If a man seems to me a perfect model of a grand and noble character, and if some one comes and tells me of a mean trait which disfigures him, I am saddened by it, even though I do not know him, as by a misfortune which affects me in person; and I could almost wish that he had died before the change in his character.
Thus, when the Muse (and I give that name to art as a whole, to everything which belongs to the domain of imagination, almost in the same way as the ancients gave the name of Music to all education), when the Muse has related, in her impassioned manner, the adventures of a character whom I know to have lived; and when she reshapes his experiences into conformity with the strongest idea of vice or virtue which can be conceived of him--filling the gaps, veiling the incongruities of his life, and giving him that perfect unity of conduct which we like to see represented even in evil--if, in addition to this, she preserves the only thing essential to the instruction of the world, the spirit of the epoch, I know no reason why we should be more exacting with her than with this voice of the people which every day makes every fact undergo so great changes.
The ancients carried this liberty even into history; they wanted to see in it only the general march, and broad movements of peoples and nations; and on these great movements, brought to view in courses very distinct and very clear, they placed a few colossal figures--symbols of noble character and of lofty purpose.
One might almost reckon mathematically that, having undergone the double composition of public opinion and of the author, their history reaches us at third hand and is thus separated by two stages from the original fact.
It is because in their eyes history too was a work of art; and in consequence of not having realized that such is its real nature, the whole Christian world still lacks an historical monument like those which dominate antiquity and consecrate the memory of its destinies--as its pyramids, its obelisks, its pylons, and its porticos still dominate the earth which was known to them, and thereby commemorate the grandeur of antiquity.
If, then, we find everywhere evidence of this inclination to desert the positive, to bring the ideal even into historic annals, I believe that with greater reason we should be completely indifferent to historical reality in judging the dramatic works, whether poems, romances, or tragedies, which borrow from history celebrated characters.

Art ought never to be considered except in its relations with its ideal beauty.
Let it be said that what is true in fact is secondary merely; it is only an illusion the more with which it adorns itself--one of our prejudices which it respects.

It can do without it, for the Truth by which it must live is the truth of observation of human nature, and not authenticity of fact.

The names of the characters have nothing to do with the matter.
The idea is everything; the proper name is only the example and the proof of the idea.
So much the better for the memory of those who are chosen to represent philosophical or moral ideas; but, once again, that is not the question.
The imagination can produce just as fine things without them; it is a power wholly creative; the imaginary beings which it animates are endowed with life as truly as the real beings which it brings to life again.

We believe in Othello as we do in Richard III., whose tomb is in Westminster; in Lovelace and Clarissa as in Paul and Virginia, whose tombs are in the Isle of France.