With an evening coat and a white tie anybody, even a stockbroker, can gain a reputation for being civilised.

There is nothing so interesting as telling a good man or woman how bad one has been. It is intellectually fascinating. One of the greatest pleasures of having been wicked is that one has so much to say to the good.

Laws are made in order that people in authority may not remember them, just as marriages are made in order that the divorce court may not play about idly.

To get back one's youth one has merely to repeat one's follies.

Never marry a woman with straw-coloured hair. They are so sentimental.

The reason we all like to think so well of others is that we are all afraid for ourselves. The basis of optimism is sheer terror. We think that we are generous because we credit our neighbours with the possession of those virtues that are likely to be a benefit to us. We praise the banker that we may overdraw our account, and find good qualities in the high-wayman in the hope that he may spare our pockets.

I have the greatest contempt for optimism.

Art begins with abstract decoration, with purely imaginative and pleasureable work dealing with what is unreal and non-existent. This is the first stage. Then life becomes fascinated with this new wonder, and asks to be admitted into the charmed circle. Art takes life as part of her rough material, recreates it and refashions it in fresh form; is absolutely indifferent to facts; invents, imagines, dreams, and keeps between herself and reality the impenetrable barrier of beautiful style, of decorative or ideal treatment. The third stage is when Life gets the upper hand and drives Art out into the wilderness. This is the true decadence, and it is from this that we are now suffering.

Good intentions have been the ruin of the world. The only people who have achieved anything have been those who have had no intentions at all.

I never take any notice of what common people say, and I never interfere with what charming people do.

You know I am not a champion of marriage. The real drawback to marriage is that it makes one unselfish, and unselfish people are colourless--they lack individuality. Still there are certain temperaments that marriage makes more complex. They retain their egotism, and add to it many other egos. They are forced to have more than one life. They become more highly organised, and to be highly organised is, I should fancy, the object of man's existence. Besides, every experience is of value, and whatever one may say against marriage it is certainly an experience.

Those who read the symbol do so at their peril.

I never talk during music--at least not during good music. If anyone hears bad music it is one's duty to drown it in conversation.

When critics disagree the artist is in accord with himself.

Faith is the most plural thing I know. We are all supposed to believe in the same thing in different ways. It is like eating out of the same dish with different coloured spoons.

Experience is of no ethical value. It is merely the name men give to their mistakes. Moralists have, as a rule, regarded it as a mode of warning, have claimed for it a certain ethical efficacy in the formation of character, have praised it as something that teaches us what to follow and shows us what to avoid. But there is no motive power in experience. It is as little of an active cause as conscience itself. All that it really demonstrates is that our future will be the same as our past and that the sin we have done once, and with loathing, we shall do many times, and with joy.

Sensations are the details that build up the stories of our lives.

No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style.

She looks like an 'edition de luxe' of a wicked French novel meant specially for the English market.

I never knew what terror was before; I know it now. It is as if a hand of ice were laid upon one's heart. It is as if one's heart were beating itself to death in some empty hollow.

We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.

No artist desires to prove anything. Even things that are true can be proved.

One knows so well the popular idea of health. The English country gentleman galloping along after a fox--the unspeakable in pursuit of the uneatable.

People seldom tell the truths that are worth telling. We ought to choose our truths as carefully as we choose our lies and to select our virtues with as much thought as we bestow upon the selection of our enemies.

Soul and body, body and soul--how mysterious they are! There is animalism in the soul, and the body has its moments of spirituality. The senses can refine and the intellect can degrade. Who can say where the fleshly impulse ceases or the psychical impulse begins? How shallow are the arbitrary definitions of ordinary psychologists! And yet how difficult to decide between the claims of the various schools! Is the soul a shadow seated in the house of sin? Or is the body really in the soul, as Giordano Bruno thought? The separation of spirit from matter is a mystery, and the unison of spirit with matter is a mystery also.

Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope.

There is no such thing as a moral or an immoral book. Books are well written or badly written-that is all.

Marriage is a sort of forcing house. It brings strange sins to fruit, and sometimes strange renunciations.

The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium.

A sense of duty is like some horrible disease. It destroys the tissues of the mind, as certain complaints destroy the tissues of the body. The catechism has a great deal to answer for.

They are the elect to whom beautiful things mean only beauty.

Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.

Few people have sufficient strength to resist the preposterous claims of orthodoxy.

She wore far too much rouge last night and not quite enough clothes.

That is always a sign of despair in a woman.

A virtue is like a city set upon a hill--it cannot be hid. We can conceal our vices if we care to--for a time at least--but a virtue will out.

Can't make out how you stand London society. The thing has gone to the dogs: a lot of d.a.m.ned n.o.bodies talking about nothing.

You don't know what an existence they lead down there. It is pure, unadulterated country life. They get up early because they have so much to do, and go to bed early because they have so little to think about.

Nothing is so fatal to a personality as the keeping of promises, unless it be telling the truth.

Who cares whether Mr Ruskin's views on Turner are sound or not? What does it matter? That mighty and majestic prose of his, so fervid and so fiery coloured in its n.o.ble eloquence, so rich in its elaborate symphonic music, so sure and certain, at its best, in subtle choice of word and epithet, is, at least, as great a work of art as any of those wonderful sunsets that bleach or rot on their corrupted canvases in England's gallery--greater, indeed, one is apt to think at times, not merely because its equal beauty is more enduring but on account of the fuller variety of its appeal--soul speaking to soul in those long, cadenced lines, not through form and colour alone, though through these, indeed, completely and without loss, but with intellectual and emotional utterance, with lofty pa.s.sion and with loftier thought, with imaginative insight and with poetic aim--greater, I always think, even as literature is the greater art.

Laughter is not at all a bad beginning for a friendship, and it is far the best ending for one.

Mrs Cheveley is one of those very modern women of our time who find a new scandal as becoming as a new bonnet, and air them both in the Park every afternoon at 5.30. I am sure she adores scandals, and that the sorrow of her life at present is that she can't manage to have enough of them.

The world divides actions into three cla.s.ses: good actions, bad actions that you may do, and bad actions that you may not do. If you stick to the good actions you are respected by the good. If you stick to the bad actions that you may do you are respected by the bad. But if you perform the bad actions that no one may do then the good and the bad set upon you and you are lost indeed.

I choose my friends for their good looks, my acquaintances for their good characters, and my enemies for their good intellects.

The artist is the creator of beautiful things.

To me the word 'natural' means all that is middle cla.s.s, all that is of the essence of Jingoism, all that is colourless and without form and void. It might be a beautiful word, but it is the most debased coin in the currency of language.

I pity any woman who is married to a man called John. She would probably never be allowed to know the entrancing pleasure of a single moment's solitude.

It is only when we have learned to love forgetfulness that we have learned the art of living.

To reveal art and conceal the artist is art's aim.

The world taken 'en ma.s.se' is a monster, crammed with prejudices, packed with prepossessions, cankered with what it calls virtues, a Puritan, a prig. And the art of life is the art of defiance. To defy--that is what we ought to live for, instead of living, as we do, to acquiesce.

Some resemblance the creative work of the critic will have to the work that has stirred him to creation, but it will be such resemblance as exists, not between nature and the mirror that the painter of landscape or figure may be supposed to hold up to her, but between nature and the work of the decorative artist. Just as on the flowerless carpets of Persia tulip and rose blossom indeed, and are lovely to look on, though they are not reproduced in visible shape or line; just as the pearl and purple of the sea sh.e.l.l is echoed in the church of St Mark at Venice; just as the vaulted ceiling of the wondrous chapel at Ravenna is made gorgeous by the gold and green and sapphire of the peac.o.c.k's tail, though the birds of Juno fly not across it; so the critic reproduces the work that he criticises in a mode that is never imitative, and part of whose charm may really consist in the rejection of resemblance, and shows us in this way not merely the meaning but also the mystery of beauty, and by transforming each art into literature solves once for all the problem of art's unity.