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.
Tell me", he wanted to say, "everything in the whole world" - for he had the wildest, most absurd, extravagant ideas about poets and poetry - but how to speak to a man who does not see you? who sees ogres, satyrs, perhaps the depth of the sea instead?
Disastrous would have been the result if a fire or a death had suddenly demanded something heroic of human nature, but tragedies come in the hungry hours.
Publicity in women is detestable. Anonymity runs in their blood. The desire to be veiled still possesses them. They are not even now as concerned about the health of their fame as men are, and, speaking generally, will pass a tombstone or a signpost without feeling an irresistible desire to cut their names on it.
Nothing could be slow enough, nothing lasts too long. No pleasure could equal, she thought, straightening the chairs, pushing in one book on the shelf, this having done with the triumphs of youth, lost herself in the process of living, to find it with a shock of delight, as the sun rose, as the day sank. Many a time had she gone, at Barton when they were all talking, to look at the sky; seen it between peoples shoulders at dinner; seen it in London when she could not sleep. She walked to the window.
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.
It was strange to think that all the great women of fiction were, until Jane Austen's day, not only seen by the other sex, but seen only in relation to the other sex. And how small a part of woman's life is that.
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.
For this moment, this one moment, we are together. I press you to me. Come, pain, feed on me. Bury your fangs in my flesh. Tear me asunder. I sob, I sob.
If one could be friendly with women, what a pleasure - the relationship so secret and private compared with relations with men. Why not write about it truthfully?
Without those forerunners, Jane Austen and the Brontes and George Eliot could no more have written than Shakespeare could have written without Marlowe, or Marlowe without Chaucer, or Chaucer without those forgotten poets who paved the ways and tamed the natural savagery of the tongue. For masterpieces are not single and solitary births; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice.