Quotes from Virginia Woolf

I to my friends, to my own heart, I to seek among phrases and fragments something unbroken.

It was the time between the lights when colours undergo their intensification and purples and golds burn in window-panes like the beat of an excitable heart; when for some reason the beauty of the world revealed and yet soon to perish (here I pushed into the garden, for, unwisely, the door was left open and no beadles seemed about), the beauty of the world which is so soon to perish, has two edges, one of laughter, one of anguish, cutting the heart asunder.

her soul rusted with that grievance sticking in it

Pale, with dark hair, the one who is coming is melancholy, romantic. And I am arch and fluent and capricious; for he is melancholy, he is romantic. He is here.

For I am more selves than Neville thinks. We are not as simple as our friends would have us to meet our needs. Yet love is simple.

Better is it', she thought, 'to be clothed with poverty and ignorance, which are the dark garments of the female sex; better be quit of martial ambition, the love of power, and all the other manly desires if so one can more fully enjoy the most exalted raptures known to the humane spirit, which are', she said aloud as her habit was when deeply moved, 'contemplation, solitude, love.

It is the speed, the hot, molten effect, the lava flow of sentence into sentence that I need.

Have I never understood you, Katherine? Have I been very selfish?' 'Yes ... You've asked her for sympathy, and she's not sympathetic; you've wanted her to be practical, and she's not practical.

Human relations, at least between the sexes, were carried on as relations between countries are now - with ambassadors, and treaties. The parties concerned met on the great occasion of the proposal. If this were refused, a state of war was declared.

I want to give, to be given, and solitude in which to unfold my possessions.

The past only comes back when the present runs so smoothly that it is like the sliding surface of a deep river. Then one sees through the surface to the depths. In those moments I find one of my greatest satisfactions, not that I am thinking of the past; but that it is then that I am living most fully in the present. For the present when backed by the past is a thousand times deeper...

But we have other lives, I think, I hope,' she murmured. 'We live in others, … We live in things.

Life's what you see in people's eyes; life's what they learn, and, having learnt it, never, though they seek to hide it, cease to be aware of -- what? That life's like that, it seems.

It is permissible even for a dying hero to think before he dies how men will speak of him hereafter. His fame lasts perhaps two thousand years. And what are two thousand years? (asked Mr Ramsay ironically, staring at the hedge). What, indeed, if you look from a mountain top down the long wastes of the ages? The very stone one kicks with one's boot will outlast Shakespeare.

All extremes are dangerous. It is best to keep in the middle of the road, in the common ruts, however muddy.

But love – don't we all talk a great deal of nonsense about it? What does one mean? ... It's only a story one makes up in one's mind about another person, and one knows all the time it isn't true. Of course one knows; why, one's always taking care not to destroy the illusion.

Outside the trees dragged their leaves like nets through the depths of the air; the sound of water was in the room and through the waves came the voices of birds singing.

I begin to be impatient of solitude - to feel its draperies hang sweltering, unwholesome about me.

This is my right; it is the right of every human being. I choose not the suffocating anesthetic of the suburbs, but the violent jolt of the Capital, that is my choice. The meanest patient, yes, even the very lowest is allowed some say in the matter of her own prescription. Thereby she defines her humanity. I wish, for your sake, Leonard, I could be happy in this quietness. [pause]But if it is a choice between Richmond and death, I choose death..

The work of a queasy undergraduate scratching his pimples. [on James Joyce's Ulysses ]

I am very tolerant. I am not a moralist. I have too great a sense of the shortness of life and its temptations to rule red lines. Yet I am not so indiscriminate as you think, judging me—as you judge me—from my fluency.

The success of the masterpieces seems to lie not so much in their freedom from faults — indeed we tolerate the grossest errors in them all — but in the immense persuasiveness of a mind which has completely mastered its perspective.

All looked distant and peaceful and strange. The shore seemed refined, far away, unreal. Already the little distance they had sailed had put them far from it and given it the changed look, the composed look, of something receding in which one has no longer any part.

The inner life has its soft and gentle beauty; an abstract formlessness as well as a subtle charm. I often consider myself as a figure in a foggy painting: faltering lines, insecure distances, and a merging of greys and blacks. An emotion or a mood—a mere wisp of color—is shaded off and made to spread until it becomes one with all that surrounds it.