Honore de Balzac
Honore de Balzac
Honoré de Balzacbal.zak], born Honoré Balzac, 20 May 1799 – 18 August 1850) was a French novelist and playwright. The novel sequence La Comédie Humaine, which presents a panorama of post-Napoleonic French life, is generally viewed as his magnum opus...
NationalityFrench
ProfessionNovelist
Date of Birth20 May 1799
CountryFrance
love heart teeth
You cannot pluck love out of your heart as you would pull a tooth.
love art simple
Love is not only a feeling, it is also an art. A simple word, a sensitive precaution, a mere nothing reveal to a woman the sublime artist who can touch her heart without withering it.
love self-love
Love endows us with a sort of personal religion; we respect another live within ourselves.
love passion vanity
Love based upon money and vanity forms the most stubborn of passions.
love work men
Love and work have the virtues of making a man pretty indifferent to anything else.
love growing firsts
In the first woman we love, we love everything. Growing older, we love the woman only.
love mistake men
In love, what a woman mistakes for disgust is actually clearsightedness. If she does not admire a man, she scorns him.
love expression actions-speak-louder-than-words
Authentic love always assumes the mystery of modesty, even in its expression, because actions speak louder than words. Unlike a feigned love, it feels no need to set a conflagration.
love men rivals
Any man, however blase or depraved, finds his love kindled anew when he sees himself threatened by a rival.
love credit favors
A great love is a credit opened in favor of a power so consuming that the moment of bankruptcy must inevitably occur.
paris gondolas doe
Does anyone know where these gondolas of Paris come from? [Fr., Ne sait on pas ou viennent ces gondoles Parisiennes?]
life drama men
God is the poet; men are but the actors. The great dramas of earth were written in heaven.
women angel suffering
Woman has this in common with angels, that suffering beings belong especially to her.
music two kind
Music is of two kinds: one petty, poor, second-rate, never varying, its base the hundred or so phrasings which all musicians understand, a babbling which is more or less pleasant, the life that most composers live.