John Galsworthy Quotes

Memory heaps dead leaves on corpse-like deeds, from under which they do but vaguely offend the sense.

FROME. What was the nature of your relations with him? RUTH. We were friends. THE JUDGE. Friends? RUTH. [Simply] Lovers, sir. THE JUDGE. [Sharply] In what sense do you use that word? RUTH. We love each other.

Art is that imaginative expression of human energy, which, through technical concretion of feeling and perception, tends to reconcile the individual with the universal, by exciting in him impersonal emotion. And the greatest Art is that which excites the greatest impersonal emotion in an hypothetical perfect human being.

Impersonal emotion! And what - I thought - do I mean by that? Surely I mean: That is not Art, which, while I am contemplating it, inspires me with any active or direct impulse; that is Art, when, for however brief a moment, it replaces within me interest in myself by interest in itself. For, let me suppose myself in the presence of a carved marble bath. If my thoughts be: 'What could I buy that for?' Impulse of acquisition; or: 'From what quarry did it come?' Impulse of inquiry; or: 'Which would be the right end for my head?' Mixed impulse of inquiry and acquisition - I am at that moment insensible to it as a work of Art. But, if I stand before it vibrating at sight of its colour and forms, if ever so little and for ever so short a time, unhaunted by any definite practical thought or impulse - to that extent and for that moment it has stolen me away out of myself and put itself there instead; has linked me to the universal by making me forget the individual in me. And for that moment, and only while that moment lasts, it is to me a work of Art. The word 'impersonal,' then, is but used in this my definition to signify momentary forgetfulness of one's own personality and its active wants.

-but deep down he knew that change was only the interval of death between two forms of life, destruction necessary to make room for fresher property. What though the board was up, and cosiness to let? — someone would come along and take it again some day.
And only one thing really troubled him, sitting there — the melancholy craving in his heart — because the sun was like enchantment on his face and on the clouds and on the golden birch leaves, and the wind's rustle was so gentle, and the yew-tree green so dark, and the sickle of a moon pale in the sky.
He might wish and wish and never get it — the beauty and the loving in the world!

Ljubav kao njezina — strastvena, koja obožava, koja štiti, koja čezne za potpunim podavanjem i žrtvovanjem same sebe, ali koja potajno traži i punu njegovu ljubav — jer kako bi bez toga mogla ljubiti ponosna žena? — takva ljubav čezne uvijek za potpunijim sjedinjenjem, nego što je moguće u ovom svijetu, gdje se sve mijenja i pokreće.

union. Beauty could not comfort if the soul were out of it.

Politics are popularly supposed to govern the direction, and statesmen to be the guardian angels, of Civilization. It seems to me that they have little or no power over its growth. They are of it, and move with it. Their concern is rather with the body than with the mind or soul of a nation. One needs not to be an engineer to know that to pull a man up a wall one must be higher than he; that to raise general taste one must have better taste than that of those whose taste he is raising.

Public opinion's always in advance of the law.

His natural taciturnity was in his favour; nothing could be more calculated to give people, especially people with property (Soames had no other clients), the impression that he was a safe man. And he was safe. [...] How could he fall, when his soul abhorred circumstances which render a fall possible - a man cannot fall off the floor!

FALDER’S work [a shirt to which he is putting buttonholes] is hung to a nail on the wall over a small wooden table, on which the novel “Lorna Doone” lies open.

CAST OF THE FIRST PRODUCTION AT THE DUKE OF YORK’S THEATRE, FEBRUARY 21, 1910 James How MR. SYDNEY VALENTINE Walter How MR. CHARLES MAUDE Cokeson MR. EDMUND GWENN Falder MR. DENNIS EADIE The Office-boy MR. GEORGE HERSEE The Detective MR. LESLIE CARTER The Cashier MR. C. E. VERNON The Judge MR. DION BOUCICAULT The Old Advocate MR. OSCAR ADYE The Young Advocate MR. CHARLES BRYANT The Prison Governor MR. GRENDON BENTLEY The Prison Chaplain MR. HUBERT HARBEN The Prison Doctor MR. LEWIS CASSON Wooder MR. FREDERICK LLOYD Moaney MR. ROBERT PATEMAN Clipton MR. O. P. HEGGIE O’Cleary MR. WHITFORD KANE Ruth Honeywill Miss EDYTH OLIVE

I cannot help thinking that historians, looking back from the far future, will record this age as the Third Renaissance. We who are lost in it, working or looking on, can neither tell what we are doing, nor where standing; but we cannot help observing, that, just as in the Greek Renaissance, worn-out Pagan orthodoxy was penetrated by new philosophy; just as in the Italian Renaissance, Pagan philosophy, reasserting itself, fertilised again an already too inbred Christian creed; so now Orthodoxy fertilised by Science is producing a fresh and fuller conception of life — a love of Perfection, not for hope of reward, not for fear of punishment, but for Perfection's sake. Slowly, under our feet, beneath our consciousness, is forming that new philosophy, and it is in times of new philosophies that Art, itself in essence always a discovery, must flourish. Those whose sacred suns and moons are ever in the past, tell us that our Art is going to the dogs; and it is, indeed, true that we are in confusion! The waters are broken, and every nerve and sinew of the artist is strained to discover his own safety. It is an age of stir and change, a season of new wine and old bottles. Yet, assuredly, in spite of breakages and waste, a wine worth the drinking is all the time being made.

The stars in their courses fought against her! External opposition one could cut through or get round; but this deep spiritual unease in the loved one’s soul, that — ah! that — one could not reach; and the unreachable could not be pushed away, cut through, or circumvented. She looked up at the stars that fought against her. Did the ancients really believe that, or was it, with them, as with her, just a manner of speaking? Did those bright wheeling jewels on the indigo velvet of all space really concern themselves with little men, the lives and loves of human insects, who, born from an embrace, met and clung and died and became dust? Those candescent worlds, circled by little offsplit planets — were their names taken in vain, or were they really in their motions and their relative positions the writing on the wall for men to read?
No! That was only human self-importance! To his small wheel man bound the Universe. Swing low, sweet chariots! But they didn’t! Man swung with them — in space. . . .
.

To every man of great age - to Sir Wlater Bentham himself - the idea of suicide has once at least been present in the ante-room of his soul; on the threshold, waiting to enter, held out from the inmost chamber by some chance reality, some vague fear, some painful hope.
The Man of Property, p. 363

FROME. [Rising] My lord. The prisoner is very anxious that I should ask you if your lordship would kindly request the reporters not to disclose the name of the woman witness in the Press reports of these proceedings. Your lordship will understand that the consequences might be extremely serious to her.