The Lover's Fatal Identity Is Precisely This:

Even Hidden In The Most Squalid Parisian Halls, Wrestling Partakes Of The Nature Of The Great Solar Spectacles, Greek Drama And Bullfights: In Both, A Light Without Shadow Generates An Emotion Without Reserve.

Other Countries Drink To Get Drunk, And This Is Accepted By Everyone; In France, Drunkenness Is A Consequence, Never An Intention. A Drink Is Felt As The Spinning Out Of A Pleasure, Not As The Necessary Cause Of An Effect Which Is Sought: Wine Is Not Only A Philtre, It Is Also The Leisurely Act Of Drinking.

A Photograph Is Always Invisible, It Is Not It That We See.

The Gesture Of The Amorous Embrace Seems To Fulfill, For A Time, The Subject's Dream Of Total Union With The Loved Being: The Longing For Consummation With The Other.

As A Language, Garbo's Singularity Was Of The Order Of The Concept, That Of Audrey Hepburn Is Of The Order Of The Substance; The Face Of Garbo Is An Idea, That Of Hepburn, An Event.