In some exquisite critical hints on "Eurythmy," Goethe remarks, "that the best composition in pictures is that which, observing the most delicate laws of harmony, so arranges the objects that they by their position tell their own story." And the rule thus applied to composition in painting applies no less to composition in literature.

The object of ambition, unlike that of love, never being wholly possessed, ambition is the more durable passion of the two.

Love is on the verge of hate each time it stoops for pardon.

Oratory, like the drama, abhors lengthiness; like the drama, it must keep doing. It avoids, as frigid, prolonged metaphysical soliloquy. Beauties themselves, if they delay or distract the effect which should be produced on the audience, become blemishes.

The more a man desirous to pass at a value above his worth can contrast, by dignified silence, the garrulity of trivial minds, the more the world will give him credit for the wealth which he does not possess.

What a mistake to suppose that the passions are strongest in youth! The passions are not stronger, but the control over them is weaker! They are more easily excited, they are more violent and apparent; but they have less energy, less durability, less intense and concentrated power than in maturer life.

Fine natures are like fine poems; a glance at the first two lines suffices for a guess into the beauty that waits you if you read on.