I want some one to sit beside after the day's pursuit and all its anguish, after its listening, its waitings, and its suspicions. After quarreling and reconciliation I need privacy--to be alone with you, to set this hubbub in order. For I am as neat as a cat in my habits.
One wanted, she thought, dipping her brush deliberately, to be on a level with ordinary experience, to feel simply that's a chair, that's a table, and yet at the same time, It's a miracle, it's an ecstasy.
There is much to support the view that it is clothes that wear us, and not we, them; we may make them take the mould of arm or breast, but they mould our hearts, our brains, our tongues to their liking.
O why do I ever let anyone read what I write! Every time I have to go through a breakfast with a letter of criticism I swear I will write for my own praise or blame in future. It is a misery.
He looked very old. He looked, James thought, getting his head now against the Lighthouse, now against the waste of waters running away into the open, like some old stone lying on the sand; he looked as if he had become physically what was always at the back of both of their minds-that loneliness which was for both of them the truth about things.
We read Charlotte Bronte not for exquisite observation of character - her characters are vigorous and elementary; not for comedy - hers is grim and crude; not for a philosophic view of life - hers is that of a country parson's daughter; but for her poetry. Probably that is so with all writers who have, as she has, an overpowering personality, so that, as we say in real life, they have only to open the door to make themselves felt.
I can only note that the past is beautiful because one never realises an emotion at the time. It expands later, and thus we don't have complete emotions about the present, only about the past.
Memory is the seamstress, and a capricious one at that. Memory runs her needle in and out, up and down, hither and thither. We know not what comes next, or what follows after. Thus, the most ordinary movement in the world, such as sitting down at a table and pulling the inkstand towards one, may agitate a thousand odd, disconnected fragments, now bright, now dim, hanging and bobbing and dipping and flaunting, like the underlinen of a family of fourteen on a line in a gale of wind.
This is an important book, the critic assumes, because it deals with war. This is an insignificant book because it deals with the feelings of women in a drawing-room.
What is this terror? what is this ecstasy? he thought to himself. What is it that fills me with this extraordinary excitement? It is Clarissa, he said. For there she was.