Генри Джеймс цитаты

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„В жизни человека важны три вещи. Первая - быть добрым. Вторая - быть добрым. И третья - быть добрым.“

„Нет более обычной основы объединения, чем взаимное недопонимание.“

„Первое, что нужно усвоить во взаимоотношениях с другими людьми, — это то, что им нельзя мешать быть счастливыми — так, как они того хотят.“

„Бывает легче читать между строк, чем строку за строкой.“

„В жизни есть несколько часов, более приятных, чем час, посвященный церемонии, известной как послеобеденный чай.“

„Один Бог знает, как все мы дорожим сегодня краткостью, как высоко ценится сжатость. Но дело ведь не в краткости, а в весомости. Весомость, значимость — в наше время всё. Пытаться втиснуть её в заранее посчитанное, мизерное число слов — дело зряшное, пустая трата времени.“

„Женщины никогда не ужинают одни. Если они ужинают одни, это не ужин.“

„Это не моя судьба сдаваться - я знаю, что это не может быть.“

„Нельзя судить до сорока лет; до этого мы были слишком нетерпеливы, слишком сильны, слишком жестоки и, кроме того, слишком невежественны.“

“People talk about the conscience, but it seems to me one must just bring it up to a certain point and leave it there. You can let your conscience alone if you're nice to the second housemaid.”

“He would agree that life is a little worth living — or worth living a little; but would remark that, unfortunately, to live little enough, we have to live a great deal.”

“Life's too short for chess.”

“She had promised him she would consider his question [of marrying him] […]. But this was not the case; she was wondering if she were not a cold, hard, priggish person, and, on her at last getting up and going rather quickly back to the house, felt, as she had said to her friend, really frightened at herself.”

“I seemed to float not into clearness, but into a darker obscure, and within a minute there had come to me out of my very pity the appalling alarm of his being perhaps innocent. It was for the instant confounding and bottomless, for if he were innocent, what then on earth was I?”

“The only success worth one's powder was success in the line of one's idiosyncrasy. Consistency was in itself distinction, and what was talent but the art of being completely whatever it was that one happened to be?”

“She often wondered indeed if she ever had been, or ever could be, intimate with anyone. She had an ideal of friendship as well as of several other sentiments, which it failed to seem to her in this case – it had not seemed to her in other cases – that the actual completely expressed.”

“Vereker’s secret, my dear man — the general intention of his books: the string the pearls were strung on, the buried treasure, the figure in the carpet.”

“There are few things more exciting to me, in short, than a psychological reason.”

“The fatal futility of Fact.”

“If I were to live my life over again, I would be an American. I would steep myself in America, I would know no other land.”

“I still, in presence of life… have reactions — as many as possible… It's, I suppose, because I am that queer monster, the artist, an obstinate finality, an inexhaustible sensibility. Hence the reactions — appearances, memories, many things, go on playing upon it with consequences that I note and "enjoy" (grim word!) noting. It all takes doing — and I do. I believe I shall do yet again — it is still an act of life.”

“It was as if, at moments, we were perpetually coming into sight of subjects before which we must stop short, turning suddenly out of alleys that we perceived to be blind, closing with a little bang that made us look at each other — for, like all bangs, it was something louder than we had intended— the doors we had indiscreetly opened.”

“He had picked up his hat, which he had brought in, and stood twirling it in a way that gave me, even as I was just nearly reaching port, a perverse horror of what I was doing. To do it in ANY way was an act of violence, for what did it consist of but the obtrusion of the idea of grossness and guilt on a small helpless creature who had been for me a revelation of the possibilities of beautiful intercourse? Wasn't it base to create for a being so exquisite a mere alien awkwardness? I suppose I now read into our situation a clearness it couldn't have had at the time, for I seem to see our poor eyes already lighted with some spark of a prevision of the anguish that was to come.”

“Mr Touchett used to think that she reminded him of his wife when his wife was in her teens. It was because she was fresh and natural and quick to understand, to speak – so many characteristics of her niece – that he had fallen in love with Mrs Touchett.”

“The story had held us, round the fire, sufficiently breathless, but except the obvious remark that it was gruesome, as, on Christmas Eve in an old house, a strange tale should essentially be.”

“Young men of this class never do anything for themselves that they can get other people to do for them, and it is the infatuation, the devotion, the superstition of others that keeps them going. These others in ninety-nine cases out of a hundred are women.”

“The only reason for the existence of a novel is that it does attempt to represent life.”

“To criticize is to appreciate, to appropriate, to take intellectual possession, to establish in fine a relation with the criticized thing and to make it one's own.”

“In art economy is always beauty.”

“She gave an envious thought to the happier lot of men, who are always free to plunge into the healing waters of action.”

“If the artist is necessarily sensitive, does that sensitiveness form in its essence a state constantly liable to shade off into the morbid? Does this liability, moreover, increase in proportion as the effort is great and the ambition intense?”

“There are bad manners everywhere, but an aristocracy is bad manners organized.”

“Experience is never limited, and it is never complete; it is an immense sensibility, a kind of huge spider-web, of the finest silken threads, suspended in the chamber of consciousness and catching every air-borne particle in its tissue.”

“We are divided of course between liking to feel the past strange and liking to feel it familiar.”

“I was there to protect and defend the little creatures in the world the most bereaved and the most loveable, the appeal of whose helplessness had suddenly become only too explicit, a deep, constant ache of one's own committed heart. We were cut off, really, together; we were united in our danger. They had nothing but me, and I - well, I had them.”

“The advantage, the luxury, as well as the torment and responsibility of the novelist, is that there is no limit to what he may attempt as an executant — no limit to his possible experiments, efforts, discoveries, successes.”

“We must grant the artist his subject, his idea, what the French call his donnée; our criticism is applied only to what he makes of it. Naturally I do not mean that we are bound to like it or find it interesting: in case we do not our course is perfectly simple — to let it alone. We may believe that of a certain idea even the most sincere novelist can make nothing at all, and the event may perfectly justify our belief; but the failure will have been a failure to execute, and it is in the execution that the fatal weakness is recorded. If we pretend to respect the artist at all we must allow him his freedom of choice, in the face, in particular cases, of innumerable presumptions that the choice will not fructify. Art derives a considerable part of its beneficial exercise from flying in the face of presumptions, and some of the most interesting experiments of which it is capable are hidden in the bosom of common things.”

“With the stroke of the loss I was so proud of he uttered the cry of a creature hurled over an abyss, and the grasp with which I recovered him might have been that of catching him in his fall. I caught him, yes, I held him—it may be imagined with what a passion; but at the end of a minute I began to feel what it truly was that I held. We were alone with the quiet day, and his little heart, dispossessed, had stopped.”