It is not real work unless you would rather be doing something else.
Quotations by:
Barrie, James
You must have been warned against letting the golden hours slip by. Yes, but some of them are golden only because we let them slip.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
“Courage,” Rectoral Address, University of St. Andrews, Scotland (1922-05-03)
(Source)
Never ascribe to an opponent motives meaner than your own.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
“Courage,” Rectoral Address, University of St. Andrews, Scotland (1922-05-03)
(Source)
Courage is the thing. All goes if courage goes.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
“Courage,” Rectoral Address, University of St. Andrews, Scotland (1922-05-03)
(Source)
God gave us our memories so that we might have roses in December.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
(Misattributed)
Barrie certainly popularized the quotation -- to the extent that everyone attributes it to him. But review his actually use of the phrase in his Rectoral Address, "Courage," at the University of St. Andrews, Scotland (1922-05-03):You have had many rectors here in St. Andrews who will continue in bloom long after the lowly ones such as I am are dead and rotten and forgotten. They are the roses in December; you remember someone said that God gave us memory so that we might have roses in December. But I do not envy the great ones. In my experience -- and you may find in the end it is yours also -- the people I have cared for most and who have seemed most worth caring for -- my December roses -- have been very simple folk.
Barrie himself credits the quotation to "someone said," and trusts that it is familiar enough that others will recognize the reference.
It appears that Barrie is paraphrasing another popular saying of the time, also generally attributed to "someone said" or "Anonymous":Memory was given to mortals that they might have roses in December.
[Source (1920), Source (1905), Source (1902), Source (1900)]
In short, Barrie originated the popular phrasing of the quotation, but the link between gift of "memory" and "roses in December" predates him (as he acknowledges).
Further discussion of this quotation's origins (and a call-back to me for my contributions): Quote Origin: God Gave Us Memory So That We Might Have Roses in December – Quote Investigator®.
Those who bring sunshine to the lives of others cannot keep it from themselves.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
A Window in Thrums, ch. 18 “Leeby and Jamie” (1890)
(Source)
We never understand how little we need in this world until we know the loss of it.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Margaret Ogilvy, ch. 8 “A Panic in the House” (1896)
(Source)
A biographical work about his mother and family. He identifies this as a favorite saying of hers.
My mother’s favourite paraphrase is one known in our house as David’s because it was the last he learned to repeat. It was also the last thing she read —
Art thou afraid his power shall fail
When comes thy evil day?
And can an all-creating arm
Grow weary or decay?I heard her voice gain strength as she read it, I saw her timid face take courage, but when came my evil day, then at the dawning, alas for me, I was afraid.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Margaret Ogilvy, ch. 10 “Art Thou Afraid His Power Shall Fail?” (1896)
(Source)
The book is a biographical work about his mother and family.
I had been gone a fortnight when the telegram was put into my hands. I had got a letter from my sister, a few hours before, saying that all was well at home. The telegram said in five words that she had died suddenly the previous night. There was no mention of my mother, and I was three days’ journey from home.
The news I got on reaching London was this: my mother did not understand that her daughter was dead, and they were waiting for me to tell her.J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Margaret Ogilvy, ch. 10 “Art Thou Afraid His Power Shall Fail?” (1896)
(Source)
The book is a biographical work about his mother and family.
“Why can’t you fly now, mother?”
“Because I am grown up, dearest. When people grow up they forget the way.”
“Why do they forget the way?”
“Because they are no longer gay and innocent and heartless. It is only the gay and innocent and heartless who can fly.”J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter & Wendy, ch. 17 (1911)
All children, except one, grow up. They soon know that they will grow up, and the way Wendy knew was this. One day when she was two years old she was playing in a garden, and she plucked another flower and ran with it to her mother. I suppose she must have looked rather delightful, for Mrs. Darling put her hand to her heart and cried, “Oh, why can’t you remain like this for ever!” This was all that passed between them on the subject, but henceforth Wendy knew that she must grow up. You always know after you are two. Two is the beginning of the end.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter and Wendy, ch. 1 “Peter Breaks Through” (1911)
(Source)
Opening words, not included in the play.
I don’t know whether you have ever seen a map of a person’s mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child’s mind, which is not only confused, but keeps going round all the time. There are zigzag lines on it, just like your temperature on a card, and these are probably roads in the island, for the Neverland is always more or less an island, with astonishing splashes of colour here and there, and coral reefs and rakish-looking craft in the offing, and savages and lonely lairs, and gnomes who are mostly tailors, and caves through which a river runs, and princes with six elder brothers, and a hut fast going to decay, and one very small old lady with a hooked nose. It would be an easy map if that were all, but there is also first day at school, religion, fathers, the round pond, needle-work, murders, hangings, verbs that take the dative, chocolate pudding day, getting into braces, say ninety-nine, threepence for pulling out your tooth yourself, and so on, and either these are part of the island or they are another map showing through, and it is all rather confusing, especially as nothing will stand still.
Of course the Neverlands vary a good deal. John’s, for instance, had a lagoon with flamingoes flying over it at which John was shooting, while Michael, who was very small, had a flamingo with lagoons flying over it. John lived in a boat turned upside down on the sands, Michael in a wigwam, Wendy in a house of leaves deftly sewn together. John had no friends, Michael had friends at night, Wendy had a pet wolf forsaken by its parents, but on the whole the Neverlands have a family resemblance, and if they stood still in a row you could say of them that they have each other’s nose, and so forth. On these magic shores children at play are for ever beaching their coracles. We too have been there; we can still hear the sound of the surf, though we shall land no more.J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter and Wendy, ch. 1 “Peter Breaks Through” (1911)
(Source)
Not included in the play.
“Second to the right, and straight on till morning.”
That, Peter had told Wendy, was the way to the Neverland; but even birds, carrying maps and consulting them at windy corners, could not have sighted it with these instructions. Peter, you see, just said anything that came into his head.
“There’s a pirate asleep in the pampas just beneath us,” Peter told him. “If you like, we’ll go down and kill him.”
“I don’t see him,” John said after a long pause.
“I do.”
“Suppose,” John said, a little huskily, “he were to wake up.”’
Peter spoke indignantly. “You don’t think I would kill him while he was sleeping! I would wake him first, and then kill him. That’s the way I always do.”J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter and Wendy, ch. 4 “The Flight” (1911)
(Source)
Not included in the 1928 published play.
Certainly they did not pretend to be sleepy, they were sleepy; and that was a danger, for the moment they popped off, down they fell. The awful thing was that Peter thought this funny.
“There he goes again!” he would cry gleefully, as Michael suddenly dropped like a stone.
“Save him, save him!” cried Wendy, looking with horror at the cruel sea far below. Eventually Peter would dive through the air, and catch Michael just before he could strike the sea, and it was lovely the way he did it; but he always waited till the last moment, and you felt it was his cleverness that interested him and not the saving of human life. Also he was fond of variety, and the sport that engrossed him one moment would suddenly cease to engage him, so there was always the possibility that the next time you fell he would let you go.
A safe but sometimes chilly way of recalling the past is to force open a crammed drawer. If you are searching for anything in particular you don’t find it, but something falls out at the back that is often more interesting.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, “To the Five: A Dedication” (1928)
(Source)
PETER: (baldly) You see, Wendy, when the first baby laughed for the first time, the laugh broke into a thousand pieces and they all went skipping about, and that was the beginning of fairies. And now when every new baby is born its first laugh becomes a fairy. So there ought to be one fairy for every boy or girl.
WENDY (breathlessly). Ought to be? Isn’t there?
PETER. Oh no. Children know such a lot now. Soon they don’t believe in fairies, and every time a child says ‘I don’t believe in fairies’ there is a fairy somewhere that falls down dead. (He skips about heartlessly.)
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 1 (1904, pub. 1928)
(Source)
In Barrie's novelization, Peter and Wendy, ch. 3 "Come Away, Come Away!" (1911), this is rendered:“You see, Wendy, when the first baby laughed for the first time, its laugh broke into a thousand pieces, and they all went skipping about, and that was the beginning of fairies.”
Tedious talk this, but being a stay-at-home she liked it.
“And so,” he went on good-naturedly, “there ought to be one fairy for every boy and girl.”
“Ought to be? Isn’t there?”
“No. You see children know such a lot now, they soon don’t believe in fairies, and every time a child says, ‘I don’t believe in fairies,’ there is a fairy somewhere that falls down dead.”
PETER: Wendy, one girl is worth more than twenty boys.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 1 (1904, pub. 1928)
(Source)
In Barrie's novelization, Peter and Wendy, ch. 3 "Come Away, Come Away!" (1911), this is rendered:"Wendy," he continued, in a voice that no woman has ever yet been able to resist, “Wendy, one girl is more use than twenty boys.”
WENDY. Where do you live?
PETER. Second to the right and then straight on till morning.
WENDY. What a funny address!
PETER. No, it isn’t.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 1 (1904, pub. 1928)
(Source)
In Barrie's novelization, Peter and Wendy, ch. 3 "Come Away, Come Away!" (1911), this is rendered:She asked where he lived.
“Second to the right,” said Peter, “and then straight on till morning.”
“What a funny address!”
Peter had a sinking feeling. For the first time he felt that perhaps it was a funny address.
“No, it isn’t,” he said.
PETER: You just think lovely wonderful thoughts and they lift you up in the air.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 1 (1904, pub. 1928)
(Source)
In Barrie's novelization, Peter and Wendy, ch. 3 "Come Away, Come Away!" (1911), Peter uses the same words.
PETER: You mustn’t touch me.
WENDY: Why?
PETER: No one must ever touch me.
WENDY: Why?
PETER: I don’t know.
(He is never touched by any one in the play.)J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 1 (1904, pub. 1928)
(Source)
These lines are not in Barrie's novelization, Peter and Wendy (1911).
(He and his shadow dance together. He is showing off now. He crows like a cock. He would fly in order to impress WENDY further if he knew that there is anything unusual in that.)
PETER: Wendy, look, look; oh the cleverness of me!
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 1 (1904, pub. 1928)
(Source)
In Barrie's 1911 novelization, Peter and Wendy, ch. 3 "Come Away, Come Away!" this is rendered:Alas, he had already forgotten that he owed his bliss to Wendy. He thought he had attached the shadow himself. “How clever I am!” he crowed rapturously, “oh, the cleverness of me!”
PETER: Because I heard father and mother talking of what I was to be when I became a man. I want always to be a little boy and to have fun; so I ran away to Kensington Gardens and lived a long time among the fairies.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 1 (1904, pub. 1928)
(Source)
In Barrie's 1911 novelization, Peter and Wendy, ch. 3 "Come Away, Come Away!" this is rendered:“It was because I heard father and mother,” he explained in a low voice, “talking about what I was to be when I became a man.” He was extraordinarily agitated now. “I don’t want ever to be a man,” he said with passion. “I want always to be a little boy and to have fun. So I ran away to Kensington Gardens and lived a long long time among the fairies.”
WENDY:I shall give you a kiss if you like.
PETER: Thank you. (He holds out his hand.)
WENDY: (aghast) Don’t you know what a kiss is?
PETER. I shall know when you give it me. (Not to hurt his feelings she gives him her thimble.)
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 1 (1904, pub. 1928)
(Source)
The original version of this scene (with the girl named Maimie, not Wendy) can be found in Barrie's earlier version of the Peter Pan tale, The Little White Bird, ch. 18 "Peter's Goat" (1902):She said out of pity for him, "I shall give you a kiss if you like," but though he once knew, he had long forgotten what kisses are, and he replied, "Thank you," and held out his hand, thinking she had offered to put something into it. This was a great shock to her, but she felt she could not explain without shaming him, so with charming delicacy she gave Peter a thimble which happened to be in her pocket, and pretended that it was a kiss.
In Barrie's 1911 novelization of the play, Peter and Wendy, ch. 3 "Come Away, Come Away!" this scene is rendered:She also said she would give him a kiss if he liked, but Peter did not know what she meant, and he held out his hand expectantly.
“Surely you know what a kiss is?” she asked, aghast.
“I shall know when you give it to me,” he replied stiffly, and not to hurt his feelings she gave him a thimble.
A verse of the dreadful song with which on the Never Land the pirates stealthily trumpet their approach —
Yo ho, yo ho, the pirate life,
The flag of skull and bones,
A merry hour, a hempen rope,
And hey for Davy Jones![…] They continue their distasteful singing as they disembark —
Avast, belay, yo ho, heave to,
A-pirating we go,
And if we’re parted by a shot
We’re sure to meet below!J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 2 (1904, pub. 1928)
Background text in the play, in two parts of the act.
In Barrie's 1911 novelization, Peter and Wendy, ch. 5 "The Island Come True," this is rendered (in two parts) with the verses reversed:We hear them before they are seen, and it is always the same dreadful song:
“Avast belay, yo ho, heave to,
A-pirating we go,
And if we’re parted by a shot
We’re sure to meet below!”
[...] You or I, not being wild things of the woods, would have heard nothing, but they heard it, and it was the grim song:
“Yo ho, yo ho, the pirate life,
The flag o’ skull and bones,
A merry hour, a hempen rope,
And hey for Davy Jones.”
Cruelest jewel in that dark setting is HOOK himself, cadaverous and blackavised, his hair dressed in long curls which look like black candles about to melt, his eyes blue as the forget-me-not and of a profound insensibility, save when he claws, at which time a red spot appears in them. He has an iron hook instead of a right hand, and it is with this he claws.
He is never more sinister than when he is most polite, and the elegance of his diction, the distinction of his demeanour, show him one of a different class from his crew, a solitary among uncultured companions. This courtliness impresses even his victims on the high seas, who note that he always says ‘Sorry’ when prodding them along the plank.
A man of indomitable courage, the only thing at which he flinches is the sight of his own blood, which is thick and of an unusual colour. At his public school they said of him that he ‘bled yellow.’ In dress he apes the dandiacal associated with Charles II., having heard it said in an earlier period of his career that he bore a strange resemblance to the ill-fated Stuarts. A holder of his own contrivance is in his mouth enabling him to smoke two cigars at once.
Those, however, who have seen him in the flesh, which is an inadequate term for his earthly tenement, agree that the grimmest part of him is his iron claw.J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 2 (1904, pub. 1928)
(Source)
Description of Captain Hook in the play script.
In Barrie's 1911 novelization, Peter and Wendy, ch. 5 "The Island Comes True," this is rendered:In the midst of them, the blackest and largest jewel in that dark setting, reclined James Hook, or as he wrote himself, Jas. Hook, of whom it is said he was the only man that the Sea-Cook feared. He lay at his ease in a rough chariot drawn and propelled by his men, and instead of a right hand he had the iron hook with which ever and anon he encouraged them to increase their pace. As dogs this terrible man treated and addressed them, and as dogs they obeyed him.
In person he was cadaverous and blackavized, and his hair was dressed in long curls, which at a little distance looked like black candles, and gave a singularly threatening expression to his handsome countenance. His eyes were of the blue of the forget-me-not, and of a profound melancholy, save when he was plunging his hook into you, at which time two red spots appeared in them and lit them up horribly.
In manner, something of the grand seigneur still clung to him, so that he even ripped you up with an air, and I have been told that he was a raconteur of repute. He was never more sinister than when he was most polite, which is probably the truest test of breeding; and the elegance of his diction, even when he was swearing, no less than the distinction of his demeanour, showed him one of a different caste from his crew.
A man of indomitable courage, it was said of him that the only thing he shied at was the sight of his own blood, which was thick and of an unusual colour. In dress he somewhat aped the attire associated with the name of Charles II., having heard it said in some earlier period of his career that he bore a strange resemblance to the ill-fated Stuarts; and in his mouth he had a holder of his own contrivance which enabled him to smoke two cigars at once.
But undoubtedly the grimmest part of him was his iron claw.
PETER: To die will be an awfully big adventure.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 3 (1904, pub. 1928)
(Source)
This was added to the play in 1905, at the end of Act 3:(The waters are lapping over the rock now, and PETER knows that it will soon be submerged. Pale rays of light mingle with the moving clouds, and from the coral grottoes is to be heard a sound, at once the most musical and the most melancholy in the Never Land, the mermaids calling to the moon to rise. PETER is afraid at last, and a tremor runs through him, like a shudder passing over the lagoon; but on the lagoon one shudder follows another till there are hundreds of them, and he feels just the one.)
PETER (with a drum beating in his breast as if he were a real boy at last): To die will be an awfully big adventure.In Barrie's novelization, Peter and Wendy, ch. 8 "The Mermaids' Lagoon" (1911), this is rendered:
The rock was very small now; soon it would be submerged. Pale rays of light tiptoed across the waters; and by and by there was to be heard a sound at once the most musical and the most melancholy in the world: the mermaids calling to the moon.
Peter was not quite like other boys; but he was afraid at last. A tremor ran through him, like a shudder passing over the sea; but on the sea one shudder follows another till there are hundreds of them, and Peter felt just the one. Next moment he was standing erect on the rock again, with that smile on his face and a drum beating within him. It was saying, “To die will be an awfully big adventure.”
Sometimes given as "To die would be an awfully great adventure," "To die will be a great adventure," or "To die would be a great adventure."
PETER: (his pipes more riotous than ever) I just want always to be a little boy and to have fun.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 4 (1904, pub. 1928)
(Source)
Peter's refusal to return to the real world with the other Lost Boys. In Barrie's novelization, Peter and Wendy, ch. 11 "Wendy's Story" (1911), the same language is used.
HOOK: (communing with his ego) How still the night is; nothing sounds alive. Now is the hour when children in their homes are a-bed; their lips bright-browned with the good-night chocolate, and their tongues drowsily searching for belated crumbs housed insecurely on their shining cheeks. Compare with them the children on this boat about to walk the plank. Split my infinitives, but ’tis my hour of triumph!
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 5 (1904, pub. 1928)
(Source)
An analogous scene, but with different internal dialogue, occurs in Barrie's novelization, Peter and Wendy, ch. 14 "The Pirate Ship" (1911).
HOOK: (with curling lip) So, Pan, this is all your doing!
PETER: Ay, Jas Hook, it is all my doing.
HOOK: Proud and insolent youth, prepare to meet thy doom.
PETER: Dark and sinister man, have at thee.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
Peter Pan, Act 5 (1904, pub. 1928)
In Barrie's novelization, Peter and Wendy, ch. 15 "Hook Or Me This Time" (1911), this is rendered:“So, Pan,” said Hook at last, “this is all your doing.”
“Ay, James Hook,” came the stern answer, “it is all my doing.”
“Proud and insolent youth,” said Hook, “prepare to meet thy doom.”
“Dark and sinister man,” Peter answered, “have at thee.”
The best of our fiction is by novelists who allow that it is as good as they can give, and the worst by novelists who maintain that they could do much better if only the public would let them.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
The Contemporary Review (1891)
The life of every man is a diary in which he means to write one story and writes another, and his humblest hour is when he compares the volume as it is with what he vowed to make it.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
The Little Minister, ch. 1 “The Love-Light” (1891)
(Source)
If it’s heaven for climate, it’s hell for company.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
The Little Minister, ch. 3 “The Night-Watchers” [Jo Cruickshanks] (1891)
(Source)
A similar quote is cited to Mark Twain at about the same time. More research into this quotation can be found here: Heaven for the Climate, and Hell for the Company – Quote Investigator®.
The useless men are those who never change with the years. Many views that I held to in my youth and long afterwards are a pain to me now, and I am carrying away from Thrums memories of errors into which I fell at every stage of my ministry. When you are older you will know that life is a long lesson in humility.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
The Little Minister, ch. 3 [Mr. Carfrae] (1891)
(Source)
There are, I dare say, many lovers who would never have been drawn to each other had they met for the first time, as, say, they met the second time.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
The Little Minister, ch. 4 “First Coming of the Egyptian Woman” (1891)
(Source)
Let no one who loves be called altogether unhappy. Even love unreturned has its rainbow.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
The Little Minister, ch. 24 “The New World, and the Woman Who May Not Dwell Therein” (1891)
(Source)
Wise children always choose a mother who was a shocking flirt in her maiden days, and so had several offers before she accepted their fortunate papa.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
The Little White Bird, ch. 22 (1902)
Shall we make a new rule of life from tonight: always to try to be a little kinder than is necessary?
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
The Little White Bird, ch. 4 (1902)
KATE: Oh, Harry, you and your sublime religion.
SIR HARRY: My religion? I never was one to talk about religion, but —
KATE. Pooh, Harry, you don’t even know what your religion was and is and will be till the day of your expensive funeral. One’s religion is whatever he is most interested in, and yours is Success.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
The Twelve-Pound Look (1910)
(Source)
SIR HARRY: Ambition — it is the last infirmity of noble minds.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
The Twelve-Pound Look (1910)
MAGGIE: Every man who is high up loves to think that he has done it all himself; and the wife smiles, and lets it go at that.
J. M. Barrie (1860-1937) Scottish novelist and dramatist [James Matthew Barrie]
What Every Woman Knows, Act 4 (1918)
(Source)