Sir Hiram Maxim is a genuine and typical example of the man of science, romantic, excitable, full of real but somewhat obvious poetry, a little hazy in logic and philosophy, but full of hearty enthusiasm and an honorable simplicity. He is, as he expresses it, "an old and trained engineer," and is like all of the old and trained engineers I have happened to come across, a man who indemnifies himself for the superhuman or inhuman concentration required for physical science by a vague and dangerous romanticism about everything else.
The men of the clique live together because they have the same kind of soul, and their narrowness is a narrowness of spiritual coherence and contentment, like that which exists in hell . . .
On the third day the friends of Christ coming at daybreak to the place found the grave empty and the stone rolled away. In varying ways they realized the new wonder; but even they hardly realized that the world had died in the night. What they were looking at was the first day of a new creation, with a new heaven and a new earth; and in a semblance of the gardener God walked again in the garden, in the cool not of the evening but of the dawn.
Business, especially big business, is now organized like an army. It is, as some would say, a sort of mild militarism without bloodshed; as I say, a militarism without the military virtues.
Modern nature-worship is all upside down. Trees and fields ought to be the ordinary things; terraces and temples ought to be extraordinary. I am on the side of the man who lives in the country and wants to go to London.
Oscar Wilde said that sunsets were not valued because we could not pay for sunsets. But Oscar Wilde was wrong; we can pay for sunsets. We can pay for them by not being Oscar Wilde.
It is because artists do not practise, patrons do not patronize, crowds do not assemble to reverently worship the great work of Doing Nothing, that the world has lost its philosophy and even failed to invent a new religion.
The artistic temperament is a disease that affects amateurs. Artists of a large and wholesome vitality get rid of their art easily, as they breathe easily or perspire easily. But in artists of less force, the thing becomes a pressure, and produces a definite pain, which is called the artistic temperament.
The diseased pride [of artistic individualists] was not even conscious of a public interest, and would have found all political terms utterly tasteless and insignificant. It was no longer a question of one man one vote, but of one man one universe.
We talk of wild animals but man is the only wild animal. It is man that has broken out. All other animals are tame animals; following the rugged respectability of the tribe or type.