“In His discourses, His miracles, His parables, His sufferings, His resurrection, He gradually raises the pedestal of His humanity before the world, but under a cover, until the shaft reaches from the grave to the heavens, whenHe lifts the curtain, and displays the figure of a man on a throne, for the worship of the universe; and clothing His church with His own power, He authorizes it to baptize and to preach remission of sins in His own name.”

The Art of the Theatre (1925), p. 171
Context: Once the curtain is raised, the actor ceases to belong to himself. He belongs to his character, to his author, to his public. He must do the impossible to identify himself with the first, not to betray the second, and not to disappoint the third. And to this end the actor must forget his personality and throw aside his joys and sorrows. He must present the public with the reality of a being who for him is only a fiction. With his own eyes, he must shed the tears of the other. With his own voice, he must groan the anguish of the other. His own heart beats as if it would burst, for it is the other's heart that beats in his heart. And when he retires from a tragic or dramatic scene, if he has properly rendered his character, he must be panting and exhausted.

Further Extracts from the Note-Books of Samuel Butler http://books.google.pt/books?id=zltaAAAAMAAJ&q=%22A+lawyer's+dream+of+heaven:%22&dq=%22A+lawyer's+dream+of+heaven:%22&hl=pt-PT&sa=X&ei=_LPRUvmtGa_b7AbdjoCADQ&ved=0CFgQ6AEwBjgK, compiled and edited by ‎A.T. Bartholomew (1934), p. 27

The Brotherhood of the Grape (1977)

Characterizations of Existentialism (1944)

Source: Path of Life (1909), p. 108

Jeder liebt sein Land, seine Sitten, seine Sprache, sein Weib, seine Kinder, nicht weil sie die besten auf der Welt, sondern weil sie die bewährten Seinigen sind, und er in ihnen sich und seine Mühe selbst liebt.
Vol. 1, p. 13; translation vol. 1, p. 18
Ideen zur Philosophie der Geschichte der Menschheit (1784-91)