“In writing. Don't use adjectives which merely tell us how you want us to feel about the thing you are describing. I mean, instead of telling us a thing was "terrible," describe it so that we'll be terrified. Don't say it was "delightful"; make us say "delightful" when we've read the description. You see, all those words (horrifying, wonderful, hideous, exquisite) are only like saying to your readers, "Please will you do my job for me."
“I have discovered nothing. I have only found out what I knew. I understand the force that in
the past gave me life, and now too gives me life. I have been set free from falsity, I have found
the Master.”
“Oh, it's awful! oh dear, oh dear! awful!" Stepan Arkadyevitch kept repeating to himself, and
he could think of nothing to be done. "And how well things were going up till now! how well we
got on! She was contented and happy in her children; I never interfered with her in anything; I
let her manage the children and the house just as she liked. It's true it's bad HER having been
a governess in our house. That's bad! There's something common, vulgar, in flirting with one's
governess. But what a governess!" (He vividly recalled the roguish black eyes of Mlle. Roland
and her smile.) "But after all, while she was in the house, I kept myself in hand. And the worst
of it all is that she's already... it seems as if ill-luck would have it so! Oh, oh! But what, what is
to be done?”
“When a man sees a dying animal, horror comes over him: that which he himself is, his
essence, is obviously being annihilated before his eyes--is ceasing to be. But when the dying
one is a person, and a beloved person, then, besides a sense of horror at the annihilation of
life, there is a feeling of severance and a spiritual wound which, like a physical wound,
sometimes kills and sometimes heals, but always hurts and fears any external, irritating
touch.”
“First, make a decision to develop the habit of task completion. Second, discipline yourself to practice the principles you are about to learn over and over until they become automatic. And third, back everything you do with determination until the habit is locked in and becomes a permanent part of your personality.”
“In speaking of this desire for our own far off country, which we find in ourselves even now, I feel a certain shyness. I am almost committing an indecency. I am trying to rip open the inconsolable secret in each one of you—the secret which hurts so much that you take your revenge on it by calling it names like Nostalgia and Romanticism and Adolescence; the secret also which pierces with such sweetness that when, in very intimate conversation, the mention of it becomes imminent, we grow awkward and affect to laugh at ourselves; the secret we cannot hide and cannot tell, though we desire to do both. We cannot tell it because it is a desire for something that has never actually appeared in our experience. We cannot hide it because our experience is constantly suggesting it, and we betray ourselves like lovers at the mention of a name. Our commonest expedient is to call it beauty and behave as if that had settled the matter. Wordsworth’s expedient was to identify it with certain moments in his own past. But all this is a cheat. If Wordsworth had gone back to those moments in the past, he would not have found the thing itself, but only the reminder of it; what he remembered would turn out to be itself a remembering. The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them, and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshipers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.”
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