For me, in fact, the mark of the historic is the nonchalance with which it picks up an individual and deposits him in a trend, like a house playfully moved by a tornado.
Like Michelangelo and Cellini, Florentines of every station are absorbed in acquiring real estate: a little apartment that can be rented to foreigners; a farm that will supply the owner with oil, wine, fruit, and flowers for the house.
The return to a favorite novel is generally tied up with changes in oneself that must be counted as improvements, but have the feel of losses. It is like going back to a favorite house, country, person; nothing is where it belongs, including one's heart.
The labor of keeping house is labor in its most naked state, for labor is toil that never finishes, toil that has to be begun again the moment it is completed, toil that is destroyed and consumed by the life process
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