Each morning the day lies like a fresh shirt on our bed; this incomparably fine, incomparably tightly woven tissue of pure prediction fits us perfectly. The happiness of the next twenty-four hours depends on our ability, on waking, to pick it up.

By close-ups of the things around us, by focusing on hidden details of familiar objects, by exploring commonplace milieus under the ingenious guidance of the camera, the film, on the one hand, extends our comprehension of the necessities which rule our lives; on the other hand, it manages to assure us of an immense and unexpected field of action.

No poem is intended for the reader, no picture for the beholder, no symphony for the listener.

We do not always proclaim loudly the most important thing we have to say. Nor do we always privately share it with those closest to us, our intimate friends, those who have been most devotedly ready to receive our confession.

Painting, by its nature, cannot provide an object of simultaneous collective reception... as film is able to do today... And while efforts have been made to present paintings to the masses in galleries and salons, this mode of reception gives the masses no means of organizing and regulating their response. Thus, the same public which reacts progressively to a slapstick comedy inevitably displays a backward attitude toward Surrealism.

The only way of knowing a person is to love them without hope.

Man is the namer; by this we recognize that through him pure language speaks. All nature, insofar as it communicates itself, communicates itself in language, and so finally in man. Hence, he is the lord of nature and can give names to things. Only through the linguistic being of things can he get beyond himself and attain knowledge of them-in the name. God's creation is completed when things receive their names from man, from whom in name language alone speaks.