Top 500 Henry James Quotes (2025 Update)
Page 5 of 10

201. “Mrs. Wix gave a sidelong look. She still had room for wonder at what Maisie knew.”

— Henry James

202. “If I should certainly say to a novice, ‘Write from experience and experience only,’ I should feel that this was rather a tantalizing monition if I were not careful immediately to add, ‘Try to be one of the people on whom nothing is lost.’”

— Henry James

203. “Novelist-Citizen of Two Countries Interpreter of his Generation on both Sides of the Sea.”

— Henry James

204. “There are no themes so human as those that reflect the closeness of bliss to bale.”

— Henry James

205. “She had a certain way of looking at life which he took as a personal offense.”

— Henry James

206. “Of course what he most intensely dreams of is being taken out on walks, and the more you are able to indulge him the more will he adore you and the more all the latent beauty of his nature will come out.”

— Henry James

207. “All intimacies are based on differences.”

— Henry James

208. “It was practically the end of everything. I met his kiss and I had to make, while I folded him for a moment in my arms, the most stupendous effort not to cry.”

— Henry James

209. “Criticism talks a good deal of nonsense, but even its nonsense is a useful force. It keeps the question of art before the world, insists upon its importance.”

— Henry James

210. “The artist is present in every page of every book from which he sought so assiduously to eliminate himself.”

— Henry James

211. “She found herself, for the first moment, looking at the mysterious portrait through tears. Perhaps it was her tears that made it just then so strange and fair... the face of a young woman, all splendidly drawn, down to the hands, and splendidly dressed... And she was dead, dead, dead.”

— Henry James

212. “Of course you’re always at liberty to judge the critic. Judge people as critics, however, and you’ll condemn them all!”

— Henry James

213. “Her life should always be in harmony with the most pleasing impression she should produce; she would be what she appeared, and she would appear what she was.”

— Henry James

214. “What is either a picture or a novel that is not character?”

— Henry James

215. “The image of the “presence,” whatever it was, waiting there for him to go – this image had not yet been so concrete for his nerves as when he stopped short of the point at which certainty would have come to him. For, with all his resolution, or more exactly with all his dread, he did stop short – he hung back from really seeing. The risk was too great and his fear too definite: it took at this moment an awful specific form.”

— Henry James

216. “Life had met him so, half-way, and had turned round so to walk with him, placing a hand in his arm and fondly leaving him to choose the pace.”

— Henry James

217. “To kill a human being is, after all, the least injury you can do him.”

— Henry James

218. “In museums and palaces we are alternate radicals and conservatives.”

— Henry James

219. “Everything he wanted was comprised moreover in a single boon – the common unattainable art of taking things as they came. He appeared to himself to have given his best years to an active appreciation of the way they didn’t come; but perhaps – as they would seemingly here be things quite other – this long ache might at last drop to rest.”

— Henry James

220. “I never really have believed in the existence of friendship in big societies – in great towns and great crowds. It’s a plant that takes time and space and air; and London society is a huge “squash”, as we elegantly call it – an elbowing, pushing, perspiring, chattering mob.”

— Henry James

221. “It takes a great deal to make a successful American, but to make a happy Venetian takes only a handful of quick sensibility. The.”

— Henry James

222. “The effort really to see and really to represent is no idle business, in face of the constant force that makes for muddlement.”

— Henry James

223. “England always seems to me like a man swimming with his clothes on his head.”

— Henry James

224. “The church was simply the former chapel of the castle, fronting upon its grass-grown court, which, however, was of generous enough width to have given up its quaintest corner to a little graveyard. Here the very headstones themselves seemed to sleep, as they slanted into the grass.”

— Henry James

225. “I mean that everything this afternoon has been too beautiful, and that perhaps everything together will never be so right again. I’m very glad therefore you’ve been a part of it.”

— Henry James

226. “Writing is not primarily escape, but use.”

— Henry James

227. “If the artist is necessarily sensitive, does that sensitiveness form in its essence a state constantly liable to shade off into the morbid? Does this liability, moreover, increase in proportion as the effort is great and the ambition intense?”

— Henry James

228. “The misery of Venice stands there for all the world to see; it is part of the spectacle – a thoroughgoing devotee of local colour might consistently say it is part of the pleasure. The.”

— Henry James

229. “To live only to suffer – only to feel the injury of life repeated and enlarged – it seemed to her she was too valuable, too capable, for that. Then she wondered if it were vain and stupid to think so well of herself. When had it even been a guarantee to be valuable? Wasn’t all history full of the destruction of precious things? Wasn’t it much more probable that if one were fine one would suffer?”

— Henry James

230. “It’s beyond everything. Nothing at all that I know touches it.”

— Henry James

231. “She had a new feeling, the feeling of danger; on which a new remedy rose to meet it, the idea of an inner self or, in other words, of concealment.”

— Henry James

232. “However British you may be, I am more British still.”

— Henry James

233. “It is as difficult to suppose a person intending to write a modern English, as to suppose him writing an ancient English, novel; that is a label which begs the question. One writes the novel, one paints the picture, of one’s language and of one’s time, and calling it modern English will not, alas! make the difficult task any easier.”

— Henry James

234. “You see, people forget you.”

— Henry James

235. “His secretary of many years’ standing, Theodora Bosanquet, was struck by this persistent aspect of the Jamesian sensibility: ‘When he walked out of the refuge of his study and into the world and looked about him, he saw a place of torment, where creatures of prey perpetually thrust their claws into the quivering flesh of the doomed, defenceless children of light.”

— Henry James

236. “It may be, of course, above all, that what suddenly broke into this gives the previous time a charm of stillness – that hush in which something gathers or crouches. The change was actually like the spring of a beast.”

— Henry James

237. “Living as he now lived was like reading a good book in a poor translation – a meagre entertainment for a young man who felt that he might have been an excellent linguist. He.”

— Henry James

238. “Fanny Assingham had at this moment the sense as of a large heaped dish presented to her intelligence and inviting it to a feast – so thick were the notes of intention in this remarkable speech.”

— Henry James

239. “What saved me, as I now see, was that it turned to something else altogether. It didn’t last as suspense – it was superseded by horrible proofs.”

— Henry James

240. “I was dazzled by their loveliness.”

— Henry James

241. “But I was to be later on so much more overwhelmed that this mere dawn of alarm was a comparatively human chill.”

— Henry James

242. “It was as if, at moments, we were perpetually coming into sight of subjects before which we must stop short, turning suddenly out of alleys that we perceived to be blind, closing with a little bang that made us look at each other – for, like all bangs, it was something louder than we had intended – the doors we had indiscreetly opened.”

— Henry James

243. “I don’t need the aid of a clever man to teach me how to live. I can find it out for myself.”

— Henry James

244. “But these fancies were not marked enough not not to be thrown off, and it is only in the light, or the gloom, I should rather say, of other and subsequent matters that they now come back to me.”

— Henry James

245. “Love has nothing to do with good reasons.”

— Henry James

246. “Why should a set of people have been put in motion, on such a scale and with such an air of being equipped for a profitable journey, only to break down without an accident, to stretch themselves in the wayside dust without a reason?”

— Henry James

247. “Apologies, Mrs. Touchett intimated, were of no more use to her than bubbles, and she herself never dealt in such articles. One either did the thing or one didn’t, and what one “would” have done belonged to the sphere of the irrelevant, like the idea of a future life or of the origin of things.”

— Henry James

248. “She hadn’t given up yet, and the broken sentence, if she was the last word, would end with a sort of meaning.”

— Henry James

249. “My idea is this, that when you only love a little you’re naturally not jealous-or are only jealous also a little, so that it doesn’t matter. But when you love in a deeper and intenser way, then you’re in the very same proportion jealous; your jealousy has intensity and, no doubt, ferocity. When however you love in the most abysmal and unutterable way of all – whey then you’re beyond everything, and nothing can pull you down.”

— Henry James

250. “The vanity of women had long memories, but she was making no claim on him of a compliment or a mistake.”

— Henry James