Writing quotes

The Innocents Abroad (1869), Preface. Twain says that he thinks he has seen with impartial eyes and is sure he has written honestly, while explicitly declining to claim perfect wisdom. Verified against the scan-backed 1869 first edition on Wikisource, original Preface page 19; this is authorial travel-writing method rather than a claim of objective infallibility.

On The Art of Reading, Lecture V, Project Gutenberg #16579; “crests” refers to exceptional moments of successful writing described immediately before.

Thrift, Chapter I, “Industry,” Project Gutenberg #14418. The sentence follows Smiles’s claim that useful and beautiful thoughts arise from sustained intellectual work and uses poetry as one example of painstaking creative labour.

The Innocents Abroad (1869), Chapter XXVIII. Near the close of the long Rome discussion Twain says that the surest way to stop writing about Rome is to stop, immediately before abandoning his attempted guide-book chapter. Verified against the scan-backed 1869 first edition.

The Art of Literature, section “On Style,” T. Bailey Saunders translation; Project Gutenberg #10714. The English volume rearranges material drawn from Schopenhauer’s Parerga.

Song of Myself, section 21 in the 1882 Leaves of Grass text, printed page 45 (Wikisource scan page 51). The line opens Whitman’s section joining bodily and spiritual experience; this locator is specific to the represented 1882 textual state.

Up from Slavery, Chapter XIV, “The Atlanta Exposition Address,” Project Gutenberg #2376. The sentence occurs inside Washington’s reproduced 1895 Atlanta Exposition address, where he argues for the dignity of common labour and beginning economic development from practical foundations.

On the Art of Writing, Lecture V, “Interlude: On Jargon,” Project Gutenberg #17470. “Masculine style” is retained as period wording, not endorsed as a gender standard.

Of Studies; the sentence is shortened by omitting Bacon’s middle clause about talk and discourse.

Pepacton, discussion of poetic interpretation of nature. Burroughs contrasts objective natural-history observation with the poet’s subjective idealization, using Shelley and Keats as examples.

Discourses of Epictetus, Book II, Chapter XVIII, “How we should struggle against appearances,” George Long translation; 1877 George Bell & Sons witness on Wikisource, cross-checked against Project Gutenberg #10661. Epictetus explains that habits and faculties are maintained by corresponding actions: “If you would be a good reader, read; if a writer, write.”

1 John 1:4 in the King James Version.

Areopagitica; this is the opening clause of Milton’s longer description of a good book.

The Art of Literature, section “On Style,” T. Bailey Saunders translation; Project Gutenberg #10714. The following discussion criticizes overloaded parenthetical sentence construction.

The Innocents Abroad (1869), Chapter XXVIII. In the same closing Rome passage Twain says he has drifted for a hundred manuscript pages without knowing where to commence, turning the abundance of material into a joke about structure and authorship. Verified against the scan-backed 1869 first edition.

On The Art of Reading, Lecture V, Project Gutenberg #16579. Quiller-Couch says he ‘most potently’ believes the best writing can be produced in moments of high excitement, then immediately qualifies that as moments of still and solemn awe produced by noble excitement. It is literary-aesthetic judgment, not a universal psychological law for composition.

The Art of Literature, “On Style,” T. Bailey Saunders translation, Project Gutenberg #10714. Schopenhauer’s represented English essay says that conviction in the truth and importance of one’s thoughts supplies the enthusiasm for sustained work toward clearer and stronger expression. The volume rearranges Parerga material and the passage remains nineteenth-century literary counsel, not experimental writing science.

The Last Man, Introduction, represented by Project Gutenberg #18247. Shelley's sentence follows her fictional Sibylline-leaves framing and reflects on how the imaginative labour of shaping the narrative helped her through solitude and loss. It belongs to authorial/literary autobiography around the novel's frame, not clinical mental-health guidance or evidence that tragic narration has the same effect for every reader.

The Elements of Style, Chapter III, Rule 18, Project Gutenberg #37134; the principle is extended to sentences in paragraphs and paragraphs in compositions.

“A Better Resurrection,” in Goblin Market and Other Poems (1862 first edition), Devotional Pieces, printed page 137 / scan leaf 153. The poem opens “I have no wit, no words, no tears” and develops grief and numbness through Christian devotional imagery before the stanza closes in prayer. This is literary/devotional expression, not a clinical description, diagnosis or treatment recommendation.

“The Open Window,” collected in Beasts and Super-Beasts, Project Gutenberg #269. The line follows Vera’s invented explanation for Framton Nuttel’s terrified departure; it is comic fictional narration about a deceptive storyteller.

On the Art of Writing, Lecture XII, “On Style,” Project Gutenberg #17470; excerpted from Quiller-Couch’s summary of the course.

Lectures on Art, Lecture VI, Project Gutenberg #19164. The passage discusses disciplined line, colour and illumination practice.

Of Studies; Bacon distinguishes the intellectual uses of reading, conversation, and writing within the essay’s compact account of study and judgment.

How the Other Half Lives, Preface, Project Gutenberg #45502. Riis explains that his belief that honest firsthand experience should be worth something to the community led him to write the book. The sentence belongs to his Progressive-era reform and investigative-journalism project about New York tenement conditions, not a universal rule about public service.

Pudd’nhead Wilson, Chapter XI epigraph; Twain presents the three-part compliment as a Calendar maxim about authors.

The Republic, Book III, Jowett translation; the passage connects musical and literary form with simplicity of character.

Essays of Montaigne, Book III, Chapter II, “Of Repentance,” Charles Cotton translation; Project Gutenberg Volume 14 #3594 / Complete Essays #3600. The surrounding passage treats fidelity and increasingly candid self-report as part of the Essays’ project.

An Essay on Criticism, Part II; Pope warns that shallow learning can produce premature confidence before deeper study tempers judgment.

The Principles of Success in Literature, chapter on Style, Project Gutenberg #10420; capitalization of “THROUGH” follows the represented Gutenberg transcription.

A Vindication of the Rights of Men, opening letter to Edmund Burke, second edition (1790); this sentence follows Wollstonecraft’s refusal to disguise her sentiments behind courtly politeness.

On The Art of Reading, Lecture V, Project Gutenberg #16579; the surrounding analogy connects disciplined reading with the harder sister art of writing.

Thrift, Chapter I, “Industry,” Project Gutenberg #14418. Smiles broadens his defence of labour from material production to art, literature, science and knowledge; the universal wording is his historical moral claim, not an empirical rule that effort alone guarantees greatness.

The Principles of Success in Literature, discussion of sincerity, Project Gutenberg #10420; preserved as Lewes’s literary-critical principle rather than a universal law.

Appreciations, with an Essay on Style, essay “Wordsworth,” printed page 42 in the Macmillan 1910 Library Edition pagination reproduced by Project Gutenberg #4037. The reading-between-the-lines passage follows Pater’s claim that Wordsworth-reading can train aesthetic discrimination; he attributes to receptive readers a habit of inference plus faith in concentration and collectedness of mind. This remains nineteenth-century literary criticism rather than cognitive-science evidence.

The Innocents Abroad (1869), Chapter XLVIII. Twain criticizes travel writers who frame rhapsodic pictures and later pilgrims who see through those authors’ eyes and speak with their language instead of observing independently. Verified against the scan-backed 1869 first edition.

Persuasion, Chapter XXIII, Project Gutenberg #105. Anne Elliot says this to Captain Harville while refusing to let books settle their argument about whether men or women love longer.

On the Art of Writing, Lecture XII, “On Style,” Project Gutenberg #17470; excerpted from Quiller-Couch’s reminder that students must master craft for themselves.

The Elements of Style, Chapter III, Rule 16, Project Gutenberg #37134; the following examples focus on avoiding misplaced modifiers and broken relationships.

Areopagitica, Project Gutenberg #608. The sentence appears in Milton’s argument against licensing and prior restraint on printing. It is a defense of open intellectual encounter, not a claim that every expression is harmless or beyond later judgment.

A Midsummer Night’s Dream, Act V, Scene 1; Theseus continues the same speech with the poet’s eye moving between heaven and earth. Verified in the scan-backed 1918 Yale Shakespeare edition edited by Willard Higley Durham; direct evidence resolves to the reviewed Act V transcription.

Alice’s Adventures in Wonderland, Chapter 7; the Mad Hatter asks Alice the famous riddle at the tea party.

Pioneer Work in Opening the Medical Profession to Women, represented by Project Gutenberg #65496. The autobiography reproduces this sentence in Blackwell’s letter to Lady Noel Byron. It is historical first-person reform correspondence embedded in the memoir, not current medical guidance.

The Importance of Being Earnest, Act II; Cecily Cardew. Project Gutenberg #844 preserves the exact line in the complete Act II text. The Samuel French acting-text witness represented elsewhere on this source hub omits this Cecily / Miss Prism happy-ending exchange, so this record deliberately uses the complete-text witness rather than a guessed scan page.

Appreciations, with an Essay on Style, essay “Style,” printed page 5 in the standard Macmillan 1910 Library Edition pagination reproduced by Project Gutenberg #4037. “all progress of mind consists for the most part in differentiation...” opens Pater’s argument by distinguishing prose, verse and poetry. This is literary-aesthetic criticism, not a modern experimental claim about cognition or learning.

The Picture of Dorian Gray, 1891 edition, Preface; immediately follows the statement rejecting moral and immoral categories for books.

Self-Reliance; Emerson gives the imperative while arguing for originality, self-trust, and resistance to imitation rather than dependence on another person’s model.

Areopagitica, in Milton’s defense of a city actively reading, discussing, and testing ideas.

'The Study of Poetry,' opening passage in the Matthew Arnold selection represented by Project Gutenberg #12628. Arnold begins by quoting his own claim that 'The future of poetry is immense' and then makes it the governing thought for his essay on poetry's critical and sustaining role. This is Victorian literary-critical forecast and cultural argument, not an empirical prediction that poetry will replace every other source of knowledge or support.

The Diary of a Nobody, “Introduction by Mr. Pooter”; Project Gutenberg #1026. Charles Pooter asks why his diary should not be published even though he is not a “Somebody,” establishing the novel’s fictional self-important diarist before Chapter I begins. This is Pooter’s comic narrative voice, not autobiographical testimony by George or Weedon Grossmith.