Beauty is a form of Genius--is higher, indeed, than Genius, as it needs no explanation. It is one of the great facts of the world, like sunlight, or springtime, or the reflection in the dark waters of that silver shell we call the moon. It cannot be questioned. It has divine right of sovereignty. It makes princes of those who have it.
Be happy, be happy; you shall have your red rose. I will build it out of music by moonlight, and stain it with my own heart's-blood. All that I ask of you in return is that you will be a true lover, for Love is wiser than Philosophy, though she is wise, and mightier than Power, though he is mighty.
For life is terribly deficient in form. Its catastrophes happen in the wrong way and to the wrong people. There is a grotesque horror about its comedies, and its tragedies seem to culminate in farce.
The Ideal Man should talk to us as if we were goddesses, and treat us as if we were children. He should refuse all our serious requests, and gratify every one of our whims. He should encourage us to have caprices, and forbid us to have missions. He should always say much more than he means, and always mean much more than he says.
What is termed Sin is an essential element of progress. Without it the world would stagnate, or grow old, or become colorless. By its curiosity Sin increases the experience of the race. Through its intensified assertion of individualism it saves us from monotony of type. In its rejection of the current notions about morality, it is one with the higher ethics.
Each little thing that we do passes into the great machine of life which may grind our virtues to powder and make them worthless, or transform our sins into elements of a new civilization, more marvelous and more splendid than any that has gone before.
The fatal errors of life are not due to man's being unreasonable: an unreasonable moment may be one's finest moment. They are due to man's being logical.
The world has become sad because a puppet was once melancholy. The nihilist, that strange martyr who has no faith, who goes to the stake without enthusiasm, and dies for what he does not believe in, is a purely literary product. He was invented by Turgenev, and completed by Dostoevsky. Robespierre came out of the pages of Rousseau as surely as the People's Palace rose out debris of a novel. Literature always anticipates life. It does not copy it, but moulds it to its purpose.