The mind of an artist, in order to achieve the prodigious effort of freeing whole and entire the work that is in him, must be incandescent...there must be no obstacle in it, no foreign matter unconsumed.
For this is the truth about our soul, he thought, who fish-like inhabits deep seas and plies among obscurities threading her way between the boles of giant weeds, over sun-flickered spaces and on and on into gloom, cold, deep, inscrutable; suddenly she shoots to the surface and sports on the wind-wrinkled waves; that is, has a positive need to brush, scrape, kindle herself, gossiping.
My own brain is to me the most unaccountable of machinery - always buzzing, humming, soaring roaring diving, and then buried in mud. And why? What's this passion for?
scarcely a human being in the course of history has fallen to a woman's rifle; the vast majority of birds and beasts have been killed by you, not by us. Obviously there is for you some glory, some necessity, some satisfaction in fighting which we have never felt or enjoyed.
letters are venerable; and the telephone valiant, for the journey is a lonely one, and if bound together by notes and telephones we went in company, perhaps - who knows? - we might talk by the way.
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.
You cannot lecture on really pure poetry any more than you can talk about the ingredients of pure water-it is adulterated, methylated, sanded poetry that makes the best lectures.
When, however, one reads of a witch being ducked, of a woman possessed by devils, of a wise woman selling herbs, or even a very remarkable man who had a mother, then I think we are on the track of a lost novelist, a suppressed poet. . . indeed, I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.
It was odd, she thought, how if one was alone, one leant to inanimate things; trees, streams, flowers; felt they expressed one; felt they became one; felt they knew one, in a sense were one; felt an irrational tenderness thus (she looked at that long steady light) as for oneself.
Here was a woman about the year 1800 writing without hate, without bitterness, without fear, without protest, without preaching. That was how Shakespeare wrote, I thought, looking at Antony and Cleopatra; and when people compare Shakespeare and Jane Austen, they may mean that the minds of both had consumed all impediments; and for that reason we do not know Jane Austen and we do not know Shakespeare, and for that reason Jane Austen pervades every word that she wrote, and so does Shakespeare.