“But genius, and even great talent, springs less from seeds of intellect and social refinement superior to those of other people than from the faculty of transforming and transposing them. To heat a liquid with an electric lamp requires not the strongest lamp possible, but one of which the current can cease to illuminate, can be diverted so as to give heat instead of light. To mount the skies it is not necessary to have the most powerful of motors, one must have a motor which, instead of continuing to run along the earth's surface, intersecting with a vertical line the horizontal line which it began by following, is capable of converting its speed into lifting power. Similarly, the men who produce works of genius are not those who live in the most delicate atmosphere, whose conversation is the most brilliant or their culture the most extensive, but those who have had the power, ceasing suddenly to live only for themselves, to transform their personality into a sort of mirror, in such a way that their life, however mediocre it may be socially and even, in a sense, intellectually, is reflected by it, genius consisting in reflecting power and not int he intrinsic quality of the scene reflected.”

“...genius, having the widest experience of the human intelligence, can best understand the ideas most directly in opposition to those which form the foundation of its own works.”

“The differences which exist between every one of our real impressions -- differences which explain why a uniform depiction of life cannot bear much resemblance to the reality -- derive probably from the following cause: the slightest word that we have said, the most insignificant action that we have performed at anyone epoch of our life was surrounded by, and colored by the reflection of things which logically had no connection with it and which later have been separated from it by our intellect which could make nothing of it for its own rational purposes, things, however, in the midst of which -- here the pink reflection of the evening upon the flower-covered wall of a country restaurant, a feeling of hunger, the desire for women, the pleasure of luxury; here the blue volutes of the morning sea and, enveloped in them, phrases of music half emerging like the shoulders of water-nymphs -- the simplest act or gesture remains immured as within a thousand vessels, each one of them filled with things of a color, a scent, a temperature that are absolutely different one from another, vessels, moreover, which being disposed over the whole range of our years, during which we have never ceased to change if only in our dreams and our thoughts, are situated at the most various moral altitudes and give us the sensation of extraordinarily diverse atmospheres.”

“This new concept of the "finest, highest achievement of art" had no sooner entered my mind than it located the imperfect enjoyment I had had at the theater, and added to it a little of what it lacked; this made such a heady mixture that I exclaimed, "What a great artiste she is!" It may be thought I was not altogether sincere. Think, however, of so many writers who, in a moment of dissatisfaction with a piece they have just written, may read a eulogy of the genius of Chateaubriand, or who may think of some other great artist whom they have dreamed of equaling, who hum to themselves a phrase of Beethoven for instance, comparing the sadness of it to the mood they have tried to capture in their prose, and are then so carried away by the perception of genius that they let it affect the way they read their own piece, no longer seeing it as they first saw it, but going so far as to hazard an act of faith in the value of it, by telling themselves "It's not bad you know!" without realizing that the sum total which determines their ultimate satisfaction includes the memory of Chateaubriand's brilliant pages, which they have assimilated to their own, but which, of course, they did not write. Think of all the men who go on believing in the love of a mistress in whom nothing is more flagrant than her infidelities; of all those torn between the hope of something beyond this life (such as the bereft widower who remembers a beloved wife, or the artist who indulges in dreams of posthumous fame, each of them looking forward to an afterlife which he knows is inconceivable) and the desire for a reassuring oblivion, when their better judgement reminds them of the faults they might otherwise have to expiate after death; or think of the travelers who are uplifted by the general beauty of a journey they have just completed, although during it their main impression, day after day, was that it was a chore--think of them before deciding whether, given the promiscuity of the ideas that lurk within us, a single one of those that affords us our greatest happiness has not begun life by parasitically attaching itself to a foreign idea with which it happened to come into contact, and by drawing from it much of the power of pleasing which it once lacked.”

“But then, even in the most significant details of our daily life, none of us can be said to constitute a material whole, which is the same for everyone, and need only be turned up like a page in an account-book or the record of a will; our social personality is a creation of the thoughts of other people. Even the simple act which we describe as “seeing someone we know” is to some extent an intellectual process. We pack the physical outline of the person we see with all the notions we have already formed about him, and in the total picture of him which we compose in our minds those notions have certainly the principal place. In the end they come to fill out so completely the curve of his cheeks, to follow so exactly the line of his nose, they blend so harmoniously in the sound of his voice as if it were no more than a transparent envelope, that each time we see the face or hear the voice it us these notions which we recognise and to which we listen.”

“And it is because they contain thus within themselves the hours of the past that human bodies have the power to hurt so terribly those who love them, because they contain the memories of so many joys and desires already effaced for them, but still cruel for the lover who contemplates and prolongs in the dimension of Time the beloved body of which he is jealous, so jealous that he may even wish for its destruction. For after death Time withdraws from the body, and the memories, so indifferent, grown so pale, are effaced in her who no longer exists, as they soon will be in the lover whom for a while they continue to torment but in whom before long they will perish, once the desire that owed their inspiration to a living body is no longer there to sustain them. Profound Albertine, whom I at once saw sleeping, and who was dead.”

“The belief that a person has a share in an unknown life to which his or her love may win us admission is, of all the prerequisites of love, the one which it values most highly and which makes it set little store by all the rest. Even those women who claim to judge a man by his looks alone, see in those looks the emanation of a special way of life. That is why they fall in love with soldiers or with firemen; the uniform makes them less particular about the face; they feel they are embracing beneath the gleaming breastplate a heart different from the rest, more gallant, more adventurous, more tender; and so it is that a young king or a crown prince may make the most gratifying conquests in the countries that he visits, and yet lack entirely that regular and classic profile which would be indispensable, I dare say, for a stockbroker.”