“He was terrified by the sublime horror of it, for intensity of feeling, carried to this degree, is sublime. ("A Woman's Vengeance")”

“For – as everyone knows – in libertinism bad taste is a potent force. ("A Woman's Vengeance")”

“He had a reputation in society as a man with a lively wit, whose gaiety was pleasant and formidable – which all gaiety must be in a society which would despise you if, while amusing it, you did not make it tremble a little. ("A Woman's Vengeance")”

“Fools – in other words most people – imagine that it would be a wonderful achievement to be able to recover our youth; but those who know life are aware how little it would profit us. ("A Woman's Vengeance")”

“Extreme civilization robs crime of its frightful poetry, and prevents the writer from restoring it. That would be too dreadful, say those good souls who want everything to be prettified, even the horrible. In the name of philanthropy, imbecile criminologists reduce the punishment, and inept moralists the crime, and what is more they reduce the crime only in order to reduce the punishment. Yet the crimes of extreme civilization are undoubtedly more atrocious than those of extreme barbarism, by virtue of their refinement, of the corruption they imply and of their superior degree of intellectualism. ("A Woman's Vengeance")”

“If writers only dared to dare, a Suetonius or a Tacitus of the Novel could exist, for the Novel is essentially the history of manners, turned into a story and a play, as is History itself often enough. And there is no other difference than this: that the one, the Novel, cloaks its manners under the disguise of invented characters, while the other, History, provides names and addresses. Only, the Novel probes much deeper than history. It has an ideal, and History has none; it is limited by reality. The Novel also holds the stage much longer. ("A Woman's Vengeance")”

“For in Paris, whenever God puts a pretty woman there (the streets), the Devil, in reply, immediately puts a fool to keep her.”