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

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.

Power without abuse loses its charm.

The name of Jesus, like a secret charm, awakened similar emotions in the hearts of all the converts, and called immediately into action every feeling of moral loveliness, and every desire of dutiful obedience, which constitute Christian purity.

Here is everything which can lay hold of the eye, ear and imagination - everything which can charm and bewitch the simple and ignorant. I wonder how Luther ever broke the spell.

The shows are either 11 or 22 minutes and they move pretty quickly, and that's part of the charm of them - so it was just trying to keep that in mind and keep the energy of the story moving, even though we were dealing with a longer format.

Charm, in most men and nearly all women, is a decoration.

There is no charm equal to tenderness of heart.

You know what charm is: a way of getting the answer 'yes' without having asked any clear question.

I'm not sure I can explain the nature of Jack Kennedy's charm, but he took life just as it came.

Rhyme, that enslaved queen, that supreme charm of our poetry, that creator of our meter.

Charm is a glow within a woman that casts a most becoming light on others.

You will also allow me to thank the Academy for inviting me to lecture in Stockholm, for its hospitality, and for the opportunity afforded me for admiring the charm of your people and the beauty of your country.

Thus we hope to teach mythology not as a study, but as a relaxation from study; to give our work the charm of a story-book, yet by means of it to impart a knowledge of an important branch of education.

It's a very difficult thing losing a parent, but I think there's an added complication for me, because he was so well-loved and he had this very open charm that made people feel they had a personal relationship with him.

God gave us faculties for our use; each of them will receive its proper reward. Then do not let us try to charm them to sleep, but permit them to do their work until divinely called to something higher.

Alan Ginsberg was fabulous. The man is so filled with energy. He's 65 years old and he's just loaded with energy and charm and wit and his mind is constantly racing.

The charm of history and its enigmatic lesson consist in the fact that, from age to age, nothing changes and yet everything is completely different.

An object in possession seldom retains the same charm that it had in pursuit.

The rarest of all things in American life is charm. We spend billions every year manufacturing fake charm that goes under the heading of public relations. Without it, America would be grim indeed.

I then realized that I could never be satisfied again with the mere natural charm of my voice, that I had to constantly paint when singing, melting all the colors, expressing reds and blacks that had to be less primary but bursting with subtly colored combinations.

First, there is the bare beauty of the logs themselves with their long lines and firm curves. Then there is the open charm felt of the structural features which are not hidden under plaster and ornament, but are clearly revealed, a charm felt in Japanese architecture.

Modesty: the gentle art of enhancing your charm by pretending not to be aware of it.

One mustn't look at the abyss, because there is at the bottom an inexpressible charm which attracts us.

You have a good many little gifts and virtues, but there is no need of parading them, for conceit spoils the finest genius. There is not much danger that real talent or goodness will be overlooked long, and the great charm of all power is modesty.

I want peace. I want to see if somewhere there isn't something left in life of charm and grace.