My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying . . . one must ruthlessly suppress everything that is not concerned with the subject. If, in the first chapter, you say there is a gun hanging on the wall, you should make quite sure that it is going to be used further on in the story.
Art, especially the stage, is an area where it is impossible to walk without stumbling. There are in store for you many unsuccessful days and whole unsuccessful seasons: there will be great misunderstandings and deep disappointments… you must be prepared for all this, expect it and nevertheless, stubbornly, fanatically follow your own way.
Do you see that tree? It is dead but it still sways in the wind with the others. I think it would be like that with me. That if I died I would still be part of life in one way or another.
I agree that one can't dispense with the reins and the whip altogether, for knaves find their way even into literature, but no thinking will discover a better police for literature than the critics and the author's own conscience.
Love is a great thing. It is not by chance that in all times and practically among all cultured peoples love in the general senseand the love of a man for his wife are both called love. If love is often cruel or destructive, the reasons lie not in love itself, but in the inequality between people.
A naive man is nothing better than a fool. But you women contrive to be naive in such a way that in you it seems sweet, and gentle, and proper, and not as silly as it really is.
My business is to be talented, that is, to be capable of selecting the important moments from the trivial ones. . . . It's about time for writers - particularly those who are genuine artists - to recognize that in this world you cannot figure out everything. Just have a writer who the crowds trust be courageous enough and declare that he does not understand everything, and that alone will represent a major contribution to the way people think, a long leap forward.
I will begin with what in my opinion is your lack of restraint. You are like a spectator in a theatre who expresses his enthusiasm so unrestrainedly that he prevents himself and others from hearing. That lack of restraint is particularly noticeable in the descriptions of nature with which you interrupt dialogues; when one reads them, these descriptions, one wishes they were more compact, shorter, say two or three lines.
An artist must only judge of what he understands, his field is just as limited as that of any other specialist... That in his sphere there are no questions, but only answers, can only be maintained by those who have never written and have had no experience of thinking in images.