Mastery of One's Thoughts
One should know how to keep one's thoughts at a distance. The French can do this, and, therefore, write at once wittily and profoundly of serious things. But the Germans live, perhaps, too near their thoughts, and are possessed by them: hence, their obscurity and heaviness. Wit—lightness of hand—shows that one is master of one's thought, and is not mastered by it. Nevertheless, the thoughts of the Germans may be the mightier. In this matter the complete thinker should be able to become French or German as occasion demands.
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Psychologists
The keenest psychologists are those who are burdened with no social mission and get along with a minimum of theory. Joseph Conrad, for instance, is infinitely more subtle in his analysis of the human mind and heart than is H. G. Wells or John Galsworthy. He has the happy unconcern and detachment of a connoisseur in humanity, of one who experiences the same fine interest in an unusual human situation as the dilettante finds in some recondite trifle. Henry James carried this attitude to a high degree of refinement. He walked among men and women as a botanist might walk among a collection of "specimens," dismissing the ordinary with the assured glance of an expert, and lingering only before the distinctive and the significant. Should we who nurse a mission deplore the spirit in which these disinterested observers enter into their task? By no means. But for them, certain domains of human nature would never have been discovered, and we should have been correspondingly the losers. For we revolutionists must know the human kind before we can alter them. The non-missionary is as necessary as the missionary, and to none more than to the missionary.
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Realism
Novels which take for their subject-matter mere ordinary, pedestrian existence—and of this kind are three-fourths of present-day novels -are invariably dull in one of two ways. In the first instance, they are written by pettifogging talents to whom only the ordinary is of interest, by people, that is to say, who are incapable of writing a book that is not dull. In the other, they are written by men generally of considerable, sometimes of brilliant, ability, who, misled by a theory, concern themselves laboriously with a domain of life which they dislike and which even bores them. But if the writer is bored, how much more so must be the reader! In short, the realist theory produces bad books because it forces the writer to select subjects the only emotion towards which it is possible to feel is boredom. And great art may arise out of hate, grief, even despair, but never out of boredom.
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Fate and Mr. Wells