Architecture is the alphabet of giants; it is the largest set of symbols ever made to meet the eyes of men. A tower stands up like a sort of simplified stature, of much more than heroic size.

The Byzantines hammered away at their hard and orthodox symbols, because they could not be in a mood to believe that men could take a hint. The moderns drag out into lengths and reels of extravagance their new orthodoxy of being unorthodox, because they also cannot give a hint -- or take a hint. Yet all perfect and well-poised art is really a hint.

Truth, of course, must of necessity be stranger than fiction, for we have made fiction to suit ourselves.

We have had no good comic operas of late, because the real world has been more comic than any possible opera.

How can it be a large career to tell other people's children about the Rule of Three, and a small career to tell one's own children about the universe? How can it be broad to be the same thing to everyone, and narrow to be everything to someone? No; a woman's function is laborious, but because it is gigantic, not because it is minute. I will pity Mrs. Jones for the hugeness of her task; I will never pity her for its smallness.

[Consider] a fence or gate erected across a road] The more modern type of reformer goes gaily up to it and says, "I don't see the use of this; let us clear it away." To which the more intelligent type of reformer will do well to answer: "If you don't see the use of it, I certainly won't let you clear it away. Go away and think. Then, when you can come back and tell me that you do see the use of it, I may allow you to destroy it."

All but the hard hearted man must be torn with pity for this pathetic dilemma of the rich man, who has to keep the poor man just stout enough to do the work and just thin enough to have to do it.