“I had become wiser, I tried to find out what irony really is, and discovered that some ancient writer on poetry had spoken of “Ironia, which we call the drye mock.” And I cannot think of a better term for it: The drye mock. Not sarcasm, which is like vinegar, or cynicism, which is so often the voice of disappointed idealism, but a delicate casting of cool and illuminating light on life, and thus an enlargement. The ironist is not bitter, he does not seek to undercut everything that seems worthy or serious, he scorns the cheap scoring-off of the wisecracker. He stands, so to speak, somewhat at one side, observes and speaks with a moderation which is occasionally embellished with a flash of controlled exaggeration. He speaks from a certain depth, and thus he is not of the same nature as the wit, who so often speaks from the tongue and no deeper. The wit’s desire is to be funny; the ironist is only funny as a secondary achievement.”

“In later life I have been sometimes praised, sometimes mocked, for my way of pointing out the mythical elements that seem to me to underlie our apparently ordinary lives. Certainly that cast of mind had some of its origin in our pit, which had much the character of a Protestant Hell. I was probably the most entranced listener to a sermon the Reverend Andrew Bowyer preached about Gehenna, the hateful valley outside the walls of Jerusalem, where outcasts lived, and where their flickering fires, seen from the city walls, may have given rise to the idea of a hell of perpetual burning. He liked to make his hearers jump, now and then, and he said that our gravel pit was much the same sort of place as Gehenna. My elders thought this far-fetched, but I saw no reason then why hell should not have, so to speak, visible branch establishments throughout the earth, and I have visited quite a few of them since.”

“He liked to make his hearers jump, now and then, and he said that our gravel pit was much the same sort of place as Gehenna. My elders thought this far-fetched, but I saw no reason why hell should not have, so to speak, visible branch establishments throughout the earth, and I have visited quite a few of them since.”

“Who are you? Where do you fit into poetry and myth? Do you know who I think you are, Ramsay? I think you are Fifth Business. You don't know what that is? Well, in opera in a permanent company of the kind we keep up in Europe you must have a prima donna -- always a soprano, always the heroine, often a fool; and a tenor who always plays the lover to her; and then you must have a contralto, who is a rival to the soprano, or a sorceress or something; and a basso, who is the villain or the rival or whatever threatens the tenor. "So far, so good. But you cannot make a plot work without another man, and he is usually a baritone, and he is called in the profession Fifth Business, because he is the odd man out, the person who has no opposite of the other sex. And you must have Fifth Business because he is the one who knows the secret of the hero's birth, or comes to the assistance of the heroine when she thinks all is lost, or keeps the hermitess in her cell, or may even be the cause of somebody's death if that is part of the plot. The prima donna and the tenor, the contralto and the basso, get all the best music and do all the spectacular things, but you cannot manage the plot without Fifth Business! It is not spectacular, but it is a good line of work, I can tell you, and those who play it sometimes have a career that outlasts the golden voices. Are you Fifth Business? You had better find out.”

“Our appetite for destruction grew with feeding. I started gingerly, pulling some books out of a case, but soon was tearing out pages by the handfuls and throwing them around. Jerry got a knife and ripped the stuffing out of the mattresses. He threw feathers from the sofa cushions. McQuilly, driven by some dark Scottish urge, found a crowbar and reduced wooden things to splinters. And Bill was like a fury, smashing, overturning, and tearing. But I noticed he kept back some things and put them in a neat heap on the dining-room table, which he forbade us to break. They were photographs.The old people must have had a large family, and there were pictures of young people and wedding groups and what were clearly grandchildren everywhere. When at last we had done as much damage as we could, the pile on the table was a large one."Now for the finishing touch," said Bill. "And this is going to be all mine."He jumped up on the table, stripped down his trousers, and squatted over the photographs. Clearly he meant to defecate on them, but such things cannot always be commanded, and so for several minutes we stood and stared at him as he grunted and swore and strained and at last managed what he wanted, right on the family photographs.”

“I'll kill you all," yelled Bill, and swore for three or four minutes, calling us every dirty name he could think of for being so chicken-hearted. When people talk about "leadership quality" I often think of Bill Unsworth; he had it. And like many people who have it, he could make you do things you didn't want to do by a kind of cunning urgency. We were ashamed before him. Here he was, a bold adventurer, who had put himself out to include us-- lily-livered wretches-- in a daring, dangerous, highly illegal exploit, and all we could do was worry about being hurt! We plucked up our spirits and swore and shouted filthy words, and set to work to wreck the house.”

“I thought I was in love with Leola, by which I meant that if I could have found her in a quiet corner, and if I had been certain that no one would ever find out, and if I could have summoned up the courage at the right moment, I would have kissed her. But, looking back on it now, I know that I was in love with Mrs Dempster. Not as some boys are in love with grown-up women, adoring them from afar and enjoying a fantasy life in which the older woman figures in an idealized form, but in a painful and immediate fashion; I saw her every day, I did menial tasks in her house, and I was charged to watch her and keep her from doing foolish things. Furthermore, I felt myself tied to her by the certainty that I was responsible for her straying wits, the disorder of her marriage, and the frail body of the child who was her great delight in life. I had made her what she was, and in such circumstances I must hate her or love her. In a mode that was far too demanding for my age or experience, I loved her.”