β
The eye sees only what the mind is prepared to comprehend.
β
β
Robertson Davies (Tempest-Tost (Salterton Trilogy, #1))
β
A truly great book should be read in youth, again in maturity and once more in old age, as a fine building should be seen by morning light, at noon and by moonlight.
β
β
Robertson Davies
β
Authors like cats because they are such quiet, lovable, wise creatures, and cats like authors for the same reasons.
β
β
Robertson Davies
β
Extraordinary people survive under the most terrible circumstances and they become more extraordinary because of it.
β
β
Robertson Davies
β
I wish people weren't so set on being themselves, when that means being a bastard.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
Love affairs are for emotional sprinters; the pleasures of love are for the emotional marathoners.
β
β
Robertson Davies
β
Happiness is always a by-product. It is probably a matter of temperament, and for anything I know it may be glandular. But it is not something that can be demanded from life, and if you are not happy you had better stop worrying about it and see what treasures you can pluck from your own brand of unhappiness.
β
β
Robertson Davies (The Enthusiasms of Robertson Davies)
β
Boredom and stupidity and patriotism, especially when combined, are three of the greatest evils of the world we live in.
β
β
Robertson Davies (World of Wonders (The Deptford Trilogy, #3))
β
To be a book-collector is to combine the worst characteristics of a dope fiend with those of a miser.
β
β
Robertson Davies
β
This is the Great Theatre of Life. Admission is free, but the taxation is mortal. You come when you can, and leave when you must. The show is continuous. Goodnight.
β
β
Robertson Davies
β
Conversation in its true meaning isn't all wagging the tongue; sometimes it is a deeply shared silence.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
If you don't hurry up and let life know what you want, life will damned soon show you what you'll get.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
This is one of the cruelties of the theatre of life; we all think of ourselves as stars and rarely recognize it when we are indeed mere supporting characters or even supernumeraries.
β
β
Robertson Davies (The Deptford Trilogy)
β
One learns oneβs mystery at the price of oneβs innocence.
β
β
Robertson Davies
β
Fanaticism is overcompensation for doubt.
β
β
Robertson Davies
β
It was as though she was an exile from a world that saw things her way
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Nothing grows old-fashioned so fast as modernity.
β
β
Robertson Davies (High Spirits)
β
I was afraid and did not know what I feared, which is the worst kind of fear.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
A happy childhood has spoiled many a promising life.
β
β
Robertson Davies
β
We tend to think human knowledge as progressive; because we know more and more, our parents and grandparents are back numbers. But a contrary theory is possible - that we simply recognize different things at different times and in different ways.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
I object to being told that I am saving daylight when my reason tells me that I am doing nothing of the kind... At the back of the Daylight Saving scheme, I detect the bony, blue-fingered hand of Puritanism, eager to push people into bed earlier, and get them up earlier, to make them healthy, wealthy, and wise in spite of themselves.
β
β
Robertson Davies (The Papers of Samuel Marchbanks)
β
To be apt in quotation is a splendid and dangerous gift. Splendid, because it ornaments a man's speech with other men's jewels; dangerous, for the same reason.
β
β
Robertson Davies
β
To ask an author who hopes to be a serious writer if his work is autobiographical is like asking a spider where he buys his thread. The spider gets his thread right out of his own guts, and that is where the author gets his writing.
β
β
Robertson Davies
β
On the whole, we treat the Devil shamefully, and the worse we treat Him the more He laughs at us.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Everything matters. The Universe is approximately fifteen billion years old, and I swear that in all that time, nothing has ever happened that has not mattered, has not contributed in some way to the totality.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
Be sure you choose what you believe and know why you believe it, because if you don't choose your beliefs, you may be certain that some belief, and probably not a very credible one, will choose you.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
God, youth is a terrible time! So much feeling and so little notion of how to handle it!
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Money, it is often said, does not bring happiness; it must be added, however, that it makes it possible to support unhappiness with exemplary fortitude.
β
β
Robertson Davies (Tempest-tost (The Salterton Trilogy, #1))
β
Every man is wise when attacked by a mad dog; fewer when pursued by a mad woman; only the wisest survive when attacked by a mad notion.
β
β
Robertson Davies
β
All real fantasy is serious. Only faked fantasy is not serious. That is why it is so wrong to impose faked fantasy on children....
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
I never heard of anyone who was really literate or who ever really loved books who wanted to suppress any of them.
β
β
Robertson Davies
β
The world is full of people whose notion of a satisfactory future is, in fact, a return to the idealised past.
β
β
Robertson Davies
β
Computers will have to learn that when I quote from some old author who spelled differently from the machine, the wishes of the long-dead author will have to be respected, and the machine will have to mind its manners
β
β
Robertson Davies
β
My position was a common one; I wanted to do the right thing but could not help regretting the damnable expense.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
An infant is a seed. Is it an oak seed or a cabbage seed? Who knows. All mothers think their children are oaks, but the world never lacks for cabbages.
β
β
Robertson Davies (World of Wonders (The Deptford Trilogy, #3))
β
Conversations and jokes together, mutual rendering of good services, the reading together of sweetly phrased books, the sharing of nonsense and mutual attentions.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
The little boy nodded at the peony and the peony seemed to nod back. The little boy was neat, clean and pretty. The peony was unchaste, dishevelled as peonies must be, and at the height of its beauty.(...) Every hour is filled with such moments, big with significance for someone.
β
β
Robertson Davies (What's Bred in the Bone (Cornish Trilogy, #2))
β
The egotist is all surface; underneath is a pulpy mess and a lot of self-doubt. But the egoist may be yielding and even deferential in things he doesn't consider important; in anything that touches his core he is remorseless.
β
β
Robertson Davies (World of Wonders (The Deptford Trilogy, #3))
β
She herself was a victim of that lust for books which rages in the breast like a demon, and which cannot be stilled save by the frequent and plentiful acquisition of books. This passion is more common, and more powerful, than most people suppose. Book lovers are thought by unbookish people to be gentle and unworldly, and perhaps a few of them are so. But there are others who will lie and scheme and steal to get books as wildly and unconscionably as the dope-taker in pursuit of his drug. They may not want the books to read immediately, or at all; they want them to possess, to range on their shelves, to have at command.
β
β
Robertson Davies (Tempest-Tost (Salterton Trilogy, #1))
β
Nothing is more dangerous to maidenly delicacy of speech than the run of a good library.
β
β
Robertson Davies (Tempest-Tost (Salterton Trilogy, #1))
β
There is absolutely no point in sitting down to write a book unless you feel that you must write that book, or else go mad, or die.
β
β
Robertson Davies
β
So -- I confess I have been a rake at reading. I have read those things which I ought not to have read, and I have not read those things which I ought to have read, and there is no health in me -- if by health you mean an inclusive and coherent knowledge of any body of great literature. I can only protest, like all rakes in their shameful senescence, that I have had a good time.
β
β
Robertson Davies (The Merry Heart: Reflections on Reading Writing & the World of Books)
β
I am quite a wise old bird, but I am no desert hermit who can only prophesy when his guts are knotted with hunger. I am deep in the old manβs puzzle, trying to link the wisdom of the body with the wisdom of the spirit until the two are one.
β
β
Robertson Davies
β
...one's family is made up of supporting players in one's personal drama. One never supposes that they starred in some possibly gaudy and certainly deeply felt show of their own.
β
β
Robertson Davies (Murther and Walking Spirits (Toronto Trilogy, #1))
β
He [Jesus] had a terrible temper, you know, undoubtedly inherited from His Father.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
You are like a fire: you warm me.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
Life itself is too great a miracle for us to make so much fuss about potty little reversals of what we pompously assume to be the natural order.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
A boy is a man in miniature, and though he may sometimes exhibit notable virtue, as well as characteristics that seem to be charming because they are childlike, he is also a schemer, self-seeker, traitor, Judas, crook, and villain - in short, a man.
β
β
Robertson Davies (The Deptford Trilogy)
β
We have educated ourselves into a world from which wonder, and he fear and dread and splendor and freedom of wonder have been banished. Of course wonder is costly. You couldn't incorporate it into a modern state, beacuse it is the antithesis of the anxiously worshiped security which is what a modern state is asked to give. Wonder is marvellous but it is also cruel, cruel, cruel. It is undemocratic, discriminatory and pitiless.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
A world without corruption would be a strange world indeed - and a damned bad world for lawyers, let me say.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
There is no nonsense so gross that society will not, at some time, make a doctrine of it and defend it with every weapon of communal stupidity.
β
β
Robertson Davies
β
Be not another if thou canst be thyself.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
The women we really love are the women who complete us, who have the qualities we can borrow and so become something nearer to whole men. Just as we complete them, of course; itβs not a one-way thing. Leola and I, when romance was stripped away, were too much alike; our strengths and weaknesses were too nearly the same. Together we would have doubled our gains and our losses, but that isnβt what love is.
β
β
Robertson Davies
β
Subtle wits like to refresh themselves with a whiff of mild indecency.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
No action is ever lost - nothing we do is without result. It's obvious, of course, but how many people ever really believe it, or act as if it were so?
β
β
Robertson Davies (World of Wonders (The Deptford Trilogy, #3))
β
If you cling frantically to the good, how are you to find out what the good really is?
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
There is really no such thing as a secret; everybody likes to tell, and everybody does tell.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
To marry was to take a hand in a dangerous game where the stakes are the highest - a fuller life or a life diminished and confined. It was a game for adult players.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
Education is a great shield against experience. It offers so much, ready-made and all from the best shops, that there's a temptation to miss your own life in pursuing the life of your betters.
β
β
Robertson Davies (World of Wonders (The Deptford Trilogy, #3))
β
To instruct calls for energy, and to remain almost silent, but watchful and helpful, while students instruct themselves, calls for even greater energy. To see someone fall (which will teach him not to fall again) when a word from you would keep him on his feet but ignorant of an important danger, is one of the tasks of the teacher that calls for special energy, because holding in is more demanding than crying out.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
You are certainly unique. Everyone is unique. Nobody has ever suffered quite like you before because nobody has ever been you before.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
..but when one human creature dies a whole world of hope and memory and feeling dies with him. To be robbed of the dignity of a natural death is a terrible deprivation.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
If I had my way books would not be written in English but in an exceedingly difficult secret language.... This plan would have the advantage of scaring off all amateur authors, retired politicians, country doctors...who would not have the patience to learn the secret language.
β
β
Robertson Davies
β
His failure hurt too badly for that. It was a bad equation. Best erase it and try a new one.
If adults could put aside their obsessions with such firmness, the world would undoubtedly be a better place. Robertson Davies does not say that in his Deptford Trilogy ... but he strongly hints at it.
β
β
Stephen King (The Tommyknockers)
β
Civilization rests on two things," said Hitzig; "the discovery that fermentation produces alcohol, and voluntary ability to inhibit defecation. And I put it to you, where would this splendidly civilized occasion be without both?
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
Marriage isn't just domesticity, or the continuance of the race, or institutionalized sex, or a form of property right. And it damned well isn't happiness, as that word is generally used. I think it's a way of finding your soul.
β
β
Robertson Davies (The Lyre of Orpheus (Cornish Trilogy, #3))
β
But I was a lonely creature, and although I would have been very happy to have a friend I just never happened to meet one.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
The only people who make any sense in the world are those who know that whatever happens to them has its roots in what they are.
β
β
Robertson Davies (Tempest-Tost (Salterton Trilogy, #1))
β
You're all mad for words. Words are just farts from a lot of fools who have swallowed too many books. Give me things!
β
β
Robertson Davies (The Deptford Trilogy)
β
The clerisy are those who read for pleasure, but not for idleness; who read for pastime but not to kill time; who love books, but do not live by books.
β
β
Robertson Davies (A Voice from the Attic: Essays on the Art of Reading)
β
My lifelong involvement with Mrs Dempster began at 5:58 o'clock p.m. on 27 December 1908, at which time I was ten years and seven months old.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
But one must remember that they were all men with systems. Freud, monumentally hipped on sex (for which he personally had little use) and almost ignorant of Nature: Adler, reducing almost everything to the will to power: and Jung, certainly the most humane and gentlest of them, and possibly the greatest, but nevertheless the descendant of parsons and professors, and himself a super-parson and a super-professor. all men of extraordinary character, and they devised systems that are forever stamped with that character.β¦ Davey, did you ever think that these three men who were so splendid at understanding others had first to understand themselves? It was from their self-knowledge they spoke. They did not go trustingly to some doctor and follow his lead because they were too lazy or too scared to make the inward journey alone. They dared heroically. And it should never be forgotten that they made the inward journey while they were working like galley-slaves at their daily tasks, considering other people's troubles, raising families, living full lives. They were heroes, in a sense that no space-explorer can be a hero, because they went into the unknown absolutely alone. Was their heroism simply meant to raise a whole new crop of invalids? Why don't you go home and shoulder your yoke, and be a hero too?
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
If a boy can't have a good teacher, give him a psychological cripple or an exotic failure to deal with; don't just give him a bad, dull teacher. This is where the private schools score over state-run schools; they can accommodate a few cultured madmen on the staff without having to offer explanations.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Why do people all over the world, and at all times, want marvels that defy all verifiable facts? And are the marvels brought into being by their desire or is their desire an assurance rising from some deep knowledge, not to be directly experienced and questioned, that the marvelous is indeed an aspect of the real?
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Mr. Robertson Davies has also suggested in his Deptford Trilogy that the same great truism which applies to writing, painting, picking horses at the track, and telling lies in a sincerely believable way, also applies to magic: some people got the knack, and some people donβt. Hilly didnβt.
β
β
Stephen King (The Tommyknockers)
β
The recognition of oneself as a part of nature, and reliance on natural things, are disappearing for hundreds of millions of people who do not know that anything is being lost.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
How much more complicated life is than the attainment of a Ph.D. would lead one to believe!
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
What an amusing drama life is when one is not obliged to be one of the characters!
β
β
Robertson Davies (The Lyre of Orpheus (Cornish Trilogy, #3))
β
Wake up! Be yourself, not a bad copy of something else!
β
β
Robertson Davies (What's Bred in the Bone (Cornish Trilogy, #2))
β
The beauty of ethics is that nobody can be perfectly certain about what it includes or even what it means.
β
β
Robertson Davies (Murther and Walking Spirits (Toronto Trilogy, #1))
β
Any theologian understands martyrdom, but only the martyr experiences the fire.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
You can't persuade most of the public that education and making a living aren't the same thing.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
Just about all men need a woman in one way or another, unless theyβre very strange indeed. Tormenting you refreshes him. And you shouldnβt underestimate the gratitude all men feel for womenβs beauty. Men who truly donβt like flowers are very uncommon and men who donβt respond to a beautiful woman are even more uncommon. Itβs not primarily sexual; itβs a lifting of the spirits beauty gives. Heβll be in to torment you, and tease you, and enrage you, but really to have a good, refreshing look at you.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
The house stank; a stench all its own pervaded every corner. It was a threnody in the key of Cat minor, with a ground-bass of Old Dog, and modulations of old people, waning lives, and relinquished hopes.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
For I was, as you have already guessed, a collaborator with Destiny, not one who put a pistol to its head and demanded particular treasures. The only thing for me to do was to keep on keeping on, to have faith in my whim, and remember that for me, as for the saints, illumination when it came would probably come from some unexpected source.
β
β
Robertson Davies
β
The gift that isn't big enough to make a mark, but is too big to leave the possessor in peace. And so they can't be content to be Sunday painters, or poets who write for a few friends, or composers whose handful of delicate little settings of Emily Dickinson can't find a singer. It's a special sort of hell.
β
β
Robertson Davies
β
But the character of the music emphasized the tale as allegory--humorous, poignant, humane allegory--disclosing the metamorphosis of life itself, in which man moves from confident inexperience through the bitterness of experience, toward the rueful wisdom of self-knowledge.
β
β
Robertson Davies (A Mixture of Frailties (Salterton Trilogy, #3))
β
... 'But Gold was not all. The other kings bring Frank Innocence and Mirth.' | Darcourt was startled, then delighted. 'That is very fine, Yerko; is it your own?' | 'No, it is in the story. I saw it in New York. The kings say, We bring you Gold, Frank Innocence, and Mirth.' | 'Sancta simplicitas,' said Darcourt, raising his eyes to mine. 'If only there were more Mirth in the message He has left to us. We miss it sadly, in the world we have made. And Frank Innocence. Oh, Yerko, you dear man.' ...
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
Nobody ever reads the same book twice.
β
β
Robertson Davies
β
...the irrational will have its say, perhaps because 'irrational' is the wrong word for it.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Before she continued her search she sat in his revolving desk chair, and wept for the passing of time, and the necessary death of the well-loved, wise old man.
β
β
Robertson Davies (Tempest-Tost (Salterton Trilogy, #1))
β
Fanaticism is ... compensation for doubt
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
I know well enough how people in love drag the name of the loved one into every conversation, simply to utter that magical word, to savor it on the tongue.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
Oho, now I know what you are. You are an advocate of Useful Knowledge.... Well, allow me to introduce myself to you as an advocate of Ornamental Knowledge. You like the mind to be a neat machine, equipped to work efficiently, if narrowly, and with no extra bits or useless parts. I like the mind to be a dustbin of scraps of brilliant fabric, odd gems, worthless but fascinating curiosities, tinsel, quaint bits of carving, and a reasonable amount of healthy dirt. Shake the machine and it goes out of order; shake the dustbin and it adjusts itself beautifully to its new position.
β
β
Robertson Davies (Tempest-Tost (Salterton Trilogy, #1))
β
Commanders and historians are the people who discuss wars; I was in the infantry, and most of the time I did not know where I was or what I was doing except that I was obeying orders and trying not to be killed in any of the variety of horrible ways open to me.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
I had schooled myself since the war-days never to speak of my enthusiasms; when other people did not share them, which was usual, I was hurt and my pleasure diminished; why was I always excited about things other people did not care about? But I could not hold in.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
The body is the inescapable factor, you see. You can keep in good shape for what you are, but radical change is impossible. Health isn't making everybody into a Greek ideal; it's living out the destiny of the body.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
Sexual thrills are not all physical, and although Parlabane was an unlikely seducer, even on the intellectual plane, it was clear that his desire was, by this prolonged tickling, to bring me to an orgasm of the mind.
β
β
Robertson Davies
β
...so Leola thought that a modest romance with a hero in embryo could do no harm - might even be a patriotic duty.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
They were anxious to make men of us, by which they meant making us like themselves.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
The art of the quoter is to know when to stop.
β
β
Robertson Davies (What's Bred in the Bone (Cornish Trilogy, #2))
β
Poor woman, I suppose she led a dogβs life, and it made her disagreeable, which she mistook for being strong.
β
β
Robertson Davies (The Cornish Trilogy: The Rebel Angels, What's Bred in the Bone, The Lyre of Orpheus)
β
Extraordinary people survive under the most terrible circumstances and they become more extraordinary because of it. βRobertson Davies
β
β
Ramani S. Durvasula ("Don't You Know Who I Am?": How to Stay Sane in an Era of Narcissism, Entitlement, and Incivility)
β
The people of the United States, perhaps more than any other nation in history, love to abase themselves and proclaim their unworthiness, and seem to find refreshment in doing so... That is a dark frivolity, but still frivolity.
β
β
Robertson Davies
β
The older I grow the less Christ's teaching says to me. I am sometimes very conscious that I am following the path of a leader who died when He was less than half as old as I am now. I see and feel things He never saw or felt. I know things He seems never to have known. Everybody wants a Christ for himself and those who think like him. Very well, am I at fault for wanting a Christ who will show me how to be an old man? All Christ's teaching is put forward with the dogmatism, the certainty, and the strength of youth: I need something that takes account of the accretion of experience, the sense of paradox and ambiguity that comes with years!
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Forgive yourself for being a human creature, Ramezay. That is the beginning of wisdom; that is part of what is meant by the fear of God; and for you it is the only way to save your sanity. Begin now, or you will end up with your saint in the madhouse.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
We all create an outward self with which to face the world, and some people come to believe that is what they truly are. So they people the world with doctors who are nothing outside of the consulting-room, and judges who are nothing when they are not in court, and business men who wither with boredom when they have to retire from business, and teachers who are forever teaching. That is why they are such poor specimens when they are caught without their masks on. They have lived chiefly through the Persona.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
Children, donβt speak so coarsely,β said Mr. Webster, who had a vague notion that some supervision should be exercised over his daughtersβ speech, and that a line should be drawn, but never knew quite when to draw it. He had allowed his daughters to use his library without restraint, and nothing is more fatal to maidenly delicacy of speech than the run of a good library.
β
β
Robertson Davies (Tempest-Tost (Salterton Trilogy, #1))
β
--Nature and nurture are inextricable; only scientists and psychologists could think otherwise, and we know all about them, don't we?
--We should. We've watched them since they were tribal wizards, yelping around the campfire. ...
β
β
Robertson Davies (What's Bred in the Bone (Cornish Trilogy, #2))
β
Words are just farts from a lot of fools who have swallowed too many books.
β
β
Robertson Davies
β
Wisdom may be rented...on the experience of other people, but we buy it at an inordinate price before we make it our own forever.
β
β
Robertson Davies (The Salterton Trilogy: Tempest-Tost / Leaven of Malice / A Mixture of Frailties)
β
Clarity is not a characteristic of the human spirit.
β
β
Robertson Davies (The Cunning Man (Toronto Trilogy, #2))
β
People who have failed at Christianity aren't likely to make great Buddhists.
β
β
Robertson Davies (Murther and Walking Spirits (Toronto Trilogy, #1))
β
What had Pledger-Brown said? "Too bad, Davey; he wanted blood and all we could offer was guts.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
Having me in the dining-room was almost the equivalent of having a Raeburn on the walls; I was classy, I was heavily varnished, and I offended nobody.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Geordie wrote a letter to Mr. Webster in which the shrieking figure of Apology was hounded through a labyrinth of agonized syntax.
β
β
Robertson Davies (Tempest-Tost (Salterton Trilogy, #1))
β
If you are determined on the religious life, you have to toughen up your mind. You have to let it be a thouroughfare for all thoughts, and among them you must make choices.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
To know all is to despise all.
β
β
Robertson Davies
β
Padre Blazon was almost shouting by this time, and I had to hush him. People in the restaurant were staring, and one or two of the ladies of devout appearance were heaving their bosoms indignantly. He swept the room with the wild eyes of a conspirator in a melodrama and dropped his voice to a hiss. Fragments of food, ejected from his mouth by this jet, flew about the table. [p.201]
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Who are you? Where do you fit into poetry and myth? Do you know who I think you are, Ramsay? I think you are Fifth Business. You don't know what that is? Well, in opera in a permanent company of the kind we keep up in Europe you must have a prima donna -- always a soprano, always the heroine, often a fool; and a tenor who always plays the lover to her; and then you must have a contralto, who is a rival to the soprano, or a sorceress or something; and a basso, who is the villain or the rival or whatever threatens the tenor.
"So far, so good. But you cannot make a plot work without another man, and he is usually a baritone, and he is called in the profession Fifth Business, because he is the odd man out, the person who has no opposite of the other sex. And you must have Fifth Business because he is the one who knows the secret of the hero's birth, or comes to the assistance of the heroine when she thinks all is lost, or keeps the hermitess in her cell, or may even be the cause of somebody's death if that is part of the plot. The prima donna and the tenor, the contralto and the basso, get all the best music and do all the spectacular things, but you cannot manage the plot without Fifth Business! It is not spectacular, but it is a good line of work, I can tell you, and those who play it sometimes have a career that outlasts the golden voices. Are you Fifth Business? You had better find out.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
I had become wiser, I tried to find out what irony really is, and discovered that some ancient writer on poetry had spoken of βIronia, which we call the drye mock.β And I cannot think of a better term for it: The drye mock. Not sarcasm, which is like vinegar, or cynicism, which is so often the voice of disappointed idealism, but a delicate casting of cool and illuminating light on life, and thus an enlargement. The ironist is not bitter, he does not seek to undercut everything that seems worthy or serious, he scorns the cheap scoring-off of the wisecracker. He stands, so to speak, somewhat at one side, observes and speaks with a moderation which is occasionally embellished with a flash of controlled exaggeration. He speaks from a certain depth, and thus he is not of the same nature as the wit, who so often speaks from the tongue and no deeper. The witβs desire is to be funny; the ironist is only funny as a secondary achievement.
β
β
Robertson Davies (The Cunning Man (Toronto Trilogy, #2))
β
Elsie, who had a lot of energy and no shame...she seduced me. It was not a success, from Elsie's point of view, because the orgasm for women was just coming into general popularity then, and she didn't have one.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
When I hear girls I know longing to be what they call liberated, and when I hear others rejoicing in what they think of as liberation, I feel a fool, because I simply do not know where I stand. (Maria Magdalena Theotoky)
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
If I know this, I ought to be able to escape the stupider kinds of illusion. The absolute nature of things is independent of my senses (which are all I have to perceive with), and what I perceive is an image of my own psyche.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
Schoolmastering kept me busy by day and part of each night. I was an assistant housemaster, with a fine big room under the eaves of the main building, and a wretched kennel of a bedroom, and rights in a bathroom used by two or three other resident masters. I taught all day, but my wooden leg mercifully spared me from the nuisance of having to supervise sports after school. There were exercises to mark every night, but I soon gained a professional attitude towards these woeful explorations of the caves of ignorance and did not let them depress me. I liked the company of most of my colleagues, who were about equally divided among good men who were good teachers, awful men who were awful teachers, and the grotesques and misfits who drift into teaching and are so often the most educative influences a boy meets in school. If a boy can't have a good teacher, give him a psychological cripple or an exotic failure to cope with; don't just give him a bad, dull teacher. This is where the private schools score over state-run schools; they can accommodate a few cultured madmen on the staff without having to offer explanations.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
He liked to make his hearers jump, now and then, and he said that our gravel pit was much the same sort of place as Gehenna. My elders thought this far-fetched, but I saw no reason why hell should not have, so to speak, visible branch establishments throughout the earth, and I have visited quite a few of them since.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
she swore in good mouth-filling oaths, but never smutty ones, and that was uncommon. She knew the prosody of profanity. . . . she knew the tune, as well as the words. She was not a raving beauty, but she had fine eyes and a Pre-Raphelite air of being too good for this world while at the same time exhibiting much of what this world desires in a woman, and I suppose I gaped at her and behaved clownishly.
β
β
Robertson Davies (The Cunning Man (Toronto Trilogy, #2))
β
What really shapes and conditions and makes us is somebody only a few of us ever have the courage to face: and that is the child you once were, long before formal education ever got its claws into you - that impatient, all-demanding child who wants love and power and can't get enough of either and who goes on raging and weeping in your spirit till at last your eyes are closed and all the fools say, 'Doesn't he look peaceful?' It is those pent-up, craving children who make all the wars and all the horrors and all the art and all the beauty and discovery in life, because they are trying to achieve what lay beyond their grasp before they were five years old.
β
β
Robertson Davies (The Cornish Trilogy: The Rebel Angels / What's Bred in the Bone / The Lyre of Orpheus)
β
It is part of the received doctrine of modern biography that all characters are Flawed, and as a Christian priest I am quite ready to agree, but the Flaws the biographers exhibited usually meant that the person under discussion had not seen eye to eye with the biographer on matters of politics, or social betterment, or something impersonal.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
Life, as he conceived of it, was a long decline from a glorious past, and if a reader approaches a newspaper in that spirit, he can find much to confirm him in his belief, particularly if he has never examined any short period of the past in day-to-day detail.
β
β
Robertson Davies (Leaven of Malice (Salterton Trilogy, #2))
β
Of course I long for her, but in honesty I must say that I would rather long for her than have her continuously present. Travel agents assure us that 'getting there is half the fun'; I might say with at least equal truth that longing is some of the best of loving.
β
β
Robertson Davies (The Cunning Man (Toronto Trilogy, #2))
β
You are still young enough to think that torment of the spirit is a splendid thing, a sign of a superior nature. But you are no longer a young man; you are a youngish middle aged man, and it is time you found out that these spiritual athletics do not lead to wisdom.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
And why should it not be terrifying? A little terror, in my view, is good for the soul, when it is terror in the face of a noble object.
β
β
Robertson Davies (World of Wonders (The Deptford Trilogy, #3))
β
I seemed to be the only person I knew without a plan that would put the world on its feet and wipe the tear from every eye.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Men have this climacteric, you know, like women. Doctors deny it, but I have met some very menopausal persons in their profession.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
But what I knew then was that nobody-- not even my mother-- was to be trusted in a strange world that showed very little of itself on the surface.
β
β
Robertson Davies
β
You'll go far. How do I know? Because life is goosing you so hard you'll never stop climbing.
β
β
Robertson Davies (World of Wonders (The Deptford Trilogy, #3))
β
Of course some of us had some geography in school and had studied maps, but a school map is a terribly uncommunicative thing.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Education for immediate effective consumption is more popular than ever, and nobody wants to think of the long term, or the intellectual tone of the nation.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
There's the satisfaction of Eng-Lang-and-Lit; somebody else has said everything for you, and said it better.
β
β
Robertson Davies (Murther and Walking Spirits (Toronto Trilogy, #1))
β
Myself: But wasn't the decision a right one? Am I not here? What more could Feeling have achieved than was brought about by Reason?
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
He gave me this advice one time: Never marry your childhood sweetheart, he said; the reasons that make you choose her will all turn into reasons why you should have rejected her.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
How they chirped over their cups.
β
β
Robertson Davies
β
Are you New World or Old?'
'Sounds like a novel by Henry James.'
'Never read him.'
'Don't. But that was his question and he plumped for the Old.
β
β
Robertson Davies (Murther and Walking Spirits (Toronto Trilogy, #1))
β
Sometimes fear could be forgotten, but never for long.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
The great book for you is the book that has the most to say to you at the moment when you are reading. I do not mean the book that is most instructive, but the book that feeds your spirit. And that depends on your age, your experience, your psychological and spiritual need.
β
β
Robertson Davies
β
I learned later that the former operator of Abdullah had been a dwarf who cannot have been fastidious about his person, and there was a strong whiff of hot dwarf as I grew hotter myself.
β
β
Robertson Davies (World of Wonders (The Deptford Trilogy, #3))
β
When I had to leave she kissed me on both cheeks - a thing she had never done before - and said, 'There's just one thing to remember; whatever happens, it does no good to be afraid.' So I promised not to be afraid, and may even have been a fool enough to think I could keep my promise.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
...I managed to make it clear that what I most wanted was time to grow up. The war had not matured me; I was like a piece of meat that is burned on one side and raw on the other, and it was on the raw side I needed to work,. I thanked her, as well as I could, for what she had done for me.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
He became an unimaginative woman's creation. Delilah had shorn his locks and assured him he looked much neater and cooler without them. He gave her his soul, and she transformed it into a cabbage.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
Need we go into details about what I said to Judy? I am no poet, and I suppose what I said was very much what everybody always says, and although I remember her as speaking golden words, I cannot recall precisely anything she said. If love is to be watched and listened to without embarrassment, it must be transmuted into art, and I don't know how to do that, and it is not what I have come to Zurich to learn.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
Now I want you to remember something because I don't think we shall meet again very soon. It is this; however fashionable despair about the world and about people may be at present, and however powerful despair may become in the future, not everybody, or even most people, think and live fashionably; virtue and honour will not be banished from the world, however many popular moralists and panicky journalists say so. Sacrifice will not cease to be because psychiatrists have popularized the idea that there is often some concealed, self-serving element in it; theologians always knew that. Nor do I think love as a high condition of honour will be lost; it is a pattern in the spirit, and people long to make the pattern a reality in their own lives, whatever means they take to do so. In short, Davey, God is not dead. And I can assure you God is not mocked.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
I came at last to a recognition of myself as, in part, a Tom Sawyer who wanted everything done according to the rules of romantic fiction, and complicated simple solutions with his absurd adolescent, book-born nonsense.
β
β
Robertson Davies (The Cunning Man (Toronto Trilogy, #2))
β
Faustina is a great work of the Creator. She has nothing of what you call brains; she doesn't need them for her destiny... It is to be glorious for a few years: not to outlive some dull husband and live on his money till she is eighty, going to lectures and comparing the attractions of winter tours that offer the romance of the Caribbean.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
There comes a time when one must be strong with rationalists, for they can reduce anything whatever to dust, if they happen not to like the look of it, or if it threatens their deep-buried negativism. I mean of course rationalists like you, who take some little provincial world of their own as the whole of the universe and the seat of all knowledge.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
You played it with great seriousness. And it is not such an uncommon game. Do you know Ibsen's poem --
To live it to do battle with trolls
in the vaults of the heart and brain.
To write: that is to sit
in judgement over one's self."
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
But when mother died, Caroline was twelve, and in that queer time between childhood and nubile girlhood, when some girls seem to be wise without experience, and perhaps more clear-headed then they will be again until after their menopause.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
Snobbery, like every other social attitude, takes its character from those who practise it. The snob is supposedly a mean creature, delighting in slight and trivial distinctions. But is the man who bathes every day a snob because he does not seek the company of the one-bath-a-week, one-shirt-a-week, one-pair-of-clean-drawers-a-week, one-pair-of-socks-a-week man?
β
β
Robertson Davies (Murther and Walking Spirits (Toronto Trilogy, #1))
β
But in every church there are people who, for reasons which seem sufficient to them, do not approve of their pastor and seek to harry him and bully him into some condition pleasing to themselves. The democracy which the Reformation brought into the Christian Church rages in their bosoms like a fire; they would deny that they regard their clergyman as their spiritual hired hand, whom they boss and oversee for his own good, but that is certainly the impression they give to observers.
β
β
Robertson Davies (Leaven of Malice (Salterton Trilogy, #2))
β
I thought I was in love with Leola, by which I meant that if I could have found her in a quiet corner, and if I had been certain that no one would ever find out, and if I could have summoned up the courage at the right moment, I would have kissed her. But, looking back on it now, I know that I was in love with Mrs Dempster. Not as some boys are in love with grown-up women, adoring them from afar and enjoying a fantasy life in which the older woman figures in an idealized form, but in a painful and immediate fashion; I saw her every day, I did menial tasks in her house, and I was charged to watch her and keep her from doing foolish things. Furthermore, I felt myself tied to her by the certainty that I was responsible for her straying wits, the disorder of her marriage, and the frail body of the child who was her great delight in life. I had made her what she was, and in such circumstances I must hate her or love her. In a mode that was far too demanding for my age or experience, I loved her.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Do not suppose, however, that I intend to urge a diet of classics on anybody. I have seen such diets at work. I have known people who have actually read all, or almost all, the guaranteed Hundred Best Books. God save us from reading nothing but the best.
β
β
Robertson Davies
β
Who's Mrs. Gummidge?'
'If you're a good girl and get well soon I'll lend you the book.'
'Oh, somebody in a book! All you people like Nilla and the Cornishes and that man Darcourt seem to live out of books. As if everything was in books!'
'Well, Schnak, just about everything is in books. No, that's wrong. We recognize in books what we've met in life. But if you'd read a few books you wouldn't have to meet everything as if it had never happened before, and take every blow right on the chin. You'd see a few things coming...
β
β
Robertson Davies (The Lyre of Orpheus (Cornish Trilogy, #3))
β
Once it was the fashion to represent villages as places inhabited by laughable, livable simpletons, unspotted by the worldliness of city life, though occasionally shrewd in rural concerns. Later it was the popular thing to show villages as rotten with vice, and especially such sexual vice...incest, sodomy, bestiality, sadism, and masochism were supposed to rage behind lace curtains and in the haylofts, while a rigid piety was professed in the streets.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
It is woefully hard to find good, or even merely literate, writers, and they laugh at me when I say that sloppy, go-as-you-please writing carries less authority than decent prose. You must remember our public, they say. And indeed that is what I do, and I think the public is fully able to deal with the best they can produce. Patronizing the public, and assuming that it hangs, breathless, upon what it reads in the papers, is almost the worst of journalistic sins.
β
β
Robertson Davies (Murther and Walking Spirits (Toronto Trilogy, #1))
β
There was a moment, however, when the King and I were looking directly into each other's eyes, and in that instant I had a revelation that takes much longer to explain than to experience. Here am I, I reflected, being decorated as a hero, and in the eyes of everybody here I am indeed a hero; but I know that my heroic act was rather a dirty job I did when I was dreadfully frightened; I could just as easily have muddled it and been ingloriously killed. But it doesn't much matter, because people seem to need heroes; so long as I don't lose sight of the truth, it might as well be me as anyone else. And here before me stands a marvellously groomed little man who is pinning a hero's medal on me because some of his forebears were Alfred the Great, and Charles the First, and even King Arthur, for anything I know to the contrary. But I shouldn't be surprised if inside he feels as puzzled about the fate that brings him here as I.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
βIf Francis has really made up his soul [...], what lies ahead of him? Hasn't he achieved the great end of life?
β[...] Having got his soul under his eye, so to speak, Francis must now begin to understand it and be worthy of it [...]. Making up a soul isn't an end; it's the new beginning in the middle of life.
β
β
Robertson Davies (What's Bred in the Bone (Cornish Trilogy, #2))
β
We have no quarrel with the Freudians, but we do not put the same stress on sexual matters as they do. Sex is very important, but if it were the single most important thing in life, it would all be much simpler, and I doubt if mankind would have worked so hard to live far beyond the age when sex is the greatest joy.
β
β
Robertson Davies
β
...people don't want to believe the truth about themselves. They get some mental picture of themselves and then they devil the poor old body, trying to make it like the picture. When it won't obey-can't obey, of course-they are mad at it, and live in it as if it were an unsatisfactory house they were hoping to move out of.
β
β
Robertson Davies
β
The new priest in his whitish lab-coat gives you nothing at all except a constantly changing vocabulary which he -- because he usually doesn't know any Greek -- can't pronounce, and you are expected to trust him implicitly because he knows what you are too dumb to comprehend. It's the most overweening, pompous priesthood mankind has ever endured in all its recorded history, and its lack of symbol and metaphor and its zeal for abstraction drive mankind to a barren land of starved imagination.
β
β
Robertson Davies (What's Bred in the Bone (Cornish Trilogy, #2))
β
Despite these afternoon misgivings and self-reproaches I clung to my notion, ill-defined though it was, that a serious study of human knowledge, or theory, or belief, if undertaken with a critical but not a cruel mind, would in the end yield some secret, some valuable permanent insight, into the nature of life and the true end of man.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
...What was wrong between Diana and me was that she was too much a mother to me, and as I had had one mother, and lost her, I was not in a hurry to acquire another--not even a young and beautiful one with whom I could play Oedipus to both our hearts' content. If I could manage it, I had no intention of being anybody's own dear laddie, ever again.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
New Money wore dinner suits, which it called tuxedos, and smoked big cigars from which it removed the band before lighting upβan unthinkable solecism, for
β
β
Robertson Davies (Cornish Trilogy Omnibus)
β
Nobody told me he was an American." "Not AmericanβCanadian." "Well, what's the difference?" "They're touchier, that's what.
β
β
Robertson Davies (Cornish Trilogy Omnibus)
β
What we call luck is the inner man externalized. We make things happen to us.
β
β
Robertson Davies (Cornish Trilogy Omnibus)
β
banking is like religion: you have to accept certain rather dicey things simply on faith, and then everything else follows in marvellous logic.
β
β
Robertson Davies (What's Bred in the Bone (Cornish Trilogy, #2))
β
If Heloise had been more clear-headed sheβd have seen that Abelard was a frightful nerd in human relationships.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
However much science and educational theory and advanced thinking you pump into a college or a university, it always retains a strong hint of its medieval origins.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
Nobody gets through life without a broken heart. The important thing is to break the heart so that when it mends it will be stronger than before.
β
β
Robertson Davies (What's Bred in the Bone (Cornish Trilogy, #2))
β
You and I have precisely the same amount of time as the Old Mastersβ twenty-four hours in every day. There is no more, and never any less.
β
β
Robertson Davies (What's Bred in the Bone (Cornish Trilogy, #2))
β
I was a talking lover, which most women hate.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
I saw no reason why hell should not have, so to speak, visible branch establishments throughout the earth, and I have visited quite a few of them since.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
That was what stuck in the craws of all the good women of Deptford: Mrs Dempster had not been raped, as a decent woman would have beenβno, she had yielded because a man wanted her. The subject was not one that could be freely discussed even among intimates, but it was understood without saying that if women began to yield for such reasons as that, marriage and society would not last long. Any man who spoke up for Mrs Dempster probably believed in Free Love. Certainly he associated sex with pleasure, and that put him in a class with filthy thinkers like Cece Athelstan.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
No need to go into details about what I said to Judy? I am no poet, and I suppose what I said was very much what everybody always says, and although I remember her as speaking golden words, I cannot recall precisely anything she said. If love is to be watched and listened to without embarrassment, it must be transmuted into art, and I don't know how to do that, and it is not what I have come to ZΓΌrich to learn.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
I liked the company of most of my colleagues, who were about equally divided among good men who were good teachers, awful men who were awful teachers, and the grotesques and misfits who drift into teaching and are so often the most educative influences a boy meets in school. If a boy can't have a good teacher, give him a psychological cripple or an exotic failure to cope with; don't just give him a bad, dull teacher.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
I'm trying to be kind, you know, for I admired your parents. Fine people, and your father was a fair-minded man to every faith. But there are spiritual dangers you Protestants don't even seem to know exist, and this monkeying with difficult, sacred things is a sure way to get yourself into a real old mess. Well I recall, when I was a seminarian, how we were warned one day about a creature called a fool-saint.
Ever hear of a fool-saint? I thought not. As a matter of fact, it's a Jewish idea, and the Jews are no fools, y'know. A fool-saint is somebody who seems to be full of holiness and loves everybody and does every good act he can, but because he's a fool it all comes to nothingβto worse than nothing, because it is virtue tainted with madness, and you can't tell where it'll end up. Did you know that Prudence was named as one of the Virtues? There's the trouble with your fool-saint, y'seeβno Prudence. Nothing but a lotta bad luck'll rub off on you from one of them. Did you know bad luck could be catching? There's a theological name for it, but I misremember it right now.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
When it came time for me to go to bed, my mother beckoned me to her, and kissed me, and whispered, "I know I'll never have another anxious moment with my own dear laddie." I pondered these words before I went to sleep. How could I reconcile this motherliness with the screeching fury who had pursued me around the kitchen with a whip, flogging me until she was gorged with β what? Vengeance? What was it? Once, when I was in my thirties and reading Freud for the first time, I thought I knew. I am not so sure I know now. But what I knew then was that nobodyβ not even my motherβ was to be trusted in a strange world that showed very little of itself on the surface.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
In later life I have been sometimes praised, sometimes mocked, for my way of pointing out the mythical elements that seem to me to underlie our apparently ordinary lives. Certainly that cast of mind had some of its origin in our pit, which had much the character of a Protestant Hell. I was probably the most entranced listener to a sermon the Reverend Andrew Bowyer preached about Gehenna, the hateful valley outside the walls of Jerusalem, where outcasts lived, and where their flickering fires, seen from the city walls, may have given rise to the idea of a hell of perpetual burning. He liked to make his hearers jump, now and then, and he said that our gravel pit was much the same sort of place as Gehenna. My elders thought this far-fetched, but I saw no reason then why hell should not have, so to speak, visible branch establishments throughout the earth, and I have visited quite a few of them since.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
"You see, I do a little in this way myself," he explained; "here is my most prized piece." He took from his pocket a snuffbox, which looked to be of eighteenth-century workmanship. Inside the lid was an enamel picture of Leda and the Swan, and when a knob was pushed to and fro the swan thrust itself between Leda's legs, which jerked in mechanical ecstasy. A nasty toy, I thought, but Urky doted on it. "We single gentlemen like to have these things," he said. "What do you do, Darcourt? Of course we know that Hollier has his beautiful Maria."
To my astonishment Hollier blushed, but said nothing. His beautiful Maria? My Miss Theotoky, of New Testament Greek? I didn't like it at all.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
What we call luck is the inner man externalized. We make things happen to us. I know that sounds horrible and cruel, considering what happens to a lot of people, and it canβt be the whole explanation. But itβs a considerable part of it.
β
β
Robertson Davies (What's Bred in the Bone (Cornish Trilogy, #2))
β
But even Wagner, with his magnificent music and his rather less worthy pseudo-medieval words, is never wholly successful. Why? Because a work of art must be in some measure coherent; but thought and feeling mingled, as all of us experience them, are surging and incoherent. Thought and feeling trimmed into coherence in a work of art are still far from reality, still far from the agonizing confusion that rises like miasma in what a great poet has called the foul rag-and-bone shop of the heart.
β
β
Robertson Davies (Murther and Walking Spirits (Toronto Trilogy, #1))
β
Who ever talks about a lifelong, intimate friendship expressing itself in the broadest possible range of conversation? If people are really alive and alert it ought to go on and on, prolonging life because there is always something more to be said.
β
β
Robertson Davies (The Rebel Angels (The Cornish Trilogy, #1))
β
Pessimism is a very easy way out when youβre considering what life really is, because pessimism is a short view of life. If you look at what is happening around us today and what has happened just since you were born, you canβt help but feel that life is a terrible complexity of problems and illnesses of one sort or another. But if you look back a few thousand years, you realize that we have advanced fantastically from the day when the first amoeba crawled out of the slime and made its adventure on land. If you take a long view, I do not see how you can be pessimistic about the future of man or the future of the world.
β
β
Robertson Davies
β
I'll kill you all," yelled Bill, and swore for three or four minutes, calling us every dirty name he could think of for being so chicken-hearted. When people talk about "leadership quality" I often think of Bill Unsworth; he had it. And like many people who have it, he could make you do things you didn't want to do by a kind of cunning urgency. We were ashamed before him. Here he was, a bold adventurer, who had put himself out to include us-- lily-livered wretches-- in a daring, dangerous, highly illegal exploit, and all we could do was worry about being hurt! We plucked up our spirits and swore and shouted filthy words, and set to work to wreck the house.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
I wanted to get away,' said she; 'everybody wants to plague and worry me about nothing. They'll be all right tomorrow. What's worrying them?'
'They are sacrificing to our Canadian God,' said Solly. 'We all believe that if we fret and abuse ourselves sufficiently, Providence will take pity and smile upon anything we attempt. A light heart, or a consciousness of desert, attracts ill luck. You have been away from your native land too long. You have forgotten our folkways. Listen to that gang over there; they are scanning the heavens and hoping aloud that it won't rain tomorrow. That is to placate the Mean Old Man in the Sky, and persuade him to be kind to us.
β
β
Robertson Davies (Tempest-Tost (Salterton Trilogy, #1))
β
The only trouble was, I wasn't with a group of my peers. Who are my peers? [...] And there I was with a dismal coven of repentant soaks -- a car salesman who had fallen from the creed of the Kiwanis, an Jewish woman whose family misunderstood her attempts to put them straight on everything, a couple of schoolteachers who can't ever have taught anything except Civics, and some business men whose god was Mammon, and a truck-driver who was included, I gather, to keep our eyes on the road and our discussions hitched to reality. Whose reality? Certainly not mine. So the imp of perversity prompted me to make pretty patterns of our discussions together, and screw the poor boozers up worse then they'd been screwed up before. For the first time in years, I was having a really good time.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
Can I be a modern girl, if I acknowledge such thoughts? I must be modern; I live now. But like everybody else, as Hollier says, I live in a muddle of eras, and some of my ideas belong to today, and some to an ancient past, and some to periods of time that seem more relevant to my parents than to me. If I could sort them and control them I might know better where I stand, but when I most want to be contemporary the Past keeps pushing in, and when I long for the Past (like when I wish Tadeusz had not died, and were with me now to guide and explain and help me to find where I belong in life) the Present cannot be pushed away. When I hear girls I know longing to be what they call liberated, and when I hear others rejoicing in what they think of as liberation, I feel a fool, because I simply do not know where I stand.
β
β
Robertson Davies
β
And here before me stands a marvelously groomed little man who is pinning a hero's medal on me because some of his forebears were Alfred the Great and Charles the First, and even King Arthur, for anything I knew to the contrary. But I shouldn't be surprised if inside he feels as puzzled about the fate that brings him here as I. we are public icons, we two: he an icon of kingship, and I an icon of heroism, unreal yet very necessary; we have obligations above what is merely personal, and to let personal feelings obscure the obligations would be failing in one's duty.
This was clearer still afterward, at lunch at the Savoy....; they all seemed to accept me as a genuine hero, and I did my best to behave decently, neither believing in it too obviously, nor yet protesting that I was just a simple chap who had done his duty when he saw it--a pose that has always disgusted me. Ever since, I have tried to think charitably of people in prominent positions of one kind or another. We cast them in roles, and it is only right to consider them as players, without trying to discredit them with knowledge of their off-stage life--unless they drag it into the middle of the stage themselves.
β
β
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
β
Our appetite for destruction grew with feeding. I started gingerly, pulling some books out of a case, but soon was tearing out pages by the handfuls and throwing them around. Jerry got a knife and ripped the stuffing out of the mattresses. He threw feathers from the sofa cushions. McQuilly, driven by some dark Scottish urge, found a crowbar and reduced wooden things to splinters. And Bill was like a fury, smashing, overturning, and tearing. But I noticed he kept back some things and put them in a neat heap on the dining-room table, which he forbade us to break. They were photographs.
The old people must have had a large family, and there were pictures of young people and wedding groups and what were clearly grandchildren everywhere. When at last we had done as much damage as we could, the pile on the table was a large one.
"Now for the finishing touch," said Bill. "And this is going to be all mine."
He jumped up on the table, stripped down his trousers, and squatted over the photographs. Clearly he meant to defecate on them, but such things cannot always be commanded, and so for several minutes we stood and stared at him as he grunted and swore and strained and at last managed what he wanted, right on the family photographs.
β
β
Robertson Davies (The Manticore (The Deptford Trilogy, #2))
β
I want to end here with the most common and least understood sexual problem. So ordinary is this problem, so likely are you to suffer from it, that it usually goes unnoticed. It doesn't even have a name. The writer Robertson Davies dubs it acedia. βAcediaβ used to be reckoned a sin, one of the seven deadly sins, in fact. Medieval theologians translated it as βsloth,β but it is not physical torpor that makes acedia so deadly. It is the torpor of the soul, the indifference that creeps up on us as we age and grow accustomed to those we love, that poisons so much of adult life.
As we fight our way out of the problems of adolescence and early adulthood, we often notice that the defeats and setbacks that troubled us in our youth are no longer as agonizing. This comes as welcome relief, but it has a cost. Whatever buffers us from the turmoil and pain of loss also buffers us from feeling joy. It is easy to mistake the indifference that creeps over us with age and experience for the growth of wisdom. Indifference is not wisdom. It is acedia.
The symptom of this condition that concerns me is the waning of sexual attraction that so commonly comes between lovers once they settle down with each other. The sad fact is that the passionate attraction that so consumed them when they first courted dies down as they get to know each other well. In time, it becomes an ember; often, an ash. Within a few years, the sexual passion goes out of most marriages, and many partners start to look elsewhere to rekindle this joyous side of life. This is easy to do with a new lover, but acedia will not be denied, and the whole cycle happens again. This is the stuff of much of modern divorce, and this is the sexual disorder you are most likely to experience call it a disorder because it meets the defining criterion of a disorder: like transsexuality or S-M or impotence, it grossly impairs sexual, affectionate relations between two people who used to have them.
Researchers and therapists have not seen fit to mount an attack on acedia. You will find it in no oneβs nosology, on no foundation's priority list of problems to solve, in no government mental health budget. It is consigned to the innards of women's magazines and to trashy βhow to keep your manβ paperbacks. Acedia is looked upon with acceptance and indifference by those who might actually discover how it works and how to cure it.
It is acedia I wish to single out as the most painful, the most costly, the most mysterious, and the least understood of the sexual disorders. And therefore the most urgent.
β
β
Martin E.P. Seligman (What You Can Change and What You Can't: The Complete Guide to Successful Self-Improvement)
β
Mystery is the sugar in the cup,' said the Doctor. She picked up the container of white crystals the delicatessen had included in the picnic basket and poured a large dollop into her cognac.
'I donβt think Iβd do that, Gunilla,' said Darcourt.
'Nobody wants you to do it, Simon. I am doing it, and thatβs enough. That is the curse of lifeβwhen people want everybody to do the same wise, stupid thing. Listen: Do you want to know what life is? Iβll tell you. Life is a drama.'
'Shakespeare was ahead of you, Gunilla,' said Darcourt. '"All the worldβs a stage,"' he declaimed.
'Shakespeare had the mind of a grocer,' said Gunilla. 'A poet, yes, but the soul of a grocer. He wanted to please people.'
'That was his trade,' said Darcourt. 'And itβs yours, too. Donβt you want this opera to please people?'
'Yes, I do. But that is not philosophy. Hoffmann was no philosopher. Now be quiet, everybody, and listen, because this is very important. Life is a drama. I know. I am a student of the divine Goethe, not that grocer Shakespeare. Life is a drama. But it is a drama we have never understood and most of us are very poor actors. That is why our lives seem to lack meaning and we look for meaning in toysβmoney, love, fame. Our lives seem to lack meaning but'βthe Doctor raised a finger to emphasize her great revelationβ'they donβt, you know.' She seemed to be having some difficulty in sitting upright, and her natural pallor had become ashen.
'Youβre off the track, Nilla,' said Darcourt. 'I think we all have a personal myth. Maybe not much of a myth, but anyhow a myth that has its shape and its pattern somewhere outside our daily world.'
'This is all too deep for me,' said Yerko. 'I am glad I am a Gypsy and do not have to have a philosophy and an explanation for everything. Madame, are you not well?'
Too plainly the Doctor was not well. Yerko, an old hand at this kind of illness, lifted her to her feet and gently, but quickly, took her to the doorβthe door to the outside parking lot. There were terrible sounds of whooping, retching, gagging, and pitiful cries in a language which must have been Swedish. When at last he brought a greatly diminished Gunilla back to the feast, he thought it best to prop her, in a seated position, against the wall. At once she sank sideways to the floor.
'That sugar was really salt,' said Darcourt. 'I knew it, but she wouldnβt listen. Her part in the great drama now seems to call for a long silence.'
'When she comes back to life I shall give her a shot of my personal plum brandy,' said Yerko. 'Will you have one now, Priest Simon?
β
β
Robertson Davies (The Lyre of Orpheus (Cornish Trilogy, #3))