Of the rest some we know to be dead though they walk among us; some are not yet born though they go through the forms of life; others are hundreds of years old though they call themselves thirty-six.
What is a woman? I assure you, I do not know ... I do not believe that anybody can know until she has expressed herself in all the arts and professions open to human skill.
Thus when I come to shape here at this table between my hands the story of my life and set it before you as a complete thing, I have to recall things gone far, gone deep, sunk into this life or that and become part of it; dreams, too, things surrounding me, and the inmates, those old half-articulate ghosts who keep up their hauntings by day and night... shadows of people one might have been; unborn selves.
One should be a painter. As a writer, I feel the beauty, which is almost entirely colour, very subtle, very changeable, running over my pen, as if you poured a large jug of champagne over a hairpin.
Anyone who has the temerity to write about Jane Austen is aware of [two] facts: first, that of all great writers she is the most difficult to catch in the act of greatness; second, that there are twenty-five elderly gentlemen living in the neighbourhood of London who resent any slight upon her genius as if it were an insult to the chastity of their aunts.
Rhoda comes now, having slipped in while we were not looking. She must have made a tortuous course, taking cover now behind a waiter, now behind some ornamental pillar, so as to put off as long as possible the shock of recognition, so as to be secure for one more moment to rock her petals in her basin. We wake her. We torture her. She dreads us, she despises us, yet she comes cringing to our sides because for al our cruelty there is always some name, some face which sheds a radiance, which lights up her pavements and makes it possible for her to replenish her dreams.
She felt... how life, from being made up of little separate incidents which one lived one by one, became curled and whole like a wave which bore one up with it and threw one down with it, there, with a dash on the beach.
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.
To be silent; to be alone. All the being and the doing, expansive, glittering, vocal, evaporated; and one shrunk, with a sense of solemnity, to being oneself, a wedge-shaped core of darkness, something invisible to others.
Never are voices so beautiful as on a winter's evening, when dusk almost hides the body, and they seem to issue from nothingness with a note of intimacy seldom heard by day.
And when we are writing the life of a woman, we may, it is agreed, waive our demand for action, and substitute love instead. Love, the poet has said, is a woman's whole existence.
He called her a melon, a pineapple, an olive tree, an emerald, and a fox in the snow all in the space of three seconds; he did not know whether he had heard her, tasted her, seen her, or all three together.