“Whatever may be the defects of Gibbon's history, none can deny him a proud precision and a style in marching order.”

Source: Essai de semantique, 1897, p. 112 ; as cited in: Schaff (1962:16).

1900s, A Free Man's Worship (1903)

Death in the Clouds (1935)

Source: Orlando: A Biography (1928), Ch. 3
Context: We may take advantage of this pause in the narrative to make certain statements. Orlando had become a woman — there is no denying it. But in every other respect, Orlando remained precisely as he had been. The change of sex, though it altered their future, did nothing whatever to alter their identity. Their faces remained, as their portraits prove, practically the same. His memory — but in future we must, for convention's sake, say 'her' for 'his,' and 'she' for 'he' — her memory then, went back through all the events of her past life without encountering any obstacle. Some slight haziness there may have been, as if a few dark drops had fallen into the clear pool of memory; certain things had become a little dimmed; but that was all. The change seemed to have been accomplished painlessly and completely and in such a way that Orlando herself showed no surprise at it. Many people, taking this into account, and holding that such a change of sex is against nature, have been at great pains to prove (1) that Orlando had always been a woman, (2) that Orlando is at this moment a man. Let biologists and psychologists determine. It is enough for us to state the simple fact; Orlando was a man till the age of thirty; when he became a woman and has remained so ever since.

Source: Simone Weil : An Anthology (1986), The Great Beast (1947), p. 123

X magazine (1959-62)
Context: The Art of painting is itself an intensely personal activity. It may be labouring the obvious to say so but it is too little recognised in art journalism now that a picture is a unique and private event in the life of the painter: an object made alone with a man and a blank canvas... A real painting is something which happens to the painter once in a given minute; it is unique in that it will never happen again and in this sense is an impossible object. It is judged by the painter simply as a success or failure without qualification. And it is something which happens in life not in art: a picture which was merely the product of art would not be very interesting and could tell us nothing we were not already aware of. The old saying, “what you don’t know can’t hurt you”, expresses the opposite idea to that which animates the painter before his canvas. It is precisely what he does not know which may destroy him.

Source: Reading Architectural History (2002), Ch. 3 : On classical ground : Histories of style

Letter http://teachingamericanhistory.org/library/index.asp?document=296 to Gilbert du Motier, marquis de Lafayette (1 February 1784)
1780s
Context: I am become a private citizen on the banks of the Potomac, and under the shadow of my own Vine and my own Fig-tree, free from the bustle of a camp and the busy scenes of public life, I am solacing myself with those tranquil enjoyments, of which the Soldier who is ever in pursuit of fame, the Statesman whose watchful days and sleepless nights are spent in devising schemes to promote the welfare of his own, perhaps the ruin of other countries, as if this globe was insufficient for us all, and the Courtier who is always watching the countenance of his Prince, in hopes of catching a gracious smile, can have very little conception. I am not only retired from all public employments, but I am retiring within myself; and shall be able to view the solitary walk, and tread the paths of private life with heartfelt satisfaction. Envious of none, I am determined to be pleased with all; and this my dear friend, being the order for my march, I will move gently down the stream of life, until I sleep with my Fathers.

Meles speaking to American intellectuals about Ethiopia and its history, as quoted in Harold G. Marcus, "A Breakfast Meeting with Prime Minister Meles", Michigan State University. 20 October, 1995.