One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.
What thou meanest by seizing the whole earth; but because I do it with a petty ship, I am called a robber, whilst thou who dost it with a great fleet art styled emperor.
One of the great events in my life was my first meeting with Edison. This wonderful man, who had received no scientific training, yet had accomplished so much, filled me with amazement. I felt that the time I had spent studying languages, literature and art was wasted; though later, of course, I learned this was not so.
We want to answer this classical question, who am I? So I think that most of our works are for art, or whatever we do, including science or religion, tried to answer that question.
Pity the nation whose statesman is a fox, whose philosopher is a juggler, and whose art is the art of patching and mimicking. Pity the nation that welcomes its new ruler with trumpetings, and farewells him with hootings, only to welcome another ruler with trumpetings again. Pity the nation whose sages are dumb with years and whose strong men are yet in the cradle. Pity the nation divided into fragments, each fragment deeming itself a nation.
Brings [O'Brian's] achievement to a new height....Such is O'Brian's power to possess the imagination that I found I was living in his world as much as my own, wanting to know what happens next. That is the real test. Any contemporary novelist should recognize in Patrick O'Brian a Master of the Art.
Nothing is more difficult than the art of maneuver. What is difficult about maneuver is to make the devious route the most direct and to turn misfortune to advantage.
Perhaps there may come into my art also, no less than into my life, a still deeper note, one of greater unity of passion, and directness of impulse. Not width but intensity is the true aim of modern art. We are no longer in art concerned with the type. It is with the exception that we have to do. I cannot put my sufferings into any form they took, I need hardly say. Art only begins where Imitation ends, but something must come into my work, of fuller memory of words perhaps, of richer cadences, of more curious effects, of simpler architectural order, of some aesthetic quality at any rate.