The world has become sad because a puppet was once melancholy. The nihilist, that strange martyr who has no faith, who goes to the stake without enthusiasm, and dies for what he does not believe in, is a purely literary product. He was invented by Turgenev, and completed by Dostoevsky. Robespierre came out of the pages of Rousseau as surely as the People's Palace rose out debris of a novel. Literature always anticipates life. It does not copy it, but moulds it to its purpose.
What seems to us as bitter trials are often blessings in disguise for which we are later, in the fullness of time and understanding, very grateful for!
Newspapers. . . give us the bald, sordid, disgusting facts of life. They chronicle, with degrading avidity, the sins of the second-rate, and with the conscientiousness of the illiterate give us accurate and prosaic details. . .
I don't like compliments, and I don't see why a man should think he is pleasing a woman enormously when he says to her a whole heap of things that he doesn't mean.
The only people I would care to be with now are artists and people who have suffered: those who know what beauty is, and those who know what sorrow is: nobody else interests me.
We quaff the cup of life with eager haste without draining it, instead of which it only overflows the brim - objects press around us, filling the mind with the throng of desires that wait upon them, so that we have no room for the thoughts of death.
What is termed Sin is an essential element of progress. Without it the world would stagnate, or grow old, or become colorless. By its curiosity Sin increases the experience of the race. Through its intensified assertion of individualism it saves us from monotony of type. In its rejection of the current notions about morality, it is one with the higher ethics.