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There is an infinite difference between a Robespierre who occurs only once in history and a Robespierre who eternally returns, chopping off French heads.
We can never know what to want, because, living only one life, we can neither compare it with our previous lives nor perfect it in our lives to come.
We live everything as it comes, without warning, like an actor going on cold. And what can life be worth if the first rehearsal for life is life itself? That is why life is always like a sketch. No, “sketch” is not quite the word, because a sketch is an outline of something, the groundwork for a picture, whereas the sketch that is our life is a sketch for nothing, an outline with no picture.
It would be senseless for the author to try to convince the reader that his characters once actually lived. They were not born of a mother’s womb; they were born of a stimulating phrase or two or from a basic situation.
Tereza knew what happens during the moment love is born: the woman cannot resist the voice calling forth her terrified soul; the man cannot resist the woman whose soul thus responds to his voice. Tomas had no defense against the lure of love, and Tereza feared for him every minute of every hour.
The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them all and equally horrified by them.
Mankind’s true moral test, its fundamental test (which lies deeply buried from view), consists of its attitude towards those who are at its mercy: animals.
Her feeling was rather that, given the nature of the human couple, the love of man and woman is a priori inferior to that which can exist (at least in the best instances) in the love between man and dog, that oddity of human history probably unplanned by the Creator.
Human time does not turn in a circle; it runs ahead in a straight line. That is why man cannot be happy: happiness is the longing for repetition. Yes, happiness is the longing for repetition, Tereza said to herself.