“the longer I live, the more necessary it seems to me to endure, to copy the whole dictation of existence to the end, for it might be that only the last sentence contains that small, perhaps inconspicuous word through which all laboriously learned and not understood orients itself toward glorious sense.”

“that Rome (if one does not yet know it) has an oppressingly sad effect for the first few days: through the lifeless and doleful museum atmosphere it exhales, through the abundance of its pasts, fetched-forth and laboriously upheld pasts (on which a small present subsists), through the immense overestimation, sustained by savants and philologists and copied by the average traveler in Italy, of all these disfigured and dilapidated things, which at bottom are after all no more than chance remains of another time and of a life that is not and must not be ours. Finally, after weeks of being daily on the defensive, one finds oneself again, if still somewhat confused, and one says to oneself: no, there is not more beauty here than elsewhere, and all these objects, continuously admired by generations and patched and mended by workmen's hands, signify nothing, are nothing, and have no heart and no value; -- but there is much beauty here, because there is much beauty everywhere.”

“Things aren't all so tangible and sayable as people would usually have us believe; most experiences are unsayable, they happen in a space that no word has ever entered, and more unsayable than all other things are works of art, those mysterious existences, whose life endures beside our own small, transitory life”

“Nothing touches a work of art so little as words of criticism: they always result in more or less fortunate misunderstandings. Things aren't all so tangible and sayable as people would usually have us believe; most experiences are unsayable, they happen in a space that no word has ever entered, and more unsay able than all other things are works of art, those mysterious existences, whose life endures beside our own small, transitory life.”

“Lovers, if Angels could understand them, might utterstrange things in the midnight air. For it seems that everything'strying to hide us. Look, the trees exist; the houseswe live in still stand where they were. We onlypass everything by like a transposition of air.And all combines to suppress us, partly as shame,perhaps, and partly as inexpressible hope.”

“Nothing could be less conducive to reaching an art-work than critical remarks:it's always simply a matter of more or less fortunate misunderstandings. Everything cannot be so easily grasped and conveyed as we are generally led to believe; most events are unconveyable and come to pass in a space that no word has ever penetrated; more unconveyable than all else are art-works, whose mysterious existences, whose lives run alongside ours, which perishes, whereas theirs endure.”

“Whom will you cry to, heart? More and more lonely,your path struggles on through incomprehensiblemankind. All the more futile perhapsfor keeping to its direction,keeping on toward the future,toward what has been lost.Once. You lamented? What was it? A fallen berryof jubilation, unripe.But now the whole tree of my jubilationis breaking, in the storm it is breaking, my slowtree of joy.Loveliest in my invisiblelandscape, you that made me more knownto the invisible angels.”