An absolute can only be given in an intuition, while all the rest has to do with analysis. We call intuition here the sympathy by which one is transported into the interior of an object in order to coincide with what there is unique andconsequently inexpressible in it. Analysis, on the contrary, is the operation which reduces the object to elements already known.

In laughter we always find an unavowed intention to humiliate and consequently to correct our neighbour.

To exist is to change, to change is to mature, to mature is to go on creating oneself endlessly.

There are manifold tones of mental life, or, in other words, our psychic life may be lived at different heights, now nearer to action, now further removed from it, according to the degree of our attention to life.

Knowledge, in so far as it is directed to practical matters, has only to enumerate the principal possible attitudes of the thing towards us, as well as our best possible attitude towards it. Therein lies the ordinary function of ready-made concepts, those stations with which we mark out the path of becoming. But to seek to penetrate with them into the inmost nature of things, is to apply to the mobility of the real a method created in order to give stationary points of observation on it.

When we make the cerebral state the beginning of an action, and in no sense the condition of a perception, we place the perceived images of things outside the image of our body, and thus replace perception within the things themselves.

Art has no other object than to set aside the symbols of practical utility, the generalities that are conventionally and socially accepted, everything in fact which masks reality from us, in order to set us face to face with reality itself.