However, the danger in [socially unbalanced relationships] is that the subjection of the woman temporarily calms the man's jealousy but also renders it more demanding. He ends up making his mistress live like those prisoners on whom light is shone day and night in order for them to be better watched. And things always end in tragedy.

In a language known to us, we have substituted the opacity of the sounds with the transparence of the ideas. But a language we donot know is a closed place in which the one we love can deceive us, making us, locked outside and convulsed in our impotence, incapable of seeing or preventing anything.

It seems that certain transcendental realities emit rays to which the masses are sensitive. That is how, for example, when an event takes place, when at the front an army is in danger, or defeated, or victorious, the rather obscure news which the cultivated man does not quite understand, excite in the masses an emotion which surprises him and in which, once the experts have informed him of the actual military situation, he recognizes the populace's perception of that "aura" surrounding great events and visible for hundreds of kilometers.

The moments of the past do not remain still; they retain in our memory the motion which drew them towards the future, towards a future which has itself become the past, and draw us on in their train.

For what we suppose to be our love or our jealousy is never a single, continuous and indivisible passion. It is composed of an infinity of successive loves, of different jealousies, each of which is ephemeral, although by their uninterrupted multiplicity they give us the impression of continuity, the illusion of unity.

To be an artist is to fail, as no other dare to fail... failure is his world and the shrink from it desertion

The past not merely is not fugitive, it remains present.