"My first impression of the man as of steel was consolidated and enhanced. He told us, amongst other things, of the work he had in hand. Three great books were partially done. The translation of the Arabian Nights, the metrical translation of Camoëns, and the Book of the Sword. These were all works of vast magnitude and requiring endless research. But he lived to complete them all."

“You reason well, and your wit is bold, but you are too prejudiced. You do not let your eyes see nor your ears hear, and that which is outside your daily life is not of account to you. Do you not think that there are things which you cannot understand, and yet which are, that some people see things that others cannot? But there are things old and new which must not be contemplated by men's eyes, because they know, or think they know, some things which other men have told them. Ah, it is the fault of our science that it wants to explain all, and if it explain not, then it says there is nothing to explain. But yet we see around us every day the growth of new beliefs, which think themselves new, and which are yet but the old, which pretend to be young, like the fine ladies at the opera.”

“One and all we felt that the holy calm that lay like sunshine over the wasted face and form was only an earthly token and symbol of the calm that was to reign for ever.”

“He seemed so confident that I, remembering my own confidence two nights before and with the baneful result, felt awe and vague terror. It must have been my weakness that made me hesitate to tell it to my friend, but I felt it all the more, like unshed tears.”

“No man knows till he has suffered from the night how sweet and dear to his heart and eye the morning can be.”

“The fame of an actor is won in minutes and seconds, not in years. The latter are only helpful in the recurrence of opportunities; in the possibilities of repetition. It is not feasible, therefore, adequately to record the progress of his work. Indeed that work in its perfection cannot be recorded; words are, and can be, but faint suggestions of awakened emotion. The student of history can, after all, but accept in matters evanescent the judgment of contemporary experience. Of such, the weight of evidence can at best incline in one direction; and that tendency is not susceptible of further proof. So much, then, for the work of art that is not plastic and permanent. There remains therefore but the artist. Of him the other arts can make record in so far as external appearance goes. Nay, more, the genius of sculptor or painter can suggest — with an understanding as subtle as that of the sun-rays which on sensitive media can depict what cannot be seen by the eye — the existence of these inner forces and qualities whence accomplished works of any kind proceed. It is to such art that we look for the teaching of our eyes. Modern science can record something of the actualities of voice and tone. Writers of force and skill and judgment can convey abstract ideas of controlling forces and purposes; of thwarting passions; of embarrassing weaknesses; of all the bundle of inconsistencies which make up an item of concrete humanity. From all these may be derived some consistent idea of individuality. This individuality is at once the ideal and the objective of portraiture.”

“I have always thought that a wild animal never looks so well as when some obstacle of pronounced durability is between us. A personal experience has intensified rather than diminished that idea.”