The best portraits are perhaps those in which there is a slight mixture of caricature; and we are not certain that the best histories are not those in which a little of the exaggeration of fictitious narrative is judiciously employed. Something is lost in accuracy; but much is gained in effect. The fainter lines are neglected; but the great characteristic features are imprinted on the mind forever.

The Saviour of mankind Himself, in whose blameless life malice could find no act to impeach, has been called in question for words spoken.

It is possible to be below flattery as well as above it. One who trusts nobody will not trust sycophants. One who does not value real glory will not value its counterfeit.

The real object of the drama is the exhibition of human character.

A perfect historian must possess an imagination sufficiently powerful to make his narrative affecting and picturesque; yet he must control it so absolutely as to content himself with the materials which he finds, and to refrain from supplying deficiencies by additions of his own. He must be a profound and ingenious reasoner; yet he must possess sufficient self-command to abstain from casting his facts in the mould of his hypothesis.

Great minds do indeed react on the society which has made them what they are; but they only pay with interest what they have received.

Propriety of thought and propriety of diction are commonly found together. Obscurity and affectation are the two greatest faults of style. Obscurity of expression generally springs from confusion of ideas; and the same wish to dazzle, at any cost, which produces affectation in the manner of a writer, is likely to produce sophistry in his reasonings.