Quotes By Goldwin Smith

There is a spell in mediaeval Art which has had power to bewitch some people into trying, or wishing to try, or fancying that they wish to try or making believe to fancy that they wish to try, to bring back the Middle Ages.

America is supposed to be given over to ugliness. There are a good many ugly things there and the ugliest are the most pretentious.

The novelist must ground his work in faithful study of human nature.

Above all nations is humanity.

As to London we must console ourselves with the thought that if life outside is less poetic than it was in the days of old, inwardly its poetry is much deeper.

That Rome was comparatively great and wealthy is certain.

I heard Thackeray thank Heaven for the purity of Dickens. I thanked Heaven for the purity of a greater than Dickens - Thackeray himself.

Rome was great in arms, in government, in law.

The Roman legions were formed in the first instance of citizen soldiers, who yet had been made to submit to a rigid discipline, and to feel that in that submission lay their strength.

The novelist must look on humanity without partiality or prejudice. His sympathy, like that of the historian, must be unbounded, and untainted by sect or party.

The natural barriers between England and Scotland were not sufficient to prevent the extension of the Saxon settlements and kingdoms across the border.

The materials of the novelist must be real; they must be gathered from the field of humanity by his actual observation.

It is evident that in the period designated as that of the kings, when Rome commenced her career of conquest, she was, for that time and country, a great and wealthy city.

We must also be permitted to bear in mind that evolution, though it may explain everything else, cannot explain itself.

Who can doubt that between the English and the French, between the Scotch and the Irish, there are differences of character which have profoundly affected and still affect the course of history?

Never had there been such an attempt to make conquest the servant of civilization. About keeping India there is no question. England has a real duty there.

Art is expression, and to have high expression you must have something high to express.

Yet for my part, deeply as I am moved by the religious architecture of the Middle Ages, I cannot honestly say that I ever felt the slightest emotion in any modern Gothic church.

It is needless to say how great has been the influence of the doctrine of Evolution, or rather perhaps of the method of investigation to which it has given birth, upon the study of history, especially the history of institutions.

But if anyone supposes that there was no commercial fraud in the Middle Ages, let him study the commercial legislation of England for that period, and his mind will be satisfied, if he has a mind to be satisfied and not only a fancy to run away with him.

If it were a real effort to live in the Middle Ages, your life would be one perpetual prevarication.

Whatever things may have been in their origin, they are what they are, both in themselves and in regard to their indications respecting other beings or influences the existence of which may be implied in theirs.

There are the manufacturing multitudes of England; they must have work, and find markets for their work; if machines and the Black Country are ugly, famine would be uglier still.

No student of history can fail to see the moral interest of the Middle Ages, any more than an artist can fail to see their aesthetic interest.

The insular arrogance of the English character is a commonplace joke.

Every one who has a heart, however ignorant of architecture he may be, feels the transcendent beauty and poetry of the mediaeval churches.

The Romans, we are told, were by nature a peculiarly warlike race.

Dante himself is open to the suspicion of partiality: it is said, not without apparent ground, that he puts into hell all the enemies of the political cause, which, in his eyes, was that of Italy and God.

Personality is lower than partiality.