An actress without talent, forty years old, ate a partridge for dinner, and I felt sorry for the partridge, for it occurred to me that in its life it had been more talented, more sensible, and more honest than the actress.
While you're playing cards with a regular guy or having a bite to eat with him, he seems a peaceable, good-humoured and not entirely dense person. But just begin a conversation with him about something inedible, politics or science, for instance, and he ends up in a deadend or starts in on such an obtuse and base philosophy that you can only wave your hand and leave.
These people have learned not from books, but in the fields, in the wood, on the river bank. Their teachers have been the birds themselves, when they sang to them, the sun when it left a glow of crimson behind it at setting, the very trees, and wild herbs.
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.
The past,' he thought, 'is linked with the present by an unbroken chain of events flowing one out of another.' And it seemed to him that he had just seen both ends of that chain; that when he touched one end the other quivered.
Instructing in cures, therapists always recommend that "each case be individualized." If this advice is followed, one becomes persuaded that those means recommended in textbooks as the best, means perfectly appropriate for the template case, turn out to be completely unsuitable in individual cases.
Why are we worn out? Why do we, who start out so passionate, brave, noble, believing, become totally bankrupt by the age of thirty or thirty-five? Why is it that one is extinguished by consumption, another puts a bullet in his head, a third seeks oblivion in vodka, cards, a fourth, in order to stifle fear and anguish, cynically tramples underfoot the portrait of his pure, beautiful youth? Why is it that, once fallen, we do not try to rise, and, having lost one thing, we do not seek another? Why?