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.
INTERPRETER, n. One who enables two persons of different languages to understand each other by repeating to each what it would have been to the interpreter's advantage for the other to have said.
Our debt to tradition through reading and conversation is so massive, our protest so rare and insignificant-and this commonly on the ground of other reading and hearing-that in large sense, one would say there is no pure originality. All minds quote. Old and new make the warp and woof of every moment. There is no thread that is not a twist of these two strands. By necessity, by proclivity, and by delight, we all quote. It is as difficult to appropriate the thoughts of others as it is to invent.
Compliments make me vain: & when I am vain, I am insolent & overbearing. It is a pity, too, because I love compliments. I love them even when they are not so. My child, I can live on a good compliment two weeks with nothing else to eat.
The more familiar two people become, the more the language they speak together departs from that of the ordinary, dictionary-defined discourse. Familiarity creates a new language, an in-house language of intimacy that carries reference to the story the two lovers are weaving together and that cannot be readily understood by others.
Moral virtue is a mean . . . between two vices, one of excess and the other of defect; . . . it is such a mean because it aims at hitting the middle point in feelings and in actions. This is why it is a hard task to be good, for it is hard to find the middle point in anything.
There are, first of all, two kinds of authors: those who write for the subject's sake, and those who write for writing's sake. The first kind have had thoughts or experiences which seem to
them worth communicating, while the second kind need money and consequently write for money.
Gratiano speaks an infinite deal of nothing, more than any man in all Venice. His reasons are as two grains of wheat hid in two bushels of chaff: you shall seek all day ere you find them, and when you have them, they are not worth the search.