My very wise and politically savvy 17-year-old daughter says I get too emotional about political issues. I think she’s right. She knows that if she sees me race across a room, I have just read something about Trump. Turning ideas into feelings is the thing an essayist is supposed to do, but political punditry should probably be more detached.

I’m prone to overexplaining things –- when my own understanding of them is shaky. The better I know something, the shorter my prose.

I’ve a deplorable tendency to become entrenched in my own prejudices: If I dislike an artist, an art form, or an idea (jazz, ballet, certain kinds of fiction) it is extremely difficult to get me to change my mind, and all evidence presented to the contrary will be discarded and very likely mocked. Of course, nobody suffers but me.

Rushing to judgment. Looking for the bad in someone else before anything else.

In history I decided to begin with Gibbon. Someone had told me that my father had read Gibbon with delight; that he knew whole pages of it by heart, and that it had greatly affected his style of speech and writing. So without more ado I set out upon the eight volumes of Dean Milman's edition of Gibbon's Decline and Fall of the Roman Empire . I was immediately dominated both by the story and the style. All through the long glistening middle hours of the Indian day, from when we quitted stables till the evening shadows proclaimed the hour of Polo, I devoured Gibbon. I rode triumphantly through it from end to end and enjoyed it all.

You cannot tell from appearances how things will go. Sometimes imagination makes things out far worse than they are; yet without imagination not much can be done. Those people who are imaginative see many more dangers than perhaps exist; certainly many more than will happen; but then they must also pray to be given that extra courage to carry this far-reaching imagination.

Prisoner of War! That is the least unfortunate kind of prisoner to be, but it is nevertheless a melancholy state. You are in the power of your enemy. You owe your life to his humanity, and your daily bread to his compassion. You must obey his orders, go where he tells you, stay where you are bid, await his pleasure, possess your soul in patience. Meanwhile the war is going on, great events are in progress, fine opportunities for action and adventure are slipping away. Also the days are very long. Hours crawl like paralytic centipedes. Nothing amuses you. Reading is difficult; writing impossible. Life is one long boredom from dawn till slumber. Moreover, the whole atmosphere of prison, even the most easy and best regulated prison, is odious. Companions in this kind of misfortune quarrel about trifles and get the least possible pleasure from each other's society. If you have never been under restraint before and never known what it was to be a captive, you feel a sense of constant humiliation in being confined to a narrow space, fenced in by railings and wire, watched by armed men, and webbed about with a tangle of regulations and restrictions. I certainly hated every minute of my captivity more than I have ever hated any other period in my whole life. ... Therefore in after years, when I was Home Secretary and had all the prisons of England in my charge, I did my utmost consistent with public policy to introduce some sort of variety and indulgence into the life of their inmates, to give to educated minds books to feed on

Come on now all you young men, all over the world. You are needed more than ever now to fill the gap of a generation shorn by the War. You have not an hour to lose. You must take your places in life's fighting line. Twenty to twenty-five! These are the years! Don't be content with things as they are. 'The earth is yours and the fulness thereof'. Enter upon your inheritance, accept your responsibilities. Raise the glorious flags again, advance them upon the new enemies, who constantly gather upon the front of the human army, and have only to be assaulted to be overthrown. Don't take No for an answer. Never submit to failure.

First of all, you can correct mistakes much more easily. One sweep of the palette-knife 'lifts' the blood and tears of a morning from the canvas and enables a fresh start to be made; indeed the canvas is all the better for past impressions.

Having bought the colours, an easel, and a canvas, the next step was to begin. But what a step to take! The palette gleamed with beads of colour; fair and white rose the canvas; the empty brush hung poised, heavy with destiny, irresolute in the air. My hand seemed arrested by a silent veto.