Even the simple act that we call "going to visit a person of our acquaintance" is in part an intellectual act. We fill the physical appearance of the person we see with all the notions we have about him, and in the totality of our impressions about him, these notions play the most important role.

When we are in love, our love is too big a thing for us to be able altogether to contain it within ourselves. It radiates towards the loved one, finds there a surface which arrests it, forcing it to return to its starting-point, and it is this repercussion of our own feeling which we call the other's feelings and which charms us more then than on its outward journey because we do not recognise it as having originated in ourselves.

I believe that all true art is classic, but the dictates of the mind rarely permit of its being recognized as such when it first appears.

True variety is in that plenitude of real and unexpected elements, in the branch charged with blue flowers thrusting itself, against all expectations, from the springtime hedge which seems already too full, while the purely formal imitation of varietyis but void and uniformity, that is, that which is most opposed to variety.

Life is extraordinarily suave and sweet with certain natural, witty, affectionate people who have unusual distinction and are capable of every vice, but who make a display of none in public and about whom no one can affirm they have a single one. There is something supple and secret about them. Besides, their perversity gives spice to their most innocent occupations, such as taking a walk in the garden at night.

If, I can someday see M. Claude Monet's garden, I feel sure that I shall see something that is not so much a garden of flowers as of colours and tones, less an old-fashioned flower garden than a colour garden, so to speak, one that achieves an effect not entirely nature's, because it was planted so that only the flowers with matching colours will bloom at the same time, harmonized in an infinite stretch of blue or pink.

Are not the thoughts of the dying often turned towards the practical, painful, obscure, visceral aspect, towards the "seamy side" of death which is, as it happens, the side that death actually presents to them and forces them to feel, and which far more closely resembles a crushing burden, a difficulty in breathing, a destroying thirst, than the abstract idea to which we are accustomed to give the name of Death?