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"It is possible for the rich to sin by coveting the privileges of the poor. The poor has always being the favorites of god" I caught him’ [the thief… - Evelyn Waugh
"It is possible for the rich to sin by coveting the privileges of the poor.
The poor has always being the favorites of god"
I caught him’ [the thief] with an unseen hook and an invisible line which is long enough to let him wander to the ends of the world and still bring him back with a twitch upon the thread.”
Do you know last year, when I thought I was going to have a child, I'd decided to have it brought up a Catholic? I hadn't thought about religion before; I haven't since; but just at that time, when I was was waiting for the birth, I thought, 'That's the one thing I can give her. It doesn't seem to have done me much good, but my child shall have it.'
Charm is the great English blight. It does not exist outside these damp islands. It spots and kills anything it touches. It kills love; it kills art; I greatly fear, my dear Charles, it has killed you
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About Evelyn Waugh
Arthur Evelyn St. John Waugh (28 October 1903 – 10 April 1966) was an English writer of novels, biographies, and travel books; he was also a prolific journalist and book reviewer. His most famous works include the early satires Decline and Fall (1928) and A Handful of Dust (1934), the novel Brideshead Revisited (1945), and the Second World War trilogy Sword of Honour (1952–1961). He is recognised as one of the great prose stylists of the English language in the 20th century.
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Evelyn Arthur St John Waugh
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Arthur Evelyn St. John Waugh
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Additional quotes by Evelyn Waugh
Julia used to say, 'Poor Sebastian. It's something chemical in him.' That was the cant phrase of the time, derived from heaven knows what misconception of popular science. 'There's something chemical between them' was used to explain the overmastering hate or love of any two people. It was the old concept of determinism in a new form. I do not believe there was anything chemical in my friend.
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These memories are the memorials and pledges of the vital hours of a lifetime. These hours of afflatus in the human spirit, the springs of art, are, in their mystery, akin to the epochs of history, when a race which for centuries has lived content, unknown, behind its own frontiers, digging, eating, sleeping, begetting, doing what was requisite for survival and nothing else, will, for a generation or two, stupefy the world; commit all manner of crimes, perhaps; follow the wildest chimeras, go down in the end in agony, but leave behind a record of new heights scaled and new rewards won for all mankind; the vision fades, the soul sickens, and the routine of survival starts again.
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