“But, then, I cannot escape the objection that there is no state of mind, however simple, which does not change every moment, since there is no consciousness without memory, and no continuation of a state without the addition, to the present feeling, of the memory of past moments. It is this which constitutes duration. Inner duration is the continuous life of a memory which prolongs the past into the present, the present either containing within it in a distinct form the ceaselessly growing image of the past, or, more profoundly, showing by its continual change of quality the heavier and still heavier load we drag behind us as we grow older. Without this survival of the past into the present there would be no duration, but only instantaneity.”

“The pure present is an ungraspable advance of the past devouring the future. In truth, all sensation is already memory.”

“Past and future exist only in our memory. The present moment though, is outside of time, it's Eternity. It isn;t what you did in the past that will affect the present. It's what you do in the present that will redeem the past and thereby change the future.”

“Human has always striven to retain the past, to keep it convincing; there's nothing wicked in that. Without it we have no continuity; we have only the moment. And, deprived of the past, the moment - the present - has little meaning, if any.”

“When it is said that an object occupies a large space in the soul or even that it fills it entirely, we ought to understand by this simply that its image has altered the shade of a thousand perceptions or memories, and that in this sense it pervades them, although it does not itself come into view.”

“Memories are peculiar...You think the past is there, all fixed and stable, but it is really chock full of surprises and endlessly susceptible to change...So maybe it is true that we are constantly rewriting our past; they are not something fixed and unchangeable for all time. There is a basic structure, of course, a canvas stretched across boards, which cannot be remodeled at will, but the surface of that canvas can be shaded, rearranged, touched up, continually worked on to correspond to the needs of the present. In fact, the present moment is largely the focal point from which you shape the direction of your future and juggle the implications of your past.”

“Might not certain vices have the same relation to character that the rigidity of a fixed idea as to intellect? Whether as a moral kink or a crooked twist given to the will, vice has often the appearance of a curvature for the soul. Doubtless there are vices into which the soul plunges deeply with all its pregnant potency, which it rejuvenates and drags along with it into a moving circle of reincarnations. Those are tragic vices. But the vice capable of making us comic is, on the contrary, that which is brought from without, like a ready-made frame into which we are to step. It lends us its own rigidity instead of borrowing from us our flexibility. We do not render it more complicated; on the contrary, it simplifies us. Here, as we shall see later in the concluding section of this study, lies the essential difference between comedy and drama. A drama, even when portraying passions or vices that bear a name, so completely incorporates them that the person is forgotten, their general characteristics effaced, and we no longer think of them at all, but rather of the person in whom they are assimilated; hence, the title of a drama can seldom be anything else than a proper noun. On the other hand, many comedies have a common noun as their title: L'Avare, Le Joueur etc.”