Things you learn at school

—Arts and Habits

At school you are engaged not so much in acquiring knowledge as in making mental efforts under criticism. A certain amount of knowledge you can indeed with average faculties acquire so as to retain; nor need you regret the hours you spent on much that is forgotten, for the shadow of lost knowledge at least protects you from many illusions. But you go to school not so much for knowledge as for arts and habits; for the habit of attention, for the art of expression, for the art of assuming at a moment's notice a new intellectual position, for the art of entering quickly into another person's thoughts, for the habit of submitting to censure and refutation, for the art of indicating assent or dissent in graduated terms, for the habit of regarding minute points of accuracy, for the art of working out what is possible in a given time, for taste, for discrimination, for mental courage, and for mental soberness. Above all, you go to school for self-knowledge.

—William Johnson Cory

Painting: Paolo Veronese, The Muse of Painting

Unselfish and Self-Sacrificing Love

From my infancy I was noted for the docility and humanity of my disposition. My tenderness of heart was even so conspicuous as to make me the jest of my companions. I was especially fond of animals, and was indulged by my parents with a great variety of pets. With these I spent most of my time, and never was so happy as when feeding and caressing them.

This peculiarity of character grew with my growth, and in my manhood, I derived from it one of my principal sources of pleasure. To those who have cherished an affection for a faithful and sagacious dog, I need hardly be at the trouble of explaining the nature or the intensity of the gratification thus derivable. There is something in the unselfish and self-sacrificing love of a brute, which goes directly to the heart of him who has had frequent occasion to test the paltry friendship and gossamer fidelity of mere Man.

Edgar Allan Poe, The Black Cat

Poster: Théophile Alexandre Steinlen (1859–1923)

Gossamer: adj; flimsy, insubstantial, like the texture of cobwebs

A Boundless Sheet of Unruffled Ocean

The view of the earth, at this period of my ascension, was beautiful indeed. To the westward, the northward, and the southward, as far as I could see, lay a boundless sheet of apparently unruffled ocean, which every moment gained a deeper and a deeper tint of blue and began already to assume a slight appearance of convexity. At a vast distance to the eastward, although perfectly discernible, extended the islands of Great Britain, the entire Atlantic coasts of France and Spain, with a small portion of the northern part of the continent of Africa. Of individual edifices not a trace could be discovered, and the proudest cities of mankind had utterly faded away from the face of the earth.

Edgar Allen Poe: The Unparalleled Adventures of One, Hans Pfall

Painting: Johannes Vermeer, The Geographer (1668)

Mystical Books

I never could understand the fondness some people have for confusing their minds by dwelling on mystical books that merely awaken their doubts and excite their imagination, giving them a bent for exaggeration quite contrary to Christian simplicity. Let us rather read the Epistles and Gospels. Let us not seek to penetrate what mysteries they contain; for how can we, miserable sinners that we are, know the terrible and holy secrets of Providence while we remain in this flesh which forms an impenetrable veil between us and the Eternal?

Leo Tolstoy, War and Peace

Painting: Felix Vallotton (1865 - 1925)

Fond of Reading Books

Julius Garibaldi Melchers (1860-1934)

I am too fond of reading books to care to write them, Mr. Erskine. I should like to write a novel certainly, a novel that would be as lovely as a Persian carpet and as unreal. But there is no literary public in England for anything except newspapers, primers, and encyclopaedias. Of all people in the world the English have the least sense of the beauty of literature.

Oscar Wilde, The Picture of Dorian Gray

Magnificent Hills

Dejah Thoris related many interesting facts and legends concerning this lost race of noble and kindly people. She said that the city in which we were camping was supposed to have been a center of commerce and culture known as Korad. It had been built upon a beautiful, natural harbor, landlocked by magnificent hills. The little valley on the west front of the city, she explained, was all that remained of the harbor, while the pass through the hills to the old sea bottom had been the channel through which the shipping passed up to the city's gates.


Edgar Rice Burroughs, A Princess of Mars

Painting: Claude Monet (1840 - 1926)

It's a Law, Something Like That

Where was the chap I saw in that picture somewhere? Ah yes, in the dead sea floating on his back, reading a book with a parasol open. Couldn't sink if you tried: so thick with salt. Because the weight of the water, no, the weight of the body in the water is equal to the weight of the what? Or is it the volume is equal to the weight? It's a law something like that.

—James Joyce, Ulysses

Painting: Jean Frederic Bazille (1841 - 1870)

Wine, Brandy, Rum and Sugar

They went into a dingy room lined with books and littered with papers, where there was a blazing fire. A kettle steamed upon the hob, and in the midst of the wreck of papers a table shone, with plenty of wine upon it, and brandy, and rum, and sugar, and lemons.



Charles Dickens, A Tale of Two Cities

Painting: Willem Claeszoon Heda (1594-1680)

A Husband’s Cruelty

Here is the first heading upon which I come. 'A husband’s cruelty to his wife.’ There is half a column of print, but I know without reading it that it is all perfectly familiar to me. There is, of course, the other woman, the drink, the push, the blow, the bruise, the sympathetic sister or landlady. The crudest of writers could invent nothing more crude.

—Sir Arthur Conan Doyle; The Adventures of Sherlock Holmes: A Case of Identity

Painting: Amedeo Modigliani

A Man Falling Into Dark Waters

He rose and placed his candle unsuspectingly on the floor near his loom, swept away the sand without noticing any change, and removed the bricks. The sight of the empty hole made his heart leap violently, but the belief that his gold was gone could not come at once—only terror, and the eager effort to put an end to the terror. He passed his trembling hand all about the hole, trying to think it possible that his eyes had deceived him; then he held the candle in the hole and examined it curiously, trembling more and more. At last he shook so violently that he let fall the candle, and lifted his hands to his head, trying to steady himself, that he might think. Had he put his gold somewhere else, by a sudden resolution last night, and then forgotten it? A man falling into dark waters seeks a momentary footing even on sliding stones; and Silas, by acting as if he believed in false hopes, warded off the moment of despair. He searched in every corner, he turned his bed over, and shook it, and kneaded it; he looked in his brick oven where he laid his sticks. When there was no other place to be searched, he kneeled down again and felt once more all round the hole. There was no untried refuge left for a moment's shelter from the terrible truth.

George Eliot, Silas Marner

Painting: Vincent Van Gogh (1853 - 1890)

Resources of Science

He began by remarking that soda-water, though a good thing in the abstract, was apt to lie cold upon the stomach unless qualified with ginger, or a small infusion of brandy, which latter article he held to be preferable in all cases, saving for the one consideration of expense. Nobody venturing to dispute these positions, he proceeded to observe that the human hair was a great retainer of tobacco-smoke, and that the young gentlemen of Westminster and Eton, after eating vast quantities of apples to conceal any scent of cigars from their anxious friends, were usually detected in consequence of their heads possessing this remarkable property; when he concluded that if the Royal Society would turn their attention to the circumstance, and endeavour to find in the resources of science a means of preventing such untoward revelations, they might indeed be looked upon as benefactors to mankind. These opinions being equally incontrovertible with those he had already pronounced, he went on to inform us that Jamaica rum, though unquestionably an agreeable spirit of great richness and flavour, had the drawback of remaining constantly present to the taste next day; and nobody being venturous enough to argue this point either, he increased in confidence and became yet more companionable and communicative.

Charles Dickens, The Old Curiosity Shop

Painting: Paul Cézanne (1839 - 1906)

Everything That Is Charming

Basil, my dear boy, puts everything that is charming in him into his work. The consequence is that he has nothing left for life but his prejudices, his principles, and his common sense. The only artists I have ever known who are personally delightful are bad artists. Good artists exist simply in what they make, and consequently are perfectly uninteresting in what they are. A great poet, a really great poet, is the most unpoetical of all creatures. But inferior poets are absolutely fascinating. The worse their rhymes are, the more picturesque they look. The mere fact of having published a book of second-rate sonnets makes a man quite irresistible. He lives the poetry that he cannot write. The others write the poetry that they dare not realize.

Oscar Wilde, The Picture of Dorian Gray

Patinting: Pierre Auguste Renoir (1841 - 1919)

Persuasion

I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. I am half agony, half hope. Tell me not that I am too late, that such precious feelings are gone for ever. I offer myself to you again with a heart even more your own than when you almost broke it, eight years and a half ago. Dare not say that man forgets sooner than woman, that his love has an earlier death. I have loved none but you. Unjust I may have been, weak and resentful I have been, but never inconstant. You alone have brought me to Bath. For you alone, I think and plan. Have you not seen this? Can you fail to have understood my wishes? I had not waited even these ten days, could I have read your feelings, as I think you must have penetrated mine. I can hardly write. I am every instant hearing something which overpowers me. You sink your voice, but I can distinguish the tones of that voice when they would be lost on others. Too good, too excellent creature! You do us justice, indeed. You do believe that there is true attachment and constancy among men. Believe it to be most fervent, most undeviating, in F. W.

I must go, uncertain of my fate; but I shall return hither, or follow your party, as soon as possible. A word, a look, will be enough to decide whether I enter your father's house this evening or never.

Jane Austen, Persuasion

Painting: Pierre Auguste Renoir (1841- 1919)

The Secret of the Red Room

The red-room was a square chamber, very seldom slept in, I might say never, indeed, unless when a chance influx of visitors at Gateshead Hall rendered it necessary to turn to account all the accommodation it contained: yet it was one of the largest and stateliest chambers in the mansion. A bed supported on massive pillars of mahogany, hung with curtains of deep red damask, stood out like a tabernacle in the centre; the two large windows, with their blinds always drawn down, were half shrouded in festoons and falls of similar drapery; the carpet was red; the table at the foot of the bed was covered with a crimson cloth; the walls were a soft fawn colour with a blush of pink in it; the wardrobe, the toilet-table, the chairs were of darkly polished old mahogany. Out of these deep surrounding shades rose high, and glared white, the piled-up mattresses and pillows of the bed, spread with a snowy Marseilles counterpane. Scarcely less prominent was an ample cushioned easy-chair near the head of the bed, also white, with a footstool before it; and looking, as I thought, like a pale throne.

This room was chill, because it seldom had a fire; it was silent, because remote from the nursery and kitchen; solemn, because it was known to be so seldom entered. The house-maid alone came here on Saturdays, to wipe from the mirrors and the furniture a week’s quiet dust: and Mrs. Reed herself, at far intervals, visited it to review the contents of a certain secret drawer in the wardrobe, where were stored divers parchments, her jewel-casket, and a miniature of her deceased husband; and in those last words lies the secret of the red-room—the spell which kept it so lonely in spite of its grandeur.


Charlotte Brontë, Jane Eyre
Painting: Delphin Enjolras (1857 – 1945)

Fall from Grace, Michelangelo

At the time when I stood in the churchyard reading the family tombstones, I had just enough learning to be able to spell them out. My construction even of their simple meaning was not very correct, for I read "wife of the Above" as a complimentary reference to my father's exaltation to a better world; and if any one of my deceased relations had been referred to as "Below," I have no doubt I should have formed the worst opinions of that member of the family. Neither were my notions of the theological positions to which my Catechism bound me, at all accurate; for, I have a lively remembrance that I supposed my declaration that I was to "walk in the same all the days of my life," laid me under an obligation always to go through the village from our house in one particular direction, and never to vary it by turning down by the wheelwright's or up by the mill.

—Charles Dickens, Great Expectations

Michelangelo's Fall from Grace is one of the scenes painted on the ceiling of the Sistine Chapel.

The Art of Reading

I believed, and still do believe, that truth, is frequently of its own essence, superficial, and that, in many cases, the depth lies more in the abysses where we seek her, than in the actual situations wherein she may be found. Nature herself seemed to afford me corroboration of these ideas. In the contemplation of the heavenly bodies it struck me forcibly that I could not distinguish a star with nearly as much precision, when I gazed on it with earnest, direct and undeviating attention, as when I suffered my eye only to glance in its vicinity alone. I was not, of course, at that time aware that this apparent paradox was occasioned by the center of the visual area being less susceptible of feeble impressions of light than the exterior portions of the retina.

Edgar Allan Poe, The Unparalleled Adventures of One Hans Pfaal

Painting: Friedrich von Amerling (1803 - 1887), Austrian, Academic painter.

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