Laziness acknowledges the relation of the present to the past but ignores its relation to the future; impatience acknowledge its relation to the future but ignores its relation to the past; neither the lazy nor the impatient man, that is, accepts the present instant in its full reality and so cannot love his neighbour completely.

Say this city has ten million souls, Some are living in mansions, some are living in holes: Yet there’s no place for us, my dear, yet there’s no place for us.

The countenances of children, like those of animals, are masks, not faces, for they have not yet developed a significant profile of their own.

One demands two things of a poem. Firstly, it must be a well-made verbal object that does honor to the language in which it is written. Secondly, it must say something significant about a reality common to us all, but perceived from a unique perspective. What the poet says has never been said before, but, once he has said it, his readers recognize its validity for themselves.

Laziness acknowledges the relation of the present to the past but ignores its relation to the future; impatience acknowledge its relation to the future but ignores its relation to the past; neither the lazy nor the impatient man, that is, accepts the present instant in its full reality and so cannot love his neighbour completely.

If music in general is an imitation of history, opera in particular is an imitation of human willfulness; it is rooted in the fact that we not only have feelings but insist upon having them at whatever cost to ourselves. The quality common to all the great operatic roles, e.g., Don Giovanni, Norma, Lucia, Tristan, Isolde, Br?nnhilde, is that each of them is a passionate and willful state of being. In real life they would all be bores, even Don Giovanni.

In a game, just losing is almost as satisfying as just winning... In life the loser's score is always zero.