On Sir Walter Scott

Scott was very far indeed from being a perfect writer, but I do not think that it can be shown that the large and elaborate plan on which his stories are built was by any means an imperfection. He arranged his endless prefaces and his colossal introductions just as an architect plans great gates and long approaches to a really large house. He did not share the latter-day desire to get quickly through a story. He enjoyed narrative as a sensation; he did not wish to swallow a story like a pill that it should do him good afterwards. He desired to taste it like a glass of port, that it might do him good at the time. The reader sits late at his banquets. His characters have that air of immortality which belongs to those of Dumas and Dickens. We should not be surprised to meet them in any number of sequels. Scott, in his heart of hearts, probably would have liked to write an endless story without either beginning or close.

— Twelve Types (1903).

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The crank

Another way in which I tried to define the crank was that he always begins at the wrong end. He never knows the right way to take hold of anything, as one takes hold of a cat by the scruff of the neck. He always tries to catch his cat by the tail; especially if it is a Manx cat. The thing he begins with is always the thing that is last — and least. Thus, if he is talking about the ancient and lawful bond between man and woman, he will talk about votes before he talks about vows. Thus, if he is talking about children, he will be genuinely interested in the children’s schools; it will never so much as cross his mind that children, as a class, generally belong to families. If he is interested in Shakespeare, he will not be interested in Shakespeare’s poetry; he will be interested in the extraordinary question of who wrote it. If he is interested in one of the Gospels or in one of the Epistles, he will not be interested in what is written there; he will be interested in some bottomless bosh about when it was written. It was when I had got thus far in my speculations that I began to suspect that I had found out the definition of the crank after all.

The true and horrid secret of the crank is this: that he is not interested in his subject. He is only interested in his object. He wants to do something, to alter something, to feel he has made a difference, to rediscover his own miserable existence. He does not care for women, but for Votes for Women; he does not care for children, but for education; he does not care for animals, but for anti-vivisection; he does not care for Nature, but for “open spaces”. He does not care for anything unless he can do something to it. Leave him for three minutes alone with a cow or a canary, and he has not enough energy to live the life of contemplation. He can never enjoy a discussion because he can never enjoy a doubt.

— The Illustrated London News, 19 July 1913.

“Wonder at the world”

The devil can quote Scripture for his purpose; and the text of Scripture which he now most commonly quotes is, ‘The kingdom of heaven is within you.’ That text has been the stay and support of more Pharisees and prigs and self-righteous spiritual bullies than all the dogmas in creation; it has served to identify self-satisfaction with the peace that passes all understanding.

And the text to be quoted in answer to it is that which declares that no man can receive the kingdom except as a little child. What we are to have inside is the childlike spirit; but the childlike spirit is not entirely concerned about what is inside. It is the first mark of possessing it that one is interested in what is outside. The most childlike thing about a child is his curiosity and his appetite and his power of wonder at the world. We might almost say that the whole advantage of having the kingdom within is that we look for it somewhere else.

— What I Saw In America (1921).