The human mind, I believe, cares for the True only in the general character of an epoch.

Do you know that charming part of our country which has been called the garden of France - that spot where, amid verdant plains watered by wide streams, one inhales the purest air of heaven?

The study of social progress is today not less needed in literature than is the analysis of the human heart.

But it is the province of religion, of philosophy, of pure poetry only, to go beyond life, beyond time, into eternity.

Of what use is the memory of facts, if not to serve as an example of good or of evil?

France, for example, loves at the same time history and the drama, because the one explores the vast destinies of humanity, and the other the individual lot of man.

We live in an age of universal investigation, and of exploration of the sources of all movements.

Of what use were the arts if they were only the reproduction and the imitation of life?

What is the use of theorizing as to wherein lies the charm that moves us?

No writer, no matter how gifted, immortalizes himself unless he has crystallized into expressive and original phrase the eternal sentiments and yearnings of the human heart.

Just as we descend into our consciences to judge of actions which our minds can not weigh, can we not also search in ourselves for the feeling which gives birth to forms of thought, always vague and cloudy?

Art ought never to be considered except in its relations with its ideal beauty.

From this, without doubt, sprang the fable. Man created it thus, because it was not given him to see more than himself and nature, which surrounds him; but he created it true with a truth all its own.

I think, then, that man, after having satisfied his first longing for facts, wanted something fuller - some grouping, some adaptation to his capacity and experience, of the links of this vast chain of events which his sight could not take in.

Do you not see with your own eyes the chrysalis fact assume by degrees the wings of fiction?

One might almost reckon mathematically that, having undergone the double composition of public opinion and of the author, their history reaches us at third hand and is thus separated by two stages from the original fact.

What it values most of all is the sum total of events and the advance of civilization, which carries individuals along with it; but, indifferent to details, it cares less to have them real than noble or, rather, grand and complete.

On the day when man told the story of his life to man, history was born.

The human mind, I believe, cares for the True only in the general character of an epoch.

The acts of the human race on the world's stage have doubtless a coherent unity, but the meaning of the vast tragedy enacted will be visible only to the eye of God, until the end, which will reveal it perhaps to the last man.

Of late years (perhaps as a result of our political changes) art has borrowed from history more than ever.

We shall find in our troubled hearts, where discord reigns, two needs which seem at variance, but which merge, as I think, in a common source - the love of the true, and the love of the fabulous.

An army is a nation within a nation, it is one of the vices of courage.

We live in an age of universal investigation and of exploration of the sources of all movements.

History is a novel for which the people is the author.

In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.

I do like to embed a fictional character firmly in an occupation.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.

I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

In a lot of ways, the make-up was the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

So many people have said that to me, that what they really like about Alex is what she brings out in Marissa, and what this situation brings out in her, a hint of happiness and another side to her character.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It is not true that drink changes a man's character. It may reveal it more clearly.

Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!

I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.

If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.

Every character I play has to be the hero of his own story, the way we're all heroes of our own lives.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

Character is power; it makes friends, draws patronage and support and opens the way to wealth, honor and happiness.

You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.

I feel like I'm the most well-adjusted character on the show, even though I'm sure the other actors would tell you the same thing about their characters.

And what's interesting about him as a comic character is that the custard pie hardly ever ends up on his face.