The essential function of art is moral. But a passionate, implicit morality, not didactic. A morality which changes the blood, rather than the mind.
Pure morality is only an instinctive adjustment which the soul makes.
There's always the hyena of morality at the garden gate, and the real wolf at the end of the street.
Any novel of importance has a purpose. If only the "purpose" be large enough, and not at outs with the passional inspiration.
The true artist doesn't substitute immorality for morality. On the contrary, he always substitutes a finer morality for a grosser one.
That is the real pivot of all bourgeois consciousness in all countries: fear and hate of the instinctive, intuitional, procreativebody in man or woman. But of course this fear and hate had to take on a righteous appearance, so it became moral, said that the instincts, intuitions and all the activities of the procreative body were evil, and promised a reward for their suppression. That is the great clue to bourgeois psychology: the reward business.
Morality which is based on ideas, or on an ideal, is an unmitigated evil.
Morality in the novel is the trembling instability of the balance. When the novelist puts his thumb in the scale, to pull down the balance to his own predilection, that is immorality.
The novel is a perfect medium for revealing to us the changing rainbow of our living relationships. The novel can help us to live,as nothing else can: no didactic Scripture, anyhow. If the novelist keeps his thumb out of the pan.
If a novel reveals true and vivid relationships, it is a moral work, no matter what the relationships consist in. If the novelisthonours the relationship in itself, it will be a great novel.
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