. . . life is sometimes life and sometimes only a drama, and one must learn to distinguish t'other from which . . .

As her time in Florence drew to a close she was only at ease amongst those to whom she felt indifferent.

The novelist, unlike many of his colleagues, makes up a number of word-masses roughly describing himself (roughly: niceties shallcome later), gives them names and sex, assigns them plausible gestures, and causes them to speak by the use of inverted commas, and perhaps to behave consistently.

He built up a situation that was far enough from the truth. It never occurred to him that Helen was to blame. He forgot the intensity of their talk, the charm that had been lent him by sincerity, the magic of Oniton under darkness and of the whispering river. Helen loved the absolute. Leonard had been ruined absolutely, and had appeared to her as a man apart, isolated from the world. A real man, who cared for adventure and beauty, who desired to live decently and pay his way, who could have travelled more gloriously through life than the Juggernaut car that was crushing him.

It is the function of the novelist to reveal the hidden life at its source: to tell us more about Queen Victoria than could be known, and thus to produce a character who is not the Queen Victoria of history.

Paganism is infectious, more infectious than diphtheria or piety.

Culture had worked in her own case, but during the last few weeks she had doubted whether it humanized the majority, so wide and so widening is the gulf that stretches between the natural and the philosophic man, so many the good chaps who are wrecked in trying to cross it.