A comparably capacious embrace of beauty and pleasure - an embrace that somehow extends to death as well as life, to dissolution as well as creation - characterizes Montaigne's restless reflections on matter in motion, Cervantes's chronicle of his mad knight, Michelangelo's depiction of flayed skin, Leonardo's sketches of whirlpools, Caravaggio's loving attention to the dirty soles of Christ's feet.
He blushed to see other Frenchmen overcome with joy whenever they met a compatriot abroad. The would fall on each other, cluster in a raucous group, and pass whole evenings complaining about the barbarity of the locals. These were the few who actually noticed that locals did things differently. Others managed to travel so ‘covered and wrapped in a taciturn and incommunicative prudence, defending themselves from the contagion of an unknown atmosphere’ that they noticed nothing at all.
As history has repeatedly suggested, nothing is more effective for demolishing traditional legal protections than the combined claims that a crime is uniquely dangerous, and that those behind it have exceptional powers of resistance. [On witchburning in France during the 16th Century.]
Had I been placed among those nations which are said to live still in the sweet freedom of nature's first laws, I assure you I should very gladly have portrayed myself here entire and wholly naked.Thus, reader, I am myself the matter of my book; you would be unreasonable to spend your leisure on so frivolous and vain a subject.