It is not that the Englishman can't feel-it is that he is afraid to feel. He has been taught at his public school that feeling is bad form. He must not express great joy or sorrow, or even open his mouth too wide when he talks-his pipe might fall out if he did.

The people I admire most are those who are sensitive and want to create something or discover something, and do not see life in terms of power.

It is thus, if there is any rule, that we ought to die--neither as victim nor as fanatic, but as the seafarer who can greet with an equal eye the deep that he is entering, and the shore that he must leave.

Without form, the sensitiveness vanishes.

There was something better in life than this rub­bish, if only he could get to it—love—nobility—big spaces where passion clasped peace, spaces no science could reach, but they existed for ever, full of woods some of them, and arched with majestic sky and a friend. . .

England has always been disinclined to accept human nature.

Hardship is vanishing, but so is style, and the two are more closely connected than the present generation supposes.