“The other major impression to emerge from Magick Without Tears is that -- as odd as it sounds -- one of Crowley's chief drawbacks was his sense of humour. This is a disability he shares with Bernard Shaw: both were driven by a strange compulsion to be flippant. But when he becomes absorbed in an idea, Shaw can remain serious for a sufficiently long time to convince the reader of his intellectual stature. In Crowley, the flippancy has the tone of a schoolmaster trying to be funny for the benefit of the sixth form, or a muscular Christian trying to convince you that he isn't really religious. 'How can a yogi ever feel worried?... That question I have been expecting for a very long time!' (Crowley has never learned that exclamation marks give the impression of a gushing schoolgirl.) 'And what you expect is to see my middle stump break the wicket-keeper's nose, with the balls smartly fielded by Third Man and Short Leg!' It makes us aware that there was something wrong with Crowley's 'self-image.”
He is one of those people who, no matter how hard they try, never feel quite grown up.
Source: Aleister Crowley: The Nature of the Beast (1987), p. 150
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Colin Wilson 192
author 1931–2013Related quotes

Source: Aleister Crowley: The Nature of the Beast (1987), p. 153-154

Source: Aleister Crowley: The Nature of the Beast (1987), p. 127-128

“Shaw's emotional development was one with his intellectual strength.”
Source: Bernard Shaw in Twilight (1943), II
Context: Shaw's emotional development was one with his intellectual strength. His path led him into the thick of the scrimmage, where more spontaneous natures defend themselves with the usual weapons of malice, humility, bad temper or conceit. But Shaw used the death ray of imperturbability. His feelings were never hurt, his envy never aroused, his conceit was a transparent fiction, he never quarreled.

“If a farmer calls me to a sick animal, he couldn't care less if I were George Bernard Shaw.”
Page 180.
"Anti-Copyright: Why Improvisation and Noise Run Against the Idea of Intellectual Property" (October 2008)

Source: Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch

In the The Bicycle Rider In Beverly Hills (1952) Saroyan additionally wrote of Shaw:
He was a gentle, delicate, kind, little man who had established a pose, and then lived it so steadily and effectively that the pose had become real. Like myself, his nature has been obviously a deeply troubled one in the beginning. He had been a man who had seen the futility, meaninglessness and sorrow of life but had permitted himself to thrust aside these feelings and to perform another George Bernard Shaw, which is art and proper.
Hello Out There (1941)