In sheer genius Pascal ranks among the very greatest writers who have lived upon this earth. And his genius was not simply artistic; it displayed itself no less in his character and in the quality of his thought.

There is something dark and wintry about the atmosphere of the later Middle Ages.

In sheer genius Pascal ranks among the very greatest writers who have lived upon this earth. And his genius was not simply artistic; it displayed itself no less in his character and in the quality of his thought.

Though, with the ascendancy of Louis, the political power of the nobles finally came to an end, France remained, in the whole complexion of her social life, completely aristocratic.

English dramatic literature is, of course, dominated by Shakespeare; and it is almost inevitable that an English reader should measure the value of other poetic drama by the standards which Shakespeare has already implanted in his mind.

When Louis XIV assumed the reins of government France suddenly and wonderfully came to her maturity; it was as if the whole nation had burst into splendid flower.

In the literature of France Moliere occupies the same kind of position as Cervantes in that of Spain, Dante in that of Italy, and Shakespeare in that of England. His glory is more than national - it is universal.

With a very few exceptions, every word in the French vocabulary comes straight from the Latin.

When the French nation gradually came into existence among the ruins of the Roman civilization in Gaul, a new language was at the same time slowly evolved.

In pure literature, the writers of the eighteenth century achieved, indeed, many triumphs; but their great, their peculiar, triumphs were in the domain of thought.

Unlike the majority of the writers of his age, La Rochefoucauld was an aristocrat; and this fact gives a peculiar tone to his work.

Discretion is not the better part of biography.

During this earlier period of his activity Voltaire seems to have been trying - half unconsciously, perhaps - to discover and to express the fundamental quality of his genius.

Ignorance is the first requisite of the historian - ignorance, which simplifies and clarifies, which selects and omits, with a placid perfection unattainable by the highest art.

The history of the Victorian Age will never be written: we know too much about it.

The old interests of aristocracy - the romance of action, the exalted passions of chivalry and war - faded into the background, and their place was taken by the refined and intimate pursuits of peace and civilization.

The genius of the French language, descended from its single Latin stock, has triumphed most in the contrary direction - in simplicity, in unity, in clarity, and in restraint.

Modern as the style of Pascal's writing is, his thought is deeply impregnated with the spirit of the Middle Ages. He belonged, almost equally, to the future and to the past.

The stability and peace which seemed to be so firmly established by the brilliant monarchy of Francis I vanished with the terrible outbreak of the Wars of Religion.

Englishmen have always loved Moliere.

How far the existence of the Academy has influenced French literature, either for good or for evil, is an extremely dubious question.

But Racine's extraordinary powers as a writer become still more obvious when we consider that besides being a great poet he is also a great psychologist.

The amateur is very rare in French literature - as rare as he is common in our own.

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.

I worked on my voice for Sweet Dreams, but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.

I didn't want to be greedy. It's a mark of bad character and I always believed that pigs go the slaughterhouse.