John Galsworthy Quotes (1867-1933)

“Slowly, under our feet, beneath our consciousness, is forming that new philosophy, and it is in times of new philosophies that Art, itself in essence always a discovery, must flourish.”

“Men fall, roughly speaking, into two flocks: Those whose intelligence is uninquiring in the face of Art, and does not demand to be appeased before their emotions can be stirred; and those who, having a speculative bent of mind, must first be satisfied by an enlightening quality in a work of Art, before that work of Art can awaken in them feeling.”

“O Lord of Courage grave, O Master of this night of Spring! Make firm in me a heart too brave To ask Thee anything.”

“Truth it seems to me — is no absolute thing, but always relative, the essential symmetry in the varying relationships of life;...”

“No realist can love romantic Art so much as he loves his own, but when that Art fulfils the laws of its peculiar being, if he would be no blind partisan, he must admit it. The romanticist will never be amused by realism, but let him not for that reason be so parochial as to think that realism, when it achieves vitality, is not Art. For what is Art but the perfected expression of self in contact with the world; and whether that self be of enlightening, or of fairy-telling temperament, is of no moment whatsoever. The tossing of abuse from realist to romanticist and back is but the sword-play of two one-eyed men with their blind side turned toward each other. Shall not each attempt be judged on its own merits? If found not shoddy, faked, or forced, but true to itself, true to its conceiving mood, and fair-proportioned part to whole; so that it lives — then, realistic or romantic, in the name of Fairness let it pass! Of all kinds of human energy, Art is surely the most free, the least parochial; and demands of us an essential tolerance of all its forms. Shall we waste breath and ink in condemnation of artists, because their temperaments are not our own?”

“Will you let me take this opportunity of saying how much I enjoyed and admired your play Strife. It is a fine piece of work which will long survive the silly chatter of the day.”

“The Man of Property has the elements of a very great novel, a very great satire. It sets out to reveal the social being in all his strength and inferiority. But the author has not the courage to carry it through. The greatness of the book rests in its new and sincere and amazingly profound satire. It is the ultimate satire on modern humanity, and done from the inside, with really consummate skill and sincere creative passion, something quite new. It seems to be a real effort to show up the social being in all his weirdness. And then it fizzles out.”

“But when we have said that In Chancery is not a great novel, we would assure our readers that it is a fascinating, brilliant book.”

“The novels are remarkable for a very sensitive and exact observation of life as well as for purity of style. By temperament and perhaps also by his artistic conscience Galsworthy avoided many appeals to a reader's sympathy which seemed to him not consistent with objective truth. He belonged to no political party and professed to have no political convictions.”

“It seems to me that Justice, so far as the question of art goes, just establishes and vindicates you. (I didn't see Strife.) I've always opposed myself to your very austere method hitherto. I've not liked a sort of cold hardness in much of your work, but since it leads you at last to the quite tremendous force of the play—well, I give in.”

“In fact, the real problem with the thesis of A Genealogy of Morals is that the noble and the aristocrat are just as likely to be stupid as the plebeian. I had noted in my teens that major writers are usually those who have had to struggle against the odds -- to "pull their cart out of the mud," as I put it -- while writers who have had an easy start in life are usually second rate -- or at least, not quite first-rate. Dickens, Balzac, Dostoevsky, Shaw, H. G. Wells, are examples of the first kind; in the twentieth century, John Galsworthy, Graham Greene, Evelyn Waugh, and Samuel Beckett are examples of the second kind. They are far from being mediocre writers; yet they tend to be tinged with a certain pessimism that arises from never having achieved a certain resistance against problems.”