Lytton Strachey Quotes

A writer’s promise is like a tiger’s smile

It is probably always disastrous not to be a poet.

Human beings are too important to be treated as mere symptoms of the past. They have a value which is independent of any temporal process──which is eternal, and must be felt for its own sake.

As usual, it struck me that letters were the only really satisfactory form of literature. They give one the facts so amazingly, don't they? I felt when I got to the end that I'd lived for years in that set. But oh dearie me I am glad that I'm not in it!

For ignorance is the first requisite of the historian──ignorance, which simplifies and clarifies, which selects and omits, with a placid perfection that unattainable by the highest art.

When the onward rush of a powerful spirit sweeps a weaker one to its destruction, the commonplaces of the moral judgement are better left unmade.

One has a few moments that are tolerable--one breathes,as it were,again;one remembers things,but one hardly hopes.I hope for the New Age-that is all-which will cure all our woes,and give us new ones,and make us happy enough for death....

If this is dying, I don't think much of it.

It was not by gentle sweetness and self-abnegation that order was brought out of chaos; it was by strict method, by stern discipline, by rigid attention to detail, by ceaseless labor, by the fixed determination of an indomitable will.

In what resides the most characteristic Virtue of humanity? In good works? Possibly. In the creation of beautiful objects? Perhaps. But some would look in a different direction, and find it in detachment. To all such David Hume must be a great saint in the calendar; for no mortal being was ever more completely divested of the trammels of the personal and the particular, none ever practiced with more consummated success the divine art of impartiality

How on earth does she make the English language float and float?

Bloomsbury lost Fry, in 1934, and Lytton Strachey before him, in January 1932, to early deaths. The loss of Strachey was compounded by Carrington’s suicide just two months after, in March. Another old friend, Ka Cox, died of a heart attack in 1938. But the death, in 1937, of Woolf ’s nephew Julian, in the Spanish Civil War, was perhaps the bitterest blow. Vanessa found her sister her only comfort: ‘I couldn’t get on at all if it weren’t for you’ (VWB2 203). Julian, a radical thinker and aspiring writer, campaigned all his life against war, but he had to be dissuaded by his family from joining the International Brigade to fight Franco. Instead he worked as an ambulance driver, a role that did not prevent his death from shrapnel wounds. Woolf ’s Three Guineas, she wrote to his mother, was written ‘as an argument with him

The daughter of the literary biographer Leslie Stephen, and close friend of the innovative biographer of the Victorians, Lytton Strachey, Woolf herself put forward, in ‘The New Biography’ (1927) (reviewing work by another biographer acquaintance, Harold Nicolson), her own memorable theory of biography, encapsulated in her phrase ‘granite and rainbow’. ‘Truth’ she envisions ‘as something of granite-like solidity’, and ‘personality as something of rainbow-like intangibility’, and ‘the aim of biography’, she proposes, ‘is to weld these two into one seamless whole’ (E4 473). The following short biographical account ofWoolf will attempt to keep to the basic granitelike facts that Woolf novices need to know, while also occasionally attending in brief to the more elusive, but equally relevant, matter of rainbow-like personality.

[On Virginia Woolf] Craving to be set free from her egomania by something or someone stronger and altogether dissimilar from herself, she speculated endlessly upon the unknown: and for her the unknown was frequently the commonplace.

By the close of the nineteenth century her studies with her father were being supplemented by tuition in the classics from Dr Warr of King’s College, Kensington, and from Clara Pater, sister of the English essayist and critic Walter Pater (1839–94). Woolf was very fond of Clara and an exchange between them later became the basis for her short story ‘Moments of Being: Slater’s Pins Have No Points’ (1928). Thoby boarded at Clifton College, Bristol, Adrian was a dayboy at Westminster School, and Vanessa attended Cope’s School of Art. Thoby, and later Adrian, eventually went to Trinity College, Cambridge, and Vanessa undertook training in the visual arts (attending the Slade School of Fine Art for a while). From 1902 Virginia’s tuition in classics passed from Clara Pater to the very capable Janet Case, one of the first graduates from Girton College, Cambridge, and a committed feminist. The sisters visited Cambridge a number of times to meet Thoby, whose friends there included Clive Bell 1881–1964), Lytton Strachey (1880– 1932), Leonard Woolf (1880–1969) and Saxon Sydney-Turner.

The chief news is that I have grown a beard! Its colour is very much admired, and it is generally considered extremely effective, though some ill-bred persons have been observed to laugh. It is a red-brown of the most approved tint, and makes me look like a French decadent poet—or something equally distinguished.

But the relationship between the between the two cultural paradigms has always been a dialectical, not cyclical. The romantics were not repeating their ancestors. On the contrary, they brought about a cultural revolution comparable in its radicalism and effects with the roughly contemporary American, French, and Industrial Revolutions. By destroying natural law and by reorienting concern from the work to the artist they tore up the old regime's aesthetic rule book just as thoroughly as any Jacobin [a 18th century political French club] tore down social institutions. In the words of Ernst Troeltsch: "Romanticism too is a revolution, a thorough and genuine revolution: a revolution against the respectability of the bourgeois temper and against a universal equalitarian ethic: a revolution, above all, against the whole of the mathematico-mechanical spirit of science in western Europe, against a conception of Natural Law which sought to blend utility with morality, against the bare abstraction of a universal and equal Humanity." [Unquote Troeltsch] As will be argued in the subsequent chapters, it was Hegel who captured the essence of this revolution in his pithy definition of romanticism as "absolute inwardness" [absloute Innerlichkeit - in German - אינערליכקייט]. It will also be argued that its prophet was Jean-Jacques Rousseau: if not the most consistent, then certainly the most influential of all the eighteenth-century thinkers. Writing in 1907, Lytton Strachey caught Rousseau's special quality very well: "Among those quick, strong, fiery people of the eighteenth century, he belonged to another world -- to the new world of self-consciousness, and doubt, and hesitation, of mysterious melancholy and quiet intimate delights, of long reflexions amid the solitudes of Nature, of infinite introspections amid the solitudes of the heart." Percy Bysshe Shelley, who derided the philosophes as "mere reasoners," regarded Rousseau as "a great poet.

There was hardly an eminent writer in Paris who was unacquainted with the inside of the Conciergerie or the Bastille.

Human beings are too important to be treated as mere symptoms of the past.

Voltaire abolished Christianity by believing in God.

Every one agreed that General Gordon had been avenged at last. Who could doubt it? General Gordon himself, possibly, fluttering, in some remote Nirvana, the pages of a phantasmal Bible, might have ventured on a satirical remark. But General Gordon had always been a contradictious person—even a little off his head, perhaps, though a hero; and besides, he was no longer there to contradict… At any rate, it had all ended very happily—in a glorious slaughter of 20,000 Arabs, a vast addition to the British Empire, and a step in the Peerage for Sir Evelyn Baring.

punctual discharge of his irksome duties.

quia multum amavit.

Mon dieu! — George Mallory! When that’s been written, what more need be said? My hand trembles, my heart palpitates, my whole being swoons away at the words — oh heavens! heavens! I found of course that he’d been absurdly maligned — he’s six foot high, with the body of an athlete by Praxiteles, and a face — ah, incredible — the mystery of Botticelli, the refinement and delicacy of a Chinese print, the youth and piquancy of an unimaginable English boy . . . . For the rest, he’s going to be a schoolmaster, and his intelligence is not remarkable. What’s the need?

A Simple Story is one of those books which, for some reason or other, have failed to come down to us, as they deserved, along the current of time, but have drifted into a literary backwater where only the professional critic or the curious discoverer can find them out.

Clio is one of the most glorious of the Muses; but, as everyone knows, she (like her sister Melpomene) suffers from a sad defect: she is apt to be pompous. With her buskins, her robes, and her airs of importance she is at times, indeed, almost intolerable. But fortunately the Fates have provided a corrective. They have decreed that in her stately advances she should be accompanied by certain apish, impish creatures, who run round her tittering, pulling long noses, threatening to trip the good lady up, and even sometimes whisking to one side the corner of her drapery, and revealing her undergarments in a most indecorous manner. They are the diarists and letter-writers, the gossips and journalists of the past, the Pepyses and Horace Walpoles and Saint-Simons, whose function it is to reveal to us the littleness underlying great events and to remind us that history itself was once real life.