I will tell you what I will do and what I will not do. I will not serve that in which I no longer believe, whether it calls itself my home, my fatherland, or my church: and I will try to express myself in some mode of life or art as freely as I can and as wholly as I can, using for my defense the only arms I allow myself to use -- silence, exile, and cunning.

I will not say nothing. I will defend my church and my religion when it is insulted and spit on.

My heart is quite calm now. I will go back.

Writing in English is the most ingenious torture ever devised for sins committed in previous lives. The English reading public explains the reason why.

His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.

I came in at half past eleven. Since then I have been sitting in an easy chair like a fool. I could do nothing. I hear nothing but your voice. I am like a fool hearing you call me 'Dear.' I offended two men today by leaving them coolly. I wanted to hear your voice, not theirs. When I am with you I leave aside my contemptuous, suspicious nature. I wish I felt your head on my shoulder.

The personality of the artist, at first a cry or a cadence or a mood and then a fluid, and lambent narrative, finally refines itself out of existence, impersonalises itself, so to speak. The aesthetic image in the dramatic form is life purified in and reprojected from the human imagination. The mystery of aesthetic like that of material creation is accomplished. The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.