A critic is a man who writes about things he doesn't like.

This combat between proletariat and plutocracy is, after all, itself a civil war. Two inferiorities struggle for the privilege of polluting the world.

Man is never honestly the fatalist, nor even the stoic. He fights his fate, often desperately. He is forever entering bold exceptions to the rulings of the bench of gods. This fighting, no doubt, makes for human progress, for it favors the strong and the brave. It also makes for beauty, for lesser men try to escape from a hopeless and intolerable world by creating a more lovely one of their own.

In any combat between a rogue and a fool the sympathy of mankind is always with the rogue.

The music critic, Huneber, could never quite make up his mind about a new symphony until he had seen the composer's mistress.

Civilization, in fact, grows more maudlin and hysterical; especially under democracy it tends to degenerate into a mere combat of crazes; the whole aim of practical politics is to keep the populace alarmed (and hence clamorous to be led to safety) by an endless series of hobgoblins, most of them imaginary. Wars are no longer waged by the will of superior men, capable of judging dispassionately and intelligently the causes behind them and the effects flowing out of them. The are now begun by first throwing a mob into a panic; they are ended only when it has spent its ferine fury.

The highfalutin aims of democracy, whether real or imaginary, are always assumed to be identical with its achievements. This, of course, is sheer hallucination. Not one of those aims, not even the aim of giving every adult a vote, has been realized. It has no more made men wise and free than Christianity has made them good.