"And then," said Sarnac, "I remember that I made a prophecy. I made it - when did I make it? Two thousand years ago? Or two weeks ago? I sat in Fanny… - H. G. Wells

"And then," said Sarnac, "I remember that I made a prophecy. I made it - when did I make it? Two thousand years ago? Or two weeks ago? I sat in Fanny's little sitting-room, an old-world creature amidst her old-world furnishings, and I said that men and women would not always suffer as we were suffering then. I said that we were still poor savages, living only in the bleak dawn of civilisation, and that we suffered because we were under-bred, under-trained and darkly ignorant of ourselves, that the mere fact that we knew our own unhappiness was the promise of better things and that a day would come when charity and understanding would light the world so that men and women would no longer hurt themselves and one another as they were doing now everywhere, universally, in law and in restriction and in jealousy and in hate, all round and about the earth."

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About H. G. Wells

Herbert George Wells (September 21 1866 – August 13 1946) was a British writer most famous for his science fiction novels such as The War of the Worlds, The Invisible Man and The Time Machine; also for Kipps, The History of Mr. Polly and other social satires.

Biography information from Wikiquote

Also Known As

Birth Name: Herbert George Wells
Alternative Names: Wells, Herbert George H.G. Wells Herbert Wells Herbert G. Wells
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Additional quotes by H. G. Wells

And here one may note a curious comparison which can be made between this [ascidian] life-history and that of many a respectable pinnacle and gargoyle on the social fabric. Every respectable citizen of the professional classes passes through a period of activity and imagination, of "liveliness and eccentricity," of "Sturm und Drang." He shocks his aunts. Presently, however, he realizes the sober aspect of things. He becomes dull; he enters a profession; suckers appear on his head; and he studies. Finally, by virtue of these he settles down—he marries. All his wild ambitions and subtle æsthetic perceptions atrophy as needless in the presence of calm domesticity. He secretes a house, or "establishment," round himself, of inorganic and servile material. His Bohemian tail is discarded. Henceforth his life is a passive receptivity to what chance and the drift of his profession bring along; he lives an almost entirely vegetative excrescence on the side of a street, and in the tranquillity of his calling finds that colourless contentment that replaces happiness.

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