“On the stage he was natural, simple, affecting, ‘Twas only when he was off, he was acting.”

Man wants but little here below, nor wants that little long.

Law grinds the poor, and rich men rule the law.

Life is a journey that must be traveled no matter how bad the roads and accommodations.

Write how you want, the critic shall show the world you could have written better.

The best way to make your audience laugh is to start laughing yourself.

I love everything that’s old, – old friends, old times, old manners, old books, old wine.

Every absurdity has a champion to defend it.

With disadvantages enough to bring him to humility, a Scotsman is one of the proudest things alive.

The company of fools may first make us smile, but in the end we always feel melancholy.

Modesty seldom resides in a breast that is not enriched with nobler virtues.

If you were to make little fishes talk, they would talk like whales.

The hours we pass with happy prospects in view are more pleasing than those crowded with fruition.

They say women and music should never be dated.

Hope is such a bait, it covers any hook.

A man who leaves home to mend himself and others is a philosopher; but he who goes from country to country, guided by the blind impulse of curiosity, is a vagabond.

Conscience is a coward, and those faults it has not strength enough to prevent it seldom has justice enough to accuse.

As we’re on the verge of a major $1 billion boost in our annual cash flows that we expect to come from three major projects Geismar, Gulfstar and the Keathley Canyon Connector all of which have reached the commissioning stage here in the fourth quarter.

A lot of my shows in the past have been more theatrical than others, but you really get the bug for it when you direct on stage.

There was once a great actor named George C. Scott. He was on stage in the Delacourt Theater in Central Park, where they do Shakespeare every summer, and he was playing Shylock in The Merchant of Venice.

The declaration of love marks the transition from chance to destiny and that’s why it is so perilous and so burdened with a kind of horrifying stage fright.

What I mean is that what composes an event is always extracted from a situation, always related back to a singular multiplicity, to its state, to the language that is connected to it, etc.

Love goes through different stages. But it endures.

I went back to the stage because it was my way of dealing with the success I had, my way of coping.

It’s very evocative; it’s like a first cut because you hear ‘She walked to the door,’ and you visualize all these things. ‘She opens the door’ . . . because you read the stage directions, too.