A long time ago, in a town with which I used to be familiarly acquainted, there dwelt an elderly person of grim aspect, known by the name and title of Doctor Grimshawe, whose household consisted of a remarkably pretty and vivacious boy, and a perfect rosebud of a girl, two or three years younger than he, and an old maid of all work, of strangely mixed breed, crusty in temper and wonderfully sluttish in attire.

Nobody, I think, ought to read poetry, or look at pictures or statues, who cannot find a great deal more in them than the poet or artist has actually expressed. Their highest merit is suggestiveness.

The only sensible ends of literature are, first, the pleasurable toil of writing; second, the gratification of one's family and friends; and lastly, the solid cash.

Some attribute had departed from her, the permanence of which had been essential to keep her a woman. Such is frequently the fate, and such the stern development, of the feminine character and person, when the woman has encountered, and lived through, an experience of peculiar severity. If she be all tenderness, she will die. If she survive, the tenderness will either be crushed out of her, or—and the outward semblance is the same—crushed so deeply into her heart that it can never show itself more.

It loves more readily than it hates.

Writing can come naturally to some. Still, when it comes to good writing, this is true: Easy reading is damn hard writing.

The greatest obstacle to being heroic is the doubt whether one may not be going to prove one's self a fool; the truest heroism is to resist the doubt; and the profoundest wisdom, to know when it ought to be resisted, and when it be obeyed.