Cyril Connolly Quotes

The lesson one can learn from Firbank is that of inconsequence. There is the vein which he tapped and which has not yet been fully exploited.

We write in the language of Dryden and Addison, of Milton and Shakespeare, but the intellectual world we inhabit is that of Flaubert and Baudelaire; it is to them, and not to their English contemporaries, that we owe our conception of modern life. The artist whose reward is perfection and where perfection can be obtained only by a separation of standards from those of the non-artist is led to adopt one of four rôles: the High Priest (Mallarmé, Joyce, Yeats), the Dandy (Firbank, Beerbohm, Moore), the Incorruptible Observer (Maugham, Maupassant) or the Detached Philosopher (Strachey, Anatole France). What he will not be is a Fighter or Helper.

Literature is the art of writing something that will be read twice; journalism what will be grasped at once, and they require separate techniques.

The Mandarin style at its best yields the richest and most complete expression of the English language. It is the diction of Donne, Browne, Addison, Johnson, Gibbon, de Quincey, Landor, Carlyle and Ruskin as opposed to that of Bunyan, Dryden, Locke, Defoe, Cowper, Cobbett, Hazlitt, Southey and Newman. It is characterized by long sentences with many dependent clauses, by the use of the subjunctive and conditional, by exclamations and interjections, quotations, allusions, metaphors, long images, Latin terminology, subtlety and conceits. Its cardinal assumption is that neither the writer nor the reader is in a hurry, that both are possessed of a classical education and a private income. It is Ciceronian English.

I shall christen this style the Mandarin, since it is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one. It is the style of all those writers whose tendency is to make their language convey more than they mean or more than they feel, it is the style of most artists and all humbugs.

I greet you, my educated fellow bourgeois, whose interests and whose doubts I share.

He reduced everything to politics; he was also unalterably of the Left. His line may have been unpopular or unfashionable, but he followed it unhesitatingly; in fact it was an obsession. He could not blow his nose without moralising on conditions in the handkerchief industry.

Mr. Wilson does not write as one who believes in a particular religion but rather as an intellectual who is being forced more and more into accepting religion as the only solution to the problem of the Outsider. In other words, the anxiety and uneasiness, the sheer horror of being oneself in the modern world is not to be cured by reason or even of study of philosophies which set out to explain them, like Existentialism; the unpleasant symptoms have to be lived through, leading to the worst, in order that the final, mystical experience may be attained. The Outsider has it within him to become a saint. Yet, though Mr. Wilson is drawn to religion, and all his arrows point that way, he never departs from his standards of intellectual analysis.

Destroy him as you will, the bourgeois always bounces up — execute him, expropriate him, starve him out en masse, and he reappears in your children.

Thus tea, coffee, alcohol stimulate.
So do heights, wet days, south-west gales, hotel bedrooms in Paris and windows overlooking harbours. Also snow, frost, the electric bell outside a cinema at night, sex-life and fever.

It is closing time in the gardens of the West.

Meglio scrivere per se stessi e non avere un pubblico, che scrivere per il pubblico e non avere se stessi.

Better to write for yourself and have no public, than to write for the public and have no self.

There was once a man (reputed to be the wisest in the world) who, although living to an untold age, confined his teaching to the one word of advice: ‘Endure!’ At length a rival arose and challenged him to a debate which took place before a large assembly. ‘You say “Endure”,’ cried the rival sage, ‘but I don’t
want to endure. I wish to love and to be loved, to conquer and create, I wish to know what is right, then do it and be happy.’ There was no reply from his opponent, and, on looking more closely at the old creature, his adversary found him to consist
of an odd-shaped rock on which had taken root a battered thorn that presented, by an optical illusion, the impression of hair and a beard. Trimnphantly he pointed out the mistake to the authorities, but they were not concerned. ‘Man or rock,’ they answered, ‘what does it matter?’ And at that moment the wind,
reverberating through the sage’s moss-grown orifice, repeated with a hollow sound: ‘Endure!

Contemporary books do not keep. The quality in them which makes for their success is the first to go; they turn over night. – Cyril Connolly