Section I, 11

All great amusements are dangerous to the Christian life; but among all those which the world has invented there is none more to be feared than the theatre. It is a representation of the passions so natural and so delicate that it excites them and gives birth to them in our hearts, and, above all, to that of love, principally when it is represented as very chaste and virtuous. For the more innocent it appears to innocent souls, the more they are likely to be touched by it. Its violence pleases our self-love, which immediately forms a desire to produce the same effects which are seen so well represented; and, at the same time, we make ourselves a conscience founded on the propriety of the feelings which we see there, by which the fear of pure souls is removed, since they imagine that it cannot hurt their purity to love with a love which seems to them so reasonable.

So we depart from the theatre with our heart so filled with all the beauty and tenderness of love, the soul and the mind so persuaded of its innocence, that we are quite ready to receive its first impressions, or rather to seek an opportunity of awakening them in the heart of another, in order that we may receive the same pleasures and the same sacrifices which we have seen so well represented in the theatre.

Section I, 12

Scaramouch,[5] who only thinks of one thing.

The doctor,[6] who speaks for a quarter of an hour after he has said everything, so full is he of the desire of talking.

Section I, 13

One likes to see the error, the passion of Cleobuline,[7] because she is unconscious of it. She would be displeasing, if she were not deceived.

Section I, 14

When a natural discourse paints a passion or an effect, one feels within oneself the truth of what one reads, which was there before, although one did not know it. Hence one is inclined to love him who makes us feel it, for he has not shown us his own riches, but ours. And thus this benefit renders him pleasing to us, besides that such community of intellect as we have with him necessarily inclines the heart to love.

Section I, 15

Eloquence, which persuades by sweetness, not by authority; as a tyrant, not as a king.