
+<h3><i>Twenty-five</i></h3>
+
+<div class="blockquot">
+
+<p>The voice of this spirit says that it has
+lost every illusion about life, and that
+life seems only the more beautiful. It
+says that activity is but another form of
+contemplation, pain but another form
+of pleasure, power but another form of
+weakness, hate but another form of love,
+and that it is well these things should
+be so. It says there is no end, only a
+means; and that the highest joy is to
+suffer, and the supreme wisdom is to
+exist. If you will but live, it cries, that
+grave but yet passionate voice&mdash;if you
+will but live! Were there a heaven, and
+you reached it, you could do no more
+than live. The true heaven is here
+where you live, where you strive and
+lose, and weep and laugh. And the true
+hell is here, where you forget to live, and
+blind your eyes to the omnipresent and
+terrible beauty of existence.</p>
+</div>
+
+
+<h3><i>Twenty-six</i></h3>
+
+<div class="blockquot">
+
+<p>The most important preliminary to self-development
+is the faculty of concentrating
+at will.</p>
+</div>
+
+<p><span class="pagenum" id="Page_27">[27]</span></p>
+
+
+<h3><i>Twenty-seven</i></h3>
+
+<div class="blockquot">
+
+<p>Diaries, save in experienced hands, are apt
+to get themselves done with the very
+minimum of mental effort. They also
+tend to an exaggeration of egotism, and
+if they are left lying about they tend to
+strife.</p>
+</div>
+
+
+<h3><i>Twenty-eight</i></h3>
+
+<div class="blockquot">
+
+<p>The English world of home is one of
+the most perfectly organized microcosms
+on this planet, not excepting the Indian
+<i>purdah</i>. The product of centuries of
+culture, it is regarded, not too absurdly,
+as the fairest flower of Christian civilisation.
+It exists chiefly, of course, for
+women, but it could never have been
+what it is had not men bound themselves
+to respect the code which they made for
+it. It is the fountain of refinement and
+of consolation, the nursery of affection.
+It has the peculiar faculty of nourishing
+itself, for it implicitly denies the existence
+of anything beyond its doorstep, save the
+constitution, a bishop, a rector, the seaside,
+Switzerland, and the respectful
+poor.</p>
+</div>
+
+<p><span class="pagenum" id="Page_28">[28]</span></p>
+
+
+<h3><i>Twenty-nine</i></h3>
+
+<div class="blockquot">
+
+<p>I have always been a bookman. From
+adolescence books have been one of my
+passions. Books not merely&mdash;and perhaps
+not chiefly&mdash;as vehicles of learning
+or knowledge, but books as books, books
+as entities, books as beautiful things,
+books as historical antiquities, books as
+repositories of memorable associations.
+Questions of type, ink, paper, margins,
+watermarks, paginations, bindings, are
+capable of really agitating me.</p>
+</div></div>
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+<span class="pagenum2" id="Page_29">[29]</span>
+
+<h2 class="nobreak"><i>March</i></h2>
+</div>
+
+<div class="hangingindent">
+
+<h3><i>One</i></h3>
+
+<div class="blockquot">
+
+<p>It is characteristic of the literary artist
+with a genuine vocation that his large
+desire is, not to express in words any
+particular thing, but to express <i>himself</i>,
+the sum of his sensations. He feels the
+vague, disturbing impulse to write long
+before he has chosen his first subject
+from the thousands of subjects which
+present themselves, and which in the
+future he is destined to attack.</p>
+</div>
+
+
+<h3><i>Two</i></h3>
+
+<div class="blockquot">
+
+<p>In the mental world what counts is not
+numbers but co-ordination.</p>
+</div>
+
+
+<h3><i>Three</i></h3>
+
+<div class="blockquot">
+
+<p>In England, nearly all the most interesting
+people are social reformers: and the
+only circles of society in which you are
+not bored, in which there is real conversation,
+are the circles of social reform.</p>
+</div>
+
+<p><span class="pagenum" id="Page_30">[30]</span></p>
+
+
+<h3><i>Four</i></h3>
+
+<div class="blockquot">
+
+<p>Anthology construction is one of the pleasantest
+hobbies that a person who is
+not mad about golf and bridge&mdash;that is
+to say, a thinking person&mdash;can possibly
+have.</p>
+</div>
+
+
+<h3><i>Five</i></h3>
+
+<div class="blockquot">
+
+<p>That part of my life which I conduct
+by myself, without reference&mdash;or at
+any rate without direct reference&mdash;to
+others, I can usually manage in such a
+way that the gods do not positively
+weep at the spectacle thereof.</p>
+</div>
+
+
+<h3><i>Six</i></h3>
+
+<div class="blockquot">
+
+<p>It&#8217;s quite impossible to believe that a
+man is a genius, if you&#8217;ve been to school
+with him, or even known his father.</p>
+</div>
+
+
+<h3><i>Seven</i></h3>
+
+<div class="blockquot">
+
+<p>It is the privilege of only the greatest
+painters not to put letters on the corners
+of their pictures in order to keep other
+painters from taking the credit for them
+afterwards.</p>
+</div>
+
+<p><span class="pagenum" id="Page_31">[31]</span></p>
+
+
+<h3><i>Eight</i></h3>
+
+<div class="blockquot">
+
+<p>Your own mind has the power to transmute
+every external phenomenon to its
+own purposes.</p>
+</div>
+
+
+<h3><i>Nine</i></h3>
+
+<div class="blockquot">
+
+<p>Anything would be a success in London
+on Sunday night. People are so grateful.</p>
+</div>
+
+
+<h3><i>Ten</i></h3>
+
+<div class="blockquot">
+
+<p>The one cheerful item in a universe of
+stony facts is that no one can harm anybody
+except himself.</p>
+</div>
+
+
+<h3><i>Eleven</i></h3>
+
+<div class="blockquot">
+
+<p>The eye that has learned to look life
+full in the face without a quiver of the
+lid should find nothing repulsive. Everything
+that is, is the ordered and calculable
+result of environment. Nothing can be
+abhorrent, nothing blameworthy, nothing
+contrary to nature. Can we exceed
+nature? In the presence of the primeval
+and ever-continuing forces of nature,
+can we maintain our fantastic conceptions
+of sin and of justice? We are, and
+that is all we should dare to say.</p>
+</div>
+
+<p><span class="pagenum" id="Page_32">[32]</span></p>
+
+
+<h3><i>Twelve</i></h3>
+
+<div class="blockquot">
+
+<p>The art of life, the art of extracting all
+its power from the human machine, does
+not lie chiefly in processes of bookish-culture,
+nor in contemplations of the
+beauty and majesty of existence. It
+lies chiefly in keeping the peace, the
+whole peace, and nothing but the peace,
+with those with whom one is &#8220;thrown.&#8221;</p>
+</div>
+
+
+<h3><i>Thirteen</i></h3>
+
+<div class="blockquot">
+
+<p>We have our ideals now, but when they
+are mentioned we feel self-conscious and
+uncomfortable, like a school-boy caught
+praying.</p>
+</div>
+
+
+<h3><i>Fourteen</i></h3>
+
+<div class="blockquot">
+
+<p>After the crest of the wave the trough&mdash;it
+must be so; but how profound the
+instinct which complains!</p>
+</div>
+
+
+<h3><i>Fifteen</i></h3>
+
+<div class="blockquot">
+
+<p>The performance of some pianists is so
+wonderful that it seems as if they were
+crossing Niagara on a tight-rope, and
+you tremble lest they should fall off.</p>
+</div>
+
+<p><span class="pagenum" id="Page_33">[33]</span></p>
+
+
+<h3><i>Sixteen</i></h3>
+
+<div class="blockquot">
+
+<p>The secret of calm cheerfulness is kindliness;
+no person can be consistently
+cheerful and calm who does not consistently
+think kind thoughts.</p>
+</div>
+
+
+<h3><i>Seventeen</i></h3>
+
+<div class="blockquot">
+
+<p>It is indubitable that a large amount of
+what is known as self-improvement is
+simply self-indulgence&mdash;a form of
+pleasure which only incidentally improves
+a particular part of the human
+machine, and even that part to the neglect
+of far more important parts.</p>
+</div>
+
+
+<h3><i>Eighteen</i></h3>
+
+<div class="blockquot">
+
+<p>The average man has this in common
+with the most exceptional genius, that
+his career in its main contours is governed
+by his instincts.</p>
+</div>
+
+
+<h3><i>Nineteen</i></h3>
+
+<div class="blockquot">
+
+<p>The most beautiful things, and the most
+vital things, and the most lasting things
+are often mysterious and inexplicable
+and sudden.</p>
+</div>
+
+<p><span class="pagenum" id="Page_34">[34]</span></p>
+
+
+<h3><i>Twenty</i></h3>
+
+<div class="blockquot">
+
+<p>An accurate knowledge of <i>any</i> subject,
+coupled with a carefully nurtured
+sense of the relativity of that subject
+to other subjects, implies an enormous
+self-development.</p>
+</div>
+
+
+<h3><i>Twenty-one</i></h3>
+
+<div class="blockquot">
+
+<p>The great artist may force you to laugh,
+or to wipe away a tear, but he accomplishes
+these minor feats by the way.
+What he mainly does is to <i>see</i> for you.
+If, in presenting a scene, he does not
+disclose aspects of it which you would
+not have observed for yourself, then he
+falls short of success. In a physical and
+psychical sense power is visual, the
+power of an eye seeing things always
+afresh, virginally as though on the very
+morn of creation.</p>
+</div>
+
+
+<h3><i>Twenty-two</i></h3>
+
+<div class="blockquot">
+
+<p>It is well, when one is judging a friend,
+to remember that he is judging you
+with the same god-like and superior
+impartiality.</p>
+</div>
+
+<p><span class="pagenum" id="Page_35">[35]</span></p>
+
+
+<h3><i>Twenty-three</i></h3>
+
+<div class="blockquot">
+
+<p>He who speaks, speaks twice. His words
+convey his thoughts, and his tone conveys
+his mental attitude towards the
+person spoken to.</p>
+</div>
+
+
+<h3><i>Twenty-four</i></h3>
+
+<div class="blockquot">
+
+<p>The man who loses his temper often
+thinks he is doing something rather fine
+and majestic. On the contrary, so far
+is this from being the fact, he is merely
+making an ass of himself.</p>
+</div>
+
+
+<h3><i>Twenty-five</i></h3>
+
+<div class="blockquot">
+
+<p>The female sex is prone to be inaccurate
+and careless of apparently trivial detail,
+because this is the general tendency of
+mankind. In men destined for a business
+or a profession, the proclivity is
+harshly discouraged at an early stage.
+In women, who usually are not destined
+for anything whatever, it enjoys a merry
+life, and often refuses to be improved
+out of existence when the sudden need
+arises. No one by taking thought can
+deracinate the mental habits of, say,
+twenty years.</p>
+</div>
+
+<p><span class="pagenum" id="Page_36">[36]</span></p>
+
+
+<h3><i>Twenty-six</i></h3>
+
+<div class="blockquot">
+
+<p>Kindliness of heart is not the greatest of
+human qualities&mdash;and its general effect
+on the progress of the world is not entirely
+beneficent&mdash;but it is the greatest
+of human qualities in friendship.</p>
+</div>
+
+
+<h3><i>Twenty-seven</i></h3>
+
+<div class="blockquot">
+
+<p>There is a certain satisfaction in hopelessness
+amid the extreme of misery.
+You press it to you as the martyr
+clutched the burning fagot. You enjoy
+it. You savour, piquantly, your woe,
+your shame, your abjectness, the failure
+of your philosophy. You celebrate the
+perdition of the man in you. You want
+to talk about it brazenly; even to exaggerate it,
+and to swagger over it.</p>
+</div>
+
+
+<h3><i>Twenty-eight</i></h3>
+
+<div class="blockquot">
+
+<p>The great public is no fool. It is huge
+and simple and slow in mental processes,
+like a good-humoured giant, easy to
+please and grateful for diversion. But
+it has a keen sense of its own dignity;
+it will not be trifled with; it resents for
+ever the tongue in the cheek.</p>
+
+<p><span class="pagenum" id="Page_37">[37]</span></p>
+</div>
+
+
+<h3><i>Twenty-nine</i></h3>
+
+<div class="blockquot">
+
+<p>The beauty of horses, timid creatures,
+sensitive and graceful and irrational as
+young girls, is a thing apart; and what
+is strange is that their vast strength
+does not seem incongruous with it. To
+be above that proud and lovely organism,
+listening, apprehensive, palpitating, nervous
+far beyond the human, to feel one&#8217;s
+self almost part of it by intimate contact,
+to yield to it, and make it yield, to draw
+from it into one&#8217;s self some of its exultant
+vitality&mdash;in a word, to ride&mdash;I can
+comprehend a fine enthusiasm for that.</p>
+</div>
+
+
+<h3><i>Thirty</i></h3>
+
+<div class="blockquot">
+
+<p>The respectable portion of the male sex
+in England may be divided into two
+classes, according to its method and
+manner of complete immersion in water.
+One class, the more dashing, dashes into
+a cold tub every morning. Another, the
+more cleanly, sedately takes a warm bath
+every Saturday night. There can be no
+doubt that the former class lends tone
+and distinction to the country, but the
+latter is the nation&#8217;s backbone.</p>
+</div>
+
+<p><span class="pagenum" id="Page_38">[38]</span></p>
+
+
+<h3><i>Thirty-one</i></h3>
+
+<div class="blockquot">
+
+<p>Although you may easily practise upon
+the credulity of a child in matters of
+fact, you cannot cheat his moral and
+social judgment. He will add you up,
+and he will add anybody up, and he will
+estimate conduct, upon principles of
+his own and in a manner terribly impartial.
+Parents have no sterner nor
+more discerning critics than their own
+children.</p>
+</div></div>
+
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+<span class="pagenum2" id="Page_39">[39]</span>
+
+<h2 class="nobreak"><i>April</i></h2>
+</div>
+
+<div class="hangingindent">
+
+<h3><i>One</i></h3>
+
+<div class="blockquot">
+
+<p>A person&#8217;s character is, and can be,
+nothing else but the total result of his
+habits of thought.</p>
+</div>
+
+
+<h3><i>Two</i></h3>
+
+<div class="blockquot">
+
+<p>Beware of hope, and beware of ambition!
+Each is excellently tonic, like German
+competition, in moderation, but all of
+you are suffering from self-indulgence in
+the first, and very many of you are ruining
+your constitutions with the second.</p>
+</div>
+
+
+<h3><i>Three</i></h3>
+
+<div class="blockquot">
+
+<p>As a matter of fact, people &#8220;indulge&#8221; in
+remorse; it is a somewhat vicious form
+of spiritual pleasure.</p>
+</div>
+
+
+<h3><i>Four</i></h3>
+
+<div class="blockquot">
+
+<p>When a thing is thoroughly well done it
+often has the air of being a miracle.</p>
+</div>
+
+<p><span class="pagenum" id="Page_40">[40]</span></p>
+
+
+<h3><i>Five</i></h3>
+
+<div class="blockquot">
+
+<p>After all the shattering discoveries of
+science and conclusions of philosophy,
+mankind has still to live with dignity
+amid hostile nature, and in the presence
+of an unknowable power, and mankind
+can only succeed in this tremendous feat
+by the exercise of faith and of that
+mutual goodwill which is based in sincerity
+and charity.</p>
+</div>
+
+
+<h3><i>Six</i></h3>
+
+<div class="blockquot">
+
+<p>All the days that are to come will more
+or less resemble the present day, until
+you die.</p>
+</div>
+
+
+<h3><i>Seven</i></h3>
+
+<div class="blockquot">
+
+<p>In literature, when nine hundred and
+ninety-nine souls ignore you, but the
+thousandth buys your work, or at least
+borrows it&mdash;that is called enormous
+popularity.</p>
+</div>
+
+
+<h3><i>Eight</i></h3>
+
+<div class="blockquot">
+
+<p>If life is not a continual denial of the
+past, then it is nothing.</p>
+</div>
+
+<p><span class="pagenum" id="Page_41">[41]</span></p>
+
+
+<h3><i>Nine</i></h3>
+
+<div class="blockquot">
+
+<p>The profoundest belief of the average
+man is that virtue ought never to be its
+own reward. Shake that belief and you
+commit a cardinal sin; you disturb his
+mental quietude.</p>
+</div>
+
+
+<h3><i>Ten</i></h3>
+
+<div class="blockquot">
+
+<p>It is notorious that the smaller the community,
+and the more completely it
+is self-contained, the deeper will be its
+preoccupation with its own trifling
+affairs.</p>
+</div>
+
+
+<h3><i>Eleven</i></h3>
+
+<div class="blockquot">
+
+<p>To my mind, most societies with a moral
+aim are merely clumsy machines for
+doing simple jobs with the maximum of
+friction, expense and inefficiency. I
+should define the majority of these societies
+as a group of persons each of whom
+expects the others to do something very
+wonderful.</p>
+</div>
+
+
+<h3><i>Twelve</i></h3>
+
+<div class="blockquot">
+
+<p>There is nothing like a sleepless couch
+for a clear vision of one&#8217;s environment.</p>
+</div>
+
+<p><span class="pagenum" id="Page_42">[42]</span></p>
+
+
+<h3><i>Thirteen</i></h3>
+
+<div class="blockquot">
+
+<p>The supreme muddlers of living are often
+people of quite remarkable intellectual
+faculty, with a quite remarkable gift of
+being wise for others.</p>
+</div>
+
+
+<h3><i>Fourteen</i></h3>
+
+<div class="blockquot">
+
+<p>Our leading advertisers have richly proved
+that the public will believe anything if
+they are told of it often enough.</p>
+</div>
+
+
+<h3><i>Fifteen</i></h3>
+
+<div class="blockquot">
+
+<p>Here&#8217;s a secret. No writer likes writing,
+at least not one in a hundred, and the
+exception, ten to one, is a howling mediocrity.
+That&#8217;s a fact. But all the same,
+they&#8217;re miserable if they don&#8217;t write.</p>
+</div>
+
+
+<h3><i>Sixteen</i></h3>
+
+<div class="blockquot">
+
+<p>The first and noblest aim of imaginative
+literature is not either to tickle or to
+stab the sensibilities, but to render a
+coherent view of life&#8217;s apparent incoherence,
+to give shape to the amorphous,
+to discover beauty which was hidden, to
+reveal essential truth.</p>
+</div>
+
+<p><span class="pagenum" id="Page_43">[43]</span></p>
+
+
+<h3><i>Seventeen</i></h3>
+
+<div class="blockquot">
+
+<p>There is a theory that a great public can
+appreciate a great novel, that the highest
+modern expression of literary art need not
+appeal in vain to the average reader.
+And I believe this to be true&mdash;provided
+that such a novel is written with intent,
+and with a full knowledge of the peculiar
+conditions to be satisfied; I believe that
+a novel could be written which would
+unite in a mild ecstasy of praise the two
+extremes&mdash;the most inclusive majority
+and the most exclusive minority.</p>
+</div>
+
+
+<h3><i>Eighteen</i></h3>
+
+<div class="blockquot">
+
+<p>&#8220;Give us more brains, Lord!&#8221; ejaculated
+a great writer. Personally, I think he
+would have been wiser if he had asked
+first for the power to keep in order such
+brains as we have.</p>
+</div>
+
+
+<h3><i>Nineteen</i></h3>
+
+<div class="blockquot">
+
+<p>Under the incentive of a woman&#8217;s eyes,
+of what tremendous efforts is a clever
+man not capable, and, deprived of it, to
+what depths of stagnation will he not
+descend!</p>
+</div>
+
+<p><span class="pagenum" id="Page_44">[44]</span></p>
+
+
+<h3><i>Twenty</i></h3>
+
+<div class="blockquot">
+
+<p>Elegance is a form of beauty. It not
+only enhances beauty, but it is the one
+thing which will console the eye for the
+absence of beauty.</p>
+</div>
+
+
+<h3><i>Twenty-one</i></h3>
+
+<div class="blockquot">
+
+<p>There are several ways of entering upon
+journalism. One is at once to found or
+purchase a paper, and thus achieve the
+editorial chair at a single step. This
+course is often adopted in novels, sometimes
+with the happiest results; and
+much less often in real life, where the
+end is invariably and inevitably painful.</p>
+</div>
+
+
+<h3><i>Twenty-two</i></h3>
+
+<div class="blockquot">
+
+<p>Existence rightly considered is a fair compromise
+between two instincts&mdash;the instinct
+of hoping one day to live, and the instinct
+to live here and now.</p>
+</div>
+
+
+<h3><i>Twenty-three</i></h3>
+
+<div class="blockquot">
+
+<p>Your own mind is a sacred enclosure into
+which nothing harmful can enter except
+by your permission.</p>
+</div>
+
+<p><span class="pagenum" id="Page_45">[45]</span></p>
+
+
+<h3><i>Twenty-four</i></h3>
+
+<div class="blockquot">
+
+<p>The average man is not half enough of
+an egotist. If egotism means a terrific
+interest in one&#8217;s self, egotism is absolutely
+essential to efficient living.</p>
+</div>
+
+
+<h3><i>Twenty-five</i></h3>
+
+<div class="blockquot">
+
+<p>Events have no significance except by virtue
+of the ideas from which they spring; the
+clash of events is the clash of ideas, and
+out of this clash the moral lesson inevitably
+emerges, whether we ask for it or
+no. Hence every great book is a great
+moral book, and there is a true and fine
+sense in which the average reader is justified
+in regarding art as the handmaid
+of morality.</p>
+</div>
+
+
+<h3><i>Twenty-six</i></h3>
+
+<h4><i>William Shakespeare&#8217;s Birthday</i></h4>
+
+<div class="blockquot">
+
+<p>Shakespeare is &#8220;taught&#8221; in schools; that is
+to say, the Board of Education and all
+authorities pedagogic bind themselves
+together in a determined effort to make
+every boy in the land a lifelong enemy
+of Shakespeare. It is a mercy they don&#8217;t
+&#8220;teach&#8221; Blake.</p>
+</div>
+
+<p><span class="pagenum" id="Page_46">[46]</span></p>
+
+
+<h3><i>Twenty-seven</i></h3>
+
+<h4><i>Herbert Spencer&#8217;s Birthday</i></h4>
+
+<div class="blockquot">
+
+<p>There are those who assert that Spencer
+was not a supreme genius! At any rate he
+taught me intellectual courage; he taught
+me that nothing is sacred that will not
+bear inspection; and I adore his memory.</p>
+</div>
+
+
+<h3><i>Twenty-eight</i></h3>
+
+<div class="blockquot">
+
+<p>Unite the colossal with the gaudy, and
+you will not achieve the sublime; but,
+unless you are deterred by humility and
+a sense of humour, you may persuade
+yourself that you have done so, and
+certainly most people will credit you
+with the genuine feat.</p>
+</div>
+
+
+<h3><i>Twenty-nine</i></h3>
+
+<div class="blockquot">
+
+<p>The average reader (like Goethe and Ste.
+Beuve) has his worse and his better
+self, and there are times when he will
+yield to the former; but on the whole his
+impulses are good. In every writer who
+earns his respect and enduring love there
+is some central righteousness, which is
+capable of being traced and explained,
+and at which it is impossible to sneer.</p>
+</div>
+
+<p><span class="pagenum" id="Page_47">[47]</span></p>
+
+
+<h3><i>Thirty</i></h3>
+
+<div class="blockquot">
+
+<p>Literature is the art of using words. This
+is not a platitude, but a truth of the
+first importance, a truth so profound
+that many writers never get down to it,
+and so subtle that many other writers
+who think they see it never in fact
+really comprehend it. The business of
+the author is with words. The practisers
+of other arts, such as music and painting,
+deal with ideas and emotions, but
+only the author has to deal with them by
+means of words. Words are his exclusive
+possession among creative artists and
+craftsmen. They are his raw material,
+his tools and instruments, his manufactured
+product, his alpha and omega.
+He may abound in ideas and emotions
+of the finest kind, but those ideas and
+emotions cannot be said to have an
+effective existence until they are expressed;
+they are limited to the extent
+of their expression; and their expression
+is limited to the extent of the author&#8217;s
+skill in the use of words. I smile when
+I hear people say, &#8220;If I could <i>write</i>, if
+I could only put down what I feel&mdash;!&#8221;<span class="pagenum" id="Page_48">[48]</span>
+Such people beg the whole question. The
+ability to <i>write</i> is the sole thing peculiar
+to literature&mdash;not the ability to think
+nor the ability to feel, but the ability
+to write, to utilise words.</p>
+</div></div>
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+<span class="pagenum2" id="Page_49">[49]</span>
+
+<h2 class="nobreak"><i>May</i></h2>
+</div>
+
+<div class="hangingindent">
+
+<h3><i>One</i></h3>
+
+<div class="blockquot">
+
+<p>Only a small minority of authors overwrite
+themselves. Most of the good and the
+tolerable ones do not write enough.</p>
+</div>
+
+
+<h3><i>Two</i></h3>
+
+<div class="blockquot">
+
+<p>The entire business of success is a gigantic
+tacit conspiracy on the part of the minority
+to deceive the majority.</p>
+</div>
+
+
+<h3><i>Three</i></h3>
+
+<div class="blockquot">
+
+<p>There are at least three women-journalists
+in Europe to-day whose influence is
+felt in Cabinets and places where they
+govern (proving that sex is not a bar
+to the proper understanding of <i>la haute
+politique</i>); whereas the man who dares
+to write on fashions does not exist.</p>
+</div>
+
+
+<h3><i>Four</i></h3>
+
+<div class="blockquot">
+
+<p>Habits are the very dickens to change.</p>
+</div>
+
+<p><span class="pagenum" id="Page_50">[50]</span></p>
+
+
+<h3><i>Five</i></h3>
+
+<div class="blockquot">
+
+<p>Not only is art a factor in life; it is a
+factor in all lives. The division of the
+world into two classes, one of which has
+a monopoly of what is called &#8220;artistic
+feeling,&#8221; is arbitrary and false. Everyone
+is an artist, more or less; that is to
+say, there is no person quite without that
+faculty of poetising, which, by seeing
+beauty, creates beauty, and which, when
+it is sufficiently powerful and articulate,
+constitutes the musical composer, the
+architect, the imaginative writer, the
+sculptor, and the painter.</p>
+</div>
+
+
+<h3><i>Six</i></h3>
+
+<div class="blockquot">
+
+<p>Is it nothing to you to learn to understand
+that the world is not a dull place?</p>
+</div>
+
+
+<h3><i>Seven</i></h3>
+
+<div class="blockquot">
+
+<p>In neither faith nor enthusiasm can a
+child compete with a convinced adult.
+No child could believe in anything as
+passionately as the modern millionaire
+believes in money, or as the modern
+social reformer believes in the virtue of
+Acts of Parliament.</p>
+</div>
+
+<p><span class="pagenum" id="Page_51">[51]</span></p>
+
+
+<h3><i>Eight</i></h3>
+
+<div class="blockquot">
+
+<p>Literature, instead of being an accessory, is
+the fundamental <i>sine qua non</i> of complete
+living.</p>
+</div>
+
+
+<h3><i>Nine</i></h3>
+
+<div class="blockquot">
+
+<p>No novelist, however ingenious, who does
+not write what he feels, and what, by its
+careful finish, approximately pleases himself,
+can continue to satisfy the average
+reader. He may hang for years precariously
+on the skirts of popularity, but in
+the end he will fall; he will be found out.</p>
+</div>
+
+
+<h3><i>Ten</i></h3>
+
+<div class="blockquot">
+
+<p>Only the fool and the very young expect
+happiness. The wise merely hope to be
+interested, at least not to be bored, in
+their passage through this world. Nothing
+is so interesting as love and grief,
+and the one involves the other.</p>
+</div>
+
+
+<h3><i>Eleven</i></h3>
+
+<div class="blockquot">
+
+<p>One of the commonest characteristics of
+the successful man is his idleness, his
+immense capacity for wasting time.</p>
+</div>
+
+<p><span class="pagenum" id="Page_52">[52]</span></p>
+
+
+<h3><i>Twelve</i></h3>
+
+<div class="blockquot">
+
+<p>People who regard literary taste simply
+as an accomplishment, and literature
+simply as a distraction, will never truly
+succeed, either in acquiring the accomplishment
+or in using it half-acquired as
+a distraction.</p>
+</div>
+
+
+<h3><i>Thirteen</i></h3>
+
+<div class="blockquot">
+
+<p>The finest souls have their reactions, their
+rebellions against wise reason.</p>
+</div>
+
+
+<h3><i>Fourteen</i></h3>
+
+<div class="blockquot">
+
+<p>My theory is that politeness, instead of
+decreasing with intimacy&mdash;should increase!
+And when I say &#8220;Politeness&#8221;
+I mean common, superficial politeness.
+I don&#8217;t mean the deep-down sort of
+thing that you can only detect with a
+divining-rod.</p>
+</div>
+
+
+<h3><i>Fifteen</i></h3>
+
+<div class="blockquot">
+
+<p>Marcus Aurelius is assuredly regarded as
+the greatest of writers in the human
+machine school, and not to read him
+daily is considered by many to be a
+bad habit.</p>
+</div>
+
+<p><span class="pagenum" id="Page_53">[53]</span></p>
+
+
+<h3><i>Sixteen</i></h3>
+
+<div class="blockquot">
+
+<p>Part of the secret of Balzac&#8217;s unique power
+over the reader is the unique tendency
+of his own interest in the thing to be told.</p>
+</div>
+
+
+<h3><i>Seventeen</i></h3>
+
+<h4><i>&#8220;Anna of the Five Towns&#8221; finished 1901</i></h4>
+
+<div class="blockquot">
+
+<p>The art of fiction is the art of telling a
+story. This statement is not so obvious
+and unnecessary as it may seem. Most
+beginners and many &#8220;practised hands&#8221;
+attend to all kinds of things before they
+attend to the story. With them the
+art of fiction is the art of describing
+character or landscape, of getting &#8220;atmosphere,&#8221;
+and of being humorous, pathetic,
+flippant, or terrifying; while the
+story is a perfunctory excuse for these
+feats. They are so busy with the traditional
+paraphernalia of fiction, with the
+tricks of the craft, that what should
+be the principal business is reduced to
+a subsidiary task. They forget that
+character, landscape, atmosphere, humour,
+pathos, etc., are not ends in
+themselves, but only means toward an
+end.</p>
+</div>
+
+<p><span class="pagenum" id="Page_54">[54]</span></p>
+
+
+<h3><i>Eighteen</i></h3>
+
+<div class="blockquot">
+
+<p>How true it is that the human soul is
+solitary, that content is the only true
+riches, and that to be happy we must be
+good.</p>
+</div>
+
+
+<h3><i>Nineteen</i></h3>
+
+<div class="blockquot">
+
+<p>Men of letters who happen to have genius
+do not write for men of letters. They
+write, as Wagner was proud to say he
+composed, for the ordinary person.</p>
+</div>
+
+
+<h3><i>Twenty</i></h3>
+
+<div class="blockquot">
+
+<p>Great success never depends on the practice
+of the humbler virtues, though it may
+occasionally depend on the practice of
+the prouder vices.</p>
+</div>
+
+
+<h3><i>Twenty-one</i></h3>
+
+<div class="blockquot">
+
+<p>&#8220;I&#8217;ve been to the National Gallery twice,
+and, upon my word, I was almost the
+only person there! And it&#8217;s free, too!
+People don&#8217;t <i>want</i> picture-galleries. If
+they did, they&#8217;d go. Who ever saw a
+public-house empty, or Peter Robinson&#8217;s?
+And you have to pay there!&#8221;</p>
+</div>
+
+<p><span class="pagenum" id="Page_55">[55]</span></p>
+
+
+<h3><i>Twenty-two</i></h3>
+
+<div class="blockquot">
+
+<p>He who has not been &#8220;presented to the
+freedom&#8221; of literature has not wakened
+up out of his prenatal sleep. He is
+merely not born. He can&#8217;t see; he
+can&#8217;t hear; he can&#8217;t feel in any full
+sense. He can only eat his dinner.</p>
+</div>
+
+
+<h3><i>Twenty-three</i></h3>
+
+<div class="blockquot">
+
+<p>All the arts are a conventionalisation, an
+ordering of nature.</p>
+</div>
+
+
+<h3><i>Twenty-four</i></h3>
+
+<div class="blockquot">
+
+<p>The aim of literary study is not to amuse
+the hours of leisure; it is to awake oneself,
+it is to be alive, to intensify one&#8217;s
+capacity for pleasure, for sympathy,
+and for comprehension.</p>
+</div>
+
+
+<h3><i>Twenty-five</i></h3>
+
+<div class="blockquot">
+
+<p>Like every aging artist of genuine accomplishment,
+he knew&mdash;none better&mdash;that
+there is no satisfaction save the
+satisfaction of fatigue after honest endeavour.
+He knew&mdash;none better&mdash;that
+wealth and glory and fine clothes
+are naught, and that striving is all.</p>
+</div>
+
+<p><span class="pagenum" id="Page_56">[56]</span></p>
+
+
+<h3><i>Twenty-six</i></h3>
+
+<div class="blockquot">
+
+<p>Prepare to live by all means, but for
+Heaven&#8217;s sake do not forget to live.</p>
+</div>
+
+
+<h3><i>Twenty-seven</i></h3>
+
+<h4><i>My Birthday</i></h4>
+
+<div class="blockquot">
+
+<p>Sometimes I suddenly halt and address
+myself: &#8220;You may be richer or you may
+be poorer; you may live in greater pomp
+and luxury, or in less. The point is, that
+you will always be, essentially, what you
+are now. You have no real satisfaction
+to look forward to except the satisfaction
+of continually inventing, fancying,
+imagining, scribbling. Say another
+thirty years of these emotional ingenuities,
+these interminable variations
+on the theme of beauty. Is it good
+enough?&#8221; And I answered: &#8220;Yes.&#8221;
+But who knows? Who can preclude
+the regrets of the dying couch?</p>
+</div>
+
+
+<h3><i>Twenty-eight</i></h3>
+
+<div class="blockquot">
+
+<p>The balanced sanity of a great mind makes
+impossible exaggeration, and, therefore,
+distortion.</p>
+</div>
+
+<p><span class="pagenum" id="Page_57">[57]</span></p>
+
+
+<h3><i>Twenty-nine</i></h3>
+
+<div class="blockquot">
+
+<p>No art that is not planned in form is
+worth consideration, and no life that is
+not planned in convention can ever be
+satisfactory.</p>
+</div>
+
+
+<h3><i>Thirty</i></h3>
+
+<div class="blockquot">
+
+<p>The value of restraint is seldom inculcated
+upon women. Indeed, its opposites&mdash;gush
+and a tendency to hysteria&mdash;are
+regarded, in many respectable quarters,
+as among the proper attributes of true
+womanliness; attributes to be artistically
+cultivated.</p>
+</div>
+
+
+<h3><i>Thirty-one</i></h3>
+
+<div class="blockquot">
+
+<p>There grows in the North Country a certain
+kind of youth of whom it may be
+said that he is born to be a Londoner.
+The metropolis, and everything that
+appertains to it, that comes down from
+it, that goes up into it, has for him
+an imperious fascination. Long before
+schooldays are over he learns to take a
+doleful pleasure in watching the exit
+of the London train from the railway<span class="pagenum" id="Page_58">[58]</span>
+station. He stands by the hot engine
+and envies the very stoker. Gazing
+curiously into the carriages he wonders
+that men and women, who in a few
+hours will be treading streets called
+Piccadilly and the Strand, can contemplate
+the immediate future with so
+much apparent calmness; some of them
+even have the audacity to look bored.
+He finds it difficult to keep from throwing
+himself in the guard&#8217;s van as it glides
+past him; and not until the last coach
+is a speck upon the distance does he turn
+away and, nodding absently to the
+ticket-clerk, who knows him well, go
+home to nurse a vague ambition and
+dream of town.</p>
+</div></div>
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+<p><span class="pagenum2" id="Page_59">[59]</span></p>
+
+<h2 class="nobreak"><i>June</i></h2>
+</div>
+
+<div class="hangingindent">
+
+<h3><i>One</i></h3>
+
+<div class="blockquot">
+
+<p>To cultivate and nourish a grievance
+when you have five hundred pounds in
+your pocket, in cash, is the most difficult
+thing in the world.</p>
+</div>
+
+
+<h3><i>Two</i></h3>
+
+<div class="blockquot">
+
+<p>The full beauty of an activity is never
+brought out until it is subjected to
+discipline and strict ordering and nice
+balancing.</p>
+</div>
+
+
+<h3><i>Three</i></h3>
+
+<div class="blockquot">
+
+<p>The unfading charm of classical music is
+that you never tire of it.</p>
+</div>
+
+
+<h3><i>Four</i></h3>
+
+<div class="blockquot">
+
+<p>The spirit of literature is unifying; it joins
+the candle and the star, and by the
+magic of an image shows that the beauty
+of the greater is in the less.</p>
+</div>
+
+<p><span class="pagenum" id="Page_60">[60]</span></p>
+
+
+<h3><i>Five</i></h3>
+
+<div class="blockquot">
+
+<p>If people, by merely wishing to do so,
+could regularly and seriously read, observe,
+write, and use every faculty and
+sense, there would be very little mental
+inefficiency.</p>
+</div>
+
+
+<h3><i>Six</i></h3>
+
+<div class="blockquot">
+
+<p>Laws and rules, forms and ceremonies,
+are good in themselves, from a merely
+&aelig;sthetic point of view, apart from their
+social value and necessity.</p>
+</div>
+
+
+<h3><i>Seven</i></h3>
+
+<div class="blockquot">
+
+<p>Fashionable women have a manner of sitting
+down quite different from that of
+ordinary women. They only touch the
+back of the chair at the top. They
+don&#8217;t loll but they only escape lolling
+by dint of gracefulness. It is an affair
+of curves, slants, descents, nicely calculated.
+They elaborately lead your eye
+downwards over gradually increasing
+expanses, and naturally you expect to see
+their feet&mdash;and you don&#8217;t see their
+feet. The thing is apt to be disturbing
+to unhabituated beholders.</p>
+</div>
+
+<p><span class="pagenum" id="Page_61">[61]</span></p>
+
+
+<h3><i>Eight</i></h3>
+
+<div class="blockquot">
+
+<p>There are moments in the working day
+of every novelist when he feels deeply
+that anything&mdash;road-mending, shop-walking,
+housebreaking&mdash;would be
+better than this eternal torture of the
+brain; but such moments pass.</p>
+</div>
+
+
+<h3><i>Nine</i></h3>
+
+<div class="blockquot">
+
+<p>During a long and varied career as a
+bachelor, I have noticed that marriage
+is usually the death of politeness between
+a man and a woman. I have
+noticed that the stronger the passion
+the weaker the manners.</p>
+</div>
+
+
+<h3><i>Ten</i></h3>
+
+<div class="blockquot">
+
+<p>My sense of security amid the collisions
+of existence lies in the firm consciousness
+that just as my body is the servant of
+my mind, so is my mind the servant
+of <i>me</i>.</p>
+</div>
+
+
+<h3><i>Eleven</i></h3>
+
+<div class="blockquot">
+
+<p>The fault of the epoch is the absence of
+meditativeness.</p>
+</div>
+
+<p><span class="pagenum" id="Page_62">[62]</span></p>
+
+
+<h3><i>Twelve</i></h3>
+
+<div class="blockquot">
+
+<p>People who don&#8217;t want to live, people
+who would sooner hibernate than feel
+intensely, will be wise to eschew
+literature.</p>
+</div>
+
+
+<h3><i>Thirteen</i></h3>
+
+<div class="blockquot">
+
+<p>No one is so sure of achieving the aims
+of the literary craftsman as the man
+who has something to say and wishes
+to say it simply and have done with it.</p>
+</div>
+
+
+<h3><i>Fourteen</i></h3>
+
+<div class="blockquot">
+
+<p>The mind can only be conquered by
+regular meditation, by deciding beforehand
+what direction its activity ought to
+take, and insisting that its activity take
+that direction; also by never leaving it
+idle, undirected, masterless, to play at
+random like a child in the streets after
+dark.</p>
+</div>
+
+
+<h3><i>Fifteen</i></h3>
+
+<div class="blockquot">
+
+<p>The enterprise of forming one&#8217;s literary
+taste is an agreeable one; if it is not
+agreeable it cannot succeed.</p>
+</div>
+
+<p><span class="pagenum" id="Page_63">[63]</span></p>
+
+
+<h3><i>Sixteen</i></h3>
+
+<div class="blockquot">
+
+<p>The attitude of the average decent person
+towards the classics of his own tongue
+is one of distrust&mdash;I had almost said,
+of fear.</p>
+</div>
+
+
+<h3><i>Seventeen</i></h3>
+
+<div class="blockquot">
+
+<p>Am I, a portion of the Infinite Force that
+existed billions of years ago, and which
+will exist billions of years hence, going to
+allow myself to be worried by any terrestrial
+physical or mental event? I am not.</p>
+</div>
+
+
+<h3><i>Eighteen</i></h3>
+
+<div class="blockquot">
+
+<p>There is not a successful inexpert author
+writing to-day who would not be more
+successful&mdash;who would not be better
+esteemed and in receipt of a larger income&mdash;if
+he had taken the trouble to
+become expert. Skill does count; skill
+is always worth its cost in time and
+labour.</p>
+</div>
+
+
+<h3><i>Nineteen</i></h3>
+
+<div class="blockquot">
+
+<p>It is easier to go down a hill than up, but
+the view is from the top.</p>
+</div>
+
+<p><span class="pagenum" id="Page_64">[64]</span></p>
+
+
+<h3><i>Twenty</i></h3>
+
+<div class="blockquot">
+
+<p>For me there is no supremacy in art.
+When fifty artists have contrived to be
+supreme, supremacy becomes impossible.
+Take a little song by Grieg. It is perfect,
+it is supreme. No one could be
+greater than Grieg was great when he
+wrote that song. The whole last act
+of <i>The Twilight of the Gods</i> is not greater
+than a little song of Grieg&#8217;s.</p>
+</div>
+
+
+<h3><i>Twenty-one</i></h3>
+
+<div class="blockquot">
+
+<p>We talked books. We just simply enumerated
+books without end, praising
+or damning them, and arranged authors
+in neat pews, like cattle in classes at an
+agricultural show. No pastime is more
+agreeable to people who have the book
+disease, and none more quickly fleets
+the hours, and none is more delightfully
+futile.</p>
+</div>
+
+
+<h3><i>Twenty-two</i></h3>
+
+<div class="blockquot">
+
+<p>The law of gravity is absurd and indefensible
+when you fall downstairs; but
+you obey it.</p>
+</div>
+
+<p><span class="pagenum" id="Page_65">[65]</span></p>
+
+
+<h3><i>Twenty-three</i></h3>
+
+<div class="blockquot">
+
+<p>It is difficult to make a reputation, but
+it is even more difficult seriously to
+mar a reputation once properly made&mdash;so
+faithful is the public.</p>
+</div>
+
+
+<h3><i>Twenty-four</i></h3>
+
+<div class="blockquot">
+
+<p>That which has cost a sacrifice is always
+endeared.</p>
+</div>
+
+
+<h3><i>Twenty-five</i></h3>
+
+<div class="blockquot">
+
+<p>If literary aspirants genuinely felt that
+literature was the art of using words,
+bad, slipshod writing&mdash;writing that
+stultifies the thought and emotion which
+it is designed to render effective&mdash;would
+soon be a thing of the past. For they
+would begin at the beginning as apprentices
+to all other arts are compelled
+to. The serious student of painting who
+began his apprenticeship by trying to
+paint a family group, would be regarded
+as a lunatic. But the literary aspirant
+who begins with a novel is precisely that
+sort of lunatic, and the fact that he
+sometimes gets himself into print does
+not in the least mitigate his lunacy.</p>
+</div>
+
+<p><span class="pagenum" id="Page_66">[66]</span></p>
+
+
+<h3><i>Twenty-six</i></h3>
+
+<div class="blockquot">
+
+<p>In spite of all the differences which we
+have invented, mankind is a fellowship
+of brothers, overshadowed by insoluble
+and fearful mysteries, and dependent
+upon mutual goodwill and trust for the
+happiness it may hope to achieve.</p>
+</div>
+
+
+<h3><i>Twenty-seven</i></h3>
+
+<div class="blockquot">
+
+<p>The brain is a servant, exterior to the
+central force of the Ego. If it is out of
+control, the reason is not that it is uncontrollable
+but merely that its discipline
+has been neglected.</p>
+</div>
+
+
+<h3><i>Twenty-eight</i></h3>
+
+<div class="blockquot">
+
+<p>I have been told by one of our greatest
+novelists that he constantly reads the
+dictionary, and that in his youth he
+read the dictionary through several
+times. I may recount the anecdote of
+Buckle, the historian of civilisation, who,
+when a certain dictionary was mentioned
+in terms of praise, said: &#8220;Yes, it is one
+of the few dictionaries I have read
+through with pleasure.&#8221;</p>
+</div>
+
+<p><span class="pagenum" id="Page_67">[67]</span></p>
+
+
+<h3><i>Twenty-nine</i></h3>
+
+<div class="blockquot">
+
+<p>The public may, and generally does,
+admire a great artist. But it begins
+(and sometimes ends) by admiring him
+for the wrong things. Shakespeare is
+more highly regarded for his philosophy
+than for his poetry, as the applause at
+any performance of &#8220;Hamlet&#8221; will
+prove. Balzac conquers by that untamed
+exuberance and those crude effects
+of melodrama which are the least valuable
+parts of him.</p>
+</div>
+
+
+<h3><i>Thirty</i></h3>
+
+<div class="blockquot">
+
+<p>You cannot divide literature into two
+elements and say: This is matter and
+that style. Further, the significance
+and the worth of literature are to be
+comprehended and assessed in the same
+way as the significance and the worth
+of any other phenomenon: by the exercise
+of common-sense. Common-sense
+will tell you that nobody, not even a
+genius, can be simultaneously vulgar
+and distinguished, or beautiful and ugly,
+or precise and vague, or tender and
+harsh. And common-sense will therefore<span class="pagenum" id="Page_68">[68]</span>
+tell you that to try to set up vital
+contradictions between matter and style
+is absurd. If you refer literature to the
+standards of life, common-sense will at
+once decide which quality should count
+heaviest in your esteem.</p>
+</div></div>
+
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+<span class="pagenum2" id="Page_69">[69]</span>
+
+<h2 class="nobreak" id="July"><i>July</i></h2>
+</div>
+
+<div class="hangingindent">
+<h3><i>One</i></h3>
+
+<div class="blockquot">
+
+<p>When one has really something to say,
+one does not use clich&eacute;s; one cannot.</p>
+</div>
+
+
+<h3><i>Two</i></h3>
+
+<div class="blockquot">
+
+<p>The extinguishing of desire, with an accompanying
+indifference, be it high or low,
+is bad for youth.</p>
+</div>
+
+
+<h3><i>Three</i></h3>
+
+<div class="blockquot">
+
+<p>Do you suppose that if the fame of
+Shakespeare depended on the man in
+the street, it would survive a fortnight?</p>
+</div>
+
+
+<h3><i>Four</i></h3>
+
+<div class="blockquot">
+
+<p>Common-sense will solve any problem&mdash;any!&mdash;always
+provided it is employed
+simultaneously with politeness.</p>
+</div>
+
+<p><span class="pagenum" id="Page_70">[70]</span></p>
+
+
+<h3><i>Five</i></h3>
+
+<div class="blockquot">
+
+<p>London is the most provincial town in
+England&mdash;invariably vulgar, reactionary,
+hysterical, and behind the rest of
+the country. A nice sort of place England
+would be if we in the provinces had
+to copy London.</p>
+</div>
+
+
+<h3><i>Six</i></h3>
+
+<div class="blockquot">
+
+<p>Progress is the gradual result of the unending
+battle between human reason
+and human instinct, in which the former
+slowly but surely wins.</p>
+</div>
+
+
+<h3><i>Seven</i></h3>
+
+<div class="blockquot">
+
+<p>As an athlete trains, as an acrobat painfully
+tumbles in private, so must the
+literary aspirant write.</p>
+</div>
+
+
+<h3><i>Eight</i></h3>
+
+<div class="blockquot">
+
+<p>A classic is a work which gives pleasure
+to the minority which is intensely and
+permanently interested in literature.</p>
+</div>
+
+<p><span class="pagenum" id="Page_71">[71]</span></p>
+
+
+<h3><i>Nine</i></h3>
+
+<div class="blockquot">
+
+<p>It is said that geography makes history.
+In England, and especially in London,
+weather makes a good deal of history.</p>
+</div>
+
+
+<h3><i>Ten</i></h3>
+
+<div class="blockquot">
+
+<p>The one primary essential to literary taste
+is a hot interest in literature. If you
+have that, all the rest will come.</p>
+</div>
+
+
+<h3><i>Eleven</i></h3>
+
+<div class="blockquot">
+
+<p>In the Five Towns human nature is
+reported to be so hard that you can
+break stones on it. Yet sometimes it
+softens, and then we have one of our
+rare idylls of which we are very proud,
+while pretending not to be. The soft
+and delicate South would possibly not
+esteem highly our idylls, as such. Nevertheless
+they are our idylls, idyllic for us,
+and reminding us, by certain symptoms,
+that, though we never cry, there is concealed
+somewhere within our bodies a
+fount of happy tears.</p>
+</div>
+
+<p><span class="pagenum" id="Page_72">[72]</span></p>
+
+
+<h3><i>Twelve</i></h3>
+
+<div class="blockquot">
+
+<p>Reason is the basis of personal dignity.</p>
+</div>
+
+
+<h3><i>Thirteen</i></h3>
+
+<div class="blockquot">
+
+<p>It is by the passionate few that the renown
+of genius is kept alive from one
+generation to another.</p>
+</div>
+
+
+<h3><i>Fourteen</i></h3>
+
+<div class="blockquot">
+
+<p>We are all of us the same in essence;
+what separates us is merely differences
+in our respective stages of evolution.</p>
+</div>
+
+
+<h3><i>Fifteen</i></h3>
+
+<div class="blockquot">
+
+<p>It is well known that dignity will only
+bleed while you watch it. Avert your
+eyes and it instantly dries up.</p>
+</div>
+
+
+<h3><i>Sixteen</i></h3>
+
+<div class="blockquot">
+
+<p>All literature is the expression of feeling,
+of passion, of emotion, caused by a
+sensation of the interestingness of life.</p>
+</div>
+
+<p><span class="pagenum" id="Page_73">[73]</span></p>
+
+
+<h3><i>Seventeen</i></h3>
+
+<div class="blockquot">
+
+<p>Just as science is the development of
+common-sense, so is literature the development
+of common daily speech.</p>
+</div>
+
+
+<h3><i>Eighteen</i></h3>
+
+<div class="blockquot">
+
+<p>Every man who thinks clearly can write
+clearly, if not with grace and technical
+correctness.</p>
+</div>
+
+
+<h3><i>Nineteen</i></h3>
+
+<div class="blockquot">
+
+<p>It is important, if you wish ultimately to
+have a wide, catholic taste, to guard
+against the too common assumption
+that nothing modern will stand comparison
+with the classics.</p>
+</div>
+
+
+<h3><i>Twenty</i></h3>
+
+<div class="blockquot">
+
+<p>In the matter of its own special activities
+the brain is usually undisciplined
+and unreliable. We never know what
+it will do next.</p>
+</div>
+
+<p><span class="pagenum" id="Page_74">[74]</span></p>
+
+
+<h3><i>Twenty-one</i></h3>
+
+<div class="blockquot">
+
+<p>It&#8217;s the dodge of every begging-letter writer
+in England to mark his envelope &#8220;Private
+and Urgent.&#8221;</p>
+</div>
+
+
+<h3><i>Twenty-two</i></h3>
+
+<div class="blockquot">
+
+<p>Women grow old; women cease to learn;
+but men, never.</p>
+</div>
+
+
+<h3><i>Twenty-three</i></h3>
+
+<div class="blockquot">
+
+<p>In literature, but in nothing else, I am
+a propagandist; I am not content to
+keep my opinion and let others keep
+theirs. To have a worthless book in my
+house (save in the way of business), to
+know that any friend is enjoying it,
+actually distresses me. That book must
+go, the pretensions of that book must be
+exposed, if I am to enjoy peace of mind.</p>
+</div>
+
+
+<h3><i>Twenty-four</i></h3>
+
+<div class="blockquot">
+
+<p>I have often thought: If a son could look
+into a mother&#8217;s heart, what an eyeopener
+he would have!</p>
+</div>
+
+<p><span class="pagenum" id="Page_75">[75]</span></p>
+
+
+<h3><i>Twenty-five</i></h3>
+
+<div class="blockquot">
+
+<p>When a writer expresses his individuality
+and his mood with accuracy, lucidity,
+and sincerity, and with an absence of
+ugliness, then he achieves good style.
+Style&mdash;it cannot be too clearly understood&mdash;is
+not a certain splendid something
+which the writer adds to his
+meaning. It is <i>in</i> the meaning; it is
+that part of the meaning which specially
+reflects his individuality and his mood.</p>
+</div>
+
+
+<h3><i>Twenty-six</i></h3>
+
+<div class="blockquot">
+
+<p>Crime is simply a convenient monosyllable
+which we apply to what happens
+when the brain and the heart come into
+conflict and the brain is defeated.</p>
+</div>
+
+
+<h3><i>Twenty-seven</i></h3>
+
+<div class="blockquot">
+
+<p>Reflect that, as a rule, the people whom
+you have come to esteem communicated
+themselves to you gradually, that they
+did not begin the entertainment with
+fireworks.</p>
+</div>
+
+<p><span class="pagenum" id="Page_76">[76]</span></p>
+
+
+<h3><i>Twenty-eight</i></h3>
+
+<div class="blockquot">
+
+<p>To devise the contents of an issue, to
+plan them, to balance them; to sail
+with this wind and tack against that;
+to keep a sensitive, cool finger on the
+faintly beating pulse of the terrible
+many-headed patron; to walk in a
+straight line through a forest black as
+midnight; to guess the riddle of the circulation-book
+week by week; to know
+by instinct why Smiths sent in a repeat
+order, or why Simpkins&#8217; was ten quires
+less; to keep one eye on the majestic
+march of the world, and the other on
+the vagaries of a bazaar-reporter who
+has forgotten the law of libel; these
+things, and seventy-seven others, are
+the real journalism. It is these things
+that make editors sardonic, grey,
+unapproachable.</p>
+</div>
+
+
+<h3><i>Twenty-nine</i></h3>
+
+<div class="blockquot">
+
+<p>I will be bold enough to say that quite
+seventy per cent. of ambition is never
+realised at all, and that ninety per cent.
+of all realised ambition is fruitless.</p>
+</div>
+
+<p><span class="pagenum" id="Page_77">[77]</span></p>
+
+
+<h3><i>Thirty</i></h3>
+
+<div class="blockquot">
+
+<p>To comply with the regulations ordained
+by English Society for the conduct of
+successful painters, he ought, first, to
+have taken the elementary precaution
+of being born in the United States. He
+ought, after having refused all interviews
+for months, to have ultimately granted
+a special one to a newspaper with the
+largest circulation. He ought to have
+returned to England, grown a mane
+and a tufted tail, and become the king
+of beasts; or at least to have made a
+speech at a banquet about the noble and
+purifying mission of art. Assuredly, he
+ought to have painted the portrait of his
+father or grandfather as an artisan to
+prove that he was not a snob.</p>
+</div>
+
+
+<h3><i>Thirty-one</i></h3>
+
+<div class="blockquot">
+
+<p>Women enjoy a reputation for slipshod
+style. They have earned it. A long
+and intimate familiarity with the manuscript
+of hundreds of women-writers,
+renowned and otherwise, has convinced
+me that not ten per cent. of them can
+be relied upon to satisfy even the most<span class="pagenum" id="Page_78">[78]</span>
+ordinary tests in spelling, grammar, and
+punctuation. I do not hesitate to say
+that if twenty of the most honoured
+and popular women-writers were asked
+to sit for an examination in these simple
+branches of learning, the general result
+(granted that a few might emerge with
+credit) would not only startle themselves,
+but would provide innocent amusement
+for the rest of mankind.</p>
+</div></div>
+
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+<span class="pagenum2" id="Page_79">[79]</span>
+
+<h2 class="nobreak"><i>August</i></h2>
+</div>
+
+<div class="hangingindent">
+
+<h3><i>One</i></h3>
+
+<div class="blockquot">
+
+<p>My theory is that if a really big concern
+is properly organized, the boss ought to
+be absolutely independent of all routine.
+He ought to be free for anything that
+turns up unexpectedly.</p>
+</div>
+
+
+<h3><i>Two</i></h3>
+
+<div class="blockquot">
+
+<p>Often I have felt that: &#8220;I know enough,
+I feel enough. If my future is as long as
+my past, I shall still not be able to put
+down the tenth part of what I have
+already acquired.&#8221;</p>
+</div>
+
+
+<h3><i>Three</i></h3>
+
+<div class="blockquot">
+
+<p>In journalism, as probably in no other
+profession, success depends wholly upon
+the loyal co-operation, the perfect reliability,
+of a number of people&mdash;some
+great, some small, but none irresponsible.</p>
+</div>
+
+<p><span class="pagenum" id="Page_80">[80]</span></p>
+
+
+<h3><i>Four</i></h3>
+
+<div class="blockquot">
+
+<p>The significance and the worth of literature
+are to be comprehended and assessed
+in the same way as the significance and
+the worth of any other phenomenon: by
+the exercise of common-sense.</p>
+</div>
+
+
+<h3><i>Five</i></h3>
+
+<div class="blockquot">
+
+<p>All wrong-doing is done in the sincere belief
+that it is the best thing to do.</p>
+</div>
+
+
+<h3><i>Six</i></h3>
+
+<div class="blockquot">
+
+<p>There is always a mental inferior handy,
+just as there is always a being more unhappy
+than we are.</p>
+</div>
+
+
+<h3><i>Seven</i></h3>
+
+<div class="blockquot">
+
+<p>Often have I said inwardly: &#8220;World,
+when I talk with you, dine with you,
+wrangle with you, love you, and hate
+you, I condescend.&#8221; Every artist has
+said that. People call it conceit; people
+may call it what they please.</p>
+</div>
+
+<p><span class="pagenum" id="Page_81">[81]</span></p>
+
+
+<h3><i>Eight</i></h3>
+
+<div class="blockquot">
+
+<p>The artistic pleasures of an uncultivated
+mind are generally violent.</p>
+</div>
+
+
+<h3><i>Nine</i></h3>
+
+<div class="blockquot">
+
+<p>Literature cannot be said to have served
+its true purpose until it has been translated
+into the actual life of him who
+reads.</p>
+</div>
+
+
+<h3><i>Ten</i></h3>
+
+<div class="blockquot">
+
+<p>When you cannot express yourself, depend
+upon it that you have nothing
+precise to express.</p>
+</div>
+
+
+<h3><i>Eleven</i></h3>
+
+<div class="blockquot">
+
+<p>Monotony, solitude, are essential to the
+full activity of the artist. Just as a horse
+is seen best when coursing alone over a
+great plain, so the fierce and callous
+egotism of the artist comes to its perfection
+in a vast expanse of custom,
+leisure, and apparently vacuous reverie.</p>
+</div>
+
+<p><span class="pagenum" id="Page_82">[82]</span></p>
+
+
+<h3><i>Twelve</i></h3>
+
+<div class="blockquot">
+
+<p>There can be no doubt that the average
+man blames much more than he praises.
+His instinct is to blame. If he is satisfied
+he says nothing; if he is not, he most
+illogically kicks up a row.</p>
+</div>
+
+
+<h3><i>Thirteen</i></h3>
+
+<div class="blockquot">
+
+<p>We can no more spend all our waking
+hours in consciously striving towards
+higher things than we can dine exclusively
+off jam.</p>
+</div>
+
+
+<h3><i>Fourteen</i></h3>
+
+<div class="blockquot">
+
+<p>All spending is a matter of habit.</p>
+</div>
+
+
+<h3><i>Fifteen</i></h3>
+
+<div class="blockquot">
+
+<p>The views from Richmond Hill or Hindhead,
+or along Pall Mall at sunset, the
+smell of the earth, the taste of fruit and
+of kisses&mdash;these things are unaffected
+by the machinations of trusts and the
+hysteria of stock exchanges.</p>
+</div>
+
+<p><span class="pagenum" id="Page_83">[83]</span></p>
+
+
+<h3><i>Sixteen</i></h3>
+
+<div class="blockquot">
+
+<p>If there is one point common to all classics,
+it is the absence of exaggeration.</p>
+</div>
+
+
+<h3><i>Seventeen</i></h3>
+
+<div class="blockquot">
+
+<p>It is only people of small moral stature
+who have to stand on their dignity.</p>
+</div>
+
+
+<h3><i>Eighteen</i></h3>
+
+<div class="blockquot">
+
+<p>When you live two and a half miles from
+a railway you can cut a dash on an income
+which in London spells omnibus
+instead of cab. For myself, I have a
+profound belief in the efficacy of cutting
+a dash.</p>
+</div>
+
+
+<h3><i>Nineteen</i></h3>
+
+<div class="blockquot">
+
+<p>No one can write correctly without deliberately
+and laboriously learning how
+to write correctly. On the other hand,
+everyone can learn to write correctly
+who takes sufficient trouble. Correct
+writing is a mechanical accomplishment;
+it could be acquired by a stockbroker.</p>
+</div>
+
+<p><span class="pagenum" id="Page_84">[84]</span></p>
+
+
+<h3><i>Twenty</i></h3>
+
+<div class="blockquot">
+
+<p>An understanding appreciation of literature
+means an understanding appreciation of
+the world, and it means nothing else.</p>
+</div>
+
+
+<h3><i>Twenty-one</i></h3>
+
+<div class="blockquot">
+
+<p>Much ingenuity with a little money is vastly
+more profitable and amusing than much
+money without ingenuity.</p>
+</div>
+
+
+<h3><i>Twenty-two</i></h3>
+
+<div class="blockquot">
+
+<p>Nothing is easier than to explain an accomplished
+fact in a nice, agreeable, conventional
+way.</p>
+</div>
+
+
+<h3><i>Twenty-three</i></h3>
+
+<div class="blockquot">
+
+<p>Literature is the art of using words. This
+is not a platitude, but a truth of the
+first importance, a truth so profound
+that many writers never get down to it,
+and so subtle that many other writers
+who think they see it never in fact really
+comprehend it.</p>
+</div>
+
+<p><span class="pagenum" id="Page_85">[85]</span></p>
+
+
+<h3><i>Twenty-four</i></h3>
+
+<div class="blockquot">
+
+<p>In the choice of reading the individual
+must count; caprice must count, for
+caprice is often the truest index to the
+individuality.</p>
+</div>
+
+
+<h3><i>Twenty-five</i></h3>
+
+<div class="blockquot">
+
+<p>There is an infection in the air of London,
+a zymotic influence which is the mysterious
+cause of unnaturalness, pose, affectation,
+artificiality, moral neuritis, and
+satiety. One loses grasp of the essentials
+in an undue preoccupation with the
+vacuities which society has invented.
+The distractions are too multiform. One
+never gets a chance to talk common-sense
+with one&#8217;s soul.</p>
+</div>
+
+
+<h3><i>Twenty-six</i></h3>
+
+<div class="blockquot">
+
+<p>An early success is a snare. The inexperienced
+author takes too much for
+granted. Conceit overcomes him. He
+regards himself with an undue seriousness.
+He thinks that he is founded on
+granite for ever.</p>
+</div>
+
+<p><span class="pagenum" id="Page_86">[86]</span></p>
+
+
+<h3><i>Twenty-seven</i></h3>
+
+<div class="blockquot">
+
+<p>The splendid pertinacity and ingenuity
+of the American journalist in wringing
+copy out of any and every side of existence
+cannot fail to quicken the pulse
+of those who are accustomed to the
+soberer, narrower, sleepier ways of English
+newspapers. Fleet Street pretends
+to despise and contemn American methods,
+yet a gradual Americanising of the
+English press is always taking place,
+with results on the whole admirable.</p>
+</div>
+
+
+<h3><i>Twenty-eight</i></h3>
+
+<div class="blockquot">
+
+<p>Stand defiantly on your own feet, and do
+not excuse yourself to yourself.</p>
+</div>
+
+
+<h3><i>Twenty-nine</i></h3>
+
+<div class="blockquot">
+
+<p>This is a matter of daily observation:
+that people are frantically engaged in
+attempting to get hold of things which,
+by universal experience, are hideously
+disappointing to those who have obtained
+possession of them.</p>
+</div>
+
+<p><span class="pagenum" id="Page_87">[87]</span></p>
+
+
+<h3><i>Thirty</i></h3>
+
+<div class="blockquot">
+
+<p>It is a current impression that style is
+something apart from, something foreign
+to, matter&mdash;a beautiful robe which, once
+it is found, may be used to clothe the
+nudity of matter. Young writers wander
+forth searching for style, as one searches
+for that which is hidden. They might
+employ themselves as profitably in looking
+for the noses on their faces. For
+style is personal, as much a portion of
+one&#8217;s self as the voice. It is within, not
+without; it needs only to be elicited,
+brought to light.</p>
+</div>
+
+
+<h3><i>Thirty-one</i></h3>
+
+<div class="blockquot">
+
+<p>When I had been in London a decade,
+I stood aside from myself and reviewed
+my situation with the god-like and detached
+impartiality of a trained artistic
+observer. And what I saw was a young
+man who pre-eminently knew his way
+about, and who was apt to be rather too
+complacent over this fact; a young man
+with some brilliance but far more shrewdness;
+a young man with a highly developed<span class="pagenum" id="Page_88">[88]</span>
+faculty for making a little go
+a long way; a young man who was
+accustomed to be listened to when he
+thought fit to speak, and who was decidedly
+more inclined to settle questions
+than to raise them.</p>
+</div></div>
+
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+<span class="pagenum2" id="Page_89">[89]</span>
+
+<h2 class="nobreak"><i>September</i></h2>
+</div>
+
+<div class="hangingindent">
+
+<h3><i>One</i></h3>
+
+<div class="blockquot">
+
+<p>It is of no use beginning to air one&#8217;s
+views until one has collected an
+audience.</p>
+</div>
+
+
+<h3><i>Two</i></h3>
+
+<div class="blockquot">
+
+<p>A man whom fate had pitched into a
+canal might accomplish miracles in the
+way of rendering himself amphibian: he
+might stagger the world by the spectacle
+of his philosophy under amazing difficulties;
+people might pay sixpence a
+head to come and see him; but he
+would be less of a nincompoop if he
+climbed out and arranged to live definitely
+on the bank.</p>
+</div>
+
+
+<h3><i>Three</i></h3>
+
+<div class="blockquot">
+
+<p>The contemplation of hills is uplifting to
+the soul; it leads to inspiration and induces
+nobility of character.</p>
+</div>
+
+<p><span class="pagenum" id="Page_90">[90]</span></p>
+
+
+<h3><i>Four</i></h3>
+
+<div class="blockquot">
+
+<p>Plot is the primary thing in fiction. Only
+a very clever craftsman can manipulate
+a feeble plot so as to make it even passably
+interesting. Whereas, the clumsiest
+bungler in narration cannot altogether
+spoil a really sound plot.</p>
+</div>
+
+
+<h3><i>Five</i></h3>
+
+<div class="blockquot">
+
+<p>It cannot be too clearly understood that
+the professional author, the man who
+depends entirely on his pen for the
+continuance of breath, and whose income
+is at the mercy of an illness or a headache,
+is eternally compromising between
+glory and something more edible and
+warmer at nights. He labours, in the
+first place, for food, shelter, tailors, a
+woman, European travel, horses, stalls
+at the opera, good cigars, ambrosial
+evenings in restaurants; and he gives
+glory the best chance he can. I am not
+speaking of geniuses with a mania for
+posterity; I am speaking of human
+beings.</p>
+</div>
+
+<p><span class="pagenum" id="Page_91">[91]</span></p>
+
+
+<h3><i>Six</i></h3>
+
+<div class="blockquot">
+
+<p>The average man flourishes and finds his
+ease in an atmosphere of peaceful routine.
+Men destined for success flourish
+and find their ease in an atmosphere of
+collision and disturbance.</p>
+</div>
+
+
+<h3><i>Seven</i></h3>
+
+<div class="blockquot">
+
+<p>There are simply thousands of agreeable
+and good girls who can accomplish
+herring-bone, omelettes, and simultaneous
+equations in a breath, as it were.
+They are all over the kingdom, and may
+be seen in the streets and lanes thereof
+about half-past eight in the morning and
+again about five o&#8217;clock in the evening.
+But the fact is not generally known.
+Only the stern and base members of
+School Boards or Education Committees
+know it. And they are so used to marvels
+that they make nothing of them.</p>
+</div>
+
+
+<h3><i>Eight</i></h3>
+
+<div class="blockquot">
+
+<p>In the sea of literature every part communicates
+with every other part; there
+are no land-locked lakes.</p>
+</div>
+
+<p><span class="pagenum" id="Page_92">[92]</span></p>
+
+
+<h3><i>Nine</i></h3>
+
+<div class="blockquot">
+
+<p>With an obedient, disciplined brain a man
+may live always right up to the standard
+of his best moments.</p>
+</div>
+
+
+<h3><i>Ten</i></h3>
+
+<div class="blockquot">
+
+<p>A prig is a pompous fool who has gone
+out for a ceremonial walk, and, without
+knowing it, has lost an important part
+of his attire, namely, his sense of
+humour.</p>
+</div>
+
+
+<h3><i>Eleven</i></h3>
+
+<div class="blockquot">
+
+<p>If I have an aptitude for anything at all
+in letters, it is for criticism. Whenever
+I read a book of imagination, I am
+instantly filled with ideas concerning it;
+I form definite views about its merit or
+demerit, and, having formed them, I hold
+those views with strong conviction.
+Denial of them rouses me; I must
+thump the table in support of them; I
+must compel people to believe that what
+I say is true; I cannot argue without
+getting serious, in spite of myself.</p>
+</div>
+
+<p><span class="pagenum" id="Page_93">[93]</span></p>
+
+
+<h3><i>Twelve</i></h3>
+
+<div class="blockquot">
+
+<p>The great convenience of masterpieces is
+that they are so astonishingly lucid.</p>
+</div>
+
+
+<h3><i>Thirteen</i></h3>
+
+<div class="blockquot">
+
+<p>It is as well not to chatter too much
+about what one is doing, and not to
+betray a too-pained sadness at the spectacle
+of a whole world deliberately wasting
+so many hours out of every day, and
+therefore never really living. It will
+be found, ultimately, that in taking care
+of one&#8217;s self one has quite all one can do.</p>
+</div>
+
+
+<h3><i>Fourteen</i></h3>
+
+<div class="blockquot">
+
+<p>Think as well as read. I know people
+who read and read, and, for all the good
+it does them, they might just as well cut
+bread-and-butter. They take to reading
+as better men take to drink. They fly
+through the shires of literature on a
+motor-car, their sole object being motion.
+They will tell you how many books
+they have read in a year.</p>
+</div>
+
+<p><span class="pagenum" id="Page_94">[94]</span></p>
+
+
+<h3><i>Fifteen</i></h3>
+
+<div class="blockquot">
+
+<p>The mass could not, and never at any
+period of history did, appreciate fine art,
+but could and would appreciate and
+support passable deteriorations of fine
+art.</p>
+</div>
+
+
+<h3><i>Sixteen</i></h3>
+
+<div class="blockquot">
+
+<p>Honesty, in literature as in life, is the quality
+that counts first and counts last.</p>
+</div>
+
+
+<h3><i>Seventeen</i></h3>
+
+<div class="blockquot">
+
+<p>No author ever lived who could write a
+page without giving himself away.</p>
+</div>
+
+
+<h3><i>Eighteen</i></h3>
+
+<div class="blockquot">
+
+<p>To be one&#8217;s natural self is the most
+difficult thing in literature. To be one&#8217;s
+natural self in a drawing-room full of
+observant eyes is scarcely the gift of
+the simple debutant, but rather of the
+experienced diner-out. So in literature:
+it is not the expert but the unpractised
+beginner who is guilty of artificiality.</p>
+</div>
+
+<p><span class="pagenum" id="Page_95">[95]</span></p>
+
+
+<h3><i>Nineteen</i></h3>
+
+<div class="blockquot">
+
+<p>Much nonsense has been talked about
+the short story. It has been asserted
+that Englishmen cannot write artistic
+short stories, that the short story does
+not come naturally to the Anglo-Saxon.
+Whereas the truth is that nearly all the
+finest short-story writers in the world to-day
+are Englishmen, and some of the
+most wonderful short stories ever written
+have been written by Englishmen within
+the last twenty years.</p>
+</div>
+
+
+<h3><i>Twenty</i></h3>
+
+<div class="blockquot">
+
+<p>If a book really moves you to anger, the
+chances are that it is a good book.</p>
+</div>
+
+
+<h3><i>Twenty-one</i></h3>
+
+<div class="blockquot">
+
+<p>In the cultivation of the mind one of
+the most important factors is precisely
+the feeling of strain, of difficulty, of a
+task which one part of you is anxious
+to achieve and another part of you is
+anxious to shirk.</p>
+</div>
+
+<p><span class="pagenum" id="Page_96">[96]</span></p>
+
+
+<h3><i>Twenty-two</i></h3>
+
+<div class="blockquot">
+
+<p>The very greatest poetry can only be
+understood and savoured by people who
+have put themselves through a considerable
+mental discipline. To others it is
+an exasperating weariness.</p>
+</div>
+
+
+<h3><i>Twenty-three</i></h3>
+
+<h4><i>Samuel Johnson&#8217;s Birthday</i></h4>
+
+<div class="blockquot">
+
+<p>Even Johnson&#8217;s Dictionary is packed with
+emotion.</p>
+</div>
+
+
+<h3><i>Twenty-four</i></h3>
+
+<div class="blockquot">
+
+<p>All blame, uttered or unexpressed, is wrong.
+I do not blame myself. I can explain
+myself to myself. I can invariably
+explain myself.</p>
+</div>
+
+
+<h3><i>Twenty-five</i></h3>
+
+<div class="blockquot">
+
+<p>When one has thoroughly got imbued
+into one&#8217;s head the leading truth that
+nothing happens without a cause, one
+grows not only large-minded, but large-hearted.</p>
+</div>
+
+<p><span class="pagenum" id="Page_97">[97]</span></p>
+
+
+<h3><i>Twenty-six</i></h3>
+
+<div class="blockquot">
+
+<p>If an editor knows not peace, he knows
+power. In Fleet Street, as in other
+streets, the population divides itself into
+those who want something and those
+who have something to bestow; those
+who are anxious to give a lunch, and
+those who deign occasionally to accept
+a lunch; those who have an axe to grind,
+and those who possess the grindstone.</p>
+</div>
+
+
+<h3><i>Twenty-seven</i></h3>
+
+<div class="blockquot">
+
+<p>Regard, for a moment, the average household
+in the light of a business organisation
+for lodging and feeding a group
+of individuals; contrast its lapses,
+makeshifts, delays, irregularities, continual
+excuses with the awful precision
+of a city office. Is it a matter for surprise
+that the young woman who is
+accustomed gaily to remark, &#8220;Only five
+minutes late this morning, father,&#8221; or
+&#8220;I quite forgot to order the coals, dear,&#8221;
+confident that a frown or a hard word
+will end the affair, should carry into
+business (be it never so grave) the laxities
+so long permitted her in the home?</p>
+</div>
+
+<p><span class="pagenum" id="Page_98">[98]</span></p>
+
+
+<h3><i>Twenty-eight</i></h3>
+
+<div class="blockquot">
+
+<p>This I know and affirm, that the average
+woman-journalist is the most loyal,
+earnest, and teachable person under the
+sun. I begin to feel sentimental when
+I think of her astounding earnestness,
+even in grasping the live coal of English
+syntax. Syntax, bane of writing-women,
+I have spent scores of ineffectual
+hours in trying to inoculate the
+ungrammatical sex against your terrors!</p>
+</div>
+
+
+<h3><i>Twenty-nine</i></h3>
+
+<div class="blockquot">
+
+<p>I have never refused work when the pay
+has been good.</p>
+</div>
+
+
+<h3><i>Thirty</i></h3>
+
+<div class="blockquot">
+
+<p>There is no logical answer to a guffaw.</p>
+</div></div>
+
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+<span class="pagenum2" id="Page_99">[99]</span>
+
+<h2 class="nobreak"><i>October</i></h2>
+</div>
+
+<div class="hangingindent">
+
+<h3><i>One</i></h3>
+
+<div class="blockquot">
+
+<p>A most curious and useful thing to realise
+is that one never knows the impression
+one is creating on other people.</p>
+</div>
+
+
+<h3><i>Two</i></h3>
+
+<div class="blockquot">
+
+<p>At seventy men begin to be separated
+from their fellow-creatures. At eighty
+they are like islets sticking out of a sea.
+At eighty-five, with their trembling and
+deliberate speech, they are the abstract
+voice of human wisdom. They gather
+wisdom with amazing rapidity in the
+latter years, and even their folly is wise
+then.</p>
+</div>
+
+
+<h3><i>Three</i></h3>
+
+<div class="blockquot">
+
+<p>In its essence all fiction is wildly improbable,
+and its fundamental improbability
+is masked by an observance of
+probability in details.</p>
+</div>
+
+<p><span class="pagenum" id="Page_100">[100]</span></p>
+
+
+<h3><i>Four</i></h3>
+
+<div class="blockquot">
+
+<p>Only reviewers have a prejudice against
+long novels.</p>
+</div>
+
+
+<h3><i>Five</i></h3>
+
+<div class="blockquot">
+
+<p>The most important of all perceptions is
+the continual perception of cause and
+effect&mdash;in other words, the perception
+of the continuous development of the
+universe&mdash;in still other words, the perception
+of the course of evolution.</p>
+</div>
+
+
+<h3><i>Six</i></h3>
+
+<div class="blockquot">
+
+<p>No reading of books will take the place
+of a daily, candid, honest examination of
+what one has recently done, and what
+one is about to do&mdash;of a steady looking
+at one&#8217;s self in the face (disconcerting
+though the sight may be).</p>
+</div>
+
+
+<h3><i>Seven</i></h3>
+
+<div class="blockquot">
+
+<p>The beauty of a classic is not at all apt
+to knock you down. It will steal over
+you, rather.</p>
+</div>
+
+<p><span class="pagenum" id="Page_101">[101]</span></p>
+
+
+<h3><i>Eight</i></h3>
+
+<div class="blockquot">
+
+<p>Self-respect is at the root of all purposefulness,
+and a failure in an enterprise
+deliberately planned deals a desperate
+wound at one&#8217;s self-respect.</p>
+</div>
+
+
+<h3><i>Nine</i></h3>
+
+<div class="blockquot">
+
+<p>A man may be a sub-editor, or even an
+assistant-editor, for half a lifetime, and
+yet remain ignorant of the true significance
+of journalism.</p>
+</div>
+
+
+<h3><i>Ten</i></h3>
+
+<div class="blockquot">
+
+<p>Happiness does not spring from the procuring
+of physical or mental pleasure,
+but from the development of reason and
+the adjustment of conduct to principles.</p>
+</div>
+
+
+<h3><i>Eleven</i></h3>
+
+<div class="blockquot">
+
+<p>The heart is convinced that custom is a
+virtue. The heart of the dirty working-man
+rebels when the State insists that
+he shall be clean, for no other reason
+than that it is his custom to be dirty.</p>
+</div>
+
+<p><span class="pagenum" id="Page_102">[102]</span></p>
+
+
+<h3><i>Twelve</i></h3>
+
+<div class="blockquot">
+
+<p>To be honest with oneself is not so simple
+as it appears.</p>
+</div>
+
+
+<h3><i>Thirteen</i></h3>
+
+<div class="blockquot">
+
+<p>&#8220;My wife will never understand,&#8221; said
+Mr. Brindley, &#8220;that complete confidence
+between two human beings is
+impossible.&#8221;</p>
+</div>
+
+
+<h3><i>Fourteen</i></h3>
+
+<div class="blockquot">
+
+<p>Demanding honesty from your authors,
+you must see that you render it yourself.</p>
+</div>
+
+
+<h3><i>Fifteen</i></h3>
+
+<div class="blockquot">
+
+<p>Imagine the technical difficulties of a painter
+whose canvas was always being rolled
+off one stick on to another stick, and
+who was compelled to do his picture
+inch by inch, seeing nothing but the
+particular inch which happened to be
+under his brush. That difficulty is only
+one of the difficulties of the novelist.</p>
+</div>
+
+<p><span class="pagenum" id="Page_103">[103]</span></p>
+
+
+<h3><i>Sixteen</i></h3>
+
+<div class="blockquot">
+
+<p>It is a fact that few novelists enjoy the
+creative labour, though most enjoy thinking
+about the creative labour. Novelists
+enjoy writing novels no more than
+ploughmen enjoy following the plough.
+They regard business as a &#8220;grind.&#8221;</p>
+</div>
+
+
+<h3><i>Seventeen</i></h3>
+
+<div class="blockquot">
+
+<p>The born journalist comes into the world
+with the fixed notion that nothing under
+the sun is uninteresting. He says: &#8220;I
+cannot pass along the street, or cut a
+finger, or marry, or catch a cold or a
+fish, or go to church, or perform any act
+whatever, without being impressed anew
+by the interestingness of mundane phenomena,
+and without experiencing a desire
+to share this impression with my
+fellow-creatures.&#8221;</p>
+</div>
+
+
+<h3><i>Eighteen</i></h3>
+
+<div class="blockquot">
+
+<p>Any change, even a change for the better,
+is always accompanied by drawbacks
+and discomforts.</p>
+</div>
+
+<p><span class="pagenum" id="Page_104">[104]</span></p>
+
+
+<h3><i>Nineteen</i></h3>
+
+<div class="blockquot">
+
+<p>It is much easier to begin a novel than
+to finish it. This statement applies to
+many enterprises, but to none with more
+force than to a long art-work such as a
+novel or a play.</p>
+</div>
+
+
+<h3><i>Twenty</i></h3>
+
+<div class="blockquot">
+
+<p>A true book is not always great. But a
+great book is never untrue.</p>
+</div>
+
+
+<h3><i>Twenty-one</i></h3>
+
+<div class="blockquot">
+
+<p>The impossible had occurred. I was no
+longer a mere journalist; I was an
+author. &#8220;After all, it&#8217;s nothing,&#8221; I said,
+with that intense and unoriginal humanity
+which distinguishes all of us. And
+in a blinding flash I saw that an author
+was in essence the same thing as a grocer
+or a duke.</p>
+</div>
+
+
+<h3><i>Twenty-two</i></h3>
+
+<div class="blockquot">
+
+<p>When the reason and the heart come into
+conflict the heart is invariably wrong.</p>
+</div>
+
+<p><span class="pagenum" id="Page_105">[105]</span></p>
+
+
+<h3><i>Twenty-three</i></h3>
+
+<div class="blockquot">
+
+<p>Marriage is excessively prosaic and eternal,
+not at all what you expect it to be.</p>
+</div>
+
+
+<h3><i>Twenty-four</i></h3>
+
+<div class="blockquot">
+
+<p>I do not forget that the realism of one
+age is the conventionality of the next.
+In the main the tendency of art is always
+to reduce and simplify its conventions,
+thus necessitating an increase
+of virtuosity in order to obtain the same
+effects of shapeliness and rhythm.</p>
+</div>
+
+
+<h3><i>Twenty-five</i></h3>
+
+<div class="blockquot">
+
+<p>For the majority of people the earth is
+a dull planet. It is only a Stevenson
+who can say: &#8220;I never remember being
+bored,&#8221; and one may fairly doubt
+whether even Stevenson uttered truth
+when he made that extraordinary statement.
+None of us escapes boredom entirely;
+some of us, indeed, are bored
+during the greater part of our lives. The
+fact is unpalatable, but it is a fact.</p>
+</div>
+
+<p><span class="pagenum" id="Page_106">[106]</span></p>
+
+
+<h3><i>Twenty-six</i></h3>
+
+<div class="blockquot">
+
+<p>An average of over an hour a day given
+to the mind should permanently and
+completely enliven the whole activity
+of the mind.</p>
+</div>
+
+
+<h3><i>Twenty-seven</i></h3>
+
+<div class="blockquot">
+
+<p>A large class of people positively resent
+being thrilled by a work of fiction, and
+the domestic serial is meant to appeal to
+this class.</p>
+</div>
+
+
+<h3><i>Twenty-eight</i></h3>
+
+<div class="blockquot">
+
+<p>It is natural that people who concern
+themselves with art only in their leisure
+moments, demanding from it nothing
+but a temporary distraction, should prefer
+the obvious to the recondite, and
+should walk regardless of beauty unless
+it forces itself upon their attention by
+means of exaggerations and advertisement.
+The public wants to be struck,
+hit squarely in the face; then it will
+take notice.</p>
+</div>
+
+<p><span class="pagenum" id="Page_107">[107]</span></p>
+
+
+<h3><i>Twenty-nine</i></h3>
+
+<div class="blockquot">
+
+<p>When a book attains a large circulation
+one usually says that it succeeds. But
+the fine books succeed of themselves, by
+their own virtue, and apart from the
+acclamatory noises of fame. Immure
+them in cabinets, cast them into Sahara;
+still they imperturbably succeed. If, on
+a rare occasion, such a book sells by
+scores of thousands, it is not the book
+but the public which succeeds; it is not
+the book but the public which has
+emerged splendidly from a trial.</p>
+</div>
+
+
+<h3><i>Thirty</i></h3>
+
+<div class="blockquot">
+
+<p>The artists who have courage fully to
+exploit their own temperaments are always
+sufficiently infrequent to be peculiarly
+noticeable and welcome. Still more
+rare are they who, leaving it to others
+to sing and emphasise the ideal and
+obvious beauties which all can in
+some measure see, will exclusively exercise
+the artist&#8217;s prerogative as an explorer
+of hidden and recondite beauty
+in unsuspected places.</p>
+</div>
+
+<p><span class="pagenum" id="Page_108">[108]</span></p>
+
+
+<h3><i>Thirty-one</i></h3>
+
+<div class="blockquot">
+
+<p>Bad books, by flattering you, by caressing,
+by appealing to the weak or the base
+in you, will often persuade you what fine
+and splendid books they are.</p>
+</div></div>
+
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+<span class="pagenum2" id="Page_109">[109]</span>
+
+<h2 class="nobreak"><i>November</i></h2>
+</div>
+
+<div class="hangingindent">
+
+<h3><i>One</i></h3>
+
+<div class="blockquot">
+
+<p>It is well to remind ourselves that literature
+is first and last a means of
+life, and that the enterprise of forming
+one&#8217;s literary taste is an enterprise of
+learning how best to use this means of
+life.</p>
+</div>
+
+
+<h3><i>Two</i></h3>
+
+<div class="blockquot">
+
+<p>Instead of saying, &#8220;Sorry I can&#8217;t see
+you, old chap, but I have to run off to
+the tennis club,&#8221; you must say, &#8220;... But
+I have to work.&#8221; This, I admit, is
+intensely difficult to say. Tennis is so
+much more urgent than the immortal
+soul.</p>
+</div>
+
+
+<h3><i>Three</i></h3>
+
+<div class="blockquot">
+
+<p>A talent never persuades or encourages
+the owner of it; it drives him with a
+whip.</p>
+</div>
+
+<p><span class="pagenum" id="Page_110">[110]</span></p>
+
+
+<h3><i>Four</i></h3>
+
+<div class="blockquot">
+
+<p>One of the chief things which one has
+to learn is that the mental faculties are
+capable of a continuous hard activity;
+they do not tire like an arm or a leg.
+All they want is change, not rest, except
+in sleep.</p>
+</div>
+
+
+<h3><i>Five</i></h3>
+
+<div class="blockquot">
+
+<p>Characterisation, the feat of individualising
+characters, is the inmost mystery of
+imaginative literary art. It is of the
+very essence of the novel. It never belongs
+to this passage or that. It is
+implicit in the whole. It is always
+being done, and is never finished till the
+last page is written.</p>
+</div>
+
+
+<h3><i>Six</i></h3>
+
+<div class="blockquot">
+
+<p>Can you deny that when you have something
+definite to look forward to at
+eventide, something that is to employ
+all your energy, the thought of that
+something gives a glow and a more
+intense vitality to the whole day?</p>
+</div>
+
+<p><span class="pagenum" id="Page_111">[111]</span></p>
+
+
+<h3><i>Seven</i></h3>
+
+<div class="blockquot">
+
+<p>Most good books have begun by causing
+anger which disguised itself as contempt.</p>
+</div>
+
+
+<h3><i>Eight</i></h3>
+
+<div class="blockquot">
+
+<p>When a thing is supreme there is nothing
+to be said.</p>
+</div>
+
+
+<h3><i>Nine</i></h3>
+
+<h4><i>Ivan Serge&iuml;tch Turgenev&#8217;s Birthday</i></h4>
+
+<div class="blockquot">
+
+<p>The author of a miracle like <i>On the Eve</i>
+may be born, but he is also made. In
+the matter of condensation alone Turgenev
+was unique among the great
+literary artificers. He could say more
+in a chapter of two thousand words than
+any other novelist that ever lived. What
+he accomplishes again and again in a
+book of sixty thousand words, Tolstoi
+could not have accomplished under a
+quarter of a million.</p>
+</div>
+
+
+<h3><i>Ten</i></h3>
+
+<div class="blockquot">
+
+<p>Fine taste in fiction is almost as rare
+among novelists as among the general
+public.</p>
+</div>
+
+<p><span class="pagenum" id="Page_112">[112]</span></p>
+
+
+<h3><i>Eleven</i></h3>
+
+<div class="blockquot">
+
+<p>I have never once produced any literary
+work without a preliminary incentive
+quite other than the incentive of ebullient
+imagination. I have never &#8220;wanted
+to write,&#8221; until the extrinsic advantages
+of writing had presented themselves to
+me.</p>
+</div>
+
+
+<h3><i>Twelve</i></h3>
+
+<div class="blockquot">
+
+<p>Beauty is strangely various. There is the
+beauty of light and joy and strength
+exulting; but there is also the beauty
+of shade, of sorrow and sadness, and of
+humility oppressed. The spirit of the
+sublime dwells not only in the high and
+remote; it shines unperceived amid all
+the usual meannesses of our daily
+existence.</p>
+</div>
+
+
+<h3><i>Thirteen</i></h3>
+
+<div class="blockquot">
+
+<p>Always give your fellow creature credit
+for good intentions. Do not you, though
+sometimes mistakenly, always act for
+the best? You know you do. And are
+you alone among mortals in rectitude?</p>
+</div>
+
+<p><span class="pagenum" id="Page_113">[113]</span></p>
+
+
+<h3><i>Fourteen</i></h3>
+
+<div class="blockquot">
+
+<p>There is no such case as the average
+case, just as there is no such man as
+the average man. Every man and
+every man&#8217;s case is special.</p>
+</div>
+
+
+<h3><i>Fifteen</i></h3>
+
+<div class="blockquot">
+
+<p>Outside the department of fiction there
+are two kinds of authors&mdash;those who
+want to write because they have something
+definite to say, and those who
+want something definite to say because
+they can write.</p>
+</div>
+
+
+<h3><i>Sixteen</i></h3>
+
+<div class="blockquot">
+
+<p>A lover is one who deludes himself; a
+journalist is one who deludes himself
+and other people.</p>
+</div>
+
+
+<h3><i>Seventeen</i></h3>
+
+<div class="blockquot">
+
+<p>Although a very greedy eater of literature,
+I can only enjoy reading when I
+have little time for reading. Give me
+three hours of absolute leisure with
+nothing to do but read, and I instantly
+become almost incapable of the act.</p>
+</div>
+
+<p><span class="pagenum" id="Page_114">[114]</span></p>
+
+
+<h3><i>Eighteen</i></h3>
+
+<div class="blockquot">
+
+<p>I would point out that literature by no
+means comprises the whole field of
+knowledge, and that the disturbing thirst
+to improve one&#8217;s self&mdash;to increase one&#8217;s
+knowledge&mdash;may well be slaked quite
+apart from literature.</p>
+</div>
+
+
+<h3><i>Nineteen</i></h3>
+
+<div class="blockquot">
+
+<p>The public, by its casual approval, may
+give notoriety and a vogue which passes,
+but it is incapable of the sustained ardour
+of appreciation which alone results
+in authentic renown. It is incapable
+because it is nonchalant. To the public
+art is a very little thing&mdash;a distraction,
+the last resort against <i>ennui</i>. To the
+critics art looms enormous. They do
+not merely possess views; they are
+possessed by them. Their views amount
+to a creed, and that creed must be spread.
+Quiescence is torment to the devotee.
+He cannot cry peace when there is no
+peace. Passionate conviction, like murder,
+will out. &#8220;I believe; therefore you
+must believe&#8221;: that is the motto which
+moves the world.</p>
+</div>
+
+<p><span class="pagenum" id="Page_115">[115]</span></p>
+
+
+<h3><i>Twenty</i></h3>
+
+<div class="blockquot">
+
+<p>Only those who have lived at the full
+stretch seven days a week for a long
+time can appreciate the full beauty of a
+regularly recurring idleness.</p>
+</div>
+
+
+<h3><i>Twenty-one</i></h3>
+
+<div class="blockquot">
+
+<p>Publishers as a commercial class are neither
+more nor less honourable than any
+other commercial class, and authors
+are neither more nor less honourable
+than publishers. In the world of commerce
+one fights for one&#8217;s own hand and
+keeps within the law; the code is universally
+understood, and the man who
+thinks it ought to be altered because <i>he</i>
+happens to be inexperienced, is a fool.</p>
+</div>
+
+
+<h3><i>Twenty-two</i></h3>
+
+<div class="blockquot">
+
+<p>There can be no sort of doubt that unless
+I was prepared to flout the wisdom of
+the ages, I ought to have refused his
+suggestion. But is not the wisdom of
+the ages a medicine for majorities? And,
+indeed, I was prepared to flout it, as in
+our highest and our lowest moments we
+often are.</p>
+</div>
+
+<p><span class="pagenum" id="Page_116">[116]</span></p>
+
+
+<h3><i>Twenty-three</i></h3>
+
+<div class="blockquot">
+
+<p>London is chiefly populated by greyhaired
+men who for twenty years have been
+about to become journalists and authors.
+And but for a fortunate incident&mdash;the
+thumb of my Fate has always been
+turned up&mdash;I might ere this have
+fallen back into that tragic rearguard
+of Irresolutes.</p>
+</div>
+
+
+<h3><i>Twenty-four</i></h3>
+
+<div class="blockquot">
+
+<p>I think it is rather fine, this necessity
+for the tense bracing of the will before
+anything worth doing can be done. I
+rather like it myself. I feel it to be the
+chief thing that differentiates me from
+the cat by the fire.</p>
+</div>
+
+
+<h3><i>Twenty-five</i></h3>
+
+<div class="blockquot">
+
+<p>The most important preliminary to the
+task of arranging one&#8217;s life so that one
+may live fully and comfortably within
+one&#8217;s daily budget of twenty-four hours,
+is the calm realisation of the extreme
+difficulty of the task, of the sacrifices
+and the endless effort it demands.</p>
+</div>
+
+<p><span class="pagenum" id="Page_117">[117]</span></p>
+
+
+<h3><i>Twenty-six</i></h3>
+
+<div class="blockquot">
+
+<p>Whatever sin a man does he either does
+for his own benefit or for the benefit
+of society.</p>
+</div>
+
+
+<h3><i>Twenty-seven</i></h3>
+
+<div class="blockquot">
+
+<p>The critic&#8217;s first requisite is that he
+should be interested. A man may have
+an instinctive good taste, but if his
+attitude is one of apathy, then he is not
+a true critic. The opinions of the public
+are often wrong; the opinions of the
+critic are usually right. But the fundamental
+difference between these two
+bodies does not lie here; it lies in the
+fact that the critics &#8220;care,&#8221; while the
+public does not care.</p>
+</div>
+
+
+<h3><i>Twenty-eight</i></h3>
+
+<div class="blockquot">
+
+<p>When, after the theatre, a woman precedes
+a man into a carriage, does she
+not publish and glory in the fact that she
+is his? Is it not the most delicious of
+avowals? There is something in the
+enforced bend of one&#8217;s head as one steps
+in. And when the man shuts the door
+with a masculine snap&mdash;&mdash;</p>
+</div>
+
+<p><span class="pagenum" id="Page_118">[118]</span></p>
+
+
+<h3><i>Twenty-nine</i></h3>
+
+<div class="blockquot">
+
+<p>Ardour in well-doing is a misleading and
+a treacherous thing. It cries out loudly
+for employment; you can&#8217;t satisfy it at
+first; it wants more and more; it is
+eager to move mountains and divert the
+course of rivers; it isn&#8217;t content till it
+perspires. And then, too often, when
+it feels the perspiration on its brow, it
+wearies all of a sudden and dies, without
+even putting itself to the trouble of
+saying, &#8220;I&#8217;ve had enough of this.&#8221;</p>
+</div>
+
+
+<h3><i>Thirty</i></h3>
+
+<div class="blockquot">
+
+<p>Literature exists so that where one man
+has lived finely ten thousand may afterwards
+live finely.</p>
+</div></div>
+
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+<div class="chapter">
+<span class="pagenum2" id="Page_119">[119]</span>
+
+<h2 class="nobreak"><i>December</i></h2>
+</div>
+
+<div class="hangingindent">
+
+<h3><i>One</i></h3>
+
+<div class="blockquot">
+
+<p>To hear a master play a scale, to catch
+that measured, tranquil succession of
+notes, each a different jewel of equal
+splendour, each dying precisely when the
+next was born&mdash;this is to perceive at
+last what music is made of, to have
+glimpses of the divine magic that is the
+soul of the divinest art.</p>
+</div>
+
+
+<h3><i>Two</i></h3>
+
+<div class="blockquot">
+
+<p>When the swimmer unclothes, and abandons
+himself to the water, naked, letting
+the water caress the whole of his
+nakedness, moving his limbs in voluptuous
+ease untrammelled by even the
+lightest garment, then, as never under
+other conditions, he is aware of his body;
+and perhaps the thought occurs to him
+that to live otherwise than in that
+naked freedom is not to live.</p>
+</div>
+
+<p><span class="pagenum" id="Page_120">[120]</span></p>
+
+
+<h3><i>Three</i></h3>
+
+<div class="blockquot">
+
+<p>Has it never struck you that you have
+at hand a machine wonderful beyond all
+mechanisms in sheds, intricate, delicately
+adjustable, of astounding and miraculous
+possibilities, interminably interesting?
+That machine is yourself.</p>
+</div>
+
+
+<h3><i>Four</i></h3>
+
+<div class="blockquot">
+
+<p>The sound reputation of an artist is
+originally due never to the public, but
+to the critics. I do not use the word
+&#8220;critic&#8221; in a limited, journalistic sense;
+it is meant to include all those persons,
+whether scribes or not, who have genuine
+convictions about art.</p>
+</div>
+
+
+<h3><i>Five</i></h3>
+
+<div class="blockquot">
+
+<p>The movement for opening museums on
+Sundays is the most natural movement
+that could be conceived. For if
+ever a resort was invented and fore-ordained
+to chime with the true spirit
+of the British Sabbath, that resort is the
+average museum.</p>
+</div>
+
+<p><span class="pagenum" id="Page_121">[121]</span></p>
+
+
+<h3><i>Six</i></h3>
+
+<div class="blockquot">
+
+<p>The manufacture of musical comedy is
+interesting and curious, but I am not
+aware that it has anything to do with
+dramatic art.</p>
+</div>
+
+
+<h3><i>Seven</i></h3>
+
+<div class="blockquot">
+
+<p>Though you have the wealth of a cloak-room
+attendant at the Carlton Hotel,
+you cannot buy yourself a minute more
+time than I have, or the cat by the fire
+has.</p>
+</div>
+
+
+<h3><i>Eight</i></h3>
+
+<div class="blockquot">
+
+<p>The man of business, even in the very
+daily act of deceit, will never yield up the
+conviction that, after all, at bottom he is
+crystal honest. It is his darling delusion.</p>
+</div>
+
+
+<h3><i>Nine</i></h3>
+
+<div class="blockquot">
+
+<p>Happiness is not joy, and it is not tranquillity.
+It is something deeper and
+something more disturbing. Perhaps it
+is an acute sense of life, a realisation of
+one&#8217;s secret being, a continual renewal
+of the mysterious savour of existence.</p>
+</div>
+
+<p><span class="pagenum" id="Page_122">[122]</span></p>
+
+
+<h3><i>Ten</i></h3>
+
+<div class="blockquot">
+
+<p>Our best plays, as works of art, are
+strikingly inferior to our best novels.
+A large section of the educated public
+ignores the modern English theatre as
+being unworthy of attention.</p>
+</div>
+
+
+<h3><i>Eleven</i></h3>
+
+<div class="blockquot">
+
+<p>Romance, interest, dwell not in the thing
+seen, but in the eye of the beholder.</p>
+</div>
+
+
+<h3><i>Twelve</i></h3>
+
+<div class="blockquot">
+
+<p>Every bookish person has indulgently observed
+the artless absorption and surrender
+with which a &#8220;man of action&#8221;
+reads when by chance a book captures
+him, his temporary monomania, his insistence
+that the bookish person shall share
+his joy, and his impatience at any exhibition
+of indifference. For the moment
+the terrible man of action is a child
+again; he who has straddled the world
+is like a provincial walking with open-mouthed
+delight through the streets
+of the capital.</p>
+</div>
+
+<p><span class="pagenum" id="Page_123">[123]</span></p>
+
+
+<h3><i>Thirteen</i></h3>
+
+<div class="blockquot">
+
+<p>The woman who quarrels with a maid is
+clumsy, and the woman who quarrels
+with a good maid is either a fool or in a
+nervous, hysterical condition, or both.</p>
+</div>
+
+
+<h3><i>Fourteen</i></h3>
+
+<div class="blockquot">
+
+<p>Men have a habit of taking themselves
+for granted, and that habit is responsible
+for nine-tenths of the boredom and
+despair on the face of the planet.</p>
+</div>
+
+
+<h3><i>Fifteen</i></h3>
+
+<div class="blockquot">
+
+<p>Anyone can learn to write, and to write
+well, in any given style; but to see,
+to discern the interestingness which is
+veiled from the crowd&mdash;that comes not
+by tuition; rather by intuition.</p>
+</div>
+
+
+<h3><i>Sixteen</i></h3>
+
+<div class="blockquot">
+
+<p>The forms of faith change, but the spirit
+of faith is immortal amid its endless
+vicissitudes.</p>
+</div>
+
+<p><span class="pagenum" id="Page_124">[124]</span></p>
+
+
+<h3><i>Seventeen</i></h3>
+
+<div class="blockquot">
+
+<p>Consider the attitude of Dissenters of the
+trading and industrial classes towards
+the art of literature.... That attitude
+is at once timid, antagonistic, and resentful.
+Timid, because print still has
+for the unlettered a mysterious sanction;
+antagonistic because Puritanism and the
+arts have by no means yet settled their
+quarrel; resentful because the autocratic
+power of art over the imagination
+and the intelligence is felt without being
+understood.</p>
+</div>
+
+
+<h3><i>Eighteen</i></h3>
+
+<div class="blockquot">
+
+<p>It is said that men are only interested in
+themselves. The truth is that, as a rule,
+men are interested in every mortal thing
+except themselves.</p>
+</div>
+
+
+<h3><i>Nineteen</i></h3>
+
+<div class="blockquot">
+
+<p>It is less difficult, I should say, to succeed
+moderately in journalism than to succeed
+moderately in dressmaking.</p>
+</div>
+
+<p><span class="pagenum" id="Page_125">[125]</span></p>
+
+
+<h3><i>Twenty</i></h3>
+
+<div class="blockquot">
+
+<p>Music cannot be said. One art cannot be
+translated into another.</p>
+</div>
+
+
+<h3><i>Twenty-one</i></h3>
+
+<div class="blockquot">
+
+<p>A deep-seated objection to the intrusion
+of even the most loved male at certain
+times is common, I think, to all women.
+Women are capable of putting love
+aside, like a rich dress, and donning the
+<i>peignoir</i> of matter-of-fact dailiness, in a
+way which is an eternal enigma to men.</p>
+</div>
+
+
+<h3><i>Twenty-two</i></h3>
+
+<div class="blockquot">
+
+<p>There&#8217;s nothing like a corpse for putting
+everything at sixes and sevens.</p>
+</div>
+
+
+<h3><i>Twenty-three</i></h3>
+
+<div class="blockquot">
+
+<p>Great grief is democratic, levelling&mdash;not
+downwards but upwards. It strips
+away the inessential and makes brothers.
+It is impatient with all the unavailable
+inventions which obscure the brotherhood
+of mankind.</p>
+</div>
+
+<p><span class="pagenum" id="Page_126">[126]</span></p>
+
+
+<h3><i>Twenty-four</i></h3>
+
+<div class="blockquot">
+
+<p>The expression of the soul by means of
+the brain and body is what we call the
+art of &#8220;living.&#8221;</p>
+</div>
+
+
+<h3><i>Twenty-five</i></h3>
+
+<div class="blockquot">
+
+<p>That Christmas has lost some of its
+magic is a fact that the common-sense
+of the western hemisphere will not dispute.
+To blink the fact is infantile.
+To confront it, to try to understand it,
+to reckon with it, and to obviate any
+evil that may attach to it&mdash;this course
+alone is meet for an honest man.</p>
+</div>
+
+
+<h3><i>Twenty-six</i></h3>
+
+<div class="blockquot">
+
+<p>It must be admitted in favour of the
+Five Towns that, when its inhabitants
+spill milk, they do not usually sit down
+on the pavement and adulterate the
+milk with their tears. They pass on.
+Such passing on is termed callous and
+coldhearted in the rest of England,
+which loves to sit down on pavements
+and weep into irretrievable milk.</p>
+</div>
+
+<p><span class="pagenum" id="Page_127">[127]</span></p>
+
+
+<h3><i>Twenty-seven</i></h3>
+
+<div class="blockquot">
+
+<p>At thirty the chances are that a man
+will understand better the draughts of a
+chimney than his own respiratory apparatus&mdash;to
+name one of the simple,
+obvious things; and as for understanding
+the working of his own brain&mdash;what an
+idea!</p>
+</div>
+
+
+<h3><i>Twenty-eight</i></h3>
+
+<div class="blockquot">
+
+<p>Science is making it increasingly difficult
+to conceive matter apart from spirit.
+Everything lives. Even my razor gets
+&#8220;tired.&#8221;</p>
+</div>
+
+
+<h3><i>Twenty-nine</i></h3>
+
+<div class="blockquot">
+
+<p>No book in any noble library is so interesting,
+so revealing, as the catalogue
+of it.</p>
+</div>
+
+
+<h3><i>Thirty</i></h3>
+
+<div class="blockquot">
+
+<p>Love is the greatest thing in life; one
+may, however, question whether it
+should be counted greater than life
+itself.</p>
+</div>
+
+<p><span class="pagenum" id="Page_128">[128]</span></p>
+
+
+<h3><i>Thirty-one</i></h3>
+
+<div class="blockquot">
+
+<p>The indispensable preparation for brain-discipline
+is to form the habit of regarding
+one&#8217;s brain as an instrument exterior
+to one&#8217;s self, like a tongue or a foot.</p>
+</div></div>
+
+
+<hr class="chap x-ebookmaker-drop" />
+
+
+<div class="chapter">
+<div class="transnote">
+<p class="ph1">TRANSCRIBER&#8217;S NOTE:</p>
+
+<p>Obvious typographical errors have been corrected.</p>
+</div></div>
+<div style='margin-top:1.5em;margin-bottom:1em;'>*** END OF THE PROJECT GUTENBERG BOOK OF THE ARNOLD BENNETT CALENDAR ***</div>
+
+<div style='text-align:left'>
+
+<div style='display:block; margin:1em 0'>
+Updated editions will replace the previous one&#8212;the old editions will
+be renamed.
+</div>
+
+<div style='display:block; margin:1em 0'>
+Creating the works from print editions not protected by U.S. copyright
+law means that no one owns a United States copyright in these works,
+so the Foundation (and you!) can copy and distribute it in the United
+States without permission and without paying copyright
+royalties. Special rules, set forth in the General Terms of Use part
+of this license, apply to copying and distributing Project
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