She came into a room; she stood, as he had often seen her, in a doorway with lots of people round her. But it was Clarissa one remembered. Not that she was striking; not beautiful at all; there was nothing picturesque about her; she never said anything specially clever; there she was however; there she was.
The extraordinary woman depends on the ordinary woman. It is only when we know what were the conditions of the average woman's life - the number of children, whether she had money of her own, if she had a room to herself, whether she had help bringing up her family, if she had servants, whether part of the housework was her task - it is only when we can measure the way of life and experience made possible to the ordinary woman that we can account for the success or failure of the extraordinary woman as a writer.
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.
Other people have faces; Susan and Jinny have faces; they are here. Their world is the real world. The things they lift are heavy. They say Yes, they say No; whereas I shift and change and am seen through in a second. If they meet a housemaid she looks at them without laughing. But she laughs at me. They know what to say if spoken to. They laugh really; they get angry really; while I have to look first and do what other people do when they have done it.
Men felt a chill in their hearts; a damp in their minds. In a desperate effort to snuggle their feelings into some sort of warmth,one subterfuge was tried after anothersentences swelled, adjectives multiplied, lyrics became epics.
...the problem of space remained, she thought, taking up her brush again. It glared at her. The whole mass of the picture was poised upon that weight. Beautiful and bright it should be on the surface, feathery and evanescent, one colour melting into another like the colours on a butterfly's wing; but beneath the fabric must be clamped together with bolts of iron.
The comparison between Coleridge and Johnson is obvious in so far as each held sway chiefly by the power of his tongue. The difference between their methods is so marked that it is tempting, but also unnecessary, to judge one to be inferior to the other. Johnson was robust, combative, and concrete; Coleridge was the opposite. The contrast was perhaps in his mind when he said of Johnson: "his bow-wow manner must have had a good deal to do with the effect produced.
At any rate, when a subject is highly controversial-and any question about sex is that-one cannot hope to tell the truth. One can only show how one came to hold whatever opinion one does hold.
Our apparitions, the things you know us by, are simply childish. Beneath it is all dark, it is all spreading, it is unfathomably deep; but now and again we rise to the surface and that is what you see us by.