“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.”

“The distance we set between ourselves and the events of our past life, which reduces their scale, the backlog of things we failed to notice at the time, the logic which connects them, which back then was invisible, the light shed on them by the epoch they belong to, which mankind already considers a moribund piece of history, their ultimate strangeness, which makes us look back on the person we were as though they were a different being, all these things conspire to turn our past into a dream.”

“When we compare the individuals of the same variety or sub-variety of our older cultivated plants and animals, one of the first points which strikes us is, that they generally differ more from each other than do the individuals of any one species or variety in a state of nature. And if we reflect on the vast diversity of the plants and animals which have been cultivated, and which have varied during all ages under the most different climates and treatment, we are driven to conclude that this great variability is due to our domestic productions having been raised under conditions of life not so uniform as, and somewhat different from, those to which the parent species had been exposed under nature. There is, also, some probability in the view propounded by Andrew Knight, that this variability may be partly connected with excess of food. It seems clear that organic beings must be exposed during several generations to new conditions to cause any great amount of variation; and that, when the organisation has once begun to vary, it generally continues varying for many generations. No case is on record of a variable organism ceasing to vary under cultivation. Our oldest cultivated plants, such as wheat, still yield new varieties: our oldest domesticated animals are still capable of rapid improvement or modification.”

“Why do we sacrifice so much energy to our art?Not in order to teach others but to learn with them what our existence, our organism, our personal and repeatable experience have to give us; to learn to break down the barriers which surround us and to free ourselves from the breaks which hold us back, from the lies about ourselves which we manufacture daily for ourselves and for others; to destroy the limitations caused by our ignorance or lack of courage; in short, to fill the emptiness in us: to fulfill ourselves...art is a ripening, an evolution, an uplifting which enables us to emerge from darkness into a blaze of light.”

“Thanks to art, instead of seeing one world only, our own, we see that world multiply itself and we have at our disposal as many worlds as there are original artists, worlds more different one from the other than those which revolve in infinite space, worlds which, centuries after the extinction of the fire from which their light first emanated, whether it is called Rembrandt or Vermeer, send us still each one its special radiance.”

“Forgetting that beauty and happiness are only ever incarnated in an individual person, we replace them in our minds by a conventional pattern, a sort of average of all the different faces we have ever admired, all the different pleasures we have ever enjoyed, and thus carry about with us abstract images, which are lifeless and uninspiring because they lack the very quality that something new, something different from what is familiar, always possesses, and which is the quality inseparable from real beauty and happiness. So we make our pessimistic pronouncements on life, which we think are valid, in the belief that we have taken account of beauty and happiness, whereas we have actually omitted them from consideration, substituting for them synthetic compounds that contain nothing of them.”