George Eliot Quotes

“If Art does not enlarge men’s sympathies, it does nothing morally.”

“If Art does not enlarge men’s sympathies, it does nothing morally.”

“Wishes are held to be ominous; according to which belief the order of the world is so arranged that if you have an impious objection to a squint, your offspring is more likely to be born with one; also, that if you happen to desire a squint, you would not get it. This desponding view of probability the hopeful entirely reject, taking their wishes as good and sufficient security for all kinds of fulfilment.”

“The days were longer then (for time, like money, is measured by our needs), when summer afternoons were spacious, and the clock ticked slowly in the winter evenings.”

“Let me introduce you. Sophie, this is Miss Eliot, from the National Childcare Agency. Miss Eliot, this is Sophie, from the ocean.”

“I don't know much about gods, but I think the river is a strong, brown god”

“Will the veiled sister pray for Those who walk in darkness, who chose thee and oppose thee, Those who are torn on the horn between season and season, time and time, between Hour and hour, word and word, power and power, those who wait In darkness? Will the veiled sister pray For children at the gate Who will not go away and cannot pray: Pray for those who chose and oppose”

“You are not here to verify,instruct yourself, or inform curiosityor carry report. You are here to kneelwhere prayer has been valid. And prayer is more than an order of words, the conscious occupation of the praying mind, or the sound of the voice praying.”

“I am alive to a usual objection to what is clearly part of my programme for the metier of poetry. The objection is that the doctrine requires a ridiculous amount of erudition (pedantry), a claim which can be rejected by appeal to the lives of poets in any pantheon. It will even be affirmed that much learning deadens or perverts poetic sensibility. While, however, we persist in believing that a poet ought to know as much as will not encroach upon his necessary receptivity and necessary laziness, it is not desirable to confine knowledge to whatever can be put into a useful shape for examinations, drawing rooms, or the still more pretentious modes of publicity. Some can absorb knowledge, the more tardy must sweat for it. Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum. What is to be insisted upon is that the poet must develop this consciousness throughout his career. What happens is a continual surrender of himself as he is at the moment to something which is more valuable. The progress of an artist is a continual self-sacrifice, a continual extinction of personality.”

“In the 'Life' of George Eliot, John Walter Cross gave an intriguing account of Eliot's creative method. "She told me that, in all her best writing, there was a 'not herself' which took possession of her, and that she felt her own personality to be merely the instrument through which this spirit, as it were, was acting," Cross wrote.”

“ 'You can't stop me. Your word voodoo, it doesn't work on me. Right? So how do you think you're going to-' Eliot produced a pistol. He didn't seem to pull it from anywhere. He just suddenly had it. Wil's eyes stung. 'See?' Eliot put away the gun. 'There are all kinds of persuasion.' ”