Once you fall, Septimus repeated to himself, human nature is on you. Holmes and Bradshaw are on you. They scour the desert. They fly screaming into the wilderness. The rack and the thumbscrew are applied. Human nature is remorseless.
I worship you, but I loathe marriage. I hate its smugness, its safety, its compromise and the thought of you interfering with my work, hindering me; what would you answer?
As a creator of character his peculiarity is that he creates wherever his eyes rest ... With such a power at his command Dickens made his books blaze up, not by tightening the plot or sharpening the wit, but by throwing another handful of people upon the fire.
For now she need not think of anybody. She could be herself, by herself. And that was what now she often felt the need of - to think; well not even to think. To be silent; to be alone.
...solitary like a pool at evening, far distant, seen from a train window, vanishing so quickly that the pool, pale in the evening, is scarcely robbed of its solitude, though once seen. *** Here sitting on the world, she thought, for she could not shake herself free from the sense that everything this morning was happening for the first time, perhaps for the last time, as a traveller, even though he is half asleep, knows, looking out of the train window, that he must look now, for he will never see that town, or that mule-cart, or that woman at work in the fields, again.
The thing about Proust is his combination of the utmost sensibility with the utmost tenacity. He searches out these butterfly shades to the last grain. He is as tough as catgut and as evanescent as a butterfly's bloom.
What has praise and fame to do with poetry? Was not writing poetry a secret transaction, a voice answering a voice? So that all this chatter and praise, and blame and meeting people who admired one and meeting people who did not admire one was as ill suited as could be to the thing itself- a voice answering a voice.
Does housekeeping interest you at all? I think it really ought to be just as good as writing and I never see where the separation between the too comes in. At least if you must put books on one side and life on the other, each is a poor and bloodless thing; but my theory is that they mix indistinguishable.
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.