“Such is the pure movement of nature prior to all reflection. Such is the force of natural pity, which the most depraved mores still have difficulty destroying, since everyday one sees in our theaters someone affected and weeping at the ills of some unfortunate person, and who, were he in the tyrant's place, would intensify the torments of his enemy still more; [like the bloodthirsty Sulla, so sensitive to ills he had not caused, or like Alexander of Pherae, who did not dare attend the performance of any tragedy, for fear of being seen weeping with Andromache and Priam, and yet who listened impassively to the cries of so many citizens who were killed everyday on his orders. Nature, in giving men tears, bears witness that she gave the human race the softest hearts.] Mandeville has a clear awareness that, with all their mores, men would never have been anything but monsters, if nature had not given them pity to aid their reason; but he has not seen that from this quality alone flow all the social virtues that he wants to deny in men. In fact, what are generosity, mercy, and humanity, if not pity applied to the weak, to the guilty, or to the human species in general. Benevolence and even friendship are, properly understood, the products of a constant pity fixed on a particular object; for is desiring that someone not suffer anything but desiring that he be happy?”

“When I stay in one Place, I can hardly think at all; my body had to be on the move to set my mind going." Jean-Jacques Rousseau.”

“As the literary fairy tale spread in France to every age group and every social class, it began to serve different functions, depending on the writer's interests. It represented the glory and ideology of the French aristocracy. It provided a symbolic critique, with utopian connotations, of the aristocratic hierarchy, largely within the aristocracy itself and from the female viewpoint. It introduced the norms and values of the bourgeois civilizing process as more reasonable and egalitarian than the feudal code. As a divertissement for the aristocracy and bourgeoisie, the fairy tale diverted the attention of listeners/readers from the serious sociopolitical problems of the times, compensating for the deprivations that the upper classes perceived themselves to be suffering. There was also an element of self-parody, revealing the ridiculous notions in previous fairy tales and representing another aspect of court society to itself; such parodies can be seen in Jacques Cazotte's "A Thousand and One Follies" (1746), Jean-Jacques Rousseau's "The Queen Fantasque" (1758), and Voltaire's "The White Bull" (1774). Finally, fairy tales with clear didactic and moral lessons were approved as reading matter to serve as a subtle, more pleasurable means of initiating children into the class rituals and customs that reinforced the status quo.”

“Free people, remember this maxim: we may acquire liberty, but it is never recovered if it is once lost.”

“A feeble body weakens the mind.”

“No man has any natural authority over his fellow men.”

“Money is the seed of money, and the first guinea is sometimes more difficult to acquire than the second million.”

“The world of reality has its limits the world of imagination is boundless.”

“Plant and your spouse plants with you weed and you weed alone. ”

“Base souls have no faith in great individuals.”

“What wisdom can you find that is greater than kindness?”