Is it really so difficult to tell a good action from a bad one? I think one usually knows right away or a moment afterward, in a horrid flash of regret.

The dictator is also the scapegoat; in assuming absolute authority, he assumes absolute guilt; and the oppressed masses, groaning under the yoke, know themselves to be innocent as lambs, while they pray hypocritically for deliverance.

I suppose everyone continues to be interested in the quest for the self, but what you feel when you're older, I think, is that ... you really must make the self. It is absolutely useless to look for it, you won't find it, but it's possible in some sense to make it. I don't mean in the sense of making a mask, a Yeatsian mask. But you finally begin in some sense to make and choose the self you want.

For me, in fact, the mark of the historic is the nonchalance with which it picks up an individual and deposits him in a trend, like a house playfully moved by a tornado.

The perennial wonder of Venice is to peer at herself in her canals and find that she exists-incredible as it seems. It is the same reassurance that a looking-glass offers us: the guarantee that we are real.

The furniture and trappings in the apartment are all in a state of flux - here today, gone tomorrow. Nothing is anchored to its place, not even the coffee-pot, which floats off and returns, on the tide of the signora's marine nature.

Scratch a socialist and you find a snob.