George Henry Lewes Quotes

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

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

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

I wish to call special attention to the psychological fact, that fairies and demons, remote as they are from experience, are not created by a more vigorous effort of imagination than milk maids and poachers. The intensity of vision in the artist and of vividness in his creations are the sole tests of his imaginative power.

Our native susceptibilities and acquired tastes determine which of the many qualities in an object shall most impress us, and be most clearly recalled. One man remembers the combustible properties of a substance, which to another is memorable for its polarising property; to one man a stream is so much water-power, to another a rendezveus for lovers.

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

Genius is rarely able to give any account of its own processes. But those who have had ample opportunities of intimately knowing the growth of works in the minds of artists, will bear me out in saying that a vivid memory supplies the elements from a thousand different sources, most of which are quite beyond the power of localisation, the experience of yesterday being strangely intermingled with the dim suggestions of early years, the tones heard in childhood sounding through the diapason of sorrowing maturity; and all these kaleidoscopic fragments are recomposed into images that seem to have a corresponding reality of their own.

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

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

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

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

The only cure for grief is action.

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

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

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