"Consider Separate Tables. Here, most notably, in all the goings-on concerning an unhappy army officer, the many gifts bestowed on Rattigan by providence are on parade, his humour, his integrity—above all, his compassion. There is not one character who does not speak true. There is not one sentiment expressed which is not grounded in humanity, not one line that, in any way, diminishes the dignity of man. And, as for the compassion, that most Christian of all Christian virtues, it is there in such full measure that no member of the audience, unless his heart be made of stone, will go into the street at curtain-fall, without a lift in spirit and a fuller understanding of mankind as his companion. That is Rattigan's achievement and his triumph. That, so long as theatres exist and players strut their hour upon the stage and speak the dialogue he wrote for them, is his eternal monument."

"He appeared to be a complete model of the conforming upper-class Englishman just as his works appear to be perfect specimens of the well-made play, in reality he was not in the least conforming...there was a deeply Proustian ambivalence at the heart of him."

"It's a masterpiece of understatement but then we're rather good at understatement, aren't we?"

"He was a great playwright who understood better than most the inequality of passion and the fear of emotional expression that haunts our national psyche."

"It was often assumed that Rattigan was simply a purveyor of good middlebrow entertainment... Yet his whole world is a sustained assault on English middle-class values: fear of emotional commitment, terror in the face of passion, apprehension about sex. In fact, few dramatists of this century have written with more understanding of the human heart than Terence Rattigan."

"Undoubtedly, Rattigan can capture the surface of life; many critics would add that he is all surface, that his works lack profundity. I do not think this charge of superficiality can be made to stick. What is true is that Rattigan's scope is narrow, but where he touches he goes very deep. What he does delve into he will not abandon until he has explored the very depths, and what he finds there he brings to the audience with some reticence but unalloyed honesty. He can make golly funny and pathos poignant and what some would dismiss as "a purely theatrical experience" deeply moving and quite unforgettable."

"His best works will long be studied as models of playwriting and also as mirrors of the times. Rattigan can capture the social outlook of a whole period in Cause Célèbre (or the cause célèbre of The Winslow Boy). He can plumb the depths of obsessions rampant in a sedate residential hotel near Bournemouth, a crummy North London flat, a Public School, the active lives of Alexander the Great or T. E. Lawrence or Lord Nelson, the twisted lives of a financier with a charming but weak son or a rapacious woman out to snare her fifth and richest man who falls prey (willingly, self-destructively) to an ambiguous little ballet dancer. Variations on a Theme (whose plot is the last of those situations mentioned) is closely based on Dumas fils’ La Dame aux Camélias – but it is based on a steady and shrewd observation of English life in Rattigan's own time."

"Do you know what le vice Anglais – the English vice – really is? Not flagellation, not pederasty – whatever the French believe it to be. It's our refusal to admit to our emotions. We think they demean us, I suppose."

"A novelist may lose his readers for a few pages; a playwright never dares lose his audience for a minute."

"Let us invent a character, a nice respectable, middle-class, middle-aged, maiden lady, with time on her hands and the money to help her pass it. She enjoys pictures, books, music, and the theatre and though to none of these arts (or rather, for consistency's sake, to none of these three arts and the one craft) does she bring much knowledge or discernment, at least, as she is apt to tell her cronies, she "does know what she likes". Let us call her Aunt Edna."

"When you're between any kind of devil and the deep blue sea, the deep blue sea sometimes looks very inviting."

"Kenneth: If you’re so hot, you'd better tell me how to say she has ideas above her station. Brian: Oh, yes, I forgot. It's fairly easy, old boy. Elle a des idées au-dessus de sa gare."

"That's the main trouble with the two nations: bad Brits are snobs, bad Americans are slobs."

"If London is a watercolor, New York is an oil painting."

"Tragedy obviously does not lie in a conflict of Right and Wrong, but in a collision between two different kinds of Right..."

"Rehearsing a play is making the word flesh. Publishing a play is reversing the process."

"The men climb the Andes."

"I had seen a great deal of barristers by now. I realized that their profession was closely akin to that of actors, and that insincerity was the stock-in-trade of most of them. But how could they be sincere, alternating as they did between Crown and defence, knowing the tricks of both sides? It would be as unreasonable to expect sincerity from a prostitute. Year in, year out, these men stood, now on one side, now on the other, pleading the cause of the Crown and criminal with equal vehemence. At the end of a long career at the Bar they must have become like stones, washed clean of all sympathy, all hope for humanity, all regard for truth – and it was then, by a singular stroke of irony, that they were made into judges."

"Sometimes when a man is dying, he directs that his body shall be given to doctors, so that the causes of his suffering and death may be investigated, and the knowledge used to help others. I cannot give my body yet; only my heart and my mind, trusting that by this gift I can give some hope and courage to other men like myself, and to the rest of the world some understanding."

"I have always believed that fashion was not made only to make women more beautiful, but also to reassure them, give them confidence."

"The most beautiful makeup of a woman is passion. But cosmetics are easier to buy."

"I have often said that I wish I had invented blue jeans: the most spectacular, the most practical, the most relaxed and nonchalant. They have expression, modesty, sex appeal, simplicity - all I hope for in my clothes."

"I don't really like knees."

"Mrs Thomas has promised me her typewriter, I'll take it now."

"She might be violent."

"I will see you in heaven."

"Murder... murder... Can you prove it was murder? [...] I didn't think you could prove it was murder. She was dying in any event."

"I don't know what you mean. I don't keep a record."

"That was very wrong... I have had God's forgiveness for it."

"I don't want money. What use is it?"

"Easing the passing of a dying person isn't all that wicked. She wanted to die. That can't be murder. It is impossible to accuse a doctor."

"You do realise, doctor, that you have killed her?"

"A mercenary mercy killer who was prepared to sell death."

"An anonymous poem "Adams and Eves" circulated at the time of Adams' arrest finished:"

"The person who told you that doesn't know why I did it."

"Et je m'en vais Au vent mauvais Qui m'emporte Deçà, delà, Pareil à la Feuille morte."

"La lune blanche Luit dans les bois; De chaque branche Part une voix Sous la ramée."

"Les sanglots longs Des violons De l'automne Blessent mon cœur D'une langueur Monotone."

"Verlaine, the maudit poet, but with a strong religious torment that ended up prevailing, speaking of the love for Mary: «all other loves are orders». With similar words, he wanted to underline that "free" character of Marian devotion that the Church has always safeguarded. Over 20 centuries, only a few dogmas have been proclaimed about her di lei: which among other things, we know, are at the service and shelter of her di lei Son di lei, well before her di lei. Only to these defined truths does the Catholic owe homage. Everything else, regarding Mary, is left to the free sensitivity and initiative of the believer."

"Two of the most perfect lives I have come across in my own experience are the lives of Verlaine and of Prince Kropotkin: both of them men who have passed years in prison: the first, the one Christian poet since Dante; the other, a man with a soul of that beautiful white Christ which seems coming out of Russia."

"That time, that excitement, I will always remember,/like a song without words, like a poem by Verlaine."

"Anna Margolin was greatly influenced by Baudelaire, Verlaine, and Rimbaud; among the Germans, by Else Lasker-Schüler and Rainer Maria Rilke; and among the Yiddish poets, by Itsik Manger and Avrom Sutzkever."

"Que ton vers soit la bonne aventure Éparse au vent crispé du matin Qui va fleurant la menthe et le thym… Et tout le reste est littérature."

"Prends l'éloquence et tords-lui son cou! Tu feras bien, en train d'énergie, Du rendre un peu la Rime assagie. Si l'on n’y veille, elle ira jusqu’où? Ô qui dira les torts de la Rime! Quel enfant sourd ou quel nègre fou Nous a forgé ce bijou d'un sou Qui sonne creux et faux sous la lime?"

"Pas la Couleur, rien que la nuance!"

"De la musique avant toute chose, Et pour cela préfère l'Impair Plus vague et plus soluble dans l'air Sans rien en lui qui pèse ou qui pose. Il faut aussi que tu n'ailles point Choisir tes mots sans quelque méprise: Rien de plus cher que la chanson grise Où l'Indécis au Précis se joint."

"Qu'as-tu fait, ô toi que voilà Pleurant sans cesse, Dis, qu'as-tu fait, toi que voilà De ta jeunesse?"

"C'est bien la pire peine De ne savoir pourquoi Sans amour et sans haine Mon cœur a tant de peine!"

"Il pleure dans mon cœur Comme il pleut sur la ville. Quelle est cette langueur Qui pénètre mon cœur?"

"Most of the Vogue girls are so thin, tremendously thin, because Miss Anna don't like fat people."