When describing nature, a writer should seize upon small details, arranging them so that the reader will see an image in his mind after he closes his eyes. For instance: you will capture the truth of a moonlit night if you'll write that a gleam like starlight shone from the pieces of a broken bottle, and then the dark, plump shadow of a dog or wolf appeared. You will bring life to nature only if you don't shrink from similes that liken its activities to those of humankind.
I see the regions of snow and ice, I see the sharp-eyed Samoiede and the Finn, I see the seal-seeker in his boat poising his lance, I see the Siberian on his slight-built sledge drawn by dogs, I see the porpoise-hunters, I see the whale-crews of the south Pacific and the north Atlantic, I see the cliffs, glaciers, torrents, valleys of Switzerland - I mark the long winters and the isolation.
Contrary to what you may assume, I am not a pessimist but an indifferentist- that is, I don't make the mistake of thinking that the... cosmos... gives a damn one way or the the other about the especial wants and ultimate welfare of mosquitoes, rats, lice, dogs, men, horses, pterodactyls, trees, fungi, dodos, or other forms of biological energy.
Materialism has come to the rescue of India in a certain sense by throwing open the doors of life to everyone, by destroying the exclusive privileges of caste, by opening up to discussion the inestimable treasures which were hidden away in the hands of a very few who have even lost the use of them. Half has been stolen and lost; and the other half which remains is in the hands of men who, like dogs in the manger, do not eat themselves and will not allow others to do so.
A dog starv'd at the master's gate
Predicts the ruin of the State.
A horse misus'd upon the road
Calls to heaven for human blood.
Each outcry of the hunted hare
A fibre from the brain does tear,
A skylark wounded on the wing,
A cherubim does cease to sing.
But nobody else ever romped with White Fang. He did not permit it. He stood on his dignity, and when they attempted it, his warning snarl and bristling mane were anything but playful. That he allowed the master these liberties was no reason that he should be a common dog, loving here and loving there, everybody's property for a romp and good time. He loved with single heart and refused to cheapen himself or his love.
Life on board a pleasure steamer violates every moral and physical condition of healthy life except fresh air. . . . It is a guzzling, lounging, gambling, dog's life. The only alternative to excitement is irritability.
It is sometimes said that the tragedy of an artist's life is that he cannot realise his ideal. But the true tragedy that dogs the steps of most artists is that they realise their ideal too absolutely. For, when the ideal is realised, it is robbed of its wonder and its mystery, and becomes simply a new starting-point for an ideal that is other than itself.
Buck did not read the newspapers, or he would have known that trouble was brewing, not alone for himself, but for every tide-water dog, strong of muscle and with warm, long hair, from Puget Sound to San Diego.