“One might be tempted to extol as an advance over Sophocles the radical tendency of Euripides to produce a proper relation between art and the public. But "public," after all, is a mere word. In no sense is it a homogeneous and constant quantity. Why should the artist be bound to accommodate himself to a power whose strength lies solely in numbers? And if, by virtue of his endowments and aspirations, he should feel himself superior to every one of these spectators, how could he feel greater respect for the collective expression of all these subordinate capacities than for the relatively highest-endowed individual spectator?”

“I could not but feel that it was ironical that the old relative should have spoken disparagingly of fawns as a class, sneering at their timidity in that rather lofty and superior manner, for he himself could have walked straight into a gathering of these animals and no questions asked.”

“The more a man knows about himself in relation to every kind of experience, the greater his chance of suddenly, one fine morning, realizing who in fact he is...”

“Ultimately, the only power to which man should aspire is that which he exercises over himself.”

“He tries to remind himself that there is no reason he should feel guilty about being bound by one woman who is becoming entranced by another.”

“Suspicion is a virtue as long as its object is the public good, and as long as it stays within proper bounds. ... Guard with jealous attention the public liberty. Suspect every one who approaches that jewel.”