Can a Doctor Be a Humanist? (1984). 
Context: "To which god must I sacrifice in order to heal?" To which of the warring serpents should I turn with the problem that now faces me?
It is easy, and tempting, to choose the god of Science. Now I would not for a moment have you suppose that I am one of those idiots who scorns Science, merely because it is always twisting and turning, and sometimes shedding its skin, like the serpent that is its symbol. It is a powerful god indeed but it is what the students of ancient gods called a shape-shifter, and sometimes a trickster.
                                    
Robertson Davies Quotes
                                        
                                        Alchemy in the Theatre (1994). 
Context: Great drama, drama that may reach the alchemical level, must have dimension and its relevance will take care of itself. Writing about AIDS rather than the cocktail set, or possibly the fairy kingdom, will not guarantee importance.... The old comment that all periods of time are at an equal distance from eternity says much, and pondering on it will lead to alchemical theatre while relevance becomes old hat.
                                    
                                        
                                        The Diary of Samuel Marchbanks (1947) 
Context: I don't really care how time is reckoned so long as there is some agreement about it, but I object to being told that I am saving daylight when my reason tells me that I am doing nothing of the kind. I even object to the implication that I am wasting something valuable if I stay in bed after the sun has risen. As an admirer of moonlight I resent the bossy insistence of those who want to reduce my time for enjoying it. At the back of the Daylight Saving scheme I detect the bony, blue-fingered hand of Puritanism, eager to push people into bed earlier, and get them up earlier, to make them healthy, wealthy and wise in spite of themselves.
                                    
“Happiness is a very deep and dispersed state. It's not a kind of excitement.”
                                        
                                        "Robertson Davies" [by Paul Soles] 
Conversations with Robertson Davies (1989) 
Context: Well, I haven't got wealth or fame, but I really think I might say, and I know how dangerous it is to say this — I think I have happiness. And happiness, you know, so many people when they talk about happiness, seem to think that it is a constant state of near lunacy, that you're always hopping about like a fairy in a cartoon strip, and being noisily and obstreperously happy. I don't think that is it at all. Happiness is a certain degree of calm, a certain degree of having your feet rooted firmly in the ground, of being aware that however miserable things are at the moment that they're probably not going to be so bad after awhile, or possibly they may be going very well now, but you must keep your head because they're not going to be so good later. Happiness is a very deep and dispersed state. It's not a kind of excitement.
                                    
                                        
                                        The Girl with the Swansdown Seat/Abode of Love/1848 (1956). 
Context: The Victorians have been immoderately praised, and immoderately blamed, and surely it is time we formed some reasonable picture of them? There was their courageous, intellectually adventurous side, their greedy and inhuman side, their superbly poetic side, their morally pretentious side, their tea and buttered toast side, and their champagne and Skittles side. Much like ourselves, in fact, though rather dirtier.
                                    
“God save us from reading nothing but the best.”
                                        
                                        Reading (1990) 
Context: Do not suppose, however, that I intend to urge a diet of classics on anybody. I have seen such diets at work. I have known people who have actually read all, or almost all, the guaranteed Hundred Best Books. God save us from reading nothing but the best.
                                    
                                        
                                        A Voice from the Attic (1960) 
Context: I feel that what is wrong with scores of modern novels which show literary quality, but which are repellent and depressing to the spirit is not that the writers have rejected a morality, but that they have one which is unexamined, trivial, and lopsided. They have a base concept of life; they bring immense gusto to their portrayals of what is perverse, shabby, and sordid, but they have no clear notion of what is Evil; the idea of Good is unattractive to them, and when they have to deal with it, they do so in terms of the sentimental or the merely pathetic. Briefly, some of them write very well, but they write from base minds that have been unimproved by thought or instruction. They feel, but they do not think. And the readers to whom they appeal are the products of our modern universal literacy, whose feeling is confused and muddled by just such reading, and who have been deluded that their mental processes are indeed a kind of thought.
                                    
                                
                                    “Our fate lies in your hands, to you we pray
For an indulgent hearing of our play”
                                
                                
                                
                                
                            
                                        
                                        A Prologue (1939) to Oliver Goldsmith's The Good Natur'd Man (1768). 
Context: Our fate lies in your hands, to you we pray
For an indulgent hearing of our play;
Laugh if you can, or failing that, give vent
In hissing fury to your discontent;
Applause we crave, from scorn we take defence
But have no armour 'gainst indifference.
                                    
                                
                                    “Applause we crave, from scorn we take defence
But have no armour 'gainst indifference.”
                                
                                
                                
                                
                            
                                        
                                        A Prologue (1939) to Oliver Goldsmith's The Good Natur'd Man (1768). 
Context: Our fate lies in your hands, to you we pray
For an indulgent hearing of our play;
Laugh if you can, or failing that, give vent
In hissing fury to your discontent;
Applause we crave, from scorn we take defence
But have no armour 'gainst indifference.
                                    
“It was as though she was an exile from a world that saw things her way”
Source: Fifth Business
Source: The Rebel Angels
A Voice from the Attic (1960)
A Voice from the Attic (1960)
A Voice from the Attic (1960)
                                        
                                        When Satan Goes Home For Christmas 
High Spirits: A Collection of Ghost Stories (1982)
                                    
The Table Talk of Samuel Marchbanks (1949)
“When religion abandons poetic utterance, it cuts its own throat.”
Samuel Marchbanks' Almanack (1967)
A Voice from the Attic (1960)
“Thought and reason, unless matched by feelings, are empty, delusive things.”
A Voice from the Attic (1960)
The Diary of Samuel Marchbanks (1947)
“Now, very few [physicians] are men of science in any very serious sense; they're men of technique.”
                                        
                                        "You Should Face Up to Your Death, Says Author". 
Conversations with Robertson Davies (1989)
                                    
Shakespeare over the Port (1960)
A Voice from the Attic (1960)
“Women tell men things that men are not very likely to find out for themselves.”
                                        
                                        "Robertson Davies: Beyond the Visible World". 
Conversations with Robertson Davies (1989)
                                    
The Diary of Samuel Marchbanks (1947)
Diary, during the production of Love and Libel (1960).
                                        
                                        "Aristonmetron" is an unusual formation of the Greek άριστον μέτρον (ariston metron or metron ariston: "Moderation is best"). 
Opera and Humour (1991)
                                    
Lewis Carroll in the Theatre (1994)
The Table Talk of Samuel Marchbanks (1949)
                                        
                                        Part 1, section 13. 
The Cunning Man (1994)
                                    
Shakespeare over the Port (1960)
The Table Talk of Samuel Marchbanks (1949)
A Voice from the Attic (1960)
                                        
                                        Introduction. 
The Papers of Samuel Marchbanks (1985)
                                    
Scottish Folklore and Opera (1992).
Shakespeare over the Port (1960)
The Diary of Samuel Marchbanks (1947)