The difference between farce and humour in literature is, I suppose, that farce strums louder and louder on one string, while humour varies its note, changes its key, grows and spreads and deepens until it may indeed reach tragic depths.

How extraordinary it is that one feels most guilt about the sins one is unable to commit.

Those mausoleums of inactive masculinity are places for men who prefer armchairs to women.

The present has its élan because it is always on the edge of the unknown and one misunderstands the past unless one remembers that this unknown was once part of its nature.

Well, youth is the period of assumed personalities and disguises. It is the time of the sincerely insincere.

[London] is sentimental and tolerant. The attitude to foreigners is like the attitude to dogs: Dogs are neither human nor British, but so long as you keep them under control, give them their exercise, feed them, pat them, you will find their wild emotions are amusing, and their characters interesting.

The difference between farce and humour in literature is, I suppose, that farce strums louder and louder on one string, while humour varies its note, changes its key, grows and spreads and deepens until it may indeed reach tragic depths.