Virginia Woolf, nee Stephen, fully Adeline Virginia Woolf
Words rose above the intolerably laden dumb oxen plodding through the mud. Words without meaning - wonderful words.
You cannot, it seems, let children run about the streets. People who have seen them running wild in Russia say that the sight is not a pleasant one.
To give a truthful account of London society at that or indeed at any other time, is beyond the powers of the biographer or the historian. Only those who have little need of the truth, and no respect for it — the poets and the novelists — can be trusted to do it, for this is one of the cases where the truth does not exist. Nothing exists. The whole thing is a miasma — a mirage. To make our meaning plain — Orlando could come home from one of these routs at three or four in the morning with cheeks like a Christmas tree and eyes like stars. She would untie a lace, pace the room a score of times, untie another lace, stop, and pace the room again. Often the sun would be blazing over Southwark chimneys before she could persuade herself to get into bed, and there she would lie, pitching and tossing, laughing and sighing for an hour or longer before she slept at last. And what was all this stir about? Society. And what had society said or done to throw a reasonable lady into such an excitement? In plain language, nothing. Rack her memory as she would, next day Orlando could never remember a single word to magnify into the name something. Lord O. had been gallant. Lord A. polite. The Marquis of C. charming. Mr. M. amusing. But when she tried to recollect in what their gallantry, politeness, charm, or wit had consisted, she was bound to suppose her memory at fault, for she could not name a thing. It was the same always. Nothing remained over the next day, yet the excitement of the moment was intense. Thus we are forced to conclude that society is one of those brews such as skilled housekeepers serve hot about Christmas time, whose flavour depends upon the proper mixing and stirring of a dozen different ingredients. Take one out, and it is in itself insipid. Take away Lord O., Lord A., Lord C., or Mr. M. and separately each is nothing. Stir them all together and they combine to give off the most intoxicating of flavours, the most seductive of scents. Yet this intoxication, this seductiveness, entirely evade our analysis. At one and the same time, therefore, society is everything and society is nothing. Society is the most powerful concoction in the world and society has no existence whatsoever. Such monsters the poets and the novelists alone can deal with; with such something-nothings their works are stuffed out to prodigious size; and to them with the best will in the world we are content to leave it.
To whom can I expose the urgency of my own passion?…There is nobody—here among these grey arches, and moaning pigeons, and cheerful games and tradition and emulation, all so skilfully organised to prevent feeling alone.
We all indulge in the strange, pleasant process called thinking, but when it comes to saying, even to someone opposite, what we think, then how little we are able to convey! The phantom is through the mind and out of the window before we can lay salt on its tail, or slowly sinking and returning to the profound darkness which it has lit up momentarily with a wandering light.
We were full of experiments and reforms; we were going to do without table napkins. Everything was going to be new, everything was going to be different. Everything was on trial.
‘What is it to be in love?’ she demanded, after a long silence; each word as it came into being seemed to shove itself out into an unknown sea. Hypnotized by the wings of the butterfly, and awed by the discovery of a terrible possibility in life, she sat for some time longer. When the butterfly flew away, she rose, and within, her two books beneath her arm returned again, much as a soldier prepares for battle.
When I am grown up I shall carry a notebook—a fat book with many pages, methodically lettered. I shall enter my phrases.
Who knows who we are, how we feel? Who knows, even when intimate perception if that was the knowledge? Is not that miss things once trying to express? I do not say more with silence? At least at that moment seemed an extraordinary fruitfulness. Scooped a dimple in the sand and then cover it as a sign that there buried perfection of that moment. It was like a bit of silver in the sink and illuminate your darkness past.
With her foot on the threshold she waited a moment longer in a scene which was vanishing even as she looked, and then, as she moved and took Minta's arm and left the room, it changed, it shaped itself differently; it had become, she knew, giving one last look at it over her shoulder, already the past.
Would there be trees if we didn't see them?
You can't think what a raging furnace it still is to me? Madness and doctors and being forced.
To leave a door shut that might be open is in my eyes some form of blasphemy.
To write weekly, to write daily, to write shortly, to write for busy people catching trains in the morning or for tired people coming home in the evening, is a heartbreaking task for men who know good writing from bad.
We are about to part, said Neville. Here are the boxes; here are the cabs. There is Percival in his billycock hat. He will forget me. He will leave my letters lying about among guns and dogs unaswered. I shall send him poems and he will perhaps reply with a picture post card. But it is for that that I love him. I shall propose a meeting - under a clock, by some Cross; and shall wait and he will not come. It is for that that I love him.
Well then, we went and had tea with Henry James today…and Henry James fixed me with his staring blank eye—it is like a child’s marble—and said ‘My dear Virginia, they tell me—they tell me—they tell me—that you—as indeed being your fathers daughter nay your grandfathers grandchild—the descendant I may say of a century—of a century—of quill pens and ink—ink—ink pots, yes, yes, yes, they tell me—ahm m m—that you, that you, that you write in short.’ This went on in the public street, while we all waited, as farmers wait for the hen to lay an egg—do they?—nervous, polite, and now on this foot now on that.
What is meant by “reality”? It would seem to be something very erratic, very undependable — now to be found in a dusty road, now in a scrap of newspaper in the street, now a daffodil in the sun. It lights up a group in a room and stamps some casual saying. It overwhelms one walking home beneath the stars and makes the silent world more real than the world of speech — and then there it is again in an omnibus in the uproar of Piccadilly. Sometimes, too, it seems to dwell in shapes too far away for us to discern what their nature is. But whatever it touches, it fixes and makes permanent. That is what remains over when the skin of the day has been cast into the hedge; that is what is left of past time and of our loves and hates.
When I cannot see words curling like rings of smoke round me I am in darkness—I am nothing.
Who shall blame him? Who will not secretly rejoice when the hero puts his armour off, and halts by the window and gazes at his wife and son, who, very distant at first, gradually come closer and closer, till lips and book and head are clearly before him, though still lovely and unfamiliar from the intensity of his isolation and the waste of ages and the perishing of the stars, and finally putting his pipe in his pocket and bending his magnificent head before her—who will blame him if he does homage to the beauty of the world?
With my cheek leant upon the window pane I like to fancy that I am pressing as closely as can be upon the massy wall of time, which is forever lifting and pulling and letting fresh spaces of life in upon us. May it be mine to taste the moment before it has spread itself over the rest of the world! Let me taste the newest and the freshest.
Writing is like sex. First you do it for love, then you do it for your friends, and then you do it for money.
You have been reading Byron. You have been marking the passages that seem to approve of your own character. I find marks against all those sentences which seem to express a sardonic yet passionate nature; a moth-like impetuosity dashing itself against hard glass. You thought, as you drew your pencil there, I too throw off my cloak like that. I too snap my fingers in the face of destiny. Yet Byron never made tea as you do, who fill the pot so that when you put the lid on the tea spills over. There is a brown pool on the table - it is running among your books and papers. Now you mop it up, clumsily, with your pocket-handkerchief. You then stuff your handkerchief back into your pocket - that is not Byron; that is you; that is so essentially you that if I think of you in twenty years' time, when we are both famous, gouty and intolerable, it will be by that scene: and if you are dead, I shall weep.
To let oneself be carried on passively is unthinkable.
Tom’s great yellow bronze mask all draped upon an iron framework. An inhibited, nerve-drawn; dropped face — as if hung on a scaffold of heavy private brooding; and thought.
We are cut, we are fallen. We are become part of that unfeeling universe