Поль Бурже цитаты
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Поль Бурже — французский критик и романист, который с консервативных позиций католицизма и монархизма возглавил, по выражению Чехова, «претенциозный поход против материалистического направления». Наибольшим успехом во Франции и за её пределами пользовался тенденциозный роман 1889 года «Ученик». Wikipedia

✵ 2. Сентябрь 1852 – 25. Декабрь 1935 • Другие имена Paul Charles Bourget

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Поль Бурже знаменитые цитаты

„Великий яд для сердца — молчание.“

Поль Бурже

„В самых искренних признаниях женщины всегда остается место умолчанию.“

Поль Бурже

„Во всех важных происшествиях жизни продолжают действовать два основных инстинкта нашего существа: инстинкт самосохранения и инстинкт любви.“

Поль Бурже

„Верить — значит отказываться понимать.“

Поль Бурже

Источник: Большая книга афоризмов (изд. 9-е, исправленное) / составитель К. В. Душенко — М.: изд-во «Эксмо», 2008.

„Если в одном случае ревность доказывает любовь, то в другом случае она доказывает как раз противное.“

Поль Бурже

„Женщины хотя и придают большое значение дружбе, но забывают о ней, мужчины относятся к ней недоверчиво, а любовники ревниво.“

Поль Бурже

Поль Бурже: Цитаты на английском языке

“Well, you must now imagine my friend at my age or almost there. You must picture him growing gray, tired of life and convinced that he had at last discovered the secret of peace. At this time he met, while visiting some relatives in a country house, a mere girl of twenty, who was the image, the haunting image of her whom he had hoped to marry thirty years before. It was one of those strange resemblances which extend from the color of the eyes to the 'timbre' of the voice, from the smile to the thought, from the gestures to the finest feelings of the heart. I could not, in a few disjointed phrases describe to you the strange emotions of my friend. It would take pages and pages to make you understand the tenderness, both present and at the same time retrospective, for the dead through the living; the hypnotic condition of the soul which does not know where dreams and memories end and present feeling begins; the daily commingling of the most unreal thing in the world, the phantom of a lost love, with the freshest, the most actual, the most irresistibly naïve and spontaneous thing in it, a young girl. She comes, she goes, she laughs, she sings, you go about with her in the intimacy of country life, and at her side walks one long dead. After two weeks of almost careless abandon to the dangerous delights of this inward agitation imagine my friend entering by chance one morning one of the less frequented rooms of the house, a gallery, where, among other pictures, hung a portrait of himself, painted when he was twenty-five. He approaches the portrait abstractedly. There had been a fire in the room, so that a slight moisture dimmed the glass which protected the pastel, and on this glass, because of this moisture, he sees distinctly the trace of two lips which had been placed upon the eyes of the portrait, two small delicate lips, the sight of which makes his heart beat. He leaves the gallery, questions a servant, who tells him that no one but the young woman he has in mind has been in the room that morning.”

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Pierre Fauchery, as quoted by the character "Jules Labarthe"
The Age for Love

“Here was the worldly environment with which Fauchery is so often reproached. But the books and papers that littered the table bore witness that the present occupant of this charming retreat remained a substantial man of letters. His habit of constant work was still further attested by his face, which I admit, gave me all at once a feeling of remorse for the trick I was about to play him. If I had found him the snobbish pretender whom the weekly newspapers were in the habit of ridiculing, it would have been a delight to outwit his diplomacy. But no! I saw, as he put down his pen to receive me, a man about fifty-seven years old, with a face that bore the marks of reflection, eyes tired from sleeplessness, a brow heavy with thought, who said as he pointed to an easy chair, "You will excuse me, my dear confrère, for keeping you waiting."”

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I, his dear confrère! Ah! if he had known!
The Age for Love

“Look at Goethe, at Lamartine and at many others! To depict feelings on this high plane, you must give up the process of minute and insignificant observation which is the bane of the artists of to-day.”

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Pierre Fauchery, as quoted by the character "Jules Labarthe"
The Age for Love

“When a man has been the lover of a woman as that man had been hers, with the vibrating communion of a voluptuousness unbroken for two years, that woman maintains a sort of physiological, quasi-animal instinct. A gesture, the accent of a word, a sigh, a blush, a pallor, are signs for her that her intuition interprets with infallible certainty. How and why is that instinct accompanied by absolute oblivion of former caresses? It is a particular case of that insoluble and melancholy problem of the birth and death of love.”

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Источник: Cosmopolis (1892), Ch. 5 "Countess Steno"

“At certain moments, words are nothing; it is the tone in which they are uttered.”

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A de certaines minutes, les mots ne sont rien, c’est le ton qui est tout.
Источник: Cosmopolis (1892), Ch. 5 "Countess Steno"

“The forests have taught man liberty.”

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Источник: Cosmopolis (1892), Ch. 2 "The Beginning of a Drama"

“There is iconoclasm in the excessively intellectual, and they delight in destroying their dearest moral or sentimental idols, the better to prove their strength.”

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Источник: Cosmopolis (1892), Ch. 4 "Approaching Danger"

“Have the courage to analyze great emotions to create characters who shall be lofty and true. The whole art of the analytical novel lies there.”

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Pierre Fauchery, as quoted by the character "Jules Labarthe"
The Age for Love

“There is an intelligent man, who never questions his ideas," said Dorsenne to himself, when the Marquis had left him. "He is like the Socialists. What vigor of mind in that old wornout machine!”

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Источник: Cosmopolis (1892), Ch. 2 "The Beginning of a Drama"

“Even after making up one's mind to the sacrifices I had decided upon, there is always left a trace of envy for those who have triumphed in the melancholy struggle for literary supremacy.”

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The Age for Love

“The cruelest revenge of a woman is to remain faithful to a man.”

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La plus cruelle vengeance d'une femme est quelquefois de nous rester fidèle. <br class="br"> Physiologie de l'Amour Moderne http://books.google.com/books?id=5H5cAAAAMAAJ&q=%22La+plus+cruelle+vengeance+d'une+femme+est+quelquefois+de+nous+rester+fid%C3%A8le%22&pg=PA326#v=onepage (1889)

“I have retired to Nemours to work upon a novel called The Age for Love, and it is on this subject that I wished to consult you, my dear master.”

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The Age for Love

“My friend returned to the gallery, looked once more at the adorable imprint of the most innocent, the most passionate of caresses. A mirror hung near by, where he could compare his present with his former face, the man he was with the man he had been. He never told me and I never asked what his feelings were at that moment. Did he feel that he was too culpable to have inspired a passion in a young girl whom he would have been a fool, almost a criminal, to marry? Did he comprehend that through his age which was so apparent, it was his youth which this child loved? Did he remember, with a keenness that was all too sad, that other, who had never given him a kiss like that at a time when he might have returned it? I only know that he left the same day, determined never again to see one whom he could no longer love as he had loved the other, with the hope, the purity, the soul of a man of twenty.”

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Pierre Fauchery, as quoted by the character "Jules Labarthe"
The Age for Love

“You wished to be only a spectator, the gentleman in the balcony who wipes the glasses of his lorgnette in order to lose none of the comedy. Well, you could not do so. That role is not permitted a man. He must act, and he acts always, even when he thinks he is looking on, even when he washes his hands as Pontius Pilate, that dilettante, too, who uttered the words of your masters and of yourself. What is truth? Truth is that there is always and everywhere a duty to fulfil.”

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Epilogue.
Cosmopolis (1892)

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