[Concerning the love La Fontaine felt for animals] He follows their emotions, he represents their reasonings, he becomes tender, he becomes gay, he participates in their feelings. The fact is, he lived in them. […] The animals contain all the materials of man-sensations, judgments, images.

The production of a work of art is determined by the material and intellectual climate in which a man lives and dies.

One puts in the hands of each adult a ballot, but on the back of each soldier a knapsack: with what promises of massacre and bankruptcy for the Twentieth Century, with what exasperation of ill will and distrust, with what loss of wholesome effort, by what a perversion of productive discoveries, accompanied by what an improvement in the means of destruction, by what recoil toward the inferior and unhealthy forms of the old combative societies, by what a backward step toward egoistic and brutal instincts, toward the sentiments, manner and morality of ancient cities and barbaric tribes, we know all too well.

Napoleon, far more Italian than French, Italian by race, by instinct, imagination, and souvenir, considers in his plan the future of Italy, and, on casting up the final accounts of his reign, we find that the net profit is for Italy and the net loss is for France.

The critic who attempted to carry on 's ideas, who developed them in his own way and added his own distinct and remarkable contribution, was Hippolyte Taine. As an influence on all literary output since their time, the effect of the ideas of these two men is still extraordinary ...