no one is more trustworthy than the repentant sinner who has been found out.

the writer must resist this temptation [to quote] and do his best with his own tools. It would be most convenient for us musicians if, arrived at a given emotional crisis in our work, we could simply stick in a few bars of Brahms or Schubert. Indeed many composers have no hesitation in so doing. But I have never heard the practice defended; possibly because that hideous symbol of petty larceny, the inverted comma, cannot well be worked into a musical score.

The charms of seclusion are seldom combined with the conveniences of civilization.

I have often noticed that when Fate has a phenomenal run of ill luck in store for you, she begins by dropping a rare piece of good fortune into your lap, thereby enhancing the artistic effect of the sequel.

I can imagine nothing more tiresome than always to speak of people as if they were listening at the door.

the majority of critical, and plenty of uncritical, readers find quotations a bore.

The habit some writers indulge in of perpetual quotation is one it behooves lovers of good literature to protest against, for it is an insidious habit which in the end must cloud the stream of thought, or at least check spontaneity. If it be true that le style c'est l homme, what is likely to happen if l homme is for ever eking out his own personality with that of some other individual?