Deceiving One's Self.—Envious men with a discriminating intuition endeavour not to become too closely acquainted with their rivals in order that they may feel themselves superior to them.
265.
There is a Time for the Theatre.—When the imagination of a people begins to diminish, there arises the desire to have its legends represented on the stage: it then tolerates the coarse substitutes for imagination. In the age of the epic rhapsodist, however, the theatre itself, and the actor dressed up as a hero, form an obstacle in the path of the imagination instead of acting as wings for it—too near, too definite, too heavy, and with too little of dreamland and the flights of birds about them.
266.
Without Charm.—He lacks charm and knows it. Ah, how skilful he is in masking this defect! He does it by a strict virtue, gloomy looks, and acquired distrust of all men, and of existence itself; by coarse jests, by contempt for a more refined manner of living, by pathos and pretensions, and by a cynical philosophy—yea, he has even developed into a character through the continual knowledge of his deficiency.
267.
Why so Proud?—A noble character is distinguished from a vulgar one by the fact that the latter has not at ready command a certain number of habits and points of view like the former: fate willed that they should not be his either by inheritance or by education.
268.
The Orator's Scylla and Charybdis.—How difficult it was in Athens to speak in such a way as to win over the hearers to one's cause without repelling them at the same time by the form in which one's speech was cast, or withdrawing their attention from the cause itself by this form! How difficult it still is to write thus in France!