The greatest penalty of evil-doing is to grow into the likeness of bad men, and, growing like them, to fly from the conversation of the good, and be cut off from them, and cleave to and follow after the company of the bad.
A man who is not born with the novel-writing gift has a troublesome time of it when he tries to build a novel. I know this from experience. He has no clear idea of his story; in fact he has no story. He merely has some people in his mind, and an incident or two, also a locality, and he trusts he can plunge those people into those incidents with interesting results.
The clouds were building up now for the trade wind and he looked ahead and saw a flight of wild ducks etching themselves against the sky over the water, then blurring, then etching again and he knew no man was ever alone on the sea.
I think it is absurd to give such tremendous importance to the distinctions between men and women. When I meet someone I regard that person as a human being. I do not say "This is a man; this is a woman."
Man has a tendency to try to give clear reasons to be rational, but often you can see how all those reasons are not convincing and turn out to be a big nonsense.
Wise men read very sharply all your private history in your look and gait and behavior. The whole economy of nature is bent on expression. The tell-tale body is all tongues. Men are like Geneva watches with crystal faces which expose the whole movement.
The form of government that is most suitable to the artist is no government at all. ... One might point out how the Renaissance was great, because it sought to solve no social problem, and busied itself not about such things, but suffered the individual to develop freely, beautifully, and naturally, and so had great and individual artists, and great, individual men. One might point out how Louis XIV, by creating the modern state, destroyed the individualism of the artist.