“[from Some words about 'War and Peace']For a historian considering the achievement of a certain aim, there are heroes; for the artist treating of a man's relation to all sides of life there cannot and should not be heroes, but there should be men.[...]The historian has to deal with the results of an event, the artist with the fact of the event. An historian in describing a battle says: 'The left flank of such and such an army was advanced to attack such and such a village and drove out the enemy, but was compelled to retire; then the cavalry, which was sent to attack, overthrew...' and so on. But these words have no meaning for the artist and do not actually touch on the event itself. Either from his own experience, or from the letters, memoirs, and accounts, the artist realizes a certain event to himself, and very often (to take the example of a battle) the deductions the historian permits himself to make as to the activity of such and such armies prove to be the very opposite of the artist's deductions. The difference of the results arrived at is also to be explained by the sources from which the two draw their information. For the historian (to keep to the case of a battle) the chief source is found in the reports of the commanding officers and the commander-in-chief. The artist can draw nothing from such sources; they tell him nothing and explain nothing to him. More than that: the artist turns away from them as he finds inevitable falsehood in them. To say nothing of the fact that after any battle the two sides nearly always describe it in quite contradictory ways, in every description of a battle there is a necessary lie, resulting from the need of describing in a few words the actions of thousands of men spread over several miles, and subject to most violent moral excitement under the influence of fear, shame and death.”

“Part of the problem [with Picasso's fame] lies with the artist himself - at that point when Picasso stopped making art and began making Picassos...it is a potentially fatal side-effect of success for any artist... Would it be a parody of modernism's self-referentiality to describe this point as one where the artist stops thinking like an artist and starts [painting] like an art historian?”

“For our purpose, however, what the soldiers did or did not read is irrelevant. For, if soldiers did not learn to fight their battles from reading books, neither is it likely that military historians learned to write their books from watching battles. Battles are extremely confusing; and confronted with the need to make sense of something he does not understand, even the cleverest, indeed preeminently the cleverest man, realizing his need for a language and metaphor he does not possess, will turn to look at what someone else has already made of a similar set of events as a guide for his own pen.”

“When it is impossible to stretch the very elastic threads of historical ratiocination any farther, when actions are clearly contrary to all that humanity calls right or even just, the historians produce a saving conception of ‘greatness.’ ‘Greatness,’ it seems, excludes the standards of right and wrong. For the ‘great’ man nothing is wrong, there is no atrocity for which a ‘great’ man can be blamed.”

“Science describes the world; it doesn't explain it: it can describe the universe's formation, but it cannot explain why such an event would have occurred, how something can come from nothing.”

“Formerly (it had begun almost from childhood and kept growing till full maturity), whenever he had tried to do something that would be good for everyone, for mankind, for Russia, for the district, for the whole village, he had noticed that thinking about it was pleasant, but the doing itself was always awkward, there was no full assurance that the thing was absolutely necessary, and the doing itself, which at the start had seemed so big, kept diminishing and diminishing, dwindling to nothing; while now, after his marriage, when he began to limit himself more and more to living for himself, though he no longer experienced any joy at the thought of what he was doing, he felt certain that his work was necessary, saw that it turned out much better than before and that it was expanding more and more.”

“He felt that now over his every word, his every deed, there was a judge, a judgment, which was dearer to him than the judgments of all the people in the world. He spoke now, and along with his words he considered the impression his words would make on Natasha. He did not deliberately say what would be please her, but whatever he said, he judged himself from her point of view.”