Women born in the 19th century

"Whatever an author puts between the two covers of his book is public property; whatever of himself he does not put there is his private property, as much as if he had never written a word."

"Every person is responsible for only the good within his abilities, and for no more, and no one can tell whose sphere is the largest."

"The total depravity of inanimate things."

"God is sitting here, looking into my very soul to see if I think right thoughts. Yet I am not afraid, for I try to be right and good; and He knows every one of my struggles."

"Friday I tasted life. It was a vast morsel. A circus passed the house — still I feel the red in my mind though the drums are out. [...] The lawn is full of south and the odors tangle, and I hear to-day for the first the river in the tree."

"My friends are my "estate." Forgive me then the avarice to hoard them."

"I had no portrait, now, but am small, like the Wren, and my Hair is bold, like the Chestnut Bur — and my eyes, like the Sherry in the Glass, that the Guest leaves — Would this do just as well?"

"If I read a book [and] it makes my whole body so cold no fire can ever warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only ways I know it. Is there any other way?"

"To live is so startling, it leaves but little room for other occupations."

"We turn not older with years, but newer every day."

"No approximate words in a poem."

"A Grave – is a restricted Breadth – Yet ampler than the Sun – And all the Seas He populates And lands he looks uponTo Him who on its small Repose Bestows a single Friend – Circumference without Relief – Or Estimate – or End –"

"A death-blow is a life-blow to some Who, till they died, did not alive become; Who, had they lived, had died, but when They died, vitality begun."

"A little Madness in the Spring Is wholesome even for the King."

"A solemn thing - it was - I said - A Woman - white - to be - And wear - if God should count me fit - Her blameless mystery -"

"After great pain, a formal feeling comes - The Nerves sit ceremonious, like Tombs - The stiff Heart questions 'was it He, that bore,' And 'Yesterday, or Centuries before'?"

"This is the Hour of Lead - Remembered, if outlived, As Freezing persons, recollect the Snow - First - Chill - then Stupor - then the letting go -"

"Because I could not stop for Death – He kindly stopped for me – The Carriage held but just Ourselves – And Immortality.We slowly drove – He knew no haste And I had put away My labor and my leisure too, For His Civility –"

"We passed the School, where Children strove At Recess – in the Ring –"

"Since then – 'tis Centuries – and yet Feels shorter than the Day I first surmised the Horses' Heads Were toward Eternity –"

"Bless God, he went as soldiers, His musket on his breast; Grant, God, he charge the bravest Of all the martial blest.Please God, might I behold him In epauletted white, I should not fear the foe then, I should not fear the fight."

"Could Hope inspect her Basis Her Craft were done – Has a fictitious Charter Or it has none –Balked in the vastest instance But to renew – Felled but by one assassin – Prosperity –"

"Dreams – are well – but Waking's better, If One wake at Morn – If One wake at Midnight – better – Dreaming – of the Dawn –"

"Drowning is not so pitiful As the attempt to rise. Three times, 'tis said, a sinking man Comes up to face the skies, And then declines forever To that abhorred abodeWhere hope and he part company,— For he is grasped of God. The Maker’s cordial visage, However good to see, Is shunned, we must admit it, Like an adversity."

"What fortitude the Soul contains, That it can so endure The accent of a coming Foot - The opening of a Door -"

""Faith" is a fine invention When Gentlemen can see – But Microscopes are prudent In an Emergency."

"Fame is a fickle food Upon a shifting plate, Whose table once a Guest, but not The second time, is set. Whose crumbs the crows inspect, And with ironic caw Flap past it to the Farmer’s corn; Men eat of it and die."

"Fate slew him, but he did not drop; She felled—he did not fall— Impaled him on her fiercest stakes— He neutralized them all.She stung him, sapped his firm advance, But, when her worst was done, And he, unmoved, regarded her, Acknowledged him a man."

"Glee! the great storm is over! Four have recovered the land; Forty gone down together Into the boiling sand.Ring, for the scant salvation! Toll, for the bonnie souls,— Neighbor and friend and bridegroom, Spinning upon the shoals!How they will tell the shipwreck When winter shakes the door, Till the children ask, "But the forty? Did they come back no more?"Then a silence suffuses the story, And a softness the teller's eye; And the children no further question, And only the waves reply."

"Heart, we will forget him! You and I, to-night! You may forget the warmth he gave, I will forget the light.When you have done, pray tell me, That I my thoughts may dim; Haste! lest while you're lagging, I may remember him!"

""Hope" is the thing with feathers – That perches in the soul – And sings the tune without the words – And never stops – at all – And sweetest – in the Gale – is heard – And sore must be the storm – That could abash the little Bird That kept so many warm – I've heard it in the chillest land – And on the strangest Sea – Yet – never – in Extremity, It asked a crumb – of me."

"How happy is the little stone That rambles in the road alone, And doesn't care about careers, And exigencies never fears; Whose coat of elemental brown A passing universe put on; And independent as the sun, Associates or glows alone, Fulfilling absolute decree In casual simplicity."

"I died for Beauty – but was scarce Adjusted in the Tomb, When One who died for Truth, was lain In an adjoining Room – He questioned softly "Why I failed"? "For Beauty," I replied. "And I – for Truth, – Themself are One – We Brethren, are", He said –"

"I heard a Fly buzz – when I died – The Stillness in the Room Was like the Stillness in the Air – Between the Heaves of Storm –"

"There interposed a Fly –With Blue – uncertain – stumbling Buzz – Between the light – and me – And then the Windows failed – and then I could not see to see –"

"I never hear the word "escape" Without a quicker blood, A sudden expectation, A flying attitude.I never hear of prisons broad By soldiers battered down, But I tug childish at my bars,— Only to fail again!"

"I never saw a moor, I never saw the sea; Yet know I how the heather looks, And what a wave must be. I never spoke with God, Nor visited in heaven; Yet certain am I of the spot As if the chart were given."

"I reason, earth is short, And anguish absolute. And many hurt; But what of that?I reason, we could die: The best vitality Cannot excel decay; But what of that?I reason that in heaven Somehow, it will be even, Some new equation given; But what of that?"

"I taste a liquor never brewed - From Tankards scooped in Pearl - Not all the Frankfort Berries Yield such an Alcohol!Inebriate of air - am I - And Debauchee of Dew - Reeling - thro' endless summer days - From inns of molten Blue -"

"I took my power in my hand And went against the world; 'Twas not so much as David had, But I was twice as bold.I aimed my pebble, but myself Was all the one that fell. Was it Goliath was too large, Or only I too small?"

"I took one Draught of Life – I'll tell you what I paid – Precisely an existence – The market price, they said."

"I'm Nobody! Who are you? Are you – Nobody – Too?"

"If I can stop one heart from breaking, I shall not live in vain; If I can ease one life the aching, Or cool one pain, Or help one fainting robin Unto his nest again, I shall not live in vain."

"Immortal is an ample word When what we need is by, But when it leaves us for a time, 'Tis a necessity.Of heaven above the firmest proof We fundamental know, Except for its marauding hand, It had been heaven below."

"How dreary – to be – Somebody! How public – like a Frog – To tell one's name – the livelong June – To an admiring Bog!"

"It makes no difference abroad, The seasons fit the same, The mornings blossom into noons, And split their pods of flame.Wild-flowers kindle in the woods, The brooks brag all the day; No blackbird bates his jargoning For passing Calvary.Auto-da-fé and judgment Are nothing to the bee; His separation from his rose To him seems misery."

"It might be easier To fail with land in sight, Than gain my blue peninsula To perish of delight."

"It tossed and tossed,— A little brig I knew,— O'ertook by blast, It spun and spun, And groped delirious, for morn.It slipped and slipped, As one that drunken stepped; Its white foot tripped, Then dropped from sight.Ah, brig, good-night To crew and you; The ocean's heart too smooth, too blue, To break for you."

"It's such a little thing to weep, So short a thing to sigh; And yet by trades the size of these We men and women die!"

"Love is anterior to life, Posterior to death, Initial of creation, and The exponent of breath."

"Love – thou art Veiled – A few – behold thee – Smile – and alter – and prattle – and die – Bliss – were an Oddity – without thee – Nicknamed by God – Eternity –"

"Mine enemy is growing old,— I have at last revenge. The palate of the hate departs; If any would avenge,—Let him be quick, the viand flits, It is a faded meat. Anger as soon as fed is dead; 'Tis starving makes it fat."

"More than the Grave is closed to me – The Grave and that Eternity To which the Grave adheres – I cling to nowhere till I fall – The Crash of nothing, yet of all – How similar appears –"

"Much madness is divinest sense To a discerning eye; Much sense the starkest madness. 'Tis the majority In this, as all, prevails. Assent, and you are sane; Demur,—you're straightway dangerous, And handled with a chain."

"My life closed twice before its close; It yet remains to see If Immortality unveil A third event to me,So huge, so hopeless to conceive As these that twice befell. Parting is all we know of heaven, And all we need of hell."

"My Life had stood – a Loaded Gun – In Corners – till a Day The Owner passed – identified – And carried Me away –And now We roam in Sovereign Woods – And now We hunt the Doe – And every time I speak for Him – The Mountains straight reply –"

"Nature is what we see, The Hill, the Afternoon— Squirrel, Eclipse, the Bumble-bee, Nay—Nature is Heaven.Nature is what we hear, The Bobolink, the Sea— Thunder, the Cricket— Nay,—Nature is Harmony.Nature is what we know But have no art to say, So impotent our wisdom is To Her simplicity."

"New feet within my garden go, New fingers stir the sod; A troubadour upon the elm Betrays the solitude.New children play upon the green, New weary sleep below; And still the pensive spring returns, And still the punctual snow!"

"No rack can torture me, My soul 's at liberty. Behind this mortal bone There knits a bolder oneYou cannot prick with saw, Nor rend with scymitar. Two bodies therefore be; Bind one, and one will flee.The eagle of his nest No easier divest And gain the sky, Than mayest thou,Except thyself may be Thine enemy; Captivity is consciousness, So's liberty."

"Not with a Club, the Heart is broken Nor with a Stone – A Whip so small you could not see it I've knownTo lash the Magic Creature Till it fell, Yet that Whip's Name Too noble then to tell.Magnanimous as Bird By Boy descried – Singing unto the Stone Of which it died –Shame need not crouch In such an Earth as Ours – Shame – stand erect – The Universe is yours."

"One need not be a Chamber – to be Haunted – One need not be a House – The Brain has Corridors – surpassing Material Place –"

"Our journey had advanced; Our feet were almost come To that odd fork in Being's road, Eternity by term.Our pace took sudden awe, Our feet reluctant led. Before were cities, but between, The forest of the dead.Retreat was out of hope,— Behind, a sealed route, Eternity's white flag before, And God at every gate."

"Presentiment is that long shadow on the lawn Indicative that suns go down; The notice to the startled grass That darkness is about to pass."

"Safe in their Alabaster Chambers - Untouched by Morning - And untouched by noon - Sleep the meek members of the Resurrection, Rafter of Satin and Roof of Stone -Grand go the Years, In the Crescent above them - Worlds scoop their Arcs - And Firmaments - row - Diadems - drop - And Doges surrender - Soundless as Dots, On a Disk of Snow."

"So proud she was to die It made us all ashamed That what we cherished, so unknown To her desire seemed.So satisfied to go Where none of us should be, Immediately, that anguish stooped Almost to jealousy."

"Some Days retired from the rest In soft distinction lie, The Day that a companion came— Or was obliged to die."

"Some keep the Sabbath going to Church – I keep it, staying at Home – With a Bobolink for a Chorister – And an Orchard, for a Dome –"

"God preaches, a noted Clergyman – And the sermon is never long, So instead of getting to Heaven, at last – I'm going, all along."

"Surgeons must be very careful When they take the knife! Underneath their fine incisions Stirs the culprit,—Life!"

"The Bustle in a House The Morning after Death Is solemnest of industries Enacted upon Earth -The Sweeping up the Heart And putting Love away We shall not want to use again Until Eternity -"

"Success is counted sweetest By those who ne'er succeed. To comprehend a nectar Requires a sorest need.Not one of all the purple Host Who took the Flag today Can tell the definition So clear of VictoryAs he defeated – dying – On whose forbidden ear The distant strains of triumph Burst agonized and clear!"

"Tell all the Truth but tell it slant – Success in Circuit lies Too bright for our infirm Delight The Truth's superb surpriseAs Lightning to the Children eased With explanation kind The Truth must dazzle gradually Or every man be blind –"

"That such have died enables us The tranquiller to die; That such have lived, certificate For immortality."

"The blunder is to estimate,— "Eternity is Then," We say, as of a station. Meanwhile he is so near, He joins me in my ramble, Divides abode with me, No friend have I that so persists As this Eternity."

"A Vastness, as a Neighbor, came, A Wisdom, without Face, or Name, A Peace, as Hemispheres at Home And so the Night became."

"The distance that the dead have gone Does not at first appear; Their coming back seems possible For many an ardent year.And then, that we have followed them We more than half suspect, So intimate have we become With their dear retrospect."

"The face we choose to miss, Be it but for a day— As absent as a hundred years When it has rode away."

"The grass so little has to do,— A sphere of simple green, With only butterflies to brood, And bees to entertain,And stir all day to pretty tunes The breezes fetch along, And hold the sunshine in its lap And bow to everything;And thread the dews all night, like pearls, And make itself so fine,— A duchess were too common For such a noticing.And even when it dies, to pass In odors so divine, As lowly spices gone to sleep, Or amulets of pine.And then to dwell in sovereign barns, And dream the days away,— The grass so little has to do, I wish I were a hay!"

"If Aims impel these Astral Ones The ones allowed to know Know that which makes them as forgot As Dawn forgets them – now"

"The pedigree of honey Does not concern the bee; A clover, any time, to him Is aristocracy."

"The Soul selects her own Society – Then – shuts the Door – To her divine Majority – Present no more –"

"I've known her – from an ample nation – Choose One – Then – close the Valves of her attention – Like Stone –"

"The sweets of Pillage can be known To no one but the Thief, Compassion for Integrity Is his divinest Grief."

"There is a solitude of space, A solitude of sea, A solitude of death, but these Society shall be, Compared with that profounder site, That polar privacy, A Soul admitted to Itself: Finite Infinity."

"There is a word Which bears a sword Can pierce an armed man. It hurls its barbed syllables,— At once is mute again. But where it fell The saved will tell On patriotic day, Some epauletted brother Gave his breath away.Wherever runs the breathless sun, Wherever roams the day, There is its noiseless onset, There is its victory! Behold the keenest marksman! The most accomplished shot! Time's sublimest target Is a soul "forgot"!"

"There's a certain Slant of light, Winter Afternoons - That oppresses, like the Heft Of Cathedral Tunes -Heavenly Hurt, it gives us - We can find no scar, But internal difference - Where the Meanings, are -"

"They shut me up in Prose - As when a little Girl They put me in the Closet - Because they liked me "still" -Still! Could themself have peeped - And seen my Brain - go round - They might as wise have lodged a Bird For Treason - in the Pound -"

"This is my letter to the World That never wrote to Me – The simple News that Nature told – With tender Majesty Her Message is committed To Hands I cannot see – For love of Her – Sweet – countrymen – Judge tenderly – of Me"

"This quiet dust was gentlemen and ladies And lads and girls; Was laughter and ability and sighing, And frocks and curls."

"To Whom the Mornings stand for Nights, What must the Midnights – be!"

"Truth – is as old as God – His Twin identity And will endure as long as He A Co-Eternity –And perish on the Day Himself is borne away From Mansion of the Universe A lifeless Deity."

"Upon the gallows hung a wretch, Too sullied for the hell To which the law entitled him. As nature’s curtain fell The one who bore him tottered in, For this was woman’s son. "'Twas all I had," she stricken gasped; Oh, what a livid boon!"

"We outgrow love, like other things And put it in the Drawer – Till it an Antique fashion shows – Like Costumes Grandsires wore."

"What Soft – Cherubic Creatures – These Gentlewomen are – One would as soon assault a Plush – Or violate a Star –Such Dimity Convictions – A Horror so refined Of freckled Human Nature – Of Deity – ashamed –"

"Who has not found the Heaven – below – Will fail of it above – For Angels rent the House next ours, Wherever we remove –"

"Who has not found the heaven below Will fail of it above. God's residence is next to mine, His furniture is love."

"Wild nights - Wild nights! Were I with thee Wild nights should be Our luxury!Futile - the winds - To a Heart in port - Done with the Compass - Done with the Chart!Rowing in Eden - Ah - the Sea! Might I but moor - tonight - In thee!"

"Whenever a thing is done for the first time, it releases a little demon."

"In English, you know who I love, and have translated? Emily Dickinson...I translated Dickinson. It came out in the Nuevo Diario a long time ago, in the beginning of the 1980s. I love her very much."

"(What is it about Emily Dickinson that moves you?) Her use of language, certainly. Her solitude, as well, and the style of that solitude. There is something very moving and in the best sense funny. She isn't solemn."

"One who, as a child, knew Emily Dickinson well and loved her much recollects her most vividly as a white, ethereal vision, stepping from her cloistral solitude on to the verandah, daintily unrolling a great length of carpet before her with her foot, strolling down to where the carpet ended among her flowers, then turning back and shutting herself out of the world."

"Dickinson was a woman of privilege who never left her house, nor had to deal with issues beyond which white dress to wear on a given day."

"There is another thing about my childhood that is interesting now, in the light of later happenings. I might have said, with Emily Dickinson: "I never saw a moor,/I never saw the sea;/Yet know I how the heather looks,/And what a wave must be." For I never saw the ocean until I went from college to the marine laboratories at Woods Hole, on Cape Cod. Yet as a child I was fascinated by the thought of it. I dreamed about it and wondered what it would look like."

"Friends dislike being apart. Separation, says Emily Dickinson, is all the Hell we need. Each shared moment is precious. And the only ones who can remember the hour of loneliness are those who survive it."

"No great poet has written so much bad verse as Emily Dickinson...Her coy and oddly childish poems of nature and female friendship are products of a time when one of the careers open to women was perpetual childhood."

"I'm from the Emily Dickinson and Flannery O'Connor school of writing, where you write about your Amherst backyard or about a farm in Milledgevilk, and then you're actually writing about everything it means to be human."

"The complexity of women's undergarments in nineteenth-century America is not to be waved off, and I proceeded like a polar explorer through clips, clasps, and moorings, catches, straps, and whalebone stays, sailing toward the iceberg of her nakedness."

"There’s no higher entitlement than thinking that you should live forever, when part of the beauty of nature is that even the stars die. That's what Emily Dickinson said: 'That it will never come again/is what makes life so sweet.' I believe that."

"My mother was the first songwriter I knew; Emily Dickinson was the first poet and my grandmother the first storyteller...From Emily I learned that the immense silences I found within me were navigable by words and metaphor."

"Her poetry is the diary or autobiography — though few diaries or autobiographies compare with it for intentional and, especially, unintentional truth — of an acute psychologist, a wonderful rhetorician, and one of the most individual writers who ever lived, one of those best able to express experience at its most nearly absolute."

"Emily Dickinson is nearly infinite in her expression. She wrote seventeen hundred and seventy-five poems, and they constitute a very rich literature certainly. And she was, God knows, highly imaginative, highly intelligent, highly perceptive, and she had a kind of regard for language that a great writer must have. It was a mystery, a miracle to her. I learned a little something about the mystery and miracle of language by reading her..."

"When I visited Emily Dickinson's house in Amherst, a lively plump robin was sitting on her step, right under the second-story window she would have stared out of."

"Anger has always played a role in poetry...There is much anger in Emily Dickinson, lightly disguised as mockery. "The Bible is an antique volume / Written by faded men," she proclaims."

"Even the best critical writing on Emily Dickinson underestimates her. She is frightening. To come to her directly from Dante, Spenser, Blake, and Baudelaire is to find her sadomasochism obvious and flagrant. Birds, bees, and amputated hands are the dizzy stuff of this poetry. Dickinson is like the homosexual cultist draping himself in black leather and chains to bring the idea of masculinity into aggressive visibility."

"Emily Dickinson is the female Sade, and her poems are the prison dreams of a self-incarcerated, sadmomasochistic imaginist. When she is rescued from American Studies departments and juxtaposed with Dante and Baudelaire, her barbarities and diabolical acts of will become glaringly apparent. Dickinson inherits through Blake the rape cycle of The Faerie Queene. Blake and Spenser are her allies in helping pagan Coleridge defeat Protestant Wordsworth."

"Dickinson's sentimental feminine poems remain neglected by embarrassed scholars. I would maintain, however, that her poetry is a closed system of sexual reference and that the mawkish poems are designed to dovetail with those of violence and suffering."

"I have a notion that genius knows itself; that Dickinson chose her seclusion, knowing she was exceptional and knowing what she needed. It was, moreover, no hermetic retreat, but a seclusion which included a wide range of people, of reading and correspondence. Her sister Vinnie said, "Emily is always looking for the rewarding person." And she found, at various periods, both women and men: her sister-in-law Susan Gilbert, Amherst visitors and family friends such as Benjamin Newton, Charles Wadsworth, Samuel Bowles, editor of the Springfield Republican, and his wife; her friends Kate Anthon and Helen Hunt Jackson, the distant but significant figures of Elizabeth Barrett, the Brontës, George Eliot. But she carefully selected her society and controlled the disposal of her time. Not only the "gentlewomen in plush" of Amherst were excluded; Emerson visited next door but she did not go to meet him; she did not travel or receive routine visits; she avoided strangers. Given her vocation, she was neither eccentric nor quaint; she was determined to survive, to use her powers, to practice necessary economies."

"Emily Dickinson — viewed by her bemused contemporary Thomas Higginson as "partially cracked," by the twentieth century as fey or pathological — has increasingly struck me as a practical woman, exercising her gift as she had to, making choices."

"She was always stirred by the existences of women like George Eliot or Elizabeth Barrett, who possessed strength of mind, articulateness, and energy. (She once characterized Elizabeth Fry and Florence Nightingale as "holy" — one suspects she merely meant, "great.")"

"Emily Dickinson's strictness, sometimes almost a slang of strictness, speaks with an intellectually active, stimulated quick music."

"Emily Dickinson, whose unappeasable thirst for fame was itself unknown for years after her death, had to fight through her family — "Vesuvius at home" — until a miserable lawsuit and the theft of a manure pile interrupted the posthumous publication of her work, and postponed for forty-nine years what may be her finest book."

"I go to my past in order to discern the future."

"To pass through the door that leads to God's kingdom, we must go down on our knees."

"Lord, give bread to the hungry, and hunger for you to those who have bread."

"Pain is the kiss of Christ."

"The duty of the moment is what you should be doing at any given time, in whatever place God has put you. You may not have Christ in a homeless person at your door, but you may have a little child. If you have a child, your duty of the moment may be to change a dirty diaper. So you do it. But you don’t just change that diaper, you change it to the best of your ability, with great love for both God and that child.... There are all kinds of good Catholic things you can do, but whatever they are, you have to realize that there is always the duty of the moment to be done. And it must be done, because the duty of the moment is the duty of God."

"With God, every moment is the moment of beginning again."

"We do not have to wait for the hereafter — it is now that we are one with Christ."

"What you do matters — but not much. What you are matters tremendously."

"You live between two Masses. You exist in the present moment."

"Arise, go! Sell all you possess. Give it directly, personally to the poor. Take up My cross (their cross) and follow Me, going to the poor, being poor, being one with them, one with Me.Little, be always little, simple, poor, childlike.Preach the Gospel with your life, without compromise. Listen to the Spirit; He will lead you.Do little things exceedingly well for love of Me.Love, love, love, never counting the cost.Go into the market place and stay with Me. Pray, fast. Pray always: fast.Be hidden. Be a light to your neighbor's feet. Go without fears into the depth of men's hearts. I shall be with you.Pray always. I will be your rest."

"True silence is the speech of lovers. For only love knows its beauty, completeness and utter joy."

"God reveals himself to those who wait for that revelation and who don't try to "tear at the hem of a mystery" forcing disclosure."

"Real zeal is standing still and letting God be a bonfire in you."

"Faith sees God's face in every human face."

"Faith allows us to enter peacefully into the dark night which faces everyone of us at one time or another."

"It is so important for us to have faith, trust, confidence in one another. It is the only way we can communicate. Without faith there is no communication, there is no love, or if there was a little love it will die without hope, trust, and confidence. Even if it doesn't die right away, it will be so ill, so weak, and so tired that communication will be miserable as well."

"Purity of heart is love for the weak who constantly fall."

"The stranger is simply a friend I haven't met yet."

"We cannot give the world anything it doesn't already have except God and God's love. But before we can give God to men, we must be one with him ourselves."

"Must the Church conform to the world and its modern ideas in order to be understood and heard? Much depends on the clarification of the word "conform." The answer is "yes" if by conform is meant change and adaptation in order to express eternal truths in a way more understandable to modern man."

"On the other hand, the Church cannot conform to the world as understood by Christ in his parables. To this world there can be neither conformity nor can we compromise with it. On the contrary, toward this world the Church and every Christian must be prophetic. We must cry out loudly the word of God, ready even to be stoned as were all the prophets sent by the Lord."

"Yes, of course, the Christian has dogmas he must believe in order to be a Christian, but all those dogmas concern love which is the essence. God is love. Where love is, God is. Dogmas and tenets of the Christian faith without love are dead letters, not even worth spelling out."

"God gave us two commandments, to love God with our whole heart, mind and soul, and to love our neighbor as ourselves.There is a lot of talk about the neighbor, but few mention the fact that before this we must love ourselves, "Your neighbor as yourself."What about this loving of ourselves? It doesn't take a vast sociological survey to tell us that very few people accept and love themselves in the proper way, love themselves so as to be able to properly love God and their neighbor."

"Every third-grader knows that prayer is the lifting up of one's heart and mind to God. But there are many ways of lifting. It begins with vocal prayer, the one all of us are so familiar with. It goes on to mental prayer and meditation, a prayer that all too many people are unfamiliar with. This "lifting" also includes the prayer of silence, the prayer of the heart, contemplative prayer, unknown to still more people."

"Sometimes, in pentecostal gatherings, we treat prophecy too lightly. We don't seem to realize the agony of a prophet. Truly, there is no prophet who hasn't experienced agony."

"The Lord said, "Love your neighbor as yourself." Which means we must love ourselves first, for we are, in a manner of speaking, our first neighbor."

"What binds us together is love, and only love. For love is a Person. Love is God."

"We do not go to mission lands to 'bring Jesus Christ' as much as to uncover him where he already is."

"Everybody in this pragmatic, cerebral society always wants to put himself first, and this cannot be done. God doesn't want me to do it. God wants me to be third, never first. God comes first, my neighbor second, and I am third!"

"Lord, give me the heart of a child, and the awesome courage to live it out as an adult."

"Loving does not necessarily mean liking. But it still is loving, yes — totally, completely, utterly. Take the key of wisdom and unlock your own heart. Then let people in one by one. Listen to them, with full attention, with all your mind, heart, body and soul, unto exhaustion. And look! — the exhaustion will be lifted, and you will be able to listen still more. Yes, love must be communicated person to person; otherwise it will not be effective."

"When we reach the silver sands and plunge into the great sea of God's silence, we begin to understand that he alone is God — Lover, Friend, the totality of gentleness, peace and rest. He calls us and we cannot resist that call. We have to be alone with him. It is a necessity, it is a hunger. It has been said that prayer is a hunger. But this Christ walks with loneliness and rejection, and so must we."

"To be simple is to accept the essence of the message and not try to twist it or adapt it to our own ideas. To be simple we must desire to remain in the image of God. We must not be so complex that we make God into our image! Simplicity is dying to self, an emptying."

"Here I want to reiterate very clearly that this Little Mandate did not come to me dictated, or as a whole, but as I am telling it now. Get the picture: it could happen any place, any time, in the midst of a group, in my office, at lunch in a cafeteria. Suddenly a little light, a little added word would come to me. I used to write them down on scraps of paper, on the back of old envelopes, in some diary, maybe lost or forgotten now; though some of them are still here. It was a patchy thing."

"Identification [with the other] is difficult but precious. It involves doing violence to yourself. Yet Scripture says that "heaven is taken by violence" to oneself [Luke 16:16]. To identify oneself with the other is to love him beyond words, a total giving of oneself in truth."

"What is the market place? Is it the secular city? Is it the factual market place, that is to say the urban inner city? Is it suburbia where all the supermarkets are? No. The market place is simply the soul of man. It is the place where man trades his soul either to God or to the devil or to the 'in between', with indifference, tepidity and complacency."

"A saint is a sinner who loves; it's that simple!"

"I am not at all the sort of person you and I took me for."

"If they had said that the sun or the moon had gone out of the heavens, it could not have struck me with the idea of a more awful and dreary blank in creation than the words: "Byron is dead!""

"A positive engagement to marry a certain person at a certain time, at all haps and hazards, I have always considered the most ridiculous thing on earth."

"In spite of the honestest efforts to annihilate my I-ity, or merge it in what the world doubtless considers my better half, I still find myself a self-subsisting, and, alas! self-seeking me."

"Oh Lord! If you but knew what a brimstone of a creature I am behind all this beautiful amiability!"

"Instead of boiling up individuals into the species, I would draw a chalk circle round every individuality, and preach to it to keep within that, and preserve and cultivate its identity."

"I can see that the Lady has a genius for ruling, whilst I have a genius for not being ruled."

"The surest way to get a thing in this life is to be prepared for doing without it, to the exclusion even of hope."

"When one has been threatened with a great injustice, one accepts a smaller as a favour."

"Not a hundredth part of the thoughts in my head have ever been or ever will be spoken or written — as long as I keep my senses, at least."

"The triumphal-procession-air which, in our manners and customs, is given to marriage at the outset — that singing of Te Deum before the battle has begun."

"Jenny kissed me when we met, Jumping from the chair she sat in; Time, you thief, who love to get Sweets into your list, put that in. Say I'm weary, say I'm sad, Say that health and wealth have missed me; Say I'm growing old, but add Jenny kissed me."

"Dear robin," said this sad young flower, "Perhaps you'd not mind trying To find a nice white frill for me, Some day when you are flying?" "You silly thing!" the robin said; "I think you must be crazy! I'd rather be my honest self Than any made-up daisy. "You're nicer in your own bright gown, The little children love you; Be the best buttercup you can, And think no flower above you. "Though swallows leave me out of sight, We'd better keep our places; Perhaps the world would all go wrong With one too many daisies. "Look bravely up into the sky, And be content with knowing That God wished for a buttercup Just here, where you are growing."

"The warm sun kissed the earth To consecrate thy birth, And from his close embrace Thy radiant face Sprang into sight, A blossoming delight."

"A harbor, even if it is a little harbor, is a good thing, since adventurers come into it as well as go out, and the life in it grows strong, because it takes something from the world, and has something to give in return."

"Your patience may have long to wait, Whether in little things or great, But all good luck, you soon will learn, Must come to those who nobly earn. Who hunts the hay-field over Will find the four-leaved clover."

"The thing that teases the mind over and over for years, and at last gets itself put down rightly on paper — whether little or great, it belongs to Literature."

"It does seem so pleasant to talk with an old acquaintance who knows what you know. I see so many new folks nowadays who seem to have neither past nor future. Conversation has got to have some root in the past, or else you have got to explain every remark you make, and it wears a person out."

"Captain Littlepage had overset his mind with too much reading."

"The old poets little knew what comfort they could be to a man."

""Step in some afternoon," he said, as affectionately as if I were a fellow-shipmaster wrecked on the lee shore of age like himself."

"We were standing where there was a fine view of the harbor and its long stretches of shore all covered by the great army of the pointed firs, darkly cloaked and standing as if they waited to embark. As we looked far seaward among the outer islands, the trees seemed to march seaward still, going steadily over the heights and down to the water's edge."

"Tact is after all a kind of mind-reading."

"Yes'm, old friends is always best, 'less you can catch a new one that's fit to make an old one out of."

"In the life of each of us, I said to myself, there is a place remote and islanded, and given to endless regret or secret happiness."

"'Tain't worthwhile to wear a day all out before it comes."

"The road was new to me, as roads always are, going back."

"So we die before our own eyes; so we see some chapters of our lives come to their natural end."

"When I was as you are now, towering in the confidence of twenty-one, little did I suspect that I should be at forty-nine, what I now am."

"The nineteenth-century poet and novelist Sarah Orne Jewett lived for thirty years with Annie Fields in what was, in that century, called a Boston Marriage. It was considered a respectable arrangement, and friends and community acknowledged the life-companion relationship as a genuine article of devotion. When Annie Fields, however, intended to publish the letters between her and Jewett in the 1920s and after the latter's death, her close friend Mark De Wolfe Howe counseled against inclusion of any mention of their love for each other. This meant deleting four-fifths of the correspondence. Howe's objections stemmed from his fear of accusations of "perversity" against his friend in the sexually charged world of Freudian analysis. Faderman concludes that while the love between Jewett and Fields "was common and appropriate behavior in the century in which the two women had spent most of their lives (and Howe himself saw it as common and appropriate at the time)... it suddenly became "abnormal" in a twentieth century context, although nothing about the nature of the relationship had changed.""

"Feminist literary critics have shown how in the 19th century women writers began to acknowledge women as their muses and their role models...Margaret Fuller and Sarah Orne Jewett acknowledged their indebtedness to Madame de Staël, the author of Corinne...The list could be indefinitely extended to show the almost desperate search of writing women for authoritative female predecessors."

"I can be on guard against my enemies, but God deliver me from my friends!"

"I can only say with deeper sincerity and fuller significance — what I have always said in theory — Wait God's will."

"If we would build on a sure foundation in friendship, we must love friends for their sake rather than for our own."

"Laws and principles are not for the times when there is no temptation: they are for such moments as this, when body and soul rise in mutiny against their rigour ... If at my convenience I might break them, what would be their worth?"

"If you like poetry let it be first-rate; Milton, Shakespeare, Thomson, Goldsmith, Pope (if you will, though I don't admire him), Scott, Byron, Camp[b]ell, Wordsworth, and Southey. Now don't be startled at the names of Shakespeare and Byron. Both these were great men, and their works are like themselves. You will know how to choose the good and avoid the evil; the finest passages are always the purest, the bad are invariably revolting, you will never wish to read them over twice."

"You advise me, too, not to stray far from the ground of experience, as I become weak when I enter the region of fiction; and you say, "real experience is perennially interesting, and to all men."I feel that this also is true; but, dear Sir, is not the real experience of each individual very limited? And, if a writer dwells upon that solely or principally, is he not in danger of repeating himself, and also of becoming an egotist? Then, too, imagination is a strong, restless faculty, which claims to be heard and exercised: are we to be quite deaf to her cry, and insensate to her struggles? When she shows us bright pictures, are we never to look at them, and try to reproduce them? And when she is eloquent, and speaks rapidly and urgently in our ear, are we not to write to her dictation?"

"I avoid looking forward or backward, and try to keep looking upward."

"Yesterday I went for the second time to the Crystal Palace. We remained in it about three hours, and I must say I was more struck with it on this occasion than at my first visit. It is a wonderful place – vast, strange, new and impossible to describe. Its grandeur does not consist in one thing, but in the unique assemblage of all things. Whatever human industry has created you find there, from the great compartments filled with railway engines and boilers, with mill machinery in full work, with splendid carriages of all kinds, with harness of every description, to the glass-covered and velvet-spread stands loaded with the most gorgeous work of the goldsmith and silversmith, and the carefully guarded caskets full of real diamonds and pearls worth hundreds of thousands of pounds. It may be called a bazaar or a fair, but it is such a bazaar or fair as Eastern genii might have created. It seems as if only magic could have gathered this mass of wealth from all the ends of the earth – as if none but supernatural hands could have arranged it this, with such a blaze and contrast of colours and marvellous power of effect. The multitude filling the great aisles seems ruled and subdued by some invisible influence. Amongst the thirty thousand souls that peopled it the day I was there not one loud noise was to be heard, not one irregular movement seen; the living tide rolls on quietly, with a deep hum like the sea heard from the distance."

"I have twice seen Macready act; once in Macbeth and once in Othello. I astounded a dinner-party by honestly saying I did not like him. It is the fashion to rave about his splendid acting; anything more false and artificial, less genuinely impressive than his whole style, I could scarcely have imagined. The fact is, the stage-system altogether is hollow nonsense. They act farces well enough; the actors comprehend their parts and do them justice. They comprehend nothing about tragedy or Shakespeare, and it is a failure. I said so, and by so saying produced a blank silence, a mute consternation."

"Yesterday I saw Mr. Thackeray. He dined here with some other gentlemen. He is a very tall man — above six feet high, with a peculiar face — not handsome, very ugly indeed, generally somewhat stern and satirical in expression, but capable also of a kind look. He was not told who I was, he was not introduced to me, but I soon saw him looking at me through his spectacles; and when we all rose to go down to dinner he just stepped quietly up and said “Shake hands”; so I shook hands. He spoke very few words to me, but when he went away he shook hands again in a very kind way. It is better, I should think, to have him for a friend than an enemy, for he is a most formidable-looking personage. I listened to him as he conversed with the other gentlemen. All he says is most simple, but often cynical, harsh, and contradictory."

"I have lately been reading Modern Painters, and I have derived from the work much genuine pleasure and, I hope, some edification; at any rate it made me feel how ignorant I had previously been on the subject which it treats. Hitherto I have only had instinct to guide me in judging of art; I feel now as if I had been walking blindfold — this book seems to give me eyes. I do wish I had pictures within reach by which to test the new sense. Who can read these glowing descriptions of (J. M. W.) Turner’s works without longing to see them? However eloquent and convincing the language in which another’s opinion is placed before you, you still wish to judge for yourself. I like this author’s style much; there is both energy and beauty in it: I like himself too, because he is such a hearty admirer. He does not give Turner half-measure of praise or veneration; he eulogizes, he reverences him (or rather his genius) with his whole soul. One can sympathize with that sort of devout, serious admiration (for he is no rhapsodist) one can respect it; and yet possibly many people would laugh at it. I am truly obliged to Mr. Smith for giving me this book, not having often met with one that has pleased me more."

"Have you yet read Miss Martineau’s and Mr. Atkinson’s new work, Letters on the Nature and Development of Man? If you have not, it would be worth your while to do so. Of the impression this book has made on me, I will not now say much. It is the first exposition of avowed atheism and materialism I have ever read; the first unequivocal declaration of disbelief in the existence of a God or a future life I have ever seen. In judging of such exposition and declaration, one would wish entirely to put aside the sort of instinctive horror they awaken, and to consider them in an impartial spirit and collected mood. This I find difficult to do. The strangest thing is, that we are called on to rejoice over this hopeless blank — to receive this bitter bereavement as great gain — to welcome this unutterable desolation as a state of pleasant freedom. Who could do this if he would? Who would do this if he could? Sincerely, for my own part, do I wish to know and find the Truth; but if this be Truth, well may she guard herself with mysteries, and cover herself with a veil. If this be Truth, man or woman who beholds her can but curse the day he or she was born. I said however, I would not dwell on what I thought; rather, I wish to hear what some other person thinks,--someone whose feelings are unapt to bias his judgment. Read the book, then, in an unprejudiced spirit, and candidly say what you think of it. I mean, of course, if you have time — not otherwise."

"You ask about Queen Victoria's visit to Brussels. I saw her for an instant flashing through the Rue Royale in a carriage and six, surrounded by soldiers. She was laughing and talking very gaily. She looked a little stout, vivacious lady, very plainly dressed, not much dignity or pretension about her. The Belgians liked her very well on the whole. They said she enlivened the sombre court of King Leopold, which is usually as gloomy as a conventicle."

"We wove a web in childhood, A web of sunny air; We dug a spring in infancy Of water pure and fair;We sowed in youth a mustard seed, We cut an almond rod; We are now grown up to riper age— Are they withered in the sod?"

"What is this Hebrew Christ? To me unknown, His lineage—doctrine—mission—yet how clear, Is God-like goodness, in his actions shewn! How straight and stainless is his life's career! The ray of Deity that rests on him, In my eyes makes Olympian glory dim."

"But two miles more, and then we rest! Well, there is still an hour of day, And long the brightness of the West Will light us on our devious way; Sit then, awhile, here in this wood— So total is the solitude, We safely may delay."

"Conventionality is not morality. Self-righteousness is not religion. To attack the first is not to assail the last. To pluck the mask from the face of the Pharisee, is not to lift an impious hand to the Crown of Thorns. These things and deeds are diametrically opposed: they are as distinct as is vice from virtue. Men too often confound them: they should not be confounded: appearance should not be mistaken for truth; narrow human doctrines, that only tend to elate and magnify a few, should not be substituted for the world-redeeming creed of Christ. There is — I repeat it — a difference; and it is a good, and not a bad action to mark broadly and clearly the line of separation between them.The world may not like to see these ideas dissevered, for it has been accustomed to blend them; finding it convenient to make external show pass for sterling worth — to let white-washed walls vouch for clean shrines. It may hate him who dares to scrutinise and expose — to rase the gilding, and show base metal under it — to penetrate the sepulchre, and reveal charnel relics: but hate as it will, it is indebted to him."

"There was no possibility of taking a walk that day."

"Folds of scarlet drapery shut in my view to the right hand; to the left were the clear panes of glass, protecting, but not separating me from the drear November day. At intervals, while turning over the leaves in my book, I studied the aspect of that winter afternoon. Afar, it offered a pale blank of mist and cloud; near, a scene of wet lawn and storm-beat shrub, with ceaseless rain sweeping away wildly before a long and lamentable blast."

"“My feet they are sore, and my limbs they are weary; Long is the way, and the mountains are wild; Soon will the twilight close moonless and dreary Over the path of the poor orphan child.Why did they send me so far and so lonely, Up where the moors spread and grey rocks are piled? Men are hard-hearted, and kind angels only Watch o’er the steps of a poor orphan child.Yet distant and soft the night breeze is blowing, Clouds there are none, and clear stars beam mild, God, in His mercy, protection is showing, Comfort and hope to the poor orphan child.Ev’n should I fall o’er the broken bridge passing, Or stray in the marshes, by false lights beguiled, Still will my Father, with promise and blessing, Take to His bosom the poor orphan child.There is a thought that for strength should avail me, Though both of shelter and kindred despoiled; Heaven is a home, and a rest will not fail me; God is a friend to the poor orphan child.”"

"It seemed as if my tongue pronounced words without my will consenting to their utterance: something spoke out of me over which I had no control."

"I am glad you are no relation of mine. I will never call you aunt as long as I live. I will never come to see you when I am grown up; and if any asks me how I liked you, and how you treated me, I will say the very thought of you makes me sick."

"If people were always kind and obedient to those who are cruel and unjust; the wicked people would have it all their own way: they would never feel afraid, and so they would never alter, but would grow worse and worse. When we are struck at without a reason, we should strike back again very hard; I am sure we should — so hard as to teach the person who struck us never to do it again."

"It is not violence that best overcomes hate — nor vengeance that most certainly heals injury. … Read the New Testament, and observe what Christ says, and how he acts — make his word your rule, and his conduct your example. … Love your enemies; bless them that curse you; do good to them that hate you and despitefully use you."

"What a singularly deep impression her injustice seems to have made on your heart... Would you not be happier if you tried to forget her severity, together with the passionate emotions it excited? Life appears to me too short to be spent in nursing animosity, or registering wrongs."

"I can so clearly distinguish between the criminal and his crime; I can so sincerely forgive the first while I abhor the last."

"What have I to do with millions [of people]? The eighty I know despise me."

"If all the world hated you, and believed you wicked, while your own conscience approved you, and absolved you from guilt, you would not be without friends."

"And then my mind made its first earnest effort to comprehend what had been infused into it concerning heaven and hell: and for the first it recoiled baffled; and for the first time glancing behind, on each side, and before it, it saw all round an unfathomed gulf: it felt the one point where it stood — the present; all the rest was formless cloud and vacant depth: and it shuddered at the thought of tottering, and plunging amid that chaos."

"By dying young, I shall escape great sufferings. I had not qualities or talents to make my way very well in the world: I should have been continually at fault."

"School-rules, school-duties, school-habits and notions, and voices, and faces, and phrases, and costumes, and preferences, and antipathies — such was what I knew of existence. And now I felt that it was not enough; I tired of the routine of eight years in one afternoon. I desired liberty; for liberty I gasped; for liberty I uttered a prayer; it seemed scattered on the wind then faintly blowing. I abandoned it and framed a humbler supplication; for change, stimulus: that petition, too, seemed swept off into vague space: "Then," I cried, half desperate, "grant me at least a new servitude!"Here a bell, ringing the hour of supper, called me downstairs."

"It is a very strange sensation to inexperienced youth to feel itself quite alone in the world, cut adrift from every connection, uncertain whether the port to which it is bound can be reached, and prevented by many impediments from returning to that it has quitted."

"All these relics gave... Thornfield Hall the aspect of a home of the past: a shrine to memory. I liked the hush, the gloom, the quaintness of these retreats in the day; but I by no means coveted a night's repose on one of those wide and heavy beds: shut in, some of them, with doors of oak; shaded, others, with wrought old-English hangings crusted with thick work, portraying effigies of strange flowers, and stranger birds, and strangest human beings, — all which would have looked strange, indeed, by the pallid gleam of moonlight."

"I longed for a power of vision which might overpass that limit; which might reach the busy world, towns, regions full of life I had heard of but never seen: that I desired more of practical experience than I possessed; more of intercourse with my kind, of acquaintance with variety of character, than was here within my reach."

"I shall be called discontented. I could not help it: the restlessness was in my nature; it agitated me to pain sometimes."

"Women are supposed to be very calm generally; but women feel just as men feel; they need exercise for their faculties and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex."

"It is in vain to say human beings ought to be satisfied with tranquility: they must have action; and they will make it if they cannot find it. Millions are condemned to a stiller doom than mine, and millions are in silent revolt against their lot. Nobody knows how many rebellions besides political rebellions ferment in the masses of life which people earth. Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex."

"I don't think, sir, that you have a right to command me, merely because you are older than I, or because you have seen more of the world than I have; your claim to superiority depends on the use you have made of your time and experience."

"I envy your peace of mind, your clean conscience, your unpolluted memory. Little girl, a memory without blot or contamination must be an exquisite treasure — an inexhaustible source of pure refreshment: is it not?"

"The human and fallible should not arrogate a power with which the divine and perfect alone can be safely intrusted."

"Most true is it that "beauty is in the eye of the gazer." My master’s colourless, olive face, square, massive brow, broad and jetty eyebrows, deep eyes, strong features, firm, grim mouth, — all energy, decision, will, — were not beautiful, according to rule; but they were more than beautiful to me; they were full of an interest, an influence that quite mastered me, — that took my feelings from my own power and fettered them in his. I had not intended to love him; the reader knows I had wrought hard to extirpate from my soul the germs of love there detected; and now, at the first renewed view of him, they spontaneously arrived, green and strong! He made me love him without looking at me."

"It is one of my faults, that though my tongue is sometimes prompt enough at an answer, there are times when it sadly fails me in framing an excuse; and always the lapse occurs at some crisis, when a facile word or plausible pretext is specially wanted to get me out of painful embarrassment."

"Are you anything akin to me, do you think, Jane?" I could risk no sort of answer by this time; my heart was full. "Because," he said, "I sometimes have a queer feeling with regard to you — especially when you are near to me, as now: it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situated in the corresponding quarter of your little frame. And if that boisterous Channel, and two hundred miles or so of land, come broad between us, I am afraid that cord of communion will be snapped; and then I've a nervous notion I should take to bleeding inwardly."

"Do you think I am an automaton? — a machine without feelings? and can bear to have my morsel of bread snatched from my lips, and my drop of living water dashed from my cup? Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong! — I have as much soul as you — and full as much heart! And if God had gifted me with some beauty and much wealth, I should have made it as hard for you to leave me, as it is now for me to leave you. I am not talking to you now through the medium of custom, conventionalities, nor even of mortal flesh: it is my spirit that addresses your spirit; just as if both had passed through the grave, and we stood at God's feet, equal — as we are!"

"I am no bird; and no net ensnares me: I am a free human being with an independent will, which I now exert to leave you."

"My bride is here... because my equal is here, and my likeness."

"I care for myself. The more solitary, the more friendless, the more unsustained I am, the more I will respect myself."

"Feeling... clamoured wildly. "Oh, comply!" it said. "… soothe him; save him; love him; tell him you love him and will be his. Who in the world cares for you? or who will be injured by what you do?" Still indomitable was the reply: "I care for myself. The more solitary, the more friendless, the more unsustained I am, the more I will respect myself. I will keep the law given by God; sanctioned by man. I will hold to the principles received by me when I was sane, and not mad—as I am now. Laws and principles are not for the times when there is no temptation... They have a worth — so I have always believed; and if I cannot believe it now, it is because I am insane — quite insane: with my veins running fire, and my heart beating faster than I can count its throbs."

"Gentle reader, may you never feel what I then felt? May your eyes never shed such stormy, scalding, heart-wrung tears as poured from mine. May you never appeal to Heaven in prayers so hopeless and so agonized as in that hour left my lips; for never may you, like me, dread to be the instrument of evil to what you wholly love."

"I can but die... and I believe in God. Let me try and wait His will in silence."

"I scorn your idea of love," I could not help saying, as I rose up and stood before him, leaning my back against the rock. "I scorn the counterfeit sentiment you offer; yes, St. John, and I scorn you when you offer it."

"I have not much pride under such circumstances: I would always rather be happy than dignified."

"God did not give me my life to throw away."

"I recalled the voice I had heard; again I questioned whence it came, as vainly as before: it seemed in me — not in the external world. I asked, was it a mere nervous impression — a delusion? I could not conceive or believe: it was more like an inspiration."

"Reader, I married him."

"If you think, from this prelude, that anything like a romance is preparing for you, reader, you never were more mistaken. Do you anticipate sentiment, and poetry, and reverie? Do you expect passion, and stimulus, and melodrama? Calm your expectations; reduce them to a lowly standard. Something real, cool and solid lies before you; something unromantic as Monday morning, when all who have work wake with the consciousness that they must rise and betake themselves thereto."

"I describe imperfect characters. Every character in this book will be found to be more or less imperfect, my pen refusing to draw anything in the model line."

"This is a terrible hour, but it is often that darkest point which precedes the rise of day; that turn of the year when the icy January wind carries over the waste at once the dirge of departing winter, and the prophecy of coming spring."

"Old maids like the houseless and unemployed poor, should not ask for a place and an occupation in the world: the demand disturbs the happy and the rich."

"Liberty lends us her wings and Hope guides us by her star."

"If there are words and wrongs like knives, whose deep inflicted lacerations never heal - cutting injuries and insults of serrated and poison-dripping edge - so, too, there are consolations of tone too fine for the ear not fondly and for ever to retain their echo: caressing kindnesses - loved, lingered over through a whole life, recalled with unfaded tenderness, and answering the call with undimmed shine, out of that raven cloud foreshadowing Death himself."

"No mockery in this world ever sounds to me so hollow as that of being told to cultivate happiness. What does such advice mean? Happiness is not a potato, to be planted in mould, and tilled with manure. Happiness is a glory shining far down upon us out of Heaven. She is a divine dew which the soul, on certain of its summer mornings, feels dropping upon it from the amaranth bloom and golden fruitage of Paradise."

"The theatre was full — crammed to its roof: royal and noble were there; palace and hotel had emptied their inmates into those tiers so thronged and so hushed. Deeply did I feel myself privileged in having a place before that stage; I longed to see a being of whose powers I had heard reports which made me conceive peculiar anticipations. I wondered if she would justify her renown: with strange curiosity, with feelings severe and austere, yet of riveted interest, I waited. She was a study of such nature as had not encountered my eyes yet: a great and new planet she was: but in what shape? I waited her rising.She rose at nine that December night: above the horizon I saw her come. She could shine yet with pale grandeur and steady might; but that star verged already on its judgment-day. Seen near, it was a chaos — hollow, half-consumed: an orb perished or perishing — half lava, half glow.I had heard this woman termed "plain," and I expected bony harshness and grimness — something large, angular, sallow. What I saw was the shadow of a royal Vashti: a queen, fair as the day once, turned pale now like twilight, and wasted like wax in flame.For awhile — a long while — I thought it was only a woman, though an unique woman, who moved in might and grace before this multitude. By-and-by I recognized my mistake. Behold! I found upon her something neither of woman nor of man: in each of her eyes sat a devil. These evil forces bore her through the tragedy, kept up her feeble strength — for she was but a frail creature; and as the action rose and the stir deepened, how wildly they shook her with their passions of the pit! They wrote HELL on her straight, haughty brow. They tuned her voice to the note of torment. They writhed her regal face to a demoniac mask. Hate and Murder and Madness incarnate she stood.It was a marvellous sight: a mighty revelation.It was a spectacle low, horrible, immoral.Swordsmen thrust through, and dying in their blood on the arena sand; bulls goring horses disembowelled, made a meeker vision for the public — a milder condiment for a people's palate — than Vashti torn by seven devils: devils which cried sore and rent the tenement they haunted, but still refused to be exorcised.Suffering had struck that stage empress; and she stood before her audience neither yielding to, nor enduring, nor in finite measure, resenting it: she stood locked in struggle, rigid in resistance. She stood, not dressed, but draped in pale antique folds, long and regular like sculpture. A background and entourage and flooring of deepest crimson threw her out, white like alabaster — like silver: rather, be it said, like Death."

"I like to see flowers growing, but when they are gathered, they cease to please. I look on them as things rootless and perishable; their likeness to life makes me sad. I never offer flowers to those I love; I never wish to receive them from hands dear to me."

"I believe in some blending of hope and sunshine sweetening the worst lots. I believe that this life is not all; neither the beginning nor the end. I believe while I tremble; I trust while I weep."

"Monsieur, sit down; listen to me. I am not a heathen, I am not hard-hearted, I am not unchristian, I am not dangerous, as they tell you; I would not trouble your faith; you believe in God and Christ and the Bible, and so do I."

"I told him how we kept fewer forms between us and God; retaining, indeed, no more than, perhaps, the nature of mankind in the mass rendered necessary for due observance. I told him I could not look on flowers and tinsel, on wax- lights and embroidery, at such times and under such circumstances as should be devoted to lifting the secret vision to Him whose home is Infinity, and His being — Eternity. That when I thought of sin and sorrow, of earthly corruption, mortal depravity, weighty temporal woe — I could not care for chanting priests or mumming officials; that when the pains of existence and the terrors of dissolution pressed before me — when the mighty hope and measureless doubt of the future arose in view — _then_, even the scientific strain, or the prayer in a language learned and dead, harassed: with hindrance a heart which only longed to cry — "God be merciful to me, a sinner!""

"There is, in lovers, a certain infatuation of egotism; they will have a witness of their happiness, cost that witness what it may."

"What animal magnetism drew thee and me together—I know not."

"My God, whose son, as on this night, took on Him the form of man, and for man vouchsafed to suffer and bleed, controls thy hand, and without His behest, thou canst not strike a stroke. My God is sinless, eternal, all-wise, and in Him is my trust, and though stripped and crushed by thee, -though naked, desolate, void of resource- I do not despair:where the lance of Guthrum now wet with my blood, I should not despair. I watch, I toil, I hope, I pray: Jehovah, in His own time, will aid."

"Novelists should never allow themselves to weary of the study of real life."

"Unlawful pleasure, trenching on another’s rights, is delusive and envenomed pleasure—its hollowness disappoints at the time, its poison cruelly tortures afterwards, its effects deprave forever."

"I tell you, Mr. Hunsden, you are a more unpractical man than I am an unpractical woman, for you don't acknowledge what really exists; you want to annihilate individual patriotism and national greatness as an atheist would annihilate God and his own soul, by denying their existence."

"Better to be without logic than without feeling."

"Against slavery all right thinkers revolt, and though torture be the price of resistance, torture must be dared: though the only road to freedom lie through the gates of death, those gates must be passed; for freedom is indispensable."

"Men judge us by the success of our efforts. God looks at the efforts themselves."

"When I was fourteen I used to read literature in English. I read textbooks and the newspapers in Spanish, but when I really started to get into literature was when I started reading Jane Eyre and Wuthering Heights."

"Feminists are in love with Charlotte Brontë. Yet the great summation of the travails of Charlotte's Jane Eyre was: "Reader, I married him." Reader, I married the boss. No, listen, that's just not good enough! Charlotte Brontë was a flaming racist. If you want to know where she stands, compare her with her sister, the antiracist Emily Brontë, who said, "I am Heathcliff": I am that man of color, who had been a street urchin. And that's just the beginning of what I think we have to do, not only if we are white, but whoever we are. We have to identify entirely with those with less power than ourselves: not only are we "with them"; we are "them." That way lies power for all of us, the end of the divisions, the end of the hierarchy and the flowering of real diversity and individuality."

"Jane Eyre was the book that made me want to write."

"You know that when the work entitled "Jane Eyre" appeared, with a fictitious name, it was said to be a work of too great power for any woman-that it must have been written by a man. It proved, however, to have been written by a woman."

"As our President said, we have in our army such minds as Spencer, and Mill, and I would add Buckle, and many others; and they are diffusing light, intelligence and civilization, and advocating the right. We have women also. We have Frances Cobbe; whose name I speak with pride and rejoicing; and in the literary world we have Charlotte Bronte, and Harriet Beecher Stowe, and many others, who are consecrating their talents to the great cause of womanhood, and freedom, and right."

"I like Brontë. Not just Jane Eyre, but Villette is a wonderful novel. And Shirley is interesting too."

"(What attracted you to the character of Bertha Mason in Jane Eyre and made you use her for the basis of Wide Sargasso Sea?) RHYS: I had always wanted to write about her... I was annoyed about the poor lunatic West Indian, she's not a true character at all, unlike Jane Eyre and Mr Rochester, so I wrote her life. Jane and Mr Rochester come completely to life in Jane Eyre, she doesn't, she's just such a horrible character."

"Like Thackeray's daughters, I read Jane Eyre in childhood, carried away "as by a whirlwind." Returning to Charlotte Brontë's most famous novel, as I did over and over in adolescence, in my twenties, thirties, now in my forties, I have never lost the sense that it contains, through and beyond the force of its creator's imagination, some nourishment I needed then and still need today."

"At all events, except for her writings on her mother, Colette is a less reliable source on the lesbian continuum than, I would think, Charlotte Brontë, who understood that while women may, indeed must, be one another's allies, mentors, and comforters in the female struggle for survival, there is quite extraneous delight in each other's company and attraction to each others' minds and character, which attend a recognition of each others' strengths."

"Comparing Jane Eyre to Wuthering Heights, as people tend to do, Virginia Woolf had this to say: "The drawbacks of being Jane Eyre are not far to seek. Always to be a governess and always to be in love is a serious limitation in a world which is full, after all, of people who are neither one nor the other.... [Charlotte Brontë] does not attempt to solve the problems of human life; she is even unaware that such problems exist; all her force, which is the more tremendous for being constricted, goes into the assertion, "I love," "I hate," "I suffer"...She goes on to state that Emily Brontë is a greater poet than Charlotte because "there is no 'I' in Wuthering Heights. There are no governesses. There are no employers. There is love, but not the love of men and women." In short, and here I would agree with her, Wuthering Heights is mythic."

"I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene."

"I'll get an inspiration and start painting; then I'll forget everything, everything except how things used to be and how to paint it so people will know how we used to live."

"Painting's not important. The important thing is keeping busy."

"I paint from the top down. From the sky, then the mountains, then the hills, then the houses, then the cattle, and then the people."

"A primitive artist is an amateur whose work sells."

"If I hadn't started painting, I would have raised chickens."

"I have written my life in small sketches, a little today, a little yesterday, as I have thought of it, as I remember all the things from childhood on through the years, good ones, and unpleasant ones, that is how they come out and that is how we have to take them. I look back on my life like a good day's work, it was done and I am satisfied with it. I was happy and contented, I knew nothing better and made the best out of what life offered. And life is what we make it, always has been, always will be."

"The death of Grandma Moses removed a beloved figure from American life. The directness and vividness of her paintings restored a primitive freshness to our perception of the American scene. Both her work and her life helped our nation renew its pioneer heritage and recall its roots in the countryside and on the frontier. All Americans mourn her loss."

"There emanates from her paintings a light-hearted optimism; the world she shows us is beautiful and it is good. You feel at home in all these pictures, and you know their meaning. The unrest and the neurotic insecurity of the present day make us inclined to enjoy the simple and affirmative outlook of Grandma Moses."

"In person, Grandma Moses charmed wherever she went. A tiny, lively woman with mischievous gray eyes and a quick wit, she could be sharp-tongued with a sycophant and stern with an errant grandchild."

"I have no horror of death: if I thought it inevitable I think I could quietly resign myself to the prospect ... But I wish it would please God to spare me not only for Papa's and Charlotte's sakes, but because I long to do some good in the world before I leave it. I have many schemes in my head for future practice – humble and limited indeed – but still I should not like them all to come to nothing, and myself to have lived to so little purpose. But God's will be done."

"All for myself the sigh would swell, The tear of anguish start; I little knew what wilder woe Had filled the Poet's heart.I did not know the nights of gloom, The days of misery; The long, long years of dark despair, That crushed and tortured thee."

"Yet, should thy darkest fears be true, If Heaven be so severe, That such a soul as thine is lost, Oh! how shall I appear?"

"My soul is awakened, my spirit is soaring And carried aloft on the wings of the breeze; For above and around me the wild wind is roaring, Arousing to rapture the earth and the seas."

"I wish I could see how the ocean is lashing The foam of its billows to whirlwinds of spray; I wish I could see how its proud waves are dashing, And hear the wild roar of their thunder today!"

"You may rejoice to think yourselves secure, You may be grateful for the gift divine, That grace unsought which made your black hearts pure And fits your earthborn souls in Heaven to shine. But is it sweet to look around and view Thousands excluded from that happiness, Which they deserve at least as much as you, Their faults not greater nor their virtues less?"

"Say does your heart expand to all mankind And would you ever to your neighbour do, — The weak, the strong, the enlightened and the blind — As you would have your neighbour do to you?And, when you, looking on your fellow men Behold them doomed to endless misery, How can you talk of joy and rapture then? May God withhold such cruel joy from me!"

"That none deserve eternal bliss I know: Unmerited the grace in mercy given, But none shall sink to everlasting woe That have not well deserved the wrath of Heaven."

"And, O! there lives within my heart A hope long nursed by me, (And should its cheering ray depart How dark my soul would be)That as in Adam all have died In Christ shall all men live And ever round his throne abide Eternal praise to give;That even the wicked shall at last Be fitted for the skies And when their dreadful doom is past To life and light arise."

"I ask not how remote the day Nor what the sinner's woe Before their dross is purged away, Enough for me to knowThat when the cup of wrath is drained, The metal purified, They'll cling to what they once disdained, And live by Him that died."

"My God! O let me call Thee mine! Weak, wretched sinner though I be, My trembling soul would fain be Thine, My feeble faith still clings to Thee."

"I know I owe my all to Thee, O, take this heart I cannot give. Do Thou my Strength my Saviour be; And make me to Thy glory live!"

"While on my lonely couch I lie, I seldom feel myself alone, For fancy fills my dreaming eye With scenes and pleasures of its own. Then I may cherish at my breast An infant's form beloved and fair, May smile and soothe it into rest With all a Mother's fondest care."

"How sweet to feel its helpless form Depending thus on me alone! And while I hold it safe and warm What bliss to think it is my own! To feel my hand so kindly prest, To know myself beloved at last, To think my heart has found a rest, My life of solitude is past!"

"But then to wake and find it flown, The dream of happiness destroyed, To find myself unloved, alone, What tongue can speak the dreary void? A heart whence warm affections flow, Creator, thou hast given to me, And am I only thus to know How sweet the joys of love would be?"

"Enjoy the blessings Heaven bestows, Assist his friends, forgive his foes; Trust God, and keep his statutes still, Upright and firm, through good and ill;Thankful for all that God has given, Fixing his firmest hopes on heaven; Knowing that earthly joys decay, But hoping through the darkest day."

"A sinless God, for sinful men, Descends to suffer and to bleed; Hell must renounce its empire then; The price is paid, the world is freed, And Satan's self must now confess, That Christ has earned a Right to bless"

"All true histories contain instruction; though, in some, the treasure may be hard to find, and when found, so trivial in quantity, that the dry, shrivelled kernel scarcely compensates for the trouble of cracking the nut. Whether this be the case with my history or not, I am hardly competent to judge. I sometimes think it might prove useful to some, and entertaining to others; but the world may judge for itself. Shielded by my own obscurity, and by the lapse of years, and a few fictitious names, I do not fear to venture; and will candidly lay before the public what I would not disclose to the most intimate friend."

"Oh, Richard!" exclaimed she, on one occasion, "if you would but dismiss such gloomy subjects from your mind, you would live as long as any of us; at least you would live to see the girls married, and yourself a happy grandfather, with a canty old dame for your companion."

"As an animal, Matilda was all right, full of life, vigour, and activity; as an intelligent being, she was barbarously ignorant, indocile, careless, and irrational; and consequently, very distressing to one who had the task of cultivating her understanding, reforming her manners, and aiding her to acquire those ornamental attainments which, unlike her sister, she despised as much as the rest..."

"I've done you a piece of good service, Nancy," he began: then seeing me, he acknowledged my presence by a slight bow. I should have been invisible to Hatfield, or any other gentleman of those parts. "I've delivered your cat," he continued, "from the hands, or rather the gun, of Mr. Murray's gamekeeper."

"If you mean Mr. Weston to be one of your victims," said I, with affected indifference, "you will have to make such overtures yourself that you will find it difficult to draw back when he asks you to fulfil the expectations you have raised."

"Why," said I — "why should you suppose that I dislike the place?" "You told me so yourself," was the decisive reply. "You said, at least, that you could not live contentedly, without a friend; and that you had no friend here, and no possibility of making one — and, besides, I know you must dislike it."

"But I can't devote myself entirely to a child," said she; "it may die — which is not at all improbable." "But, with care, many a delicate infant has become a strong man or woman." "But it may grow so intolerably like its father that I shall hate it." "That is not likely; it is a little girl, and strongly resembles its mother."

"I settled everything with Mrs. Grey, while you were putting on your bonnet," replied he. "She said I might have her consent, if I could obtain yours; and I asked her, in case I should be so happy, to come and live with us — for I was sure you would like it better. But she refused, saying she could now afford to employ an assistant, and would continue the school till she could purchase an annuity sufficient to maintain her in comfortable lodgings; and, meantime, she would spend her vacations alternately with us and your sister, and should be quite contented if you were happy. And so now I have overruled your objections on her account. Have you any other?" "No — none." "You love me then?" said he, fervently pressing my hand. "Yes."

"But as the priceless treasure too frequently hides at the bottom of well, it needs some courage to dive for it, especially as he that does so will be likely to incur more scorn and obloquy for the mud and water into which he has ventured to plunge, than thanks for the jewel he procures; as like in manner, she who undertakes the cleansing of a careless bachelor's apartment will be liable to more abuse for the dust she raises than commendation for the clearance she effects."

"Such humble talents as God had given me I will endeavour to put to their greatest use; if I am able to amuse I will try to benefit too; and when I feel it my duty to speak an unpalatable truth, with the help of God, I will speak it, though it be to the prejudice of my name and to the detriment of my readers immediate pleasure as well as my own."

"I am satisfied that if a book is a good one, it is so whatever the sex of the author may be. All novels are, or should be, written for both men and women to read, and I am at loss to conceive how a man should permit himself to write anything that would be really disgraceful to a woman, or why a woman should be censured for writing anything that would be proper and becoming for a man."

"Dear Halford, When we were together last, you gave me a very particular and interesting account of the most remarkable occurrences of your early life..."

"If she were more perfect, she would be less interesting."

"It is natural for our unamiable sex to dislike the creatures, for you ladies lavish so many caresses upon them."

"If you would have your son to walk honourably through the world, you must not attempt to clear the stones from his path, but teach him to walk firmly over them — not insist upon leading him by the hand, but let him learn to go alone."

"It is better to arm and strengthen your hero, than to disarm and enfeeble your foe."

"I would not send a poor girl into the world, ignorant of the snares that beset her path; nor would I watch and guard her, till, deprived of self-respect and self-reliance, she lost the power or the will to watch and guard herself."

"If you would have a boy to despise his mother, let her keep him at home, and spend her life in petting him up, and slaving to indulge his follies and caprices."

"You may have as many words as you please, – only I can’t stay to hear them."

"When a lady does consent to listen to an argument against her own opinions, she is always predetermined to withstand it — to listen only with her bodily ears, keeping the mental organs resolutely closed against the strongest reasoning."

"His heart was like a sensitive plant, that opens for a moment in the sunshine, but curls up and shrinks into itself at the slightest touch of the finger, or the lightest breath of wind."

"I have heard that, with some persons, temperance – that is, moderation – is almost impossible; and if abstinence be an evil (which some have doubted), no one will deny that excess is a greater. Some parents have entirely prohibited their children from tasting intoxicating liquors; but a parent’s authority cannot last for ever; children are naturally prone to hanker after forbidden things; and a child, in such a case, would be likely to have a strong curiosity to taste, and try the effect of what has been so lauded and enjoyed by others, so strictly forbidden to himself – which curiosity would generally be gratified on the first convenient opportunity; and the restraint once broken, serious consequences might ensue."

"When a lady condescends to apologize, there is no keeping one’s anger."

"If you would really study my pleasure, mother, you must consider your own comfort and convenience a little more than you do."

"No one can be happy in eternal solitude."

"I have often wished in vain," said she, "for another's judgment to appeal to when I could scarcely trust the direction of my own eye and head, they having been so long occupied with the contemplation of a single object as to become almost incapable of forming a proper idea respecting it." "That," replied I, "is only one of many evils to which a solitary life exposes us."

"She, however, attentively watched my looks, and her artist's pride was gratified, no doubt, to read my heartfelt admiration in my eyes."

"It’s well to have such a comfortable assurance regarding the worth of those we love. I only wish you may not find your confidence misplaced."

"If we can only speak to slander our betters, let us hold our tongues."

"I thought Mr. Millward never would cease telling us that he was no tea-drinker, and that it was highly injurious to keep loading the stomach with slops to the exclusion of more wholesome sustenance, and so give himself time to finish his fourth cup."

"I possess the faculty of enjoying the company of those I — of my friends as well in silence as in conversation."

"I almost wish I were not a painter," observed my companion. "Why so? one would think at such a time you would most exult in your privilege of being able to imitate the various brilliant and delightful touches of nature." "No; for instead of delivering myself up to the full enjoyment of them as others do, I am always troubling my head about how I could produce the same effect upon canvas; and as that can never be done, it is more vanity and vexation of spirit."

"In love affairs, there is no mediator like a merry, simple-hearted child — ever ready to cement divided hearts, to span the unfriendly gulf of custom, to melt the ice of cold reserve, and overthrow the separating walls of dread formality and pride."

"There is such a thing as looking through a person's eyes into the heart, and learning more of the height, and breadth, and depth of another's soul in one hour than it might take you a lifetime to discover, if he or she were not disposed to reveal it, or if you had not the sense to understand it."

"What are their thoughts to you or me, so long as we are satisfied with ourselves — and each other."

"However little you may esteem them as individuals, it is not pleasant to be looked upon as a liar and a hypocrite, to be thought to practice what you abhor, and to encourage the vices you would discountenance, to find your good intentions frustrated, and your hands crippled by your supposed unworthiness, and to bring disgrace on the principles you profess."

"Are you hero enough to unite yourself to one whom you know to be suspected and despised by all around you, and identify your interests and your honour with hers? Think! it is a serious thing."

"You couldn't have given me less encouragement, or treated me with greater severity than you did! And if you think you have wronged me by giving me your friendship, and occasionally admitting to me to the enjoyment of your company and conversation, when all hopes of close intimacy were vain — as indeed you always gave me to understand — if you think you have wronged me by this, you are mistaken; for such favours, in themselves alone, are not only delightful to my heart, but purifying, exalting, ennobling to my soul; and I would rather have your friendship than the love of any other woman in the world!"

"Bad news fly fast."

"A light wind swept over the corn; and all nature laughed in the sunshine."

"Smiles and tears are so alike with me, they are neither of them confined to any particular feelings: I often cry when I am happy, and smile when I am sad."

"I imagine, there must be only a very, very few men in the world that I should like to marry; and of those few, it is ten to one I may never be acquainted with one; or if I should, it is twenty to one he may not happen to be single, or to take a fancy to me."

"A girl's affections should never be won unsought."

"Beauty is that quality which, next to money, is generally the most attractive to the worst kinds of men; and, therefore, it is likely to entail a great deal of trouble on the possessor."

"The brightest attractions to the lover too often prove the husband's greatest torments"

"If I hate the sins, I love the sinner, and would do much for his salvation."

"This paper will serve instead of a confidential friend into whose ear I might pour forth the overflowings of my heart. It will not sympathise with my distresses, but then it will not laugh at them, and, if I keep it close, it cannot tell again; so it is, perhaps, the best friend I could have for the purpose."

"I perceive the backs of young ladies' drawings, like the postscripts of their letters, are the most important and interesting part of the concern."

"He despises me, because he knows I love him."

"I am truly miserable — more so than I like to acknowledge to myself. Pride refuses to aid me. It has brought me into the scrape, and will not help me out of it."

"You will form a very inadequate estimate of a man's character, if you judge by what a fond sister says of him. The worst of them generally know how to hide their misdeeds from their sisters' eyes, and their mother's, too."

"At your time of life, it's love that rules the roast: at mine, it's solid, serviceable gold."

"What can't be cured must be endured."

"The demon of drink was as black as the demon of play, and nearly as hard to get rid of — especially as his kind friends did all they could to second the promptings of his own insatiable cravings."

"I see that a man cannot give himself up to drinking without being miserable one half his days and mad the other; besides, I like to enjoy my life at all sides and ends, which cannot be done by one that suffers himself to be the slave of a single propensity."

"I do believe a young lady can't be too careful who she marries."

"There is always a 'but' in this imperfect world."

"Since I love him so much, I can easily forgive him for loving himself."

"I think your piety one of your greatest charms; but then, like all other good things, it may be carried too far. To my thinking, a woman's religion ought not to lessen her devotion to her earthly lord. She should have enough to purify and etherealise her soul, but not enough to refine away her heart, and raise her above all human sympathies."

"The more you loved your God the more deep and pure and true would be your love to me."

"Of him to whom less is given, less will be required, but our utmost exertions are required of us all."

"All our talents increase in the using, and every faculty, both good and bad, strengthens by exercise: therefore, if you choose to use the bad, or those which tend to evil, till they become your masters, and neglect the good till they dwindle away, you have only yourself to blame."

"It is quite possible to be a good Christian without ceasing to be a happy, merry-hearted man."

"If your wife gives you her heart, you must take it, thankfully, and use it well, and not pull it in pieces, and laugh in her face, because she cannot snatch it away."

"The greater the happiness that nature sets before me, the more I lament that he is not here to taste it: the greater the bliss we might enjoy together, the more I feel our present wretchedness apart."

"To wheedle and coax is safer than to command."

"He knows he is my sun, but when he chooses to withhold his light, he would have my sky to be all darkness; he cannot bear that I should have a moon to mitigate the deprivation."

"I ever give a thought to another, you may well spare it, for those fancies are here and gone like a flash of lightning, while my love for you burns on steadily, and for ever, like the sun."

"You may think it all very fine, Mr. Huntingdon, to amuse yourself with rousing my jealousy; but take care you don't rouse my hate instead. And when you have once extinguished my love, you will find it no easy matter to kindle it again."

"It is a woman's nature to be constant — to love one and one only, blindly, tenderly, and for ever."

"Where hope rises fear must lurk behind."

"I can't love it — what is there to love? It can't love me — or you either; it can't understand a single word you say to it, or feel one spark of gratitude for all your kindness. Wait till it can show some little affection for me, and then I'll see about loving it. At present it is nothing more than a little selfish, senseless sensualist, and if you see anything adorable in it, it's all very well — I only wonder how you can."

"His idea of a wife is a thing to love one devotedly, and to stay at home — to wait upon her husband, and amuse him and minister to his comfort in every possible way, while he chooses to stay with her; and, when he is absent, to attend to his interests, domestic or otherwise, and patiently wait his return; no matter how he may be occupied in the meantime."

"Those, whose time is fully occupied, seldom complain of solitude."

"Whatever my husband's faults may be, it can only aggravate the evil for me to hear them from a stranger's lips."

"Intimate acquaintance must precede real friendship."

"Instead of combating my slight prejudice against you as uncharitable, I mean to cherish it, until I am convinced that I have no reason to distrust this kind, insinuating friendship you are so anxious to push upon me."

"You're at that game of threatening me with the loss of your affection again, are you? I think it couldn't have been very genuine stuff to begin with, if it's so easily demolished."

"Friends as we are, we would willingly keep your failings to ourselves — even from ourselves if we could, unless by knowing them we could deliver you from them."

"A burst of passion is a fine rousing thing upon occasion, Helen, and a flood of tears is marvellously affecting, but, when indulged too often, they are both deuced plaguy things for spoiling one's beauty and tiring out one's friends."

"I know not whether, at the time, it was not for him rather than myself that I blushed; for, since he and I are one, I so identify myself with him, that I feel his degradation, his failings, and transgressions as my own; I blush for him, I fear for him; I repent for him, weep, pray, and feel for him as for myself; but I cannot act for him; and hence, I must be and I am, debased, contaminated by the union, both in my own eyes, and in the actual truth."

"What the world stigmatizes as romantic, is often more nearly allied to the truth than is commonly supposed; for, if the generous ideas of youth are too often over-clouded by the sordid views of after-life, that scarcely proves them to be false."

"Life and hope must cease together."

"How odd it is that we so often weep for each other’s distresses, when we shed not a tear for our own!"

"Adoration isn’t love. I adore Annabella, but I don’t love her; and I love thee, Milicent, but I don’t adore thee."

"A man must have something to grumble about; and if he can’t complain that his wife harries him to death with her perversity and ill-humour, he must complain that she wears him out with her kindness and gentleness."

"No generous mind delights to oppress the weak, but rather to cherish and protect."

"I sometimes think she has no feeling at all; and then I go on till she cries — and that satisfies me."

"If you had no higher motive than the approval of your fellow mortal, it would do you little good."

"Chess-players are so unsociable, they are no company for any but themselves."

"God have mercy on his miserable soul! and make him see and feel his guilt — I ask no other vengeance! If he could but fully know and truly feel my wrongs I should be well avenged, and I could freely pardon all."

"Forgetfulness is not to be purchased with a wish; and I cannot bestow my esteem on all who desire it, unless they deserve it too."

"Revenge! No — what good would that do? — it would make him no better, and me no happier."

"I will not allow myself to be worse than my fellows."

"Though I hate him from my heart, and should rejoice at any calamity that could befall him, I'll leave him to God; and though I abhor my own life, I'll leave that, too, to Him that gave it."

"A hardness such as this is taught by rough experience and despair alone."

"God will judge us by our own thoughts and deeds, not by what others say about us."

"And you thought to rob me of my son too, and bring him up to be a dirty Yankee tradesman, or a low, beggarly painter?" "Yes, to obviate his becoming such a gentleman as his father."

"You might as well sell yourself to slavery at once, as marry man you dislike."

"Keep both heart and hand in your own possession, till you see good reason to part with them; and if such an occasion should never present itself, comfort your mind with this reflection, that though in single life your joys may not be very many, your sorrows, at least, will not be more than you can bear. Marriage may change your circumstances for the better, but, in my private opinion, it is far more likely to produce a contrary result."

"I shall expect my husband to have no pleasures but what he shares with me; and if his greatest pleasure of all is not the enjoyment of my company — why — it will be the worse for him — that's all." "If such are your expectations of matrimony, Esther, you must, indeed, be careful whom you marry — or rather, you must avoid it altogether."

"I'd rather be like myself, bad as I am."

"It is never too late to reform, as long as you have the sense to desire it, and the strength to execute your purpose."

"He cannot endure Rachel, because he knows she has a proper appreciation of him."

"Don't you know that every time we meet the thoughts of the final parting will become more painful? Don't you feel that every interview makes us dearer to each other than the last?"

"Never mind our kind friends: if they can part our bodies, it is enough; in God's name, let them not sunder our souls!"

"There is perfect love in heaven!"

"Increase of love brings increase of happiness, when it is mutual, and pure as that will be."

"To regret the exchange of earthly pleasures for the joys of heaven, is as if the grovelling caterpillar should lament that it must one day quit the nibbled leaf to soar aloft and flutter through the air, roving at will from flower to flower, sipping sweet honey from their cups, or basking in their sunny petals."

"There's nothing like active employment to console the afflicted."

"It is deeds not words which must purchase my affection and esteem."

"God is Infinite Wisdom, and Power, and Goodness — and Love; but if this idea is too vast for your human faculties — if your mind loses itself in its overwhelming infinitude, fix it on Him who condescended to take our nature upon Him, who was raised to heaven even in His glorified human body, in whom the fullness of the Godhead shines."

"It is a troublesome thing this susceptibility to affronts where none are intended."

"If you loved as I do, she earnestly replied, you would not have so nearly lost me — these scruples of false delicacy and pride would never thus have troubled you — you would have seen that the greatest worldly distinctions and discrepancies of rank, birth, and fortune are as dust in the balance compared with the unity of accordant thoughts and feelings, and truly loving, sympathising hearts and souls."

"On all her breezes borne Earth yields no scents like those; But he, that dares not grasp the thorn Should never crave the rose."

"Poor child! she left us last Monday; no one went with her; it was her own wish that she might be allowed to go alone, as she thought she could manage better and summon more courage if thrown entirely upon her own resources."

"We have all had severe colds and coughs in consequence of the severe weather. Poor Anne has suffered greatly from asthma, but is now, I am glad to say, rather better - she had two nights last week when her cough and difficulty of breathing were painful indeed to hear and witness and must have been most distressing to suffer - she bore it, as she does all affliction, without one complaint – only sighing now and then when nearly worn out – she has an extraordinary heroism of endurance. I admire, but certainly could not imitate her."

"I would fain hope that [Anne’s] health is a little stronger than it was – and her spirits a little better, but she leads much too sedentary a life, and is continually sitting stooping either over a book or over her desk – it is with difficulty one can prevail on her to take a walk or induce her to converse."

"I wish my sister felt the unfavourable [reviews on The Tenant of Wildfell Hall] less keenly. She does not say much, for she is of a remarkably taciturn, still, thoughtful nature, reserved even with her nearest of kin, but I cannot avoid seeing that her spirits are depressed sometimes..."

"The distant prospects were Anne's delight and when I look round she is in the blue tints, the pale mists, the waves and shadows of the horizon."

"What is said of Charlotte may, with almost equal truth, be said of Emily and Anne; though they differed greatly in many points of character and disposition, they were each and all on common ground if a principle had to be maintained or a sham to be detected. They were all jealous of anything hollow or unreal. All were resolutely single-minded, eminently courageous, eminently simple in their habits, and eminently tender-hearted."

"If Anne Brontë had lived ten years longer she would have taken a place beside Jane Austen, perhaps even a higher place."

"Anne, from childhood on, was the most obviously delicate of the Brontë children. She suffered from asthma and was an easy prey to colds and influenza. This weakness caused Charlotte to recall later in life that Anne, since 'early childhood... seemed preparing for an early death'. Judgements of Anne's physical infirmity seem to have led Charlotte unconsciously to corollary judgements of relative weakness of character and intellect. But Anne was, of the sisters, perhaps the most rigorously logical, the most quietly observant, the most realistic, and, in certain spheres, the most tenacious, the most determined, and the most courageous. All of these qualities were to emerge as her life unfolded."

"I am gradually approaching the period in my life when work comes first. When both the boys went away for Easter, I hardly did anything but work. Worked, slept, ate and went for short walks. But above all I worked. And yet I wonder whether the "blessing" is not missing from such work. No longer diverted by other emotions, I work the way a cow grazes."

"For the last third of life there remains only work. It alone is always stimulating, rejuvenating, exciting and satisfying."

"There must be understanding between the artist and the people. In the best ages of art that has always been the case. Genius can probably run on ahead and seek out new ways. But the good artists who follow after genius — and I count myself among these — have to restore the lost connection once more."

"I felt that I have no right to withdraw from the responsibility of being an advocate. It is my duty to voice the sufferings of people, the sufferings that never end and are as big as mountains."

"I have been through a revolution, and I am convinced that I am no revolutionist. My childhood dreams of dying on the barricades will hardly be fulfilled, because I should hardly mount a barricade now that I know what they were like in reality. And so I know now what an illusion I lived in for so many years. I thought I was a revolutionary and was only an evolutionary. Yes, sometimes I do not know whether I am a socialist at all, whether I am not rather a democrat instead. How good it is when reality tests you to the guts and pins you relentlessly to the very position you always thought, so long as you clung to your illusion, was unspeakably wrong."

"For me the Koenigsberg longshoremen had beauty; the Polish jimkes on their grain ships had beauty; the broad freedom of movement in the gestures of the common people had beauty. Middle-class people held no appeal for me at all. Bourgeois life on the whole seemed to me pedantic."

"Every war already carries within it the war that will answer it. Every war is answered by a new war, until everything is smashed. That is why I am so wholeheartedly for a radical end to this madness and why my only hope is in world socialism."

"Pacifism simply is not a matter of calm looking on; it is hard work."

"For work, one must be hard and thrust outside of oneself what one has lived through."

"Der Künstler ist meist ein Kind seiner Zeit, besonders, wenn seine eigene Entwicklungsperiode in die Zeit des frühen Sozialismus fällt. Meine Entwicklungszeit fiel in die Zeit des frühen Sozialismus. Dieser ergriff mich gänzlich. Von einer bewußten Arbeit im Dienste des Proletariats war damals für mich keine Rede. Was kümmerten mich aber Schönheitsgesetze, wie zum Beispiel die der Griechen, die nicht meine eigenen waren, von mir empfunden und nachgefühlt? Das Proletariat war für mich eben Schön."

"I have received a commission to make a poster against war. That is a task that makes me happy. Some may say a thousand times that this is not pure art.... but as long as I can work, I want to be effective with my art."

"The working-class woman shows me much more than the ladies who are totally limited by conventional behavior. The working-class woman shows me her hands, her feet, and her hair. She lets me see the shape and form of her body through her clothes. She presents herself and the expression of her feelings openly, without disguises."

"My work is not, of course, pure art in the sense that Schmidt-Rottluff's is, but it is art nonetheless... It is all right with me that my work serves a purpose. I want to have an effect on my time, in which human beings are so confused and in need of help."

"One can only influence the strong characters in life, not the weak; and it is the height of vanity to suppose that you can make an honest man of anyone."

"Rich men's houses are seldom beautiful, rarely comfortable, and never original. It is a constant source of surprise to people of moderate means to observe how little a big fortune contributes to Beauty."

"From the happy expression on their faces you might have supposed that they welcomed the war. I have met with men who loved stamps, and stones, and snakes, but I could not imagine any man loving war."

"Lloyd George? There is no Lloyd George. There is a marvellous brain; but if you were to shut him in a room and look through the keyhole there would be nobody there."

"He's very clever, but sometimes his brains go to his head."

"She tells enough white lies to ice a wedding cake."

"He couldn't see a belt without hitting below it."

"My dear old friend King George V told me he would never have died but for that vile doctor, Lord Dawson of Penn."

"The t is silent, as in Harlow."

"You can do something with talent, but nothing with genius...."

"Kitchener, a great man or a great poster?"

"Margo. The 'T' is silent as in Harlow."

"Of a smooth society lady, she said, "she told enough white lies to ice a cake." And of a particularly hideous house she'd been to stay in, she said: "It was so uncomfortable – the chairs were covered in apples stuffed with lead. And in the hall, (talking presumably of the butler) "I was met by a stout rhinoceros carrying visiting-cards in one hand, and azaleas in the other.""

"The affair between Margot Asquith and Margot Asquith will live as one of the prettiest love stories in all literature."

"... no matter where she takes off from, she brings the discourse back to Margot Asquith. Such singleness of purpose is met but infrequently."

"Through the pages of [her book] Lay Sermons walk the great. I don't say that Margot Asquith actually permits us to rub elbows with them ourselves, but she willingly shows us her own elbow, which has been, so to say, honed on the mighty."

"The lady of the house, notorious Margot, was less remarkable than unlikely to escape remark ever since her supposed début in Benson's Dodo, when she must have been "a resolute little tit", as was said of young Victoria. A woman of emphatic character and affections, she was either an ally or an embarrassment, at moments both. Ebullient, shrewd and tactless, she assisted her consort rather by energy than subtlety, for she had bouts of belief that honesty is thwarted by politeness. "Why," she must say to the Swiss Minister, "are the Swiss the plainest people in Europe?" She was clever but not profound, and said more trenchant things than good ones in her desire to reign over a world which she was always making her own. I was sorry for her when it slipped too soon for a soul irrevocably on the active list. She could not, and would not, be omitted from any call-up of ghosts."

"My soul is full of whispered song,— My blindness is my sight; The shadows that I feared so long Are full of life and light."

"Yea, when mortality dissolves, Shall I not meet thine hour unawed? My house eternal in the heavens Is lighted by the smile of God!"

"We serve Him most who take the most of His exhaustless love."

"Desolate—Life is so dreary and desolate— Women and men in the crowd meet and mingle, Yet with itself every soul standeth single, Deep out of sympathy moaning its moan— Holding and having its brief exultation— Making its lonesome and low lamentation— Fighting its terrible conflicts alone."

"How many lives we live in one, And how much less than one, in all."

"Her religious sentiments were deep and strong, her faith in the Eternal Goodness unwavering. Educated in the faith of Universalism, she believed to the last in the final salvation of all God's children."

"...It is sad and discouraging that the reports of dear Leopold show no improvement, & I am sure it must be a worry to you. All one can say, is that one has tried all for the best, & one must bear in mind that possibly it may be some time still before he can use his legs properly after such repeated attacks & that paralysis..."

"The Autumn seems to cry for thee, Best lover of the Autumn-days!"

"The tasks are done and the tears are shed. Yesterday’s errors let yesterday cover; Yesterday’s wounds, which smarted and bled, Are healed with the healing that night has shed."

"These are weighty secrets, and we must whisper them."

"Men die but sorrow never dies."

"She stood amid the morning dew, And sang her earliest measure sweet, Sang as the lark sings,speeding fair, to touch and taste the purer air"

"And though hard be the task, "Keep a stiff upper lip.""

"Nearer my Father's house, Where the many mansions be, Nearer the great white throne, Nearer the crystal sea. Nearer the bound of life, Where we lay our burdens down, Nearer leaving the cross, Nearer gaining the crown."

"Her washing ended with the day, Yet lived she at its close, And passed the long, long night away In darning ragged hose. But when the sun in all its state Illumed the Eastern skies, She passed about the kitchen grate And went to making pies."

"Father, perfect my trust; Let my spirit feel in death, That her feet are firmly set On the rock of a living faith!"

"His [ Edouard Manet's] paintings, as they always do, produce the impression of a wild or even a somewhat unripe fruit. I do not in the least dislike them."

"Men readily believe that they will fill a whole life; but for my part, I believe that however fond one is of one's husband, one does not relinquish a life of work without some difficulty; affection is a very pretty thing provided it is coupled with something to fill one's day; that something, for you, I see as motherhood."

"He [ Manet ] begged me to go straight up and see his painting [ 'Le Balcon'] - Berthe was model for this painting], as he was rooted to the spot. I've never seen anyone in such a state, one minute he was laughing, the next insisting his picture was dreadful; in the next breath, sure it would be a huge success."

"The tall fellow Bazille has done something I find quite fine: a young girl [in his painting 'View on the village' ] in a very light dress in the shadow of a tree beyond which one sees a town. There is a good deal of light, sunlight, He is trying to do what we [Berthe and her sister Edma] have so often tried to bring off: to paint a figure in the open air. This time I think he has succeed."

"He [Manet] came about one o'clock [the day for submitting works for The Paris Salon of 1870]. he found it [ 'Reading', Berthe's double-portrait of her mother with her pregnant sister Edma] very good, except for the lower parts of the dress. He took the brushes and put in a few accents.. ..mother was in ecstasies. That is where my misfortune began. Once started, nothing could stop him, from the skirt he went to the bust, from the bust to the head, from the head to the background. He cracked a thousand jokes, laughed like a madman, handed me the palette, took it back; finally by five o'clock in the afternoon we had made the best caricature you have ever seen."

"Corot spoiled the 'étude' [study] we admired so much when we saw it at his home, by redoing it in the studio."

"I will achieve it only [being an artist] by perseverance, and by openly asserting my determination to emancipate myself, [but].. ..I both lament and envy your [Edma's] fate. Bichette [her niece] helps me to understand maternal love; she comes onto my bed every morning and plays so sweetly.. ..life gets more complicated by the day here now I am gripped by the desire to have children, that' all I need."

"During the day I received a visit from Puvis de Chavannes; he saw what I had done [painted in 1869-70 in Lorient] and didn't seem to think it was too bad.. ..The Manet's [the brothers Eduard and Eugene Manet] came to see us [Berthe and her mother] Tuesday evening, we visited the studio; to my great surprise and satisfaction I received the highest praise. it seems that what I do is decidedly better than Eva Gonzalès. Manet is too candid, and there can be no mistake about it. I am sure that he liked these things a great deal; however, I remember what Fantin says, namely, that Manet always approves of the painting of people whom he likes."

"I have heard so much about the perils ahead that I have had nightmares for several nights, in which I lived through all the horrors of war.. .The militia are quartered in the studio, hence there is no way of using it. I do not read the newspapers much any more; one a day is enough for me. The Prussian atrocities upset me, and I want to retain my composure.. .Would you believe that I am accustomed to the sound of the canon [of the Prussians]? It seems to me that I am now absolutely inured to war and capable of enduring everything."

"This painting, this work you miss so much [the two sisters Morisot painted a lot together] is a cause of much trouble and concern, you know this as well as I do and yet, child that you are, you are already weeping for the loss of the very thing that darkened you mood only recently. Think of it, yours is not the very worst lot: you have a real affection, a devoted heart that is yours an yours alone, do not be ungrateful for the dealings of fate, think of the great sorrow that is solitude; whatever anyone says or does, womankind has immense need of affection; to want to retreat into yourself is to attempt the impossible."

"The stories of the Manet brothers [ Edouard and her future husband Eugène Manet ] tell about all the horrors we are likely to face, they [in Paris, during the war between France and Germany] are almost enough to discourage even the bravest of us. [But] you know they [the Manet brothers] always exaggerate, and at the moment they see everything in the blackest possible light."

"It seems to me a painting [she is working on] like the one I gave Manet ['The Harbour at Lorient'] could perhaps sell, and that is all I care about."

"He [ Manet ] holds up that eternal Mademoiselle Gonzales as an example; she has poise, perseverance, she can get her things finished whereas I am incapable of doing anything properly. In the meantime he [Manet] has started her portrait again, for the twenty-fifth time. She poses every day, and every night he rubs out the head.."

"I do not like this place [ Saint-Jean-de-Luz, a small fishing-village on the Spanish border]. I find it arid and dried up. The sea here is ugly. It is either all blue - I hate it like that - or dark and dull."

"There is constant sun, good weather all the time, the ocean like a slab of slate - there is nothing less picturesque than this combination."

"I am keen to earn some money.. ..beginning to lose all hope.. .What I see most clearly is that my situation in impossible from every point of view."

"I have found an honest and excellent man [ Eugène Manet, brother of Edouard Manet ] who, I believe, sincerely loves me. I have entered into the positive life after having lived for a long time in by chimeras."

"..the glimpse of the dome of St. Paul's through the forest of yellow masts, the whole thing bathed in a golden haze."

"Dear sir, Edouard Manet told me that you were kind enough to bring the sketch that you completed of him [Monet painted Manet in his garden, Argenteuil, Summer 1874]. I did not have the time to thank you before leaving Paris [with Eugene Manet, just married]. I treasure your gift all the more because I attribute much value to what you do. My husband and I, when we look out at the English seascapes which around us, often speak of you talent and what you will achieve from this movement.......[unreadable – about the Impressionists?]."

"My work is going badly.. ..it is always the same story: I don't know where to start. I made an attempt in a field, but the moment I had set up my easel more than fifty boys and girls were swarming about me, shouting and gesticulating. On a boat one has another kind of difficulty. Everything sways, there is an infernal lap of water; one has the sun and the wind to cope with; the boats change position every minute, etc.. .The view from my window is pretty to look at, but not to paint. Views from above are almost always incomprehensible; as a result of all this I am not doing much.."

"If you read some of the Parisian newspapers, among others the 'Figaro', so beloved of the right-thinking public, you must have learned that I am part of a group of artists who opened a private exhibition [in the art-gallery of Durand-Ruel in Paris, April 1876]. You must also have seen what favour this exhibition enjoys in the eyes of these gentlemen [Berthe refers to the critical articles in Paris with all their mockery about her works]. On the other hand, we have been praised in the radical newspaper, but you don't read those [her aunts]! Well, at least we are getting attention, and we have enough self-esteem not to care. My brother-in-law Edouard Manet is not with us [Manet didn't participate in this first Impressionist show, initiated by Degas ]. Speaking of success, he [Manet] has just been rejected by the Salon; he, too, is perfectly good-humored about his failure."

"The love of art.. ..reconciles us to our lined faces and white hear. [Berthe Morisot was 40 years then]"

"The touch, sure and light [is] fixing something of the passing moment.. ..memory is the true, imperishable life, that which has sunk without trace and been forgotten was not worth experiencing, the sweet hours, and the great and dread, are immutable. Dreams are life itself – and dreams are more true than reality; in them we behave as our true selves – if we have a soul it is there."

"I can not get over everything you did for me in that first day [for his support to hang her works on the 7th Impressionist exhibition, Spring 1882], it seems to me that you are working yourself to death, and all on my account. This touches me deeply and vexes me at the same time."

"These last days [of Manet, dying] were very painful. Poor Edouard suffered atrociously. His agony was horrible, death in one of its most appealing forms, that I once again witnessed at a very close range. If you add to these almost physical emotions my old bond of friendship with Edouard, a entire past of youth and work suddenly ending, you will know that I am devastated."

"I think that it will be a great success, that all this painting [of Edouard Manet, shortly after his death], so fresh, so vital, will electrify the 'Palais des Beaux Arts' [in Paris], which is accustomed to dead art. It will be the revenge for so many rebuffs, but a revenge that the poor boy only in his grave."

"It is odd that Edouard [Manet] with his reputation as an innovator, who has survived such storms of criticism, should suddenly be seen as a classicist. It just proves the imbecility of the public, for he has always been a classic painter."

"This project [an Impressionist exhibition in Paris] is very much up in the air. Degas' perversity makes it almost impossible of realization; there are clashes of vanity in this little group [of impressionists] that make any understanding difficult. It seems to me that I am the only one without any pettiness of character. This makes up for my inferiority as a painter.. ..the truth is that our value [of woman] lies in feeling, in intuition, in our vision that is subtler than that of men, and we can accomplish a great deal provided that affectation, pedantry and sentimentalism do not come to spoil everything."

"..scumbled froth.. ..capable of indicating a mouth, eyes, a nose with a single stroke of the brush, the rest of the face modeled by the perfect accuracy of these indications."

"Would you do us the great favour, you and Mademoiselle Geneviève, of coming to dine next Thursday? Monet will be there, Renoir also.."

"As I admired it [a red pencil and chalk drawing by Degas of a young mother, nursing her child] he showed me a whole series done from the same model and with the same sort of rhythm. He is a draughtsman of the first order; it would be interesting to show all these preparatory studies for a painting to the public, which generally imagines that the impressionists work in a very casual way. I do not think it possible to go further in the rendering of form."

"He [Renoir] is a subtle and brilliant draughtsman.. ..all these preliminary drawings [in Renoir's studio] would astonish the public who obviously imagine the 'Impressionists' work at tremendous speed. I don't believe one can go further [in making sketches as studies] than this in the study of form in a drawing. I am charmed by his 'Nude Bathers' quite as much as those by Ingres. He [Renoir] tells me that he thinks the nude is absolutely indispensable as an art form."

"I have descended to the depths of suffering, and it seems to me that after that one cannot help being raised up. But I have spent the last three nights weeping. Pity! Pity! Remembrance is the true imperishable life.. .I should like to live my life over again, to record it, to admit my weaknesses; no, this is useless; I have sinned, I have suffered, I have atoned for it. I could write only a bad novel by relating what has been related a thousand times."

"Another stroll along the quays with Julie asking questions all the time. We stood for a long time examining the sun and the planet at a mapmaker's.. ..There in the Tuileries Gardens.. ..sitting down I began to ponder over my painting of the garden, watching the shadows on the sand and on the roof of the Louvre, and trying to find the relationship between light and shade. Julie saw pink in the light and purple in the shadows."

"I do not think any man would ever treat a woman as his equal, and it is all I ask because I know my worth."

"Your phrase: 'I am working hard at growing old', is absolutely me. What if you were always to speak in my place.."

"I saw the passers-by on the avenue clearly and simply, in the way they are in Japanese prints [she saw some earlier, together with Mary Casatt in the 'Ecole des Beaux Arts', Paris]. I was thrilled, I knew definitely why I had been painting badly and why I would never paint that way again. I mean to say, I am fifty years old and once a year at least I have the same joy and the same hope."

"I say, 'I should like to die', but that's not true at all, I should like to get younger.. ..youth and old age are similar in more ways than one, and they are the two moments in life when one can feel one's own soul which would be a proof that it exists."

"With what resignation we arrive at the end of life, resigned to all its failures on the one hand, all its uncertainties on the other, for so long I have hoped for nothing, and the desire for glorification after death seems to me an overblown ambition; my own ambition has been confined to a desire to fix something of all that passes, oh! Something, the least little thing, well! That ambition, too, is overblown."

"My dearest little Julie, I love you as I lie dying; I shall still love you when I am dead. I beg of you, do not cry; this parting was inevitable. I would have liked to be with you until you married – Work hard and be good as you have always been; you have never caused me a moment's sorrow in you little life [Julie is 16, then]. You have beauty, good fortune; use them well. I think the best thing would be to live with your cousins in the Rue de Villejust, but I do not wish to force you to do anything. Give a memento of me to your aunt Edma [Berthe's sister] , and to your cousins too; and give Monet's [painting] 'Bateaux en reparation' to your cousin Gabriel. Tell M. Degas that if he found a museum he is to choose a Manet [of her Manet paintings]. A keepsake for Monet; one for Renoir, and one of my drawings for Bartolomé. Give something to the two concierges. Do not cry, I love you more than I can tell you."

"Music and painting should never be literary, a very subtle distinction according to Renoir. As soon as I try to represent an individual, their physiognomy and attitudes, I become a literary artist."

"My ambition is limited to capturing something transient."

"They [the sisters Berthe and Edma ] will become painters. Are you fully aware of what that means? It will be revolutionary – I would almost say catastrophic – in your bourgeois society. Are you sure you won't curse Art, because once it is allowed into such a respectable and serene household, it will surely end by dictating the destinies of your two children."

"Since it is not necessary to have had a long training in draughtsmanship at the Academy to paint a copper pot, a candlestick and a bunch of radishes, women succeed quite well in this domestic type of painting. Miss Berthe Morisot brings to the task really a great deal of frankness with a delicate feeling for light and colour."

"There are works for exhibition, others for the studio, you need to follow the public's taste if you want to succeed.. ..with some works you make your reputation with the artists, with others you do good business if possible"

"I would also point out two landscapes by Mesdemoiselles Morisot, - doubtless two sisters [Berthe and Edma]. Corot is sure to be their master. These canvases show a freshness and naivety of expression and atmosphere that provided some respite from the suave, mean-minded work lapped up with such enthusiasm by the crowds. The artists must have painted these studies quite deliberately on the spot [in open-air] determined to reproduce what they saw."

"I quite agree with you, the Mademoiselles Morisot are charming. What a pity they are not men. All the same, they could serve the cause of painting, in their capacity of women, by each marrying an academician and bringing trouble to those old bogeys in the enemy-camp. Or perhaps that's asking too much sacrifice."

"I am often with you, my dear Berthe, in my thoughts. I follow you everywhere in your studio and I wish that I could escape, were it only for one quarter of an hour to breathe again that air in which we lived for many years."

"We also consider that Miss Berthe Morisot's name and talent are too important to us to do without."

"If possible, come and take care of the placing [for the first Impressionist painting show of Spring 1876, in the art-gallery of Durand-Ruel in Paris, with nineteen pictures of Berthe Morisot]. We are planning to hang the works of each painter in the group together, separating them from any others as much as possible.. .. please, do come and direct this."

"Drawn more to rendering the appearance of things with marked economy of means, infusing them with the fresh charm of feminine vision, Mlle Berthe Morisot succeeds marvelously in capturing the intimate presence of a modern woman or child, in the quintessential atmosphere of a beach or grassy lawn.. .We feel as if the charming woman and child are completely unaware that their pose.. ..is being perpetuated in this charming watercolor."

"There is also, as in all famous gangs, a woman. Her name is Berthe Morisot, and she is a curiosity. She manages to convey a certain degree of feminine grace in spite of her outbursts of delirium."

"There is only one impressionist among the group of revolutionaries Impressionists, and that is Berthe Morisot.. .Her painting has all the freedom of improvisation, truly the 'impression' experienced by a sincere, honest eye, rendered by a hand that does not cheat."

"She uses pastel with the freedom and charm that Rosalba Carriera first brought to the medium in the eighteenth century.. .Here is a delicate colorist who succeeds in making everything cohere into an overall harmony of shades of white which it is difficult to orchestrate without lapsing into sentimentality."

"..'new charm, infused by feminine vision'"

"Her watercolors, her pastels, her paintings all show.. ..a light touch and unpretentious allure that we can only admire. Mademoiselle Morisot has an extraordinary sensitive eye..[and].. succeeds in capturing fleeting notes on her canvases, with a delicacy, spirit, and skill that ensure her a prominent place at the center of the impressionists' group."

"[Berthe Morisot] always painted standing up, walking back and forth before the canvas. She would stare at her subject for a long time (and her look was piercing), her hand ready to place her brushstrokes just where she wanted them.. ..[her method was] to start with a light pencil-sketch, to repeat or very the theme in sanguine, to remodel the composition in pastel and, quite often, to carry forward the theme in watercolor and occasionally to carry it to a final culmination in a finished oil."

"Take this book, when violet Dawn Rises over the Wood To the house of Madame Eugène Manet To the road of far-away Villejust, number 40"

"My dear Berthe, I have indeed just received a visit from the dreaded Pissarro who spoke about your next [groups-]exposition. The gentlemen don't seem to be able to agree [the exposing artists]. Gauguin is playing the great dictator. Sisley, who – I also saw, would like to know what Monet should do [participating or not]. As for Renoir, he hasn't yet returned to Paris. I am surprised Eugène [Manet -the brother of Edouard and husband of Berthe] did not remember that it was very cold in Florence – we shivered there for two months once before.."

"Berthe Morisot is disturbing. In her exquisite works there is a morbid curiosity that astonishes and charmes. Morisot seems to paint with her nerves on edge, providing a few scanty traces to create complete disquieting evocations."

"If I may put it in these terms, she [Berthe Morisot] eliminates cumbersome epithets, weightily adverbs, in her clear phrasing: everything is subject and verb; she has a kind of telegrammatic style with sparkling, polished vocabulary.."

"[the light] seems to break as if by force through a limpid crystal glass or block of ice. It retains its tender blue, and its green embers, it acquires a fragile brilliance, it radiates with fresh palpitations, shimmering and sparkling.. .The whole canvas is phosphorescent with the great brilliance of marine light pouring in from outside.. ..this clear brilliance that traverses the walls, harmonizes the colors, animates vague forms with strange life, is rediscovered wherever Mme Morisot has left her personal mark."

"A small woman in white, wearing a delicate knitted cap, looks at herself in a small hand-held mirror; she is sitting on a sofa, also white, silhouetted against a white muslin curtain through which the light passes, playing deliciously over the whole symphony of white, and the effect of the back-lighting creates astonishing shades of gray. Such difficulty overcome with such charm [in the painting 'Jeune Femme au miroir / Young Woman at Her Looking Glass', Berthe Morisot painted in 1876]."

"Before my eyes, she made a charming portrait of Mlle Marguerite Carré in a pink dress, pale pink, the whole canvas was pale. Berthe Morisot was already very much herself, eliminating shadows and half-tones from the natural scene.. ..She touched her canvas like the bloom of a cheek, treating a millstone, a suburban poplar tree, a mouth, or a tulle scarf all alike.. ..I should like to believe that she perhaps suggested, to Claude Monet or Sisley, that a Parisian view or the landscape around Paris, a garden, a railway bridge, poppies in a pale field of oats.. .. were painterly motifs.."

"She wanted it [the studio] not facing north, but full south; the light is diffused through cream-colored blinds; there is not a dark corner to be seen. The daffodils, tulips, and peonies in vases stand out against a bright background, with their transparent flesh, the flat, uniform modeling of objects and faces before a window. Lighting such as this reputedly drains a scene of color; but I do not believe that before Berthe Morisot, any artist deliberately, invariably painted in the absence of effect – by which I mean suppressing the oppositions of shade and half-tones and choosing to highlight a figure by the apposition of color of the same bright value."

"Berthe Morisot's uniqueness way to 'live' her painting, and to paint her life.. ..she took up, put down, returned to her brush like a thought that comes to us, is clean forgotten, then occurs to us once again. It is this that gives her work the very particular charm of a close, almost indissoluble connection between the artist's ideal and the intimacy of an individual life."

"It is made of nothing, a nothingness multiplied by the supreme art of her touch, the merest touch of mist, a hint of swans, the quick touch of a brush barely rubbing the fabric. This gentle brushing gives us everything: the time of day, the season, and the knowledge, the promptitude which that confers, the great gift of reducing things to their essence, of lightening matter to the extreme and, through that, of taking the impression of the workings of the mind to its highest degree."

"Until her death, when I was sixteen, we were always together [she and her mother Berthe]. I was very spoiled. It was almost as if my mother knew she wouldn't live for very long; she looked after me, painted me and drew me, with all her strength and tenderness."

"It was Corot, [c. 1860-1864] who taught her [Berthe Morisot] to bathe in air her landscapes, her figures, her still-life compositions; it was he who taught her the difficult lesson of understanding values."

"Berthe Morisot's place in art history has been shaped by a specific legacy of admiration and family curator-ship.. .. -that her art was truly impressionist because it was so truly 'feminine'-.. ..[so] she was damned by the very terms in which she had once been so enthusiastically acclaimed."

"..For all that, Berthe Morisot has been misunderstood. Her life has rapidly taken on the mantle of myth. It is a charming myth, originating with the critic of Théodore Duret, but elaborated by Paul Valéry, the renowned philosopher, critic, essayist and poet and her nephew by marriage. Indeed it is a magical myth, perpetuated by friends, relatives and descendants for the best part of a century."

"Edma painted a portrait of Berthe the artist about this time [1860-61]. It is not only a sisterly dedication, it is an important statement. Berthe stands before her easel, her right hand central to the picture, poised to touch her palette with a brush. The pretty round-faced girl had vanished."

"A painter of women, and a women herself, Berthe Morisot imbued her female models with all the charm, all the sensuality, all the tender lightness of being that characterize her own vision, communicated through her work.. .It falls to us to recognize that beyond its tender charm and femininity [frequently expressed by art-critics in her time], her work is well structured, constantly searching for greater subtlety of expression; and that its superficial appearance, however delightful and attractive, simultaneously hides and reveals a depth concealed form over-hasty eyes by discretion and diffidence alone."

"Kookaburra sits in the old gum tree, Merry merry king of the bush is he. Laugh, Kookaburra, laugh, Kookaburra, Gay your life must be!"

"My Master and my Lord! I long to do some work, some work for Thee; I long to bring some lowly gift of love For all Thy love to me."

"Thou wilt draw nigh! Father — it is no dream that Thou art near — No dream that, in my sin and misery, I may look up to Thee,— May hide beneath the shadow of Thy wings, From all the restlessness of outward things, And from my own heart's self-accusing fears — For Thou art nigh."

"Like dew on drooping blossoms, Like breath from Holy place, Laden with health and healing, Come Thy deep words of grace: "Thy strength is all in leaning On One who fights for thee; Thine is the helpless clinging, And mine the victory.""

"I am sure there is only one solution, that is for me to remove myself from the King's life. That is what I am doing now."

"You can never be too rich or too thin."

"I never wanted to get married. This was all his idea. [...] I remember like yesterday the morning after we were married and I woke up and there was David [i.e., Edward VIII] standing beside the bed with this innocent smile, saying, "And now what do we do?" My heart sank. Here was someone whose every day had been arranged for him all his life and now I was the one who was going to take the place of the entire British government, trying to think up things for him to do."

"[A]n entirely unscrupulous woman who is not in love with the King but is exploiting him for her own purposes. She has already ruined him in money and jewels..."

"Baldwin ruled out the traditional compromise of a morganatic marriage, the sort that Archduke Francis Ferdinand had made when he married Sophie Countess Chotek von Chotkova, whose family was not of royal blood. As Duff Cooper noted, however, the timing of events was not to the King's advantage. He waited until after his accession to the throne to raise the question of marrying Wallis Simpson. Nor did it help matters that he was stridently supported by both the Rothermere and Beaverbrook papers, to say nothing of Winston Churchill, at that time in the political wilderness."

"Magic. Magic had happened to him. He knew it would one day. He had always believed in magic, even whe the others had laughed at him, laughed because he was the eldest and ought to know better."

"Magic doesn't happen often — not once in a blue moon … I expect there isn't another magic ship like this one in the whole world."

"Earth and fire and water and air We solemnly promise, we solemnly swear Not a word, not a hint, not a sound to declare Earth and fire and water and air!"

"There is no magic when one no longer believes."

"I was a lonely child though there were children in plenty on our land. But my nurse forbade me to play with them. She guarded my dignity; more than my mother, indeed, who being so great a lady took dignity for granted. But in any case there was little time for them to play. There was work for even the smallest upon our land; some of our peasants had run away, tempted by ever-rising wages. Wages fixed by law were certainly low; but, like many another ruined in the French wars, we had no money to pay a penny more than the law laid down. All over the country men were running away from their masters and the land lost as many laborers as by the Black Death itself."

"I think hawking is the nearest thing to flying in this world. There you sit high up and poised light as air, the horse swift beneath you. You unhood your bird, let the jesses go and watch your falcon, its bells a-jingle, like some wild spirit take the air … and your own spirit goes with it."

"Nobody seemed to know where the King was. He was at Windsor choosing new furnishings for the little Queen's rooms; he was hunting at Eltham; he was at Leeds Castle; he was at Havering. He was here, he was there, restless as quicksilver. Certainly I never set eyes on him. I was disappointed. And yet I was relieved, too. It was common talk that the King's moods shifted this way and that you never knew what to expect."

"Why think of anything at all but the pretty, gentle child sitting high upon the white horse! So women holding up their children to see her pass cried blessings on her head, the easy blessings of a crowd, that may turn at any moment to curses. And there were wenches in plenty, who, seeing the little Queen in cloth of gold and the King at her side, handsome Richard, wished themselves, no doubt, in her place."

"When she saw the children jumping first upon one bare foot and then upon the other, she envied them and wished that she, too, could run barefooted for a little while. For a little while. She was a royal child. She knew that golden shoes pinch and there is no escaping them."

"My private life is quiet."

"I couldn't advise others to try such a long distance marriage, but for us it works perfectly. We are three thousand miles apart, it is true, but the big thing is that we each have our careers without interference from the other. My husband can't leave his practice and I can't leave Hollywood, but neither of us has any thought of giving up either the career or each other. Some day we shall again live in our 'honeymoon' apartment - but in the meantime, for us, this is the best possible way."

"Like many New Englanders - he was a neighbor of Calvin Coolidge's in Northampton - he finds life a serious business. But he's never - well - heavy about it."

"A honeymoon is wonderful, of course. It's the time two people go off alone and do their utmost to remain alone. Not only because they are so new and exciting to each other. But because it's their chance to draw closer and prepare for the intimacy of the every day married life which lies ahead of them. However, feverishly romantic though it may be, it's also apt to be something of a strain. Because the two people haven't yet learned to relax with each other. Because they haven't had time to become truly good friends. Because they don't know all the little things about each other which only the intimacy and affectionate understanding of years brings."

"Fans hate a hypocrite. I believe they detect the real you behind every role and if they are led to believe you are something you pretend you aren't, they resent it."

"I don't give my phone number to strangers. It's Plaza 5048."

"You have no idea how it feels to know that you've cut someone to the quick. I'll never do it again, never, never."

"I'm not going to worry any more. It isn't worth it. Look at 'Show Boat.' I worried myself sick over it. I knew the public wouldn't like it. But they do and it has broken all kind of records. Yes, I decided while I was in Europe this summer that I'd never worry again. I shall laugh blithely all through 'Theodora Goes Wild.' That's the picture I'm doing now for Columbia, you know. It's different from anything I've ever done before, and it's a comedy, and I'm going to laugh and be gay and never give a thought to worry."

"Tackling one thing at a time, I have managed better than I would have thought possible."

"Usually marriages break up because people won't take the trouble to get through the middle breakfasts. It's no trick to get through the first breakfasts, when love is new and there are bows on the eggs. And once the middle breakfasts are over the last breakfasts, when plenty of allowances have been made on both sides and an understanding friendship and deep love have been established, are a joy forever."

"Ever since my United Nations work, for instance, they've been saying that I've gone into politics. The United Nations is a nonpolitical body."

"That's the kind of stuff you are offered today. Scripts that have you mixed up with young men. I find them utterly revolting. Of course WE never had to do nude scenes. I'm glad, too, because I'm susceptible to pneumonia."

"I'll never have to write my memoirs now after reading this. She had six husbands, at least six lovers - why, my life is so dull compared to hers! I've had one husband, one daughter, one house and no lovers."

"How do I remain what is called "normal"? Because for me it's the natural thing to do, and therefore easier than doing something else."

"There seems to be a general impression that to be known as normal in Hollywood is akin to being labeled as rare animal in a zoo."

"Strange as it may seem to those who have read much of the screwball side of Hollywood life, I have never had to fight against an impulse to jump into a swimming-pool while dressed for the opera."

"Never on any golf course have I been approached by a policeman who said, "Lady, you can't play with an ordinary golf ball. You're movie star. You'll have to use a coconut for a ball."

"Surely it isn't entirely normal to see fingers pointing at you as a rare species, the only one in captivity!"

"Any young girl aspiring to a theatrical career held Florenz Ziegfeld in a awe."

"When I found myself riding in a lift with the great showman, I was too much too frightened even to look at him, much less get off at the same floor."

"Our home in Louisville, Kentucky, where I was born on December 20, was one of great happiness."

"Father drove fifty miles each evening behind his spanking team of horses to keep his date with the Southern girl - carefully chaperoned by FOUR maiden aunts."

"No triumph of either my stage or screen career has ever rivalled the excitement of trips down the Mississippi on the river boats with my father."

"Mother, an accomplished musician, taught me to play the piano as a very small girl."

"Music was as natural as breathing in our house."

"Nothing can replace the excitement, the magic and yes the glamour of a Ziegfeld show. To see the great showman sitting in the second row busily writing his telegrams is a thrill no actress can forget."

"The glamour of Hollywood has never worn thin for me."

"Ever since the first day I arrived in this town, the general impression has been that I'm like a queen holding court on chosen days."

"People have also said that I can't be used as a fair example of Hollywood living since I keep my private life so completely separate from my career."

"It's not possible to forget pictures. Anyone who works in them thinks of them constantly."

"It doesn't hurt any of us to remember that Hollywood isn't at all impressed by anyone who has the fantastic illusion that the town must revolve around him."

"You may laugh of the idea of the good will of others in Hollywood, but it's no laughing matter if you don't have it."

"They aren't interested in the fact that whenever they kick up dirt, the dirt rubs off on every one of us."

"Hollywood is fond of gushing chit-chat as any other town."

"One of the choicest occupations here is ripping reputations into pieces."

"Parading about in the latest gowns and making dull platitudes for an entire evening doesn't constitute social success in my book."

"You'll be much better equipped for a long life in pictures if you have a sound theatrical background."

"In addition to actual dramatic training and experience, I'd want as much education as possible."

"No education is ever wasted and everything you learn is helpful in acting."

"Languages, literature, art, music, history: are all self-evident helps - and even mathematics and sciences, by training memory and demanding the analytical approach, are helpful by indirection."

"This is an amazing business, creative and mechanical at the same time."

"If I arrived in Hollywood today, I would keep reminding myself not to try to make a big impression."

"If I began today, I would certainly remember that by becoming a movie actress one automatically becomes vulnerable in the matter of gossip."

"There are worse things in life than being called a lady."

"I always demanded respect. I came prepared and expected others to do the same."

"I did all my fighting before the film started. I fought for the best director, the best lighting man. I was always conscious of how I looked."

"I had great cameramen like Rudolph Mate and Hal Mohr. They'd take an hour to light the proper closeup of me."

"Extremism of the right or the left is dangerous."

"That's why there are so few women stars today. Pornography has taken away the mystery."

"Now don't you dare call me normal. I was never a Pollyanna. There was always a lot of Theodora in me."

"Happiness is never an accident", he told me. "It is the prize we get when we choose wisely from life's great stores. Don't reach out wildly for this and that and the other thing. You'll end up empty handed if you do. Make up your mind what you want. Go after it. And be prepared to pay well for it. I hope that you'll go after the rooted things - the self-respect that comes when we accept our share of responsibility. Satisfying work. Marriage. A home. A family. For these are the things that grow better with time, not less. These things are the bulwarks of happiness."

"She was, and is, a real lady. And a great star. They don't make them like her any more -and her beauty today is still unfaded.""

"Charming but doesn't make great copy."

"I can guarantee no juicy bits of intimate gossip. Unless, perhaps she lies awake nights heartsick about the kitchen sink in her new home. She's afraid it's too near to the door. Or would you call that juicy? No? No, I thought not."

"The Irene I know is as vague as the absent-minded professor - and as adroit. She´s casual as a Noel Coward heroine and as conscientious as a Salvation Army missionary. She´s as fragile as Dresden and as strong as steel."

"Irene Dunne always portrayed the lady in her films and she's rather dismayed by some of the present day celluloid trends."

"When you think you've got a scene going, and it's all yours, Irene can just move a finger or an eye or give a nod of her head and steal it."

"On The Awful Truth we just clicked. She'd been a weepie star and comedy was strange to her. She'd do a bit and whisper to me, "Funny?" She was the sweetest smelling of my leading ladies and such a lady. If one of the crew cussed, she'd blush. She claims she was out shopping at Bullocks for a present for her husband and the saleslady said, "I don't think Mr. Grant would like that." In the minds of the public, we were married. Reunions became impossible because we both liked first billing. It's ladies first in rowboats but not in movies, I'm afraid. But I still see her at the races and she still smells wonderful."

"Ponho-me, às vezes, a olhar para o espelho e a examinar-me, feição por feição: os olhos, a boca, o modelado da fronte, a curva das pálpebras, a linha da face... E esta amálgama grosseira e feia, grotesca e miserável, saberia fazer versos? Ah, não! Existe outra coisa... mas o quê? Afinal, para que pensar? Viver é não saber que se vive... Porque me não esqueço eu de viver... para viver?"

"Todas as minhas cartas de amor não são mais que a realização da minha necessidade de fazer frases."

"As almas das poetisas são todas feitas de luz, como as dos astros: não ofuscam, iluminam..."

"Tenho por ti uma paixão Tão forte tão acrisolada, Que até adoro a saudade Quando por ti é causada"

"Que filtro embriagante Me deste tu a beber? Até me esqueço de mim E não te posso esquecer..."

"Sonho que sou a Poetisa eleita, Aquela que diz tudo e tudo sabe, Que tem a inspiração pura e perfeita, Que reúne num verso a imensidade!'Sonho que um verso meu tem claridade Para encher todo o mundo! E que deleita Mesmo aqueles que morrem de saudade! Mesmo os de alma profunda e insatisfeita!"

"Beija-me as mãos, Amor, devagarinho... Como se os dois nascessemos irmãos, Aves cantando, ao sol, no mesmo ninho...'Beija-mas bem!... Que fantasia louca Guardar assim, fechados, nestas mãos, Os beijos que sonhei pra minha boca!"

"Ser poeta é ser mais alto, é ser maior Do que os homens! Morder como quem beija! É ser mendigo e dar como quem seja Rei do Reino de Áquem e de Além Dor!'É ter de mil desejos o esplendor E não saber sequer que se deseja! É ter cá dentro um astro que flameja, É ter garras e asas de condor!'É ter fome, é ter sede de Infinito! Por elmo, as manhas de oiro e de cetim... É condensar o mundo num só grito!'E é amar-te, assim, perdidamente... É seres alma, e sangue, e vida em mim E dizê-lo cantando a toda a gente!"

"Eu quero amar, amar perdidamente! Amar só por amar: aqui... além... Mais Este e Aquele, o Outro e toda a gente... Amar! Amar! E não amar ninguém! [...] Quem disser que se pode amar alguém Durante a vida inteira é porque mente!"

"As tuas mãos tacteiam-me a tremer... Meu corpo de âmbar, harmonioso e moço É como um jasmineiro em alvoroço Ébrio de sol, de aroma, de prazer!"

"Meu amor! Meu amante! Meu amigo! Colhe a hora que passa, hora divina, Bebe-a dentro de mim, bebe-a comigo! Sinto-me alegre e forte! Sou menina! [...] E à volta, Amor... tornemos, nas alfombras Dos caminhos selvagens e escuros, Num astro só as nossas duas sombras!..."

"Se tu viesses ver-me hoje à tardinha, A essa hora dos mágicos cansaços, Quando a noite de manso se avizinha, E me prendesses toda nos teus barcos... [...] E é como um cravo ao sol a minha boca... Quando os olhos se me cerram de desejo... E os meus braços se estendem para ti..."

"Tudo é tranquilo e casto e sonhador... Olhando esta paisagem que é uma tela De Deus, eu penso então: Onde há pintorOnde há artista de saber profundo, Que possa imaginar coisa mais bela, Mais delicada e linda neste Mundo?"

"It is never right to be more Catholic than the Pope."

"People may say I can't sing, but no one can ever say I didn't sing."

"Mrs. Jenkins could dream if she could not sing."

"Critics have long wondered whether Coloratura Jenkins' art can be described as singing at all. But she will intrepidly attack any aria, scale its altitudes in great swoops and hoots, assaying its descending trills with the vigor of a maudlin cuckoo."

"She never knew how bad she was."

"Religion does not consist alone in reverence or adoration for a special object; but it makes that reverence the controlling and prompting influence of all other faculties of the mind. Thus there can be a religion of intellect, of love, of every department of the human mind; and a religion of life combines the whole of human existence, and makes up the sum of every department of earthly life."

"There is a true, religious devotion in the mind and feelings of that man whose soul springs forth in beauty and power, whose physical form is upright and symmetrical, and who, in fulfilling the laws of health, fulfils the laws of Deity. There is a true religion in the intellectual man, who, penetrating deeply into the earth, and air, and sky, for scientific investigation, culls all the treasures of thought and beauty, and stores them up in his memory as sacred and divine."

"A religion of bigotry and sectarianism … becomes, not a religion of life, but a religion of one special department and thus a man may be religious on one plane and entirely irreligious on another."

"There is certainly a religion which belongs to the physical form, and which should be regarded in degree as much as that which belongs to the soul. It is as much a duty for every man and woman to perfect fully their physical form as for them to continually search for immortality."

"Your theology has taught you to believe that any religion, to be perfected, must be so at the sacrifice of the physical form or powers. Hence, the ancient religionists confined themselves within the cloistered cells of monasteries, and there with true devoutness of feeling they sought to perfect the immortality of the soul by crucifying the body. Health, life, intellect—all were sacrificed to this fanaticism for a happy immortality. … Ask any religionist what constitutes true and perfect religion, and he will tell you it is that which crucifies the human part and cultivates the divine."

"When you endeavor to perfect every department of that form—physically, mentally, spiritually—then you are fulfilling the laws of true religion. Can a soul perfect itself in every department, when the physical form is groaning under disease, and continually decaying in consequence of the endeavor to crucify it? Never. The soul must spring forth spontaneously, and the form must be subservient to the slightest thought and feeling of the soul."

"There is true religion in that man who, instead of endeavoring to perfect but one department of his nature, makes his physical, mental, social, and moral life, equal. Cultivate your physical nature, perfect your life, and in that proportion your soul will be perfect. Cultivate strength, vigor, power, manliness, and symmetry, and in that proportion the soul can think greater thoughts."

"Reason is a religious duty and quality of the mind; and exercise of the judgment upon all occasions and subjects is true and most divine worship."

"Religion can not be defined as belonging to any special faculty; and even reverence and worship are but local manifestations of the religious element, and can not be said to be true religion unless they extend through every department of the mind. Religion, properly considered, is that subtle agent of the soul which aspires to perfection in whatever way it is to be attained; and seeks to worship God because he is infinite, and is what man is for ever aspiring to become."

"At first we got along very well. Esipova even boasted outside the class that she had pupils who wrote sonatas (I completed Sonata, Op. 1, and played it to Esipova, who took it home and inserted pedaling). But before long trouble began. Esipova’s method of teaching was to try to fit everyone into a standard pattern. True, it was a very elaborate pattern, and if the pupil’s temperament coincided with her own, the results were admirable. But if the pupil happened to be of an independent cast of mind Esipova would do her best to suppress his individuality instead of helping to develop it. Moreover, I had great difficulty in ridding myself of careless playing, and the Mozart, Schubert and Chopin which she insisted on were somehow not in my line. At that period I was too preoccupied with the search for a new harmonic idiom to understand how anyone could care for the simple harmonies of Mozart."

"Joan Robinson, a leading Keynesian and radical, produced a specimen for me to analyze. I said something like, "This is obviously the writing of a foreinger, so it's difficult for me to analyze. But I would say it is written by someone who had considerable artistic but not much intellectual talent." It turned out to be the handwriting of Lydia Lopokova, the world-famous Russian ballerina whom Keynes had married. That was surely my greatest triumph of the year at Cambridge!"

"If he bring me a rose, a briar rose, To place in my braided hair, I shall know there are thorns in life for me And many a wearying care. If he bring me a lily pure and pale And lay it upon my breast, I shall know that my life will be of peace, As a bird in its mother's nest."

"Within a temple's towering walls I stand A temple vast; the heaven is its dome: No corniced crag was hewn by human hand, Nor by it wrought this tracery of foam;"

"O wondrous sphinx! within thy marble breast What undreamed secrets lie concealed! Hast thou no pity for my wild unrest My maddening longing for the unrevealed?"

"Un día me canse y lo llame y le dije óigame hijito venga para acá, no se crea usted que ser estrella consiste en llegar tarde a los llamados, el ser estrella consiste en llegar a tiempo a su llamado, cumplir con su deber, dar todo lo que se tiene para alagar al publico y salir triunfante hasta donde se pueda, eso es ser estrella pero no llegar tarde a los llamados."

"Pedirme a mi que hable del cine Mexicano? es como solicitar mi autobiografía, que no habré vivido, que no habré visto, y de cuantas maneras distintas me han visto a mi? sin ir mas lejos tierna como en "La gallina clueca", llorosa como en "Cuando los hijos se van", dulce como en "El baisano Jalil", y enérgica y dominante y al mismo tiempo cariñosa como en "Los tres García" me han visto muy viva y muy muerta."

"A mi nadie me marea a ojos cerrados yo distingo cual es el mejor chocolate, bueno, si este si que esta requete bueno es chocolate abuelita con sabor a la antiguita, hagan la prueba contra cualquiera chocolate abuelita es requete bueno."

"Hay que pensar en que se tiene uno que morir que estamos aquí de paso y prepararnos y hacer todo el bien que se pueda."

"Quiero enviar al publico de México un saludo muy cariñoso, que yo no los olvido que yo cada día hago mas esfuerzos por gustar que si no gusto pues ya fue una desgracia pero el publico es benigno y me perdona todos mis errores, verdad que me los perdona?"

"Porque si tú no sientes el público no siente."

"Confusion has seized us, and all things go wrong:The women have leaped from "their spheres"And instead of fixed stars, shoot as comets along,And are setting the world by the ears!"

"If this is the last bulwark of freedom, we may as well die here as anywhere."

"Grudge no expense — yield to no opposition — forget fatigue — till, by the strength of prayer and sacrifice, the spirit of love have overcome."

"Let us rise in the moral power of womanhood; and give utterance to the voice of outraged mercy, and insulted justice, and eternal truth, and mighty love and holy freedom."

"Slavery can only be abolished by raising the character of the people who compose the nation; and that can be done only by showing them a higher one."

"In a republican land the power behind the throne is the power. Save yourself the trouble of calling caucuses, printing party journals, distributing ballots, and the like. Let men who are fit for nothing of more consequence do this little work, which is best done by mere nobodies … Don’t drag the engine, like an ignoramus, but bring wood and water and flame, like an engineer."

"The Female Anti-Slavery Society was the first national woman's rights organization in the United States. It was composed of Black and white women, and Black women made up a significant part of its leadership, notably in Boston and Philadelphia. Sara Parker Remond, Charlotte Forten, Sarah Mapps Douglass, Letetia Still, the Forten sisters (Margaretta, Harriet, and Sarah), among others, joined forces with white women such as Lucretia Mott, Abby Kelley Foster, and Maria Weston Chapman to organize the collective labors of the antislavery movement."

"Feminist writers, not trained historians, were the first to undertake a systematic attempt to approach the problem of women's role in American life and history. This took the form of feminist tracts, theoretical approaches, and compilations of woman's "contributions." The early compilers attacked the subject with a missionary zeal designed, above all, to right wrong. Their tendency was to praise anything women had done as a "contribution" and to include any women who had gained the slightest public attention in their numerous lists. Still, much positive work was done in simply recounting the history of the woman's rights movement and some of its forerunners and in discussing some of the women whose pioneering struggles opened opportunities to others. Feminist writers were hampered by a two-fold bias. First, they shared the middle-class, nativist, moralistic approach of the Progressives and tended to censure out of existence anyone who did not fit into this pattern. Thus we find that women like Frances Wright and Ernestine Rose received little attention because they were considered too radical. "Premature feminists" such as the Grimké sisters, Maria Weston Chapman, and Lydia Maria Child are barely mentioned."

"Within a trade, in the absence of any Common Rule, competition between firms leads, as we have seen, to the adoption of practices by which the whole industry is deteriorated. The enforcement of a common minimum standard throughout the trade not only stops the degradation, but in every way conduces to industrial efficiency."

"Within a community, too, in the absence of regulation, the competition between trades tends to the creation and persistence in certain occupations of conditions of employment injurious to the nation as a whole. The remedy is to extend the conception of the Common Rule from the trade to the whole community, and by prescribing a National Minimum, absolutely to prevent any industry being carried on under conditions detrimental to the public welfare."

"We shall never understand the Awakening of Women until we realise that it is not mere feminism. It is one of three simultaneous world-movements towards a more equal partnership among human beings in human affairs. ... [T]he movement for woman's emancipation is paralleled, on the one hand, by the International Movement of Labour—the banding together of the manual working classes to obtain their place in the sun and, on the other, by the unrest among subject-peoples struggling for freedom to develop their own peculiar civilisations."

"The world, they would say, was made up of "A's" and "B's" – anarchists and bureaucrats; and they were all on the side of the "B's"."

"Their bureaucracy was never étatisme: it claimed much for the State, but much for the group also. Only the individual seemed somehow to get left out, or rather to be told to fit himself in, and not to fuss."

"Perhaps nothing illustrates better the diabolical character of the Stalinist regime than the 140-mile Belomor Canal, built at Stalin's instigation to link the Baltic Sea and the White Sea. Between September 1931 and August 1933, somewhere between 128,000 and 180,000 prisoners - most of them from Solovetsky, with Frenkel directing their efforts - hacked out a waterway, equipped only with the most primitive pick-axes, wheelbarrows and hatchets. So harsh were the conditions and so inadequate the tools that tens of thousands of them died in the process. This was hardly unforeseeable; for six months of the year the ground was frozen solid, while in many places the prisoners had to cut through solid granite. And, as so often, the net result was next to worthless economically: far too narrow and shallow to be navigable by substantial vessels. Yet when Shaw's fellow Fabians Sidney and Beatrice Webb were given a tour of the finished canal they were oblivious to all this. As they put it in their book Soviet Communism: A New Civilization? (1935), it was 'pleasant to think that the warmest appreciation was officially expressed of the success of the OGPU, not merely in performing a great engineering feat, but in achieving a triumph in human regeneration'."

"The Webbs explicitly rejected the 'naive belief that. . . Soviet] penal settlements are now maintained and continuously supplied with thousands of deported manual workers and technicians, deliberately for the purpose of making, out of this forced labour, a net pecuniary profit to add to the State revenue.' Such notions were simply 'incredible' to 'anyone acquainted with the economic results of the chain-gang, or of prison labour, in any country in the world'. Slavery always has its apologists, but seldom are they so ingenuous. The thirty-six Soviet writers who, under Gorky's direction, produced the hyperbolic book The Belomor-Baltic Canal Named for Stalin at least had the excuse that the alternative to lying might be dying. The Webbs wrote their rubbish in the safety of Bloomsbury."

"It is a mistake to believe that the Webbs' basic idea was State Socialism. It was in fact nothing less than the application of scientific thinking to politics. About this I had many arguments with Beatrice. Like Bernard Shaw, she totally lacked the strain of dissenting morality which is so strong an element in the British character and especially in the Labour Party. ... They were interested in the economic and political structure of society; they were disinterestedly, and I would even say passionately, desirous of social improvement and greater human happiness. Their watchwords...were "measurement and publicity". That is to say, they wanted to substitute quantitative for qualitative arguments, to find a solution and to subject it to criticism instead of gassing about justice and liberty. To avoid the danger of tyranny they agreed that there must be freedom of criticism and "public accountability" for all State action. But they were never really interested in liberty – that is to say, they did not recognize the intractable complexity of individuals. People must be placed in categories for the purposes of government, and if they did not fit, so much the worse."

"The only woman who appears regularly in the New Statesman in the early months is its co-founder Beatrice Webb. She is represented in her partnership with Sidney Webb and their solid 22-part series “What is Socialism?”, which dominates the first months of the magazine. Just one instalment of this series is devoted to, as they call it, "freedom for the woman". In its dogged lines, I find both what must have been most attractive and what may have been most alienating about feminism 100 years ago. What is attractive is the insistence on material emancipation. After centuries of mystification of the angel of the house, the Webbs are fiercely sure that there is, quite simply, a "loss of personal dignity and personal freedom . . . inherent in dependence on the caprice of another . . . The childbearing woman, like the wage earner, must be set free from economic subjection." Fifty years before Betty Frie­dan told American housewives the same thing, Beatrice Webb suggested to British housewives that economic dependence was not romantic. Elsewhere in her life and writing, Webb was often conflicted about feminism and the woman’s role beyond the home. Yet this is a straightforward message of material independence. Even now, we often see Daily Mail columnists bridling at the idea that being financially dependent involves any loss of personal freedom. What a call to arms this must have been 100 years ago."

"Their first book, The Permanent Official, fills three plump volumes, and took them and their two secretaries upwards of four years to write. It is an amazingly good book, an enduring achievement. In a hundred directions the history and the administrative treatment of the public service was clarified for all time."

"We landed at the Ferry House, and struck off into the woods full of globe flowers by the lake side, and of yellow poppies by the wood wall; of hyacinths beneath the trees; of the curved crozier heads of the sprouting bracken; of young foxglove spathes, thick, downy, and as yet flowerless; of tufts of mountain fern like Indians' head-dresses; of trailing brambles and yet more delicate sprays of wild-raspberry; of bird's-eye, blue and lustrous, of violets and wood-sorrel; of lady's-mantles, green, gold-spotted; of delicate wind-flowers and starry stitchwort,—full of all manner of sweet wood-flowers; and then, returning, we saw two large carts and two large horses put into the ferry-boat, which a man nearly as large rowed leisurely across, according to the mode and manner of the place."

"In re-reading these pages I am now more than ever convinced that I have struck the right chord of condemnation, and advocated the best virtues and most valuable characteristics of women. I neither soften nor retract a line of what I have said."

"In her early writings in the 1840s and 1850s she had been an ardent supporter of women's rights and even free love, and had received particular notoriety with her shocking 1851 novel Realities. In her middle years, however, she modified her radical views, and her novels such as The Rebel of the Family (1880) reflect her growing conservatism and ambivalence about women's rights."

"Laeken is becoming the enchanted Burg Prunn. Nobody dares to approach it anymore."

"Be good, love the Lord, pray for those who do not know Him. What a great grace it is to know God!"

"If I were to meet those men who abducted me, or even those who tortured me, I would kneel and kiss their hands, for it that hadn’t happened, I would not be a Christian and a religious today."

"I pity them! No doubt they were unaware of the anguish they caused me. They were the masters and I was the slave. Just as it is natural for us to do good, so it is natural for them to behave as they did behave to me. They did so out of habit, not out of wickedness."

"Seeing the sun, the moon and the stars, I said to myself: Who could be the Master of these beautiful things? And I felt a great desire to see him, to know Him and to pay Him homage..."

"When a person loves another very much, she greatly wished to meet that person. Why then should I be afraid of death? Death brings us to God."

"Creatures had a Celestial Father, but the Divine love was not content. In its delirium of love it wanted them to have a Celestial Mother as well as a terrestrial Mother. In that way, even if the loving care and tenderness of the Celestial Paternity would not be enough to make creatures to love Him, the caring and tenderness of a Celestial and human Mother would lead them to abandon themselves in her arms. By letting themselves be conquered by her love, a link of connection would form to banish any distance, fear or apprehension, in order to love the One Who had formed her love of them, and in order to be loved Himself. For this, the most astonishing portents were needed, along with a love that never says "enough" and only a God can do."

"The Divine Will contains the creative strenght. From within God's one single "Fiat" came out billions and billions of stars. From the Fiat Mihi" of the Mother of God, from which Redemption had its origin, came out billions and billions of acts of grace, which communicate themselves to souls. These acts of grace are more beautiful, more resplendent and more varied than billions of stars! The Divine Fiat is full of life, and in fact It is life itself, and alla lives and things come out from within the Fiat. From the Fiat of God, Creation came out, and in each created thing can be seen the imprint of that Fiat. From the "Fiat Mihi" of the Blessed Virgin, pronounced in the Divine Will with the same power of the Fiat of Creation, Redemption came forth. Therefore everything that concerns the Redemption bears the imprint of her "Fiat Mihi".Even the very Humanity of her Son, His steps, works and words, were sealed with Mary's "Fiat Mihi". (p. 107)"

"She had given love and received only adoration: and love is so much bigger a thing than adoration — more complex and terrible. At its absolute moments it holds resolved within itself all impulses and inconsistencies, the lust of the flesh, the lust of the eyes, the pride of life, the spirit's agonizing."

"Light still lingered in the sky; the hills, that had been dissolved in its splendour, like floating shapes of light themselves, grew dark again."

"The Cairngorm Mountains are a mass of granite thrust up through the schists and gneiss that form the lower surrounding hills, planed down by the ice cap, and split, shattered and scooped by frost, glaciers, and the strength of running water. Their physiognomy is in the geography books—so many square miles of area, so many lochs, so many summits of over 4000 feet—but this is a pallid simulacrum of their reality, which, like every reality that matters to human beings, is a reality of the mind."

"Nan Shepherd was a leading writer of the Scottish Literary Renaissance, an interwar modernist movement which rejected sentimental stereotypes of Scottish rural life and embraced international avant-garde aesthetics. Her writing is defined by fascination with rural communities, the realities of women's lives, and the allure and mystery of the living world."

"Her last book, The Living Mountain, was written in the years towards the end and after the second war, but it was not published until 1977. This volume celebrated the experience of climbing and hill-walking in the Cairngorms, one of Nan Shepherd’s life-long pleasures, and here, as in her poems, it is possible to identify the passionately metaphysical strain that underlies her creative prose and her sense of the nature of existence itself."

"Impressionism has produced by this very method not only a new, but a very useful way of looking at things. It is as though all at once the window opens and the sun and air enter your house in torrents. Nature appears clear, enchanted, interesting. It is as though suffocating air had been let out of your attic!"

"No one has ever arrived at a power of analysis of tonal values at once so intense and so sweet...Monet may or may not have thought out these works, but with what vigor he has executed them...I cannot say at what point Monet arouses my emotions, but he produced in me such sensations as make me happy, but which I could not have discovered myself. He opens my eyes and makes me see better."

"The severity of Monsieur Ingres frightened me. I tell you, because he doubted the courage and perseverance of a woman in the field of painting. He wished to impose limits. He would assign to them only the painting of flowers, of fruits, of still lifes, portraits and genre scenes...I quickly understood that I could take no part in that school except to waste my time."

"England is known to provide so freely for the education of the poor of every other class without distinction of creed. Why should the deaf and dumb be the exception? Why should not a privilege be granted to the speechless poor which is so liberally bestowed on all others?"

"Any measure calculated to encourage virtue and subdue vice must be the wisest and best policy of a nation. In new countries there is a dignity in labour and a self-supporting woman is alike respected and respectable. Why should the door of hope be closed on those poor women, and why refuse them the means of attaining that independence in other countries which they are debarred from in this?"

"Charlotte Stoker's account of 'The Cholera Horror' in a letter to Bram Stoker (c. 1873)"

"The Japanese husband is considerate, faithful and patient. It is his philosophy, his religion. He is a home-loving man and naturally he is thoughtful of the little attentions to his home and family. Every woman loves these little attentions."

"The greatest mistake ever made in judgment of Japanese women is that they are merely painted dolls. I think it is quite readily conceded and already proved that Japanese men are clever in business and war; that they are highly intellectual and rank well as cultivated gentlement. It is well known that to be a good, great, or fairly intelligent man you must have a mother who has these qualities. All great men have had great mothers, so that nothing but credit can reflect on the Japanese woman's intelligence."

"There was an aura sanctioned and blessed about her that no one ever questioned. She had the kind of presence that made everyone rise, men of course, but women too, and without knowing who she was, not only in Japan but everywhere she went. Her tact, her courtesy, became legendary, A welcome from Takamine-san, no matter what your age, was like a diplomatic recognition. She was the supreme example, the Queen."

"The legislation of the government has been directed rather to the protection of the rights of money and property than to the best good of the citizen."

"A struggle for existence is not a decent living. A man or woman or child may die of starvation in a city teeming with plenty. Only human life is concerned."

"Peaceful revolutions are slow but sure. It takes time to leaven a great unwieldy mass like this nation with the leavening ideas of justice and liberty, but the evolution is all the more certain in its results because it is so slow."

"It crushed our hearts when we saw a little handful of poor, ignorant, helpless, but peaceful people, such as the Poncas were, oppressed by a mighty nation, a nation so powerful that it could well have afforded to show justice and humanity if it only would. It was so hard to feel how powerless we were to help those we loved so dearly when we saw our relatives forced from their homes and compelled to go to a strange country at the point of the bayonet."

"The whole Ponca tribe were rapidly advancing in civilization; cultivated their farms, and their schoolhouses and churches were well filled, when suddenly they were informed that the government required their removal to Indian Territory."

"The tribe has been robbed of thousands of dollars' worth of property, and the government shows no disposition to return what belongs to them."

"It seems to us sometimes that the government treats us with less consideration than it does even the dogs."

"For the past hundred years the Indians have had none to tell the story of their wrongs. If a white man did an injury to an Indian he had to suffer in silence, or being exasperated into revenge, the act of revenge has been spread abroad through the newspapers of the land as a causeless act, perpetrated on the whites just because the Indian delighted in being savage. It is because I know that a majority of the whites have not known of the cruelty practiced by the "Indian ring" on a handful of oppressed, helpless and conquered people, that I have the courage and confidence to appeal to the people of the United States."

"We are human beings; God made us as well as you"

"So many seem to think that Indians fight because they delight in being savage and are bloodthirsty."

"Another time a man of our tribe went to a settlement about ten miles distant from our reserve to sell potatoes. While he stood sorting them out two young men came along.-they were white men, and one of them had just arrived from the East; he said to his companion, "I should like to shoot that Indian, just to say that I had shot one." His companion badgered him to do it. He raised his revolver and shot him."

"For wrongs like these we have no redress whatever. We have no protection from the law."

"The people who were once owners of this soil ask you for their liberty, and law is liberty."

"What they need to do is to look more closely at the fundamentals of American life, sympathetically, not with intent to "commit a message.""

"If Americans don't give up their prejudices because of false notions of religious or racial or national superiority, then, by golly, they're going to have to give them up because the other fellows are getting the guns."

"Jimmy "Mr. Cupid" O'Brien: Come on, step on it, Jefferson! We're an hour late for our deliveries now. Thomas H. Jefferson: Aw, have a heart, Mr. Cupid. Look at that speed meter. Jimmy: What're you worried about? Jefferson: About goin' to my own funeral. [Siren heard.] Mm mm. What'd I tell you? Here come the cops. Jimmy: Now listen! You keep quiet. I'll get out of this. Jefferson: You wouldn't be in it if you would go where the flowers was goin', instead of stoppin' where they ain't."

"Jefferson: But Mr. Cupid: if you go through that book, lookin' all through them Joneses, we're gonna be late. And we gonna get another traffic ticket, and... Jimmy: Aren't you ashamed of yourself? Don't you want to get a boy friend for a nice girl like Susie? Jefferson: Yeah. And I wanna keep a job for a nice boy like Jefferson."

"Jimmy: This is awful! It's terrible! Hey, Jefferson! [Shouting] Hey! Hey. Jefferson: What's the matter? Jimmy: I made a mistake! Jefferson: Which one? Jimmy: Well... according to this, Morgan isn't a G-man! Jefferson: How can you tell? Well, this claims he's a liar. Jefferson: How does that prove he ain't no G-man?"

"Jimmy: Hey, Callahan! Callahan: Hey, Cupid, who sent you down here? Jimmy: Never mind the smart cracks; something important has happened. Callahan: Yeah? Jimmy: Yeah, I... I've decided maybe I was wrong about you. Callahan: So what? Jimmy: Well... so how do you spell your name?, Callahan: My name? C, A, double L, A, H, A, N. Why? Jimmy: Mm hmm. Look... would you mind writin' it for me? Callahan: Writing it? Jimmy: Yeah. Callahan: [Signs.] What's the gag? Jimmy: Well, if this proves you're all right, you're gonna get Susie. Callahan: Hey, are you crazy? Jimmy: No, no! No, I'm a graphologist; now be quiet."

""I don't like the word tolerance. It sounds stuck up". It was a little old lady speaking, very little and quite old. Her name was Kitty, and she was my mother. "There ain't any respect in tolerating," she continued, the blue of her eyes grown darker with indignation. "That's just putting up with them, like with bad plumbing when you can't afford to move..." [...] She did not "tolerate" the Negro or the Asiatic, the Protestant or the Jew, despite their racial or religious difference. Instead, she respected every human being equally, because she thought Thomas Jefferson had meant every word of the Declaration. pp. 1, 3"

"In the spacious mansions of San Francisco's Nob Hill a Chinese cook was a must. The first thing the nouveau riche did as they tried to scramble up the ladder of society was to jingle gold pieces in the ears of a Lee or a Wong to lure him into their newly furnished houses. But the Chinese themselves had a social position only slightly above that of the rodents who sometimes threatened the fine mahogany wainscoting of their employers' houses. They were commonly referred to as "Chinks," with or without accompanying epithet, except by the gentler of tongue, who invariably spoke of a Chinese as "John Chinaman." pp. 5–6"

"Gaiety and God were closely connected in my mother's mind. Going to church on Sunday was not enough. Having fun was necessary, if the worship of God were to be complete. "We should enjoy ourselves, especially on Sunday, to show Him how happy we are on His day. If we can't help having a long face once in a while, then for heaven's sake let's have it on a week day." p. 103"

"Usually no one sees the city of his birth until he leaves and then returns to it with new eyes, but, ridiculously proud of my brand-new press badge, I was discovering San Francisco as though it were a strange city. I began to realize the city's many hills, as if they had been erected only last month. You go up and down those hills by cable car or auto, and a dozen times a day you catch your breath in the suddenness of beautiful vistas—water, ships, wooded hills across the bay . . . and sea gulls, no matter where the neighborhood, never once letting you forget the nearness of the ocean. They really dominated the Embarcadero, that long stretch of San Francisco's beautiful harbor. On one side were brine-encrusted piers, their pilings creaking against the sides of ships with exciting cargoes from all parts of the world. Across the way were shabby marine stores, pawnshops, tattoo parlors, bedraggled flophouses, and seedy bars. The constant calling of the sea gulls often had to compete with the sirens of police cars. pp. 112–113"

"Next week the Independent and Press will bring you a new column published for the first time anywhere [...] It will be titled "Mary McCarthy's Column." Anything more pretentious would offend Mary Eunice McCarthy."

"When a woman enters the office of a great daily she is painfully conscious that she is a woman — just a woman. She cannot at first grasp the idea that the great daily is a wonderful and almost perfect machine that makes what she terms cruel demands. That daily paper is a wonderful creation, and all who serve it become a part of the machinery, and not individuals. It takes a woman some time to realize this. She goes into the office, receives her first assignment, does her best on it and next morning finds that not a word of it is used. She takes her next assignment, and perhaps two of the ten inches she wrote is used. Finally, she goes to the busy man with the glasses at the night desk and asks why. She is coldly informed that her first articles were “rot.” She thinks it is brutal and hard and does not understand why the men ignore the fact that she is a woman."

"Women, newspaper women, have to get over that habit of quitting — it's fatal. And she mustn’t cry — if she belong[s] to that class she will probably be asked to quit. Tears may be a forceful weapon in matrimony, but never in an editorial room."

"Some of her best friends protested [Grimké speaking in mixed gatherings of men and women]. It was not "proper," nor "right," for a woman to attempt to instruct a man. But Angelina Grimké had gone far beyond the point where propriety weighted when it was a question of humanity. She held that "Whatever is morally right for a man to do is morally right for a woman to do. I recognize no rights but human rights.""

"There is no man more dangerous, in a position of power, than he who refuses to accept as a working truth the idea that all a man does should make for rightness and soundness, that even the fixing of a tariff rate must be moral."

"I have never had illusions about the value of my individual contribution! I realized early that what a man or a woman does is built on what those who have gone before have done, that its real value depends on making the matter in hand a little clearer, a little sounder for those who come after. Nobody begins or ends anything. Each person is a link, weak or strong, in an endless chain. One of our gravest mistakes is persuading ourselves that nobody has passed this way before."

"When I entered Allegheny College in the fall of 1876 I made my first contact with the past. I had been born and reared a pioneer; I knew only the beginning of things, the making of a home in a wilderness, the making of an industry from the ground up. I had seen the hardships of beginnings, the joy of realization, the attacks that success must expect; but of things with a past, things that had made themselves permanent, I knew nothing. It struck me full in the face now, for this was an old college as things west of the Alleghenies were reckoned-an old college in an old town. Here was history, and I had never met it before to recognize it."

"I realized at the start that I had found what I had come to college for, direction in the only field in which I was interested-science."

"In spite of my painful efforts to make a regular worker out of myself, life at college was lightened by my discovery of the Boy."

"I did not dance-the Methodist discipline forbade it. I was incredibly stupid and uninterested in games-still am. I had no easy companionable ways, was too shy to attempt them. I had my delights; the hills which I ran, the long drives behind our little white horse, the family doings, the reading of French regularly with my splendid friend Annette Grumbine, still living, still as she was then a vitalizing influence in the town and state for all that makes for a higher social life-these things and my precious evening walks, the full length of Titusville's main street, alone or with some girl friend while we talked of things deepest in our minds."

"economic independence-the first plank in my platform."

"The deluge of monopolistic trusts which had followed the close of the Spanish-American War and the "return of prosperity" was disturbing and confusing people. It was contrary to their philosophy, their belief that, given free opportunity, free competition, there would always be brains and energy enough to prevent even the ablest leader monopolizing an industry. What was interfering with the free play of the forces in which they trusted? They had been depending on the Federal Antitrust Law passed ten years before. Was it quite useless? It looked that way."

"One must be an artist before he can create-that I knew."

"I soon discovered that, if we were not afraid, I must work in a field where numbers of men and women were afraid, believed in the all-seeing eye and the all-powerful reach of the ruler of the oil industry. They believed that anybody going ahead openly with a project in any way objectionable to the Standard Oil Company would meet with direct or indirect attack."

"the obsession of the Standard Oil Company, that danger lurked in small as well as great things, that nothing, however trivial, must live outside of its control."

"I never had an animus against their size and wealth, never objected to their corporate form. I was willing that they should combine and grow as big and rich as they could, but only by legitimate means. But they had never played fair, and that ruined their greatness for me. I am convinced that their brilliant example has contributed not only to a weakening of the country's moral standards but to its economic unsoundness. The experience of the last decade particularly seems to me to amply justify my conviction."

"It was not long before I found I was being taken for something more serious than a mere journalist. Conservative Standard Oil sympathizers regarded me as a spy and not infrequently denounced me as an enemy to society. Independent oilmen and radical editors, who were in the majority, called me a prophet."

"If there were leaders in practically every industry who regarded it not only as sound ethics but as sound economics to improve the lot of the worker, ought not the public to be familiarized with this belief?"

"But if the practices were not universal, if there was a steady, though slow, progress, ought not the public to recognize it? Was it not the duty of those who were called muckrakers to rake up the good earth as well as the noxious? Was there not as much driving force in a good example as in an evil one?"

"I gave myself time around these factories. The observer who once in his life goes down for half a day into a mine or spends two or three hours walking through a steel mill, naturally revolts against the darkness, the clatter, the smoke, the danger. As a rule he misses the points of real hardship; he also misses the satisfactions. As my pilgrimage lengthened, I became more and more convinced that there is no trade which has not its devotee. "Once a miner, always a miner." "Once a sailor, always a sailor." One might go through the whole category."

"As to the relation of workmen to their union-for often they belonged to a union-I concluded that in the average industrial community it was not unlike that of the average citizen to his political party and political boss. Both the union and the employer seemed to me to be missing opportunities to help men to understand the structure of industry, perhaps because they did not themselves understand it too well, or sank their understanding in politics. Both union and employer depended upon one or another form of force when there was unrest, rather than education and arbitration. In doing this they weakened, perhaps in the end destroyed, that by which they all lived. The most distressing thing in mills and factories seemed to me to be the atmosphere of suspicion which had accumulated from years of appeal to force. I felt it as soon as I went into certain plants everybody watching me, the guide, the boss, the men at the machines."

"It was the men who saw industry as a cooperative undertaking who gave me heart. I do not mean political cooperation, but practical cooperation, worked out on the ground by the persons concerned."

"What it simmered down to was that if you wanted to make a business you must make men, and you must make men by seeing that they had a chance for what we are pleased to call these days a good life. And if they are going to have a good life they must not only have money but have low prices."

"What I never could make some of these friends see was that I had no quarrel with corporate business so long as it played fair. It was the unfairness I feared and despised. I had no quarrel with men of wealth if they could show performance back of it untainted by privilege."

"Before I left The Chautauquan I had concluded that there was a trilogy of wrongs-all curable-responsible for our repeated depressions and our poorly distributed wealth: discrimination in transportation; tariffs save for revenue only; private ownership of natural resources."

"Were we not getting a larger and larger class interested only in what money would buy? Particularly did I dislike the spreading belief that wealth piled up by a combination of ability, illegality, and bludgeoning could be so used as to justify itself-that the good to be done would cancel the evil done. What it amounted to was the promotion of humanitarianism at the expense of Christian ethics; and that, I believe, made for moral softness instead of stoutness."

"It was the logic of my conviction that the world is one, that isolation of nations is as fantastic as isolation of the earth from the solar system, the solar system from the universe. All this made a species of Fabian pacifist of me. I was for anything that looked to peace, to neutrality, but it was always with the hopeless feeling that one simply must do what one can if the house is on fire."

"One of the most revealing things about a country is the way it takes the threat of war."

"I confess I was unprepared for what I everywhere met early in 1918, traveling chiefly in the South, the Middle West, and the Southwest. The country was no longer quiet, no longer reflective. On every street corner, around every table, it was fighting the War, watchfully, suspiciously, determinedly. All the paraphernalia of life had taken on war coloring; the platforms from which I spoke were so swathed in flags that I often had to watch my step entering and leaving. I found I was expected to wear a flag-not a corsage. At every lunch or dinner where I was a guest all declarations were red, white, and blue."

"In final analysis it was the failure patiently to listen to the political objections coming from the United States and trying openly to meet them which kept us out of the largest and soundest joint attempt the world had ever seen, to put an end to war. For that is what I believed the Covenant of the League of Nations to be when I heard the final draft read and adopted at the Plenary Session of the Conference on April 28."

"The documents in this case, which I later analyzed for the character sketch on which we had decided, present a fair example of what were popularly called "Standard Oil methods" as well as what they could do to the minds and hearts of victims. The more intimately I went into my subject, the more hateful it became to me. No achievement on earth could justify those methods, I felt."

"Why," I asked, "could not the present Woman's Committee be continued after the War in the Department of the Interior? Why could it not be put under a woman assistant secretary and used as a channel to carry to women in the last outposts of the country knowledge of what the various departments of the Government are doing for the improvement of the life of the people? You know how limited is the reach of many of the findings of the bureaus of research, of their planning for health and education and training? Why not do for peace what we are doing for war?"

"Feeling as I did, I could not fight for suffrage, although I did not fight against it. Moreover, I believed that it would come because in the minds of most people democracy is a piece of machinery, its motive power the ballot. The majority of the advocates for women's suffrage saw regeneration, a new world through laws and systems; but I saw democracy as a spiritual faith. I did not deny that it must be interpreted in laws and systems, but their work deepens, broadens, only as the spirit grows. What I feared in women was that they would substitute the letter for the spirit, weaken the strategic place Nature and society had given them for keeping the spirit alive in the democracy, elevating it to the head of the procession of life, training youth for its place. But what chance had such ideas beside the practical program of the suffragist?"

"the unpalatable fact that business always moves in cycles-that a boom will be followed by a slump, that common sense demands preparedness."

"I took on self-support at the start that I might be free to find answers to questions which puzzled me. After long floundering I blundered into man's old struggle for the betterment of his life. My point of attack has always been that of a journalist after the fact, rarely that of a reformer, the advocate of a cause or a system."

"We are given to ignoring not only the past of our solutions, their status when we took them over, but the variety of relationships they must meet, satisfy. They must sink or swim in a stream where a multitude of human experiences, prejudices, ambitions, ideals meet and clash, throw one another back, mingle, make that all-powerful current which is public opinion the trend which swallows, digests, or rejects what we give it. It is our indifference to or ignorance of the multiplicity of human elements in the society we seek to benefit that is responsible for the sinking outright of many of our fine plans. There are certain exhibits of the eighty years I have lived which particularly impress me. Perhaps the first of these is the cyclical character of man's nature and activities. If I separate my eighty years-1857 to 1937-into four generations, examine them, compare my findings, I find startling similarities in essentials. Take the effort to create, distribute, and use wealth. How alike are the ups and downs that have marked that effort!"

"These long rides, these night waits, brought unforgettable looks into human lives. Strange how travelers will confide their ambitions, unload their secrets, show their scars to strangers."

"Two generalizations topping all others came out of this going up and down the land in the years between 1920 and 1932. The first is the ambition of our people to live and think according to what they conceive to be national standards. They adopt them whether they suit their locality or not, and often in adopting them destroy something with individuality and charm."

"It has been sickening to see hopes grow dim under the hammering of reality, to see a generation lose its first grand fire and sink into apathy, cynicism. One asks oneself if man has the staying power ever to realize his ideals."

"If I find little satisfaction or hope in examining and comparing one by one my four successive generations, I find considerable in looking at them as a whole. When I do that, I see not a group of cycles rolling one after another along a rocky and uneven road but a spiral-the group moves upward. To be sure it is not a very steady spiral, but I am convinced that is the real movement. Could there be greater evidence that this is true than that the world as a whole has today come to conscious grips over that most fundamental of problems: Shall all men cooperate in an effort to make a free, peaceful, orderly world, or shall we consent that strong men make a world to their liking, forcing us to live in it? more than that, train us to carry it on? It is well that the issue should be clear, so clear that each of us must be forced to choose."

"Justice Brandeis, then plain lawyer Brandeis, was before a committee considering the Dingley bill. "And for whom do you appear?" he was asked. "For the consumer," he answered. The committee, chairman and all, laughed aloud, but they were good enough to say, "Oh, let him run down." This old indifference to the effect of higher prices on the living of the poor stirred me to the only article in my series which seemed to "take hold." I called it, "Where Every Penny Counts." The worthwhile thing, from my point of view, was that it reached women. "I never knew what the tariff meant before," Jane Addams wrote me."

"Even more hopeful, if not so clear to many people, is the increasing knowledge that we are getting of man as an individual and as a mass, coming to us particularly from men of science."

"One of my great satisfactions has been a revival of curiosity. I lost it in the 1920's and early 1930's. Human affairs seemed to me to be headed for collapse. War was not over, and men were taking it for granted it was. The failure of the hopes of previous generations had taught us nothing. The sense of disaster was strong in me. What I most feared was that we were raising our standard of living at the expense of our standard of character. If you believed as I did (and do) that permanent human betterment must rest on a sound moral basis, then our house would collapse sooner or later. It was taking a longer view, looking at my fifty years as a whole, that revived me. I thought I saw a spiral, was eager to prove it. Once more I am curious. It is an armchair curiosity-no longer can I go out and see for myself; but that has its advantages. It compels longer reflection, intensifies the conviction that taking time, having patience, doing one thing at a time are the essentials for solid improvement, for finding answers. Perhaps, I tell myself, I may from an armchair find better answers than I have yet found to those questions which set me at my day's work, the still unanswered questions of the most fruitful life for women in civilization, the true nature of revolutions, even the mystery of God. It is the last of the three which disturbs me least. The greatest of mysteries, it has become for me the greatest of realities."

"We owe it to Amelia Bloomer that we can without public ridicule wear short skirts and stout boots, be as sensible as our feminine natures permit"

"My speech was not popular. What they wanted from me was a rousing attack on the Standard Oil Company. They wanted a Mary Lease to tell them to go on raising hell, and here I was telling them they had got all they could by raising hell and now they must settle down to doing business."

"the War put a different face on oil. It suddenly became a matter for government control. It was no longer a private business. It was life and death for the Allies."

"there were other forces working against the type of journalism in which we believed. We were classed as muckrakers, and the school had been so commercialized that the public was beginning to suspect it. The public is not as stupid as it sometimes seems. The truth of the matter was that the muckraking school was stupid. It had lost the passion for facts in a passion for subscriptions."

"This classification of muckraker, which I did not like"

"Now and then I came upon a man or woman who dared to say to me when he had me in a corner: "I am a pacifist. We must find another way." With which I so heartily agreed. But that man or woman would not have said that on the street corner without danger to his life."

"Each generation repeats its leaders. Each sees men endowed with superior inventiveness, energy, and genius for business, inspired by love of power and possession, launch selfish schemes-Carnegies, Rockefellers, Goulds…Each generation has had its Henry George, its Bellamy, its Bryan, intent on persuading mankind that he had found the way, could lead men to the good life. In each generation employer and employee have faced the decision-war or cooperation."

"I was quite clear about the work I wanted to do. It was to continue writing and speaking on the few subjects on which I felt strongly, and of which I knew a little. These subjects had made a pattern in my mind. If men would work out this pattern I felt that they would go a long way towards ending the world's quarrels, quieting its confusions. First and most important were the privileges they had snatched. I wanted to see them all gradually scrapped, cost what it might economically. They were a threat to honest men, to sound industry, to peaceful international Life. I wanted to help spread the knowledge of all the intelligent efforts within and without industry and government, to put an end to militancy, replace it with actual understanding. And then I wanted to do my part towards making the world acquainted with the man who I believed had best shown how to carry out a program of cooperation based on consideration of others-that was Abraham Lincoln. There was a man, I told myself, who took the time to understand a thing before he spoke. He knew that hurry, acting before you were reasonably sure, almost invariably makes a mess of even the best intentions. He wanted to know what he was about before he acted, also he wanted all those upon whom he must depend for results to know what he was about and why. Whatever he did, he did without malice, taking into account men's limitations, not asking more from any one than he could give. More than anybody I had studied he applied in public affairs Frederick Taylor's rules for achievement of which I have spoken above. The more people who knew about Lincoln, the more chance democracy had to destroy its two chief enemies, privilege and militancy. I proposed to take every chance I had to talk about him."

"Tarbell's private reflections, about gender among other things, do emerge from time to time. Early on, she recognized the predicament of women. At 14, Ida knelt and prayed to God that she would be spared marriage. "I must be free; and to be free I must be a spinster." She was right: Though higher education was becoming more available to women, to have a career, a woman had to forgo having a family. Aside from teaching and missionary work—the two "respectable" careers for educated women—journalism, in its chaotic infancy, offered an opening an intrepid female could slip through."

"In the pages of history, in the lives of the heroes and heroines, the destinies and possibilities of a people are written. In them, we have been trying to discover ideals for ourselves, our daughters and granddaughters."

"woman's sphere is the whole wide world."

"We must add our voices to those who cry out that there is a standard below which we will not allow human beings to live, and that that standard is not at the freezing nor starving point....In a democracy all are responsible."

"In all our efforts in the widest fields we must aim at the elevation of the home, that bulwark of society, remembering the standard established by our fore-fathers. We must train the children to love the higher things of life — the treasures that cannot be bought and sold — thus securing for them the consolations of thought-life that never fail."

"At our Congress a minor tone resounded for the affliction of our co-religionists in Russia. The only answer to our prayers was a mournful echo of our own helplessness, and to-night our hearts go out to our fellow-beings in Armenia. Would we know the details of their suffering, let us read our own History, where torture, famine, and cold track with dead bodies our pilgrimage through the centuries. Let us hope for a time when the pure robe of Religion will no more be trailed in the dust to cover national sins, greed, and ambition."

"We, drops of blood from one great artery, who have come from distant homes"

"If it were generally understood that Christianity and Mohammedanism were genuine daughters of Israel, we might hope for less unfilial treatment"

"We get our knowledge by balloon ascensions into the spiritual clouds for a few moments, and we are provided with parachutes to let us down easily again into the material world."

"Let us be tolerant, courteous, and just to each other...Let us be entirely free from personalities, and yet have freest discussions."

"Religion is the expression and evolution of the most divine thought that has ever burst into consciousness in the mind of man, revealing the soul, at one with the Soul of the Universe"

"Religion is needed in the world. Whatever may be said against its methods in the past, to-day with the light of science removing all superstition, it is capable of producing the very best. Religion is needed to strengthen and reinforce our moral and ethical leanings."

"A fuller knowledge of our History and Literature will bring to many faith and trust in the good of the world, the joy of living, content in attaining all the possibilities of our present existence — all fundamental principles of our religion."

"Let us realize the power of individuals, joined for good purposes."

"I am told that I am an accomplice of the Commune. Certainly, yes, since the Commune wanted more than anything else the social revolution, and since the social revolution is the dearest of my desires. More than that, I have the honour of being one of the instigators of the Commune, which by the way had nothing–nothing, as is well known–to do with murders and arson. I who was present at all the sittings at the Town Hall, I declare that there was never any question of murder or arson...Do you want to know who are really guilty? It is the politicians. And perhaps later light will be brought on to all these events which today it is found quite natural to blame on all partisans of the social revolution…Since it seems that any heart which beats for freedom has the right only to a lump of lead, I too claim my share."

"how I loved her. How grateful I am to her for the freedom she allowed me to act as my conscience dictated, and how much I would have liked to spare her the bad days she so often had."

"He had brought a volume of Baudelaire which we read a few pages of when we had the time."

"One of the future revenges for the murder of Paris will be that of revealing the customary infamous betrayals of military reaction."

"We are Anarchists because it is absolutely impossible to obtain justice for all in any other way than by destroying institutions founded on force and privilege. We cannot believe that improvement is possible, if we still keep up the same institutions, now more rotten than in the past, or if we merely replace those whose iniquities are known by new men."

"In what would you that we should help those who govern—their work being only exploitation and wholesale murder—it has never been otherwise: the reason for the existence of a state is nothing but the accomplishment of some crime or other in order to assure the domination of a privileged class."

"The land which belongs to all can no more be divided than the light which also belongs to all."

"The ideal alone is the truth — it is the measure of our horizon. Time was when the ideal was to live without eating an other up. Is it not so still under another form which exists in the so-called civilized countries where the exploiter eats up the exploited? Do not the people in nocks fertilize the soil by their sweat and blood?"

"That is what we want to destroy — this annihilation — this eating of man by an other man."

"is it not time that our limited tongues should fall into the ocean of speech and of human thought? What will be the language of mankind delivered to the new Aurora — Anarchy!"

"Along with her more famous sisters, the radical women born in the decade of the Paris Commune, Madeleine Pelletier belonged to the first generation of women for whom higher education was available and participation in mass political parties open. They shared not only the heritage of the Russian nihilists-Chernyshevsky's fictional Vera, Breshkovskaia, Perovskaia-they also grew up with stories of the Paris Commune and Louise Michel, whose funeral Pelletier and Alexandra Kollontai attended."

"The most interesting women in modern European history appear in the ranks of radical political movements. It is difficult to find conservative or traditional counterparts equal to Louise Michel, Emma Goldman, and Rosa Luxemburg. Even Isadora Duncan, creator of modern dance, flirted with communism. More thoughtful and articulate and certainly as politically active as any of these women is the lesser known Spanish anarchist, Federica Montseny. On asking what attracted these women to radical politics, one discovers in each a commitment to feminism. No person, not even Emma Goldman, explored this necessary relationship between feminist and socialist principles more provocatively than did Federica Montseny."

"The world carnage put an end to the golden era when a Bakunin and a Herzen, a Marx and a Kropotkin, a Malatesta and a Lenin, Vera Sazulich, Louise Michel, and all the others could come and go without hindrance. In those days who cared about passports or visas? Who worried about one particular spot on earth? The whole world was one's country."

"For the anarchists in the United States Voltairine de Cleyre became the American version of Louise Michel, the French anarchist teacher who had engaged in terrorist activity during the Paris Commune, had endured several prison sentences, and was the recognized saint of international anarchism. Louise Michel had lived in deep privation, gave all her possessions to fellow revolutionaries, and spent a life of devoted self-sacrifice in the cause of anarchism. Her one self-indulgence was a passionate devotion to her mother. Anarchists emphasized the similarities between Michel and de Cleyre. Both were teachers; both nearly had been assassinated by former followers and had refused to prosecute their attackers; both tended toward extreme generosity toward the movement"

"How many are there of the countless millions who have entered this life, passed through its changing scenes and at last have laid down to rest, of whom it can be truly said, “Here rest they who have labored for the uplifting of the oppressed, who have devoted their energies unstintingly in the interest of the ‘common people?’” We fear there are few indeed. A life devoted to the interest of the working class; a life of self-abnegation, a life full of love, kindness, gentleness, tragedy, activity, sadness and kind-ness, are some of the characteristics which went to make up the varied life of our comrade, Louise Michel. In the elderly woman, clad in simple black garments, with gray hair curling upon rounded shoulders and kindest of blue eyes glancing from the strongly marked face, none but those who knew her personally would in the last few years have recognized Louise Michel…So it is in the baffling ocean of humanity. A strong character like Louise Michel looms up like a pillar of light or a star of hope, and the weary reformer sees it and takes fresh courage to struggle on in the surging ocean of humanity, and endeavors to calm its troubled waves and point the way to the harbor of plenty."

"La mujer," one of the articles that Luisa Capetillo published in 1912 in Cultura obrera, was later included in the anthology, Voces de liberación (Voices of Liberation), published in 1921 by Lux Editorial from Argentina. Printed for the purpose of gathering the libertarian voices of the most progressive women in the world, the book contains short essays by Rosa Luxembourg, Clara Zetkin, Emma Goldman, Louise Michel, and various Latin American women including Margarita Ortega, a Mexican revolutionary, María López from Buenos Aires, and Rosalina Gutiérrez from Montevideo. The editorial note introducing the authors states, "These voices of liberation are a call to women by their own compañeras to think more and act together with men in the struggle for human emancipation."

"I can’t tell you how encouraging a thing like this is. The first film that I was ever in was in 1915, and here we are, and it’s 1969. Actually, I don’t know why it took me so long, though I don’t think, you know, that I’m backward. Anyway, thank you Bill, thank you Bob, thank you Roman and thank you Mia, and thank all of you who voted for me."

"Work on yourself. Believe in yourself. Show up! Support others! The bounty of the world will open up for you."

"The biggest limitations are the ones we place on ourselves, and opportunities rise up to meet the unique offerings of people."

"I wipe away all the unpleasantness of the day, of the people, of the city, whatever. We have it in our power to overcome assholes, and I think we have them thrown into our path to see if we have the chops to handle them."

"I was amazed the way Garson could take these teams and make me want to see their pictures all over again."

"Don't be helpless, don't give up, don't kill yourself, don't look for trouble. Stuff gets in your way, kick it under the rug. Stay well, stay with it, make it come out..."

"Her strength was always tremendous, tremendous theatrical expertise. She knew more about the theater than anybody that I ever encountered in my life. And she, being a very great actress, could recognize the strengths and the weaknesses in a role, so that she wouldn't allow a part in any of our films to be anything less than a wonderful acting part."

"Kanin, Ruth's husband describe her role as an actress in 1837."

"Ruth exulted in life, Her blazing professionalism and generosity of spirit made it obvious to me that we had in our midst one of the greatest of them all."

"Her warmth and humanity shone like the first patch of sun on a dark and wintry day, The world will be a colder place without her enthusiastic, elegant and adorable countenance."

"At this time it's being considered as a natural death,she was always around town, She always stopped and talked to people. She was very pleasant."

"It's perfectly useless to ask people why they get married, but I fancy I know the reason, just the same. They may think it is one reason or another, but the real reason, to my mind, is an old one: The Eternal Purpose is making use of them to carry on the business of the world."

"Long ago, when the world was young for many of us, we believed in marriage as a great adventure, and if the world has been kind to us and has spared us our ideals, it is still the great adventure upon which some of us have embarked, while others still linger on the shore."

"Who honestly believes that he or she is extravagant? Not one, believe me. We all have our little ways of saving string, of doing without something, from early strawberries to diamond tiaras, which lead us to believe we are in the saving class."

"Many able women in early middle life, having mastered the art of home-making in the finest school in the world--a busy and happy household--seek a wider sort of home-making. They have a vision of the city they know best, or the State or the nation, as a greater household, to be organized and made happier through the influence of a larger motherhood. It was so with Mrs. Park."

"Not one more acre."

"Let us all remember that the Treaty was signed so that we could all live as one nation in Aotearoa."

"She was the person that galvanised all the array of different issues, opinions, claims, angsts that different communities had had around alienation of land, loss of authority and she really encapsulated that into the march and the term not one more acre."

"Dame Whina was very strong willed and believed in fighting for things that benefited Maori. She didn't care who was in power, but believed that not one more acre of land should be alienated from Māori without Māori consent."

"The Titanic disaster was a tragedy that was as unnecessary as turning the Brown Palace Hotel into Pikes Peak."

"To sit and wring my hands in agony may have been the first emotion with which I met this great sorrow. But I pulled myself together and applied my whole thought to the working out of the great duty that had fallen to my lot."

"Is it not time that the public should be enlightened on the subject of the ability and efficiency of those who, normal and intelligent in every respect, lack only the sense of hearing?"

"I believe in organizations and social clubs. While I claim that the deaf are equal to their hearing friends in every respect and should be treated accordingly, I still feel that there is an unexpressed bond of comradeship and sympathy amongst persons similarly afflicted, and that they derive much satisfaction from associating with others of their kind."

"The stupid and the children of genius alike emancipate themselves from conventions."

"There are so many ways that persons of intelligence have of expressing themselves. Some of these ways have little in common, many of them are contradictory in method, most of them differ in the effect aimed at, or the impression made."

"There certainly is at present, then, no standard English, either in writing or in speaking, that is easily and cheaply available. There is no one correct way of writing or of speaking English. Within certain limits there are many ways of attaining correctness."

"Letters of friendship, of love, of hate, of business, of state, have come into new value within the last twenty-five years. Reading them has come to be one of the most alluring pleasures of a large class of persons."

"The letter writer who spends his individuality in faddish paper, colored ink, and enigmatic paging, who 'crosses' his manuscript or insists upon paper so thin that it is hard to know which side one is reading, will need large revenues of talent to keep him from living behind his means in his claims on his reader's attention."

"Going to college was a thing quite by itself, an experience to be reckoned with--something like Platonic love, or getting religion."

"By 1870... Vassar did not stand, even in the funny papers, any longer for prigs, freaks, social rebels, or eloquent and earnest fanatics. What did it stand for? Freedom from any obligation upon the students to concern themselves with that question was one of the factors of the spaciousness that prevailed for ten years."

"A young generation felt a strange call from the future and so turned a perfectly courteous back upon the past with its failures; and with a resolute morning face fronted the new order of things where everybody should have a fair chance, where it should never be too late to make a fresh start, and where friendship should be the leading business of individuals and of nations."

"As an instructor in English literature, Miss Jordan's success has been marked. The magnetism, thoroughness, and sympathy of her work have been alike conspicuous. Broad-minded and scholarly, she has exacted from her pupils what she has given: fidelity in the study of English, and constant attention to its best models."

"For the kinema must please the women or die. The vast majority of picture-goers are women and always will be. The time o day is in their favour, to steal an odd hour from me afternoon; and woman, whose work lies at home, just as glad of the opportunity to escape from home for an hour us ma, whose work lies outside, is glad of the opportunity to be in it. The price too, is a woman's price, easily found. When a man spends money, he likes to feel he is spending; when a woman spends money, she likes to feel she is not."

"But the main attraction of the kinema for women rises out of a common factor in their natures. Woman is desperately personal, and the kinema the most personal of all the arts. Through it a woman can get into close touch with the shadows she has longed to meet, can seem to know them, can follow them through the whole gamut of their moods and share with them the most intense experiences. For women and because of women the "star" system has grown up in the kinema. It is nothing more or less than a commercial means of giving women the most of what they want—personality."

"A Night at the Opera, which is, oddly enough, quite largely about a night at the opera, seems to be the best of all the Marx Brothers pictures so far. It has more movie sense if you can call any Marxian manifestation sense; than any of its predecessors; it is better cut, better presented, has better gags, and the emphasis is more evenly distributed among the brothers. Groucho, whom the microphone has always distorted unfairly, is tuned down and slowed up a little to the level of his stage performance; Harpo's zany act is better assimilated, and Chico, for whom I have always had a sneaking preference, comes out more strongly than in the earlier pictures."

"A book could be written if Harpo didn't eat it first, or Groucho and Chico tear it up page by page on the art of the Marxes. You could call it surrealism, or or dadaism, or what about that -ism that all depends on the use of staircases? You could analyse its clear cold illogic, entirely divorced from emotion. You could suggest that Harpo, with his motor horn, is in the direct line of the clowns of history. You could even argue that it represents the furthest manifestation of, pure comedy on the modern screen, and you wouldn't be far wrong."

"He has a funny voice that makes you nervous on its high notes, a funny face, no one could call handsome; he cannot, so far as I know, act, and he never appeared yet in a film that merited a moment's serious attention. And yet this frank and friendly Yankee hoofer, hat, white tie, tails, and everything, been elected to the academy of international celebrity. After the first gasp of surprise, however, at the thought of Fred Astaire in company with Pythagoras and astronomies and the alimentary canal and the origin of species, you realise that the compilers of the Encyclopaedia [Britannica] have behaved in a perfectly natural way, assuming—as it is reasonable to assume—that they are going to do their job properly for Mr. Astaire [in the next edition to be published]."

"For Mr. Astaire, along with Chaplin and Disney, is one of the only really significant trio that the cinema has yet evolved. These three are universal artists, at once masters and servants oi form which the whole world can assess and appreciate. It is possible that Chaplin his time, and Disney at the present, is the completer artist. It doesn't matter, Evaluations of this kind are little more than academic exercises, a sterile study, a conscript thesis. The important fact that Astaire, with his dancing, like Chaplin with his clowning and Disney with his drawing, has found a way of expressing an idea, a feeling, or even clean and acute perception of physical well-being, to millions of people who cannot follow his steps, understand his songs, or speak his language."

"To. come down to film criticism, which is the first reason of this article, you are faced with a difficulty which distinguishes this from almost every other form of critical writing. The film is not really a lovable art, and to criticise well you must first love deeply. Don't misunderstand me. You may enjoy the cinema. You may admire its ingenuities, and find relief and comfort in its evasions; you may even prefer it, as many of us do, to any other form of public entertainment. But I defy anyone who has had rich experience of life, who has thought deeply, or felt honestly about life and its manifestations, to draw from the cinema, in its present stage of development, anything more than a fleeting participation in pleasure. Good music, great poetry, fine architecture, pure painting, can somehow take possession of the soul and succour it. For centuries men have felt these things deeply, and written about them greatly. But until there is something of this elemental quality in the cinema—and I often doubt whether there can be any such elemental quality while it is still the cinema—we shall have no greatly written criticism of the film. The film critic, then, even if he cherishes no delusions of greatness, and aspires simply to be a good critic, doing a smaller job well; must look for his inspiration in something other than the material of the cinema. Occasionally, very occasionally, he will see a picture or an individual performance that sets his typewriter tapping out the word genius, but on the whole he must be prepared to deal creditably, and, if the gods bless him, creatively, with undistinction."

"It is one of the rarer necessities of film criticism that one has to write, occasionally, about films. This is a necessity which I find, as the years go on, my colleagues and I evade as much as possible. Those of us whose persuasion is high, write about theories the bourgeois ideology of Donald Duck, the mediumistic freedom of Messrs. Hecht and MacArthur, the upthrust of the artistic cinema in Czechos-Slovakia. The simpler of us enlarge on personalities the golden career of Mr. Clark Gable, what Alfred Hitchcock said when presented with forty canaries, and that dear little £4,000 contract that Shirley Temple pulled out of her birthday sock."

"The Lodger was the best film made in England up to the end of last year. It had power, point, and an entirely new angle, that, is to say, in' an English studio—of visual expression. Downhill carries out every promise of its predecessor without being at all a good film."

"Hitchcock gets jubilantly to work on this very raw stuff, expressing with clever conjunction of shots, with superimposition, double exposure, dissolves, the moving camera, and all his bag of technical tricks, the feelings of loneliness, bitterness, and nausea which his characters might be expected to enjoy; he even tries to give the thing symbolic weight by sending his hero to perdition down the moving staircase of a tube station and the descending shaft of a mansion flat lift. I have never seen such an interesting, production of rubbish nor a clever film which deserved quite so little praise."

"If Mr. Hitchcock would rid himself of the delusion that it is enough for an artist to give perfect expression of any subject—the feelings of a cat sitting on a garbage can, the smell of over-ripe bananas in a broken basket on a dusty street—he would become a film producer of considerable merit in the world. He has originality. He has a fine economy of detail. He has made himself independent of words with a strongly developed pictorial sense. Some day he may surprise us all, and himself among the number, by making a picture that is as good in its conception as in its execution. And when Hitchcock sets to work on real film material, real artist's material, there will not be more than half a dozen producers in the world who will be able to beat him. There are none in England now."

"[A] film-version of Noel Coward's Easy Virtue ... for all its cleverness, is not a good film."

"Hitchcock had an artificial story and an artificial society to deal with here, but his treatment of them is not that of a director who matches artificiality of substance with artificiality of form, but of a man who has in himself so little reaction to flesh-and-blood truth that he is almost incapable of knowing the living from the dead. Hitchcock's blindness to the things that people do in expression of their real emotions is not a mannerism but a fact. In his work he thinks, and cannot feel. No director in England, and very few in America, can tell a screen story as cleverly as he—can narrate so subtly and simply to the eye, without a word written, using all the tricks of the camera and all the loquacity of silent things to carry his audience from point to point in perfect understanding and ease. But he will have to learn to know men as well as he knows the camera or, not knowing men, to turn his talents from the intimate to the impersonal kinema before he can become one of the great directors of the screen."

"I have spent the afternoon arguing with my old friend Alfred Hitchcock. Because we are old friends it was a long argument. And we did not, oddly enough, argue about his new picture, which I review, with some asperity, below. I did not like Sabotage, and Hitch," who never tries to persuade the Press against their conscience, didn't attempt to suggest that I should like it. But it is a long-standing custom between us that we should meet and eat and talk after every Hitchcock first-night."

"Sabotage, the new film at the Tivoli, is the cleverest picture Alfred Hitchcock has made since the arrival of talkies. It is also, to me, the least likeable of them all. Every shot in it, every sound, every conjunction of images, is the result of close and consummate care. It is a cold, calculated, and quite masterly piece of film technics, designed to raise suspense and horror to the highest frequency. There is no department of the industry, script-writing, direction, cutting, sound, and camera, that could not learn something from this picture. I am prepared to give it every honour in the academy so long as I am never asked to sit through it again. The keynote of Sabotage is complete destruction. Not only is the main plot concerned with a conspiracy to blow up Piccadilly Circus and terrorise London, but everything that is human and innocent and ordinary in the picture seems consecrated to the needs of ruthlessness. The young schoolboy brother of the heroine, the only really sympathetic character in the piece, is smashed to pieces with a time bomb in a London omnibus. With him go a puppy, an amiable old lady, a friendly conductor, and all the most cheerful group of sentimental commonplaces that Hitchcock can gather together into one locale. Following this event, the heroine sticks her husband in the stomach with a carving knife, and a kindly old anarchist blows the corpse and himself to glory with another hand grenade, leaving the murderess free to marry the Scotland Yard detective."

"But I believe and I stick to it that there is a code in this sort of free-handed slaughter, and Hitchcock has gone outside the code in Sabotage. As a detective fan and an Inveterate reader of thrillers I suggest that this is the sort of thing that should get a fellow blackballed from the Crime Club. Discreet directors don't kill schoolboys and dogs in omnibuses. Believe me, it isn't done.."

"It would seem that Gone With the Wind, written by a woman, concerned with a woman, and read by millions of women all over the world, is working out on form. That is to say, it is primarily a woman's picture. I say that advisedly, not to suggest that men won't like it, but because I am so sure that women will. It may not be a great, significant picture, with a strong, central theme, but I don't honestly believe that women care so much about great, significant pictures with strong, central themes. What they prefer, and what they will get in Gone With the Wind is a vivid account of personal and intimate details of this meeting and that quarrel; [life] seen not broadly, in perspective, but urgently, from day to day, as if they were living it themselves. Women are only dimly concerned with the meaning of what is happening in the world, but passionately concerned with the effect of what is happening on So-and-So. The American Civil War. the abolition of slavery, the burning of a city, the end of a social order, even the birth of a nation, would hardly in themselves justify the film's three hours and forty minutes of running-time. But in order to discover what happened to Scarlett O'Hara, to Melanie. to Rhett Butler, to the black mammy, to Scarlett's baby, during these events, most women will sit through this enormous picture without a murmur. Curiously enough, the dominant feminine interest in the picture has worked through even to the acting. The best performances are all women's."

"Les Efants du Paradis, which opens the Rialto for a new season of French films, is the crown of the French cinema, and must be an abiding delight to anyone, in any country, who feels the stir of the world of art."

"Its true concern, however, is with something much larger and more impalpable; the relationship between the crowd and the individual; the impersonal, jubilant, clamorous voice of the multitude, and the personal, agonisingly articulated dumbshow of a man. You have to go to literature, to the novels of Dickens and Dumas, to find crowd scenes so superbly and massively handled. The changing scene is packed with people; you fix your eye on an individual player, only to find him presently overwhelmed, submerged, drowned in a sea of faces. And rightly so, for that is the whole secret of Les Enfants du Paradis. The characters are initially thrown together by the crowd and eventually torn apart, like so much flotsam and jetsam."

"Les Enfants du Paradis seems to me to stand head and shoulders above every other film of the year. I recommend it ... to anyone who relishes fine performance, exact dialogue, magnificent manipulation, and an honest, if fatalistic, groping towards a philosophy. He may not get the thing completely, but he will feel the bite of it."

"I have never made any secret of my distaste for films concerned with the glorification of the spiv, and I must declare al once that Brighton Rock, the new British film at Warners, is not my notion of entertainment. Graham Greene's savage storv about a couple of race-course gangs and their fancy ways with a razor is one of the most brutal things I have seen on the screen since They Made Me a Fugitive... Once having made this point clear, I have nothing but the highest praise for the way in which the film has been done. Brighton Rock is a splendid bit of picture-making. I do not think that for direction and all-round performance it could have been excelled by the work of any other country. ... [The Boulting Brothers] have taken the audience triumphantly behind the front of Brighton in the holiday season, into an underworld as subtle as the Casbah, where sleazy-lodging houses bed shameful secrets, and a youth can become a seasoned murderer at seventeen."

"Oliver Twist (Odeon, Marble Arch) is the third of the Dickens novels to be filmed, with conscious solicitude, in this country; and while it is obviously very much better than Nicholas Nlckleby, I cannot think it as good a picture as Great Expectations. Possibly the fault lies in the choice of subject: for Oliver Twist, let us face it, is a pretty ugly story. ... And while it is one thing to read about the violent and vicious and sordid experiences that attended the progress of the poor-house boy, it is quite another to see them acted. The only essential difference between Oliver Twist and the modern gangster tale is that the former is written superlatively well."

"The Cineguild director and producer, David Lean and Ronald Neame, have spared us nothing of the brutality of Oliver Twist. All the ugliness is there: the filth and cold, humiliation and hunger; the thrashing of Oliver; the savage beating to death of Nancy; the special lust which Dickens describes in italics as "the passion for hunting something." All these things are realistically set out in the film in pictures as remorseless as a Cruikshank drawing. The producers have even added two special savageries of their own; an introduction in which Oliver's mother is seen battling through the storm in the last pangs of travail, and a climax in which the child is forced to climb to the chimney-stack and watch Bill Slkes hang himself. The introductory scene, as it happens, is magnificently done; the roof-tops sequence seems to me both distasteful and silly."

"It is an odd and somewhat ironic commentary on the entertainment of the times that the best, happiest, most intelligent and human picture of the week, I was about to say of the year, should be a murder story. But so it is: The Naked City (Gaumont and Marble Arch) is a thriller and a beauty."

"They have not only given us a first-class detective story but they have added the suggestion that this sort of thing might impinge on any one of us, unknowingly, on our way home from business; but would not in the end affect a community armoured with life and decency, private concerns, family responsibilities, mealtimes, bedtimes, train schedules and sunlight. The film has been shot almost entirely, and most magnificently shot, in the streets, homes, stores, and Government departments of New York, and I have never seen a picture that expressed more fundamentally the difference between the extraordinary person who practises crimes of violence, and the normal, blessedly ordinary person who doesn't. The Naked City is at once keen observation and grand filmmaking."

"[On the new CinemaScope process] The effect produced on the viewer is to make him feel he is sitting inside a monster pillar-box looking out through the slot at a world in the rough proportions of a dachshund. For views of processions, or wide horizontal sweeps of plain or water this does not work out badly, but it comes hard-on actors who have to 'exchange confidences from the opposite, sides of a proscenium arch."

"It's a long time since a film disgusted me as much as Peeping Tom (Plaza). This so-called entertainment is directed by Michael Powell, who once made such distinguished films as A Matter of Life and Death and 49th Parallel."

"I don't propose to name the players in this beastly picture."

"A new film by Alfred Hitchcock is usually a keen enjoyment. Psycho turns out to be an exception. There follows one of the most disgusting murders in all screen history. It takes place in a bathroom and involves a great deal of swabbing of the tiles and flushings of the lavatory. It might be described with fairness as plug ugly."

"I couldn't give away the ending if I wanted to, for the simple reason that I grew so sick and tired of the whole beastly business that I didn't stop to see it. Your edict may keep me out of the theatre, my dear Hitchcock, but I'm hanged if it will keep me in."

"From the imaginative point of view, the Fellini is a masterpiece of its kind. I hasten to add that it is a very dreadful kind. I should not like to send anyone to see the picture unprepared. [In] La Dolce Vita ... [s]ome of the scenes are the most sickening exhibitions of human degradation and depravity ever shown on a public screen. They are intended to he so, for Fellini is a rebel who feels bitterly about the spurious sweetness of the dolce vita. The leading character is a gossip-writer on a scandal sheet ... smelling out sensation. Wherever the scent is rankest, there he goes, with a pack, of other velping photographers at his heels. The wildest of wild orgies, a fake miracle, suicide following a father's murder of his sleeping children, the public striptease of a middle-aged woman to celebrate the annulment of her marriage, all these find our hero in attendance. Why should anybody choose see it? Because it is a work of deep imagination, signed with an artist's individual hand. The black-and-white photography is masterly. Everything Fellini's camera touches springs to urgent life. He can pour life suddenly Into an empty street, illumine some hitherto unnoticed figure and make it live and breathe. No comer of the huge screen is ever wasted. Space left blank is as deliberately significant as space filled."

"[Recalling The Mark of Zorro (1920)] Suddenly, as I watched [[w:Douglas Fairbanks|[Douglas] Fairbanks]]' harlequin poses and swirling trajectories across the screen, there sprang into my mind a wonderful idea. Why should I not turn my pleasure into profit, and earn my living by seeing films? The profession of film criticism had not yet come into being ... An extra deterrent was the fact that women had very little standing yet as journalists."

"Mohammad Ali can’t even think about begging forgiveness from the British. If he does so then my old hands have enough strength to strangle him."

"I do not believe that the few women who have achieved greatness in creative work are the exception, but I think that life has been hard on women. It has not given them opportunity, it has not made them convincing. A woman has not been considered a working force in the world, and the work that her sex and conditions impose upon her has not been so adjusted as to give her a little fuller scope for the development of her best self. She has been handicapped and only the few through force of circumstances or inherent strength have been able to get the better of that handicap. There is no sex and art. Genius is an independent quality. The woman of the future with her broader outlook, her greater opportunities will go far, I believe, in creative work of every description."

"Marriage must adapt itself to one's career. With a man, it is all arranged and expected. If the woman is the artist, it upsets the standards, the conventions, the usual arrangements, and usually, it ruins the woman's art. I feel that it is difficult to reconcile the domestic life with the artistic. A woman should choose one or the other. She must have freedom, not restraint. She must receive aid, not selfish, jealous exactions and complaints. When a woman of talent marries a man who appreciates that side of her, such a marriage may be ideally happy for both."

"It is not a young girl who composes, this is a composer"

"Her music has a certain feminine daintiness and grace, but it is amazingly superficial and wanting in variety. But on the whole, this concert confirmed that the conviction held by many, that while women may someday vote, they will never learn to compose anything worthwhile."

"Others would say ‘He is a good man & though you don’t care about him now, will soon learn to love him.’ That, I believe, I never could do. I know that the generality of people would say he is rich & your marrying him would at once make you independent, and I say ‘Am I to barter my peace of mind for money?’ No – never!"

"Captain Forbes saved her (Sarah) life, by asking for her as a present... She is 7 years old, sharp & intelligent, & speaks English. She was dressed as any other girl. When her bonnet was taken off, her little black woolly head & big earrings gave her the true negro type."

"She (Sarah) is a perfect genius; she now speaks English well, and has a great talent for music....She is far in advance of any white child of her age, in aptness of learning, and strength of mind and affection."

"Queen Victoria gave constant proofs of her kindly interest in her (Sarah). At the Midsummer and Christmas seasons she often went either to Windsor or Osborne to stay in the family of one of the officers of Her Majesty’s Household, and was frequently sent for by the Queen to see her privately."

"Queen Victoria always had a fascination for her black and colonial subjects at a time when such interest was rare among the white aristocracy. She readily took up the cause of a ‘Dahoman captive’, affectionately calling her Sally, and becoming a loyal friend and protector until she (Sarah) was old enough to marry."

"What I find interesting about Sarah is that she challenges our assumptions about the status of black women in Victorian Britain. To see Sarah return to Osborne, her godmother’s home, is very satisfying and I hope my portrait will mean more people discover her story."

"Where do you start? Her (Sarah) story is an extraordinary one. Through her life we can also see a number of interesting and quite uncomfortable things around colonial attitudes to her."

"There are a number of black figures from the past who have played significant roles at some of the historic sites in our care but their stories are not very well known. Starting with Sarah, our portraits project is one way we’re bringing these stories to life and sharing them with our visitors."

"Whatever women do they must do twice as well as men to be thought half as good. Luckily, this is not difficult."

"’Twixt the optimist and pessimist The difference is droll: The optimist sees the doughnut But the pessimist sees the hole."

"If all the good people were clever, And all clever people were good, The world would be nicer than ever We thought that it possibly could.But somehow, ’tis seldom or never The two hit it off as they should; The good are so harsh to the clever, The clever so rude to the good!"

"She was a gentlewoman, a scholar, and a saint, and after having been three times married, she took a vow of celibacy. What more could be expected of any woman?"

"Hot on Sunday, Cold on Monday, Hashed on Tuesday, Minced on Wednesday, Curried Thursday, Broth on Friday, Cottage pie Saturday."

"When a tree takes a notion to grow in California nothing in heaven or on earth will stop it."

"The family—that dear octopus from whose tentacles we never quite escape."

"[E]xtreme happiness invites religion almost as much as extreme misery."

"We shall be disposed to acknowledge that woman's influence has been sufficient to obtain her justice, when it has obtained for her ... perfectly just and equal rights with the other sex. When this is the case, we shall expect to see each woman wakened up into a sense of her individual responsibilities and duties: finding herself no longer classed with children and idiots, we may reasonably expect to see her rousing herself up, and applying, with renewed energy, to all her duties ..."

"No pure and noble-minded woman can long love affectionately, and submit passively to, a vicious and dissipated, — or even to a good and virtuous tyrant, — without having her own mind greatly deteriorated."

"To leave the liberty of one-half of the human race at the mercy of the convenience of the other, amounts to an annihilation of the rights of that half."

"... are puddings and pies, roasting and boiling, dusting and washing, or even the rearing and educating her children, so entirely to engross her attention, that her heart and mind can never expand beyond her own little domestic circle? Nay, if her mind never does so expand, will she be able properly to regulate the concerns even of that little circle?"

"The grand plea for woman sharing with man all the advantages of education is, that every rational being is worthy of cultivation, for his or her own individual sake. The first object in the education of every mind ought to be its own development."

"... the influence of woman — where any freedom of social intercourse is allowed between the sexes — is highly favourable to civilisation. She advances refinement and civilisation, and is, in turn, advanced by them."

"... if we take politics in the large and high sense in which it stands for patriotism and philanthropy, the assertion that an interest in it is out of place in the breast of the very gentlest of her sex, — in other words, that it is improper and unbecoming in a woman to take a deep interest in the affairs of her country and of humanity, — is made with more boldness and confidence, than regard to reason and truth."

"They stopped next at a bookstore. "Oh, what a delicious smell of new books!" said Ellen, as they entered. "Mamma, if it wasn't for one thing, I should say I never was so happy in my life.""

"My dear little daughter," said he, "you cannot be so glad to come back as my arms and my heart will be to receive you."

"... the pony was not forgetful, yet ever and anon a touch of his owner's whip came to remind him, and the fellow's little body fairly wriggled from side to side in his efforts to get on. "I wish you wouldn't whip him so!" said Daisy, "he's doing as well as he can." "What do girls know about driving!" was the retort from the small piece of masculine science beside her."

"I am busy and new patients turning up. I am satisfied there is a corner for me to fill. I have spent part of this evening fitting a truss on a young girl. It was dangerous for her going without but she never would have allowed a man to do it. I have had two gentlemen patients today and I am getting more of them. I shall not refuse any without good cause. I am also getting more black patients. They feel, I think, that I treat them like human beings and not niggers as the term is here."

"I give a lecture in May for the same Society as last year. I have refused all the other Societies. It will be a sequel to the one I gave last year and the title “The Higher Education of Women. Its duties and responsibilities”. I have not begun it yet but I am in a thinking mood at present so hope to evolve something."

"My letter has got to be longer than I intended. One puzzle here is, where the bounce has gone to of our Dutch brethren, they are very docile at present. Sir Hercules has got a well deserved slap in the face and MacKenzie is to the front again. Noble is greatly pleased for he has been a very loyal friend to MacKenzie and has steadily backed him."

"I have been doing very little writing for the last two or three months simply through press of engrossing work. Many confinements and other very anxious and worrying work taking it out of me in every sense of the word and sending me home so tired at night that the sight of pens and paper was enough. Sunday work was the rule and sometimes all Sunday. This is the first real Sunday rest have had for a long time and so I am writing a few letters. I have been thirty years now here and have gained a lot of experience in every way and yet I feel if I knew nothing. I am engaged already for a number of confinements next year. What a wonderful difference the antiseptic method makes in a confinement. My patients are delighted with the sweetness of their rooms and if absence of fever, even of milk fever. To do it perfectly takes any amount carbolic wool and gauze, Iodoform pessaries, Quinine and Condy. But if purity and sweetness of the patient, bed and room are worth it all. I never syringe now. It does not always do and with the present method is not needed."

"It is a pity you do not get the Cape Times. I like it better than the Argus although in many things not agreeing with it. The Times gave full reports of the Synod, far better ones than the Argus and one longed for one of our old Scotch heroes to stand up and lash them with his tongue. For an elder to stand up an say that total Abstinence was the work of the Prince of Darkness and for others to wish that no member with the blue ribbon on should get the sacrament, a to please the wine farmers, made one think that the Devil himself must be inspiring the deliberations. What hope for the country when such is the highest spiritual teaching."

"There are two sides to every question. There are two sides to every —what is termed the ' back ' and the ' front of the house,' or more generally known as ' before and behind the footlights '—and if of late years both sides of the curtain have been made familiar to the public gaze, it is not because it is the fashion to court observation, but on account of a passionate national curiosity to know the truth."

"... for sheer beauty, the , to my mind, between and , are infinitely more exquisite, with alternating well-watered s and and in the distance, than any part of ."

"... People still talk of Gertrude Kingston's as a piece of acting to treasure in the memory; and readers of who considered it contained a too great monotony of sorrow to be effective on the stage, found themselves, to their astonishment, almost unendurably moved."

"'Tis the summer prime, when the noiseless air In perfumed chalice lies, And the bee goes by with a lazy hum Beneath the sleeping skies."

"Yes, this is Life; and everywhere we meet, Not victor crowns, but wailings of defeat."

"'Tis rushing now adown the spout And gushing out below, Half frantic in its joyousness, And wild in eager flow. The earth is dried and parch’d with heat, And it hath longed to be Released from out the selfish cloud, To cool the thirsty tree."

"How beautiful the water is! To me 'tis wondrous fair— No spot can ever lonely be If water sparkle there— It hath a thousand tongues of mirth, Of grandeur, or delight; And every heart is gladder made When water greets the sight."

"Faith is the subtle chain, Which binds us to the Infinite: the voice Of a deep life within, that will remain Until we crowd it thence."

"White-winged angels meet the child On the vestibule of life, And they offer to his lips All that cup of mingled strife."

"My friends, do we realize for what purpose we are convened? Do we fully understand that we aim at nothing less than an entire subversion of the present order of society, a dissolution of the whole existing compact? Do we see that it is not an error of today, nor of yesterday against which we are lifting up the voice of dissent but that it is against the ... error of all times — error borne onward from the footprints of the first pair ejected from Paradise, down to our own time? ... Bitterness is the child of wrong; if any of our number has become embittered ... it is because social wrong has so penetrated to the inner life that we are crucified today."

"The measure of capacity is the measure of sphere for either man or woman."

"How few women have any history after the age of thirty!"

"The tender violet bent in smiles To elves that sported nigh, Tossing the drops of fragrant dew To scent the evening sky."

"Searching, I roamed the world—to arrive at the origin—at beauty—at truth—away from the lies of everyday—and my longing was burning hot—then the darkness opened up and I stood at the source of the Beginning—Paradise."

"Verification of the art must still be done, but from a layman's view it appears to be the same pieces that were taken in Pretoria."

"Her heavily-laden brush deposits swathes of colour and a tracery of mark that evokes at times the sweep and syncopation of Islamic calligraphy. The calligraphy that she encountered in the carved cartouches of the lintels of Zanzibari doors and the Islamic manuscripts which she collected, armed and liberated her mark-making. The boldness of her impasto brushwork results in a tangible embodiment of her sitters and their contexts, such that her decision to frame the works using fragments of Zanzibari doors feels completely in keeping."

"Irma Stern travelled frequently between South Africa and Germany as a child and this pattern continued into her adult life. During the 1920s, ’30s and ’40s, she exhibited throughout Europe and was both known and respected there than in South Africa, where the reception of her work was overwhelmingly negative."

"She is remembered as a pioneer and "trailblazer" in the struggle for women's rights in the country."

"An active member of the Barbados Women's Alliance, she also advocated for amendments to the Bastardy Act, equal opportunities in girls' education, and adequate training in family planning."

"She also was vocal about the need to provide teaching on African heritage."

"I am she who is called Pelewura…. . I will not starve in the country I was born in."

"Alimotu initiated that market women reduce the prices of goods sold in the markets to support the striking workers"

"She also strongly protested a market price control plan, named the Pullen scheme popularly after a British officer, Captain A.P. Pullen, who initiated and directed it"

"She rose to more prominence in 1910 when she became a titled chief by the order and conferment of the Oba of Lagos, Eshugbayi Eleko"

"she led protests against taxation and price control, issues she strongly believed would negatively impact the livelihood of women."

"Mrs. Axtell’s exceptional business qualifications do not detract a whit from her womanly attributes, and the merry twinkle in her eye demonstrates the gladness with which she imbues every duty"

"Known for her courage and sense of humor, she broke ground for women in Northwest and national politics."

"As the first woman elected to this position, she served as an inspiring example for other women aspiring to enter politics. Her presence in the legislature allowed her to directly influence laws that benefitted women and children while advancing the overall cause of suffrage within the state, which ultimately helped pave the way for broader acceptance of women in political roles."

"Frances Axtell's advocacy work had a lasting influence on both local and national movements for women's rights by highlighting the importance of political engagement and representation for women. Her successful election as a legislator not only advanced local initiatives but also sent a powerful message nationally about women's capabilities in leadership roles."

"Pegg Clarke (Melbourne) has made of photography a consummate art. On gazing at her photographs, several of what one might aptly term "treescapes" having a soft melting grace reminiscent of a Corot without colouring, makes it absolutely indifferent to academic discussions of whether photography is an art or a craft."

"Only an artist could make such pictures by camera as those by Pegg Clarke, a very beautiful sample of which (Mist on the Mountains) was hung, in the London Salon, 1921."

"Miss Clarke has an eye for something other than the merely picturesque, and most of our painters might study the composition of these carefully-selected subjects with profit. Some of the Australian photographs, in particular, should make our realistic painters sit up and take notice."

"All men are created equally free and independent. Those words will take on a more complete meaning for the women… of Vermont."

"Women could be politicians if they were willing to work and sacrifice."

"One of life's most comforting extras is love of the land…I see here the same land which the Northrop Family knew for nearly two centuries…I feel close to the America I knew in days gone by and because I feel free here…I feel the love of those whom I have known there which today still gives me a feeling of confidence, protection and peace."

"We leaders of our state must break down the prejudice which exists in Mississippi against women in the service. It is an honour for a young woman to serve her nation in this day of strife."

"The next four years will see the accomplishment of many of the dreams and programs of Governor Bailey, and it is but natural that I want to be a part of that administration. Tom Bailey worked hard for Mississippi, and I shall endeavor to give my best to the state he loved so well."

"Mrs. Bailey was a woman of unusual personal charm and outstanding ability."

"As Supreme Court clerk, she was concerned that the public had an accurate and wholesome understanding of and appreciation for the court and its function in the promotion of the common well being through equal and fair justice for all"

"We are just beginning to open our eyes in politics, but before long we are going to make ourselves felt, and you can depend on Annie Simms Banks, of Winchester, to do her part for the grand old party."

"Newspapers across the country – including the New York Times – heralded the news of her accomplishment, saying she displayed neither “embarrassment” nor “confusion” as she spoke before other delegates, who elegantly referred to her as “The Lady from Clark."

"Annie White Baxter is remembered as a political trailblazer not only for Missouri, but for U.S. history."

"Today, we honor her contributions to policy and the impact she had on Missouri’s rich history by commemorating her in our state capitol."

"At Carthage High School, where she graduated in 1882, she was said to be the most outspoken, most aggressive and most commanding person in her class."

"Her father was the operator of a Carthage furniture factory with a better than average income. Thus, Annie was accustomed to the good life, a gracious home and the admiration of her fellow students."

"Alas! how truly did he tell her, that the love of ornament creeps slowly, but surely, into the female heart;—that the girl who twines the lily in her tresses, and looks at herself in the clear stream, will soon wish that the lily was fadeless, and the stream a mirror."

"Beauty depends more upon the movement of the face than upon the form of the features when at rest. Thus a countenance habitually under the influence of amiable feelings acquires a beauty of the highest order, from the frequency with which such feelings are the originating causes of the movement or expressions which stamp their character upon it."

"If smoking were abolished it would be a benefit to mankind. It’s all nonsense about tobacco quieting the nerves. If the men did not use it they would not be nervous."

"I like to keep up with the fashions, but I had enough of long skirts when I was a girl. My dresses suit me fine when they’re just a little below the knee, and I hope sincerely that styles never take the hemline to the ankle again."

"Yet she had no intention of retiring to a quiet life. She never wanted to be just an old lady with nothing to do."

"Rachel had definite opinions on just about any topic and had little trouble expressing herself. On the subject of women’s fashion, she was delighted to see women shortening their skirts so they no longer swept dusty, dirty streets."

"Brehm’s speaking was described as eloquent, fluent and graceful making an appeal… to the logical faculties with but little of the gift of humor."

"Marie Brehm believed it was time for women to make changes in society. Perhaps her philosophy can be summed up in these words spoken in June 1924."

"After the Boer War I saw that Boer and Briton would have to unite, but would they try to do it at the cost of their dark brothers"

"One of the most influential women in South Africa during the nineteenth and early twentieth centuries"

"Your gift of seeing into the heart of things is so great and you have control of such exquisite language for expressing moral and spiritual aspects."

"She trained to be a teacher, refused to marry, and when she turned thirty, decided to study further at the all-female Newnham College at Cambridge"

"She rejected the Christianity of her parents and joined the philosophical and spiritualist Theosophical Society. She dressed eccentrically, favouring sandals over tight boots, and when travelling would wear two dresses at once to save the bother of having to take a suitcase"

"Although the enthroned figure with its large head and sex organ defies identification, it is like figures shown—the other unidentified—in a yoga posture. On either side of the enthroned yogi and above his arms, a tiger and an elephant are on his right, a rhinoceros and buffalo on his left, and two antelopes are below, that is, in front of his throne. The composition of this steatite relief is hieratic. The horn-crowned and enthroned yogi forms an isosceles triangle whose axis connects the middle of the bifurcating horns, the long nose, and the erect phallus of the deity."

"The "time" of Prajapati, or Prajapati’s Time, allowed itself to be laid out spatially in a work of architecture. The time of Shiva flowed into the movement of the limbs of Shiva, the lord of the dance. Works of sculpture and architecture demonstrate, each in its own form, the time of which they are the symbols. The building of the Vedic altar, by the accompanying words of the sacred rite of architecture, is self-explanatory. Symbolically, time—the time of the seasons—was built into the altar. The form of the altar comprised time, conceived, as it were, in terms of space."

"The temple is the concrete shape (mūrti) of the Essence; as such it is the residence and vesture of God. The masonry is the sheath (kośa) and body. The temple is the monument of manifestation."

"What a happy woman I am, living in a garden, with books, babies, birds, and flowers, and plenty of leisure to enjoy them! Yet my town acquaintances look upon it as imprisonment, and burying, and I don't what besides, and would rend the air with their shrieks if condemned to such a life. Sometimes I fell as if I were blest above all my fellows in being able to find my happiness so easily."

"... Books have their idiosyncrasies as well as people, and will not show me their full beauties unless the place and time in which they are read suits them. If, for instance, I cannot read Thoreau in a drawing-room, how much less would I ever dream of reading Boswell in the grass by a pond! Imagine carrying him off in company with his great friend to a lonely dell in a rye-field, and expecting them to be entertaining. "Nay, my dear lady," the great man would say in mighty tones of rebuke, "this will never do. Lie in a rye-field? What folly is that? And who would converse in a damp hollow that can help it?" So I read and laugh over my Boswell in the library when the lamps are lit, buried in cushion and surrounded by every sign of civilisation, with the drawn curtains shutting out the garden and the country solitude so much disliked by both sage and disciple. Indeed, It is Bozzy who asserts that in the country the only things that make him happy are meals."

"She was an exceedingly pretty girl, who ought to have been enjoying herself. She had a soft, irregular face, charming eyes, dimples, a pleasant laugh, and limbs were long and slender. Certainly she ought to have been enjoying herself. Instead, she wasted her time in that foolish pondering over the puzzles of existence, over those unanswerable whys and wherefores, which is as a rule restricted, among women, to the elderly and plain."

"By the time she was twenty-four, nearly all the girls who had when she did were married, and she felt as though she were a ghost haunting the s of a younger generation."

"Pitied? Horrid thought. The great thing in life was to be so situated that you can pity others. But to be pitied yourself?"

"You see, what has happened has taken away my faith in goodness—I don't know who you are that I keep on wanting to tell things to, but I must talk and tell you. Yes; that it is what it has done; and the hurt goes too far down to be healed. Yet I know time is a queer, wholesome thing. I've lived long enough to have found that out. It is very sanitary. It cleans up everything. It never fails to sterilize and purify."

"Once I knew a bishop rather intimately—oh, nothing that wasn't most creditable to us both—and he said to me, "Dear child, you will always be happy if you are good." I'm afraid he couldn't have been quite candid, or else he was very inexperienced, for I have never been so terribly good in the bishop's sense as these last three years—turning my back on every private wish, dreadfully unselfish, devoted, a perfect monster of goodness. And unhappiness went with me every step of the way."

"Looking out of the club window into —hers was an economical club, but convenient for , where she lived, and for 's, where she shopped—Mrs. Wilkins, having stood there for some time very drearily, her mind's eye on the Mediterranean in April, and the , and the enviable opportunities of the rich, while her bodily eye watched the really falling steadily on the hurrying umbrellas and splashing , suddenly wondered whether this was not the rainy day Mellersh—Mellersh was Mr. Wilkins—had so often encouraged her to prepare for, and whether to get out of such a climate and into the small mediaeval castle wasn't perhaps what had all along intended her to do with her savings. Part of her savings, of course; perhaps quite a small part."

"Father ... appeared to take it for granted that his daughter would continue about him as before, side by side with his new wife, on the ground that homes were the natural places for maiden daughters; and when she reminded him that she was thirty-three, he merely inquired with acerbity, for in his heart he was thinking that she ought to have been married and out of the way long ago, whether being thirty-three altered the fact that she was a maiden daughter."

"Father was very pleasant indeed, if faintly apologetic — not embarrassed, for he was never that, but there was a faint flavour of apology in his manner, which was perhaps not to be wondered at, since his new wife was ever so much younger, one could see at once, than his daughter, and he sixty-five. "You mustn't think, Jennifer," he said after , which had been the oddest meal of her life, as he called her into the back diningroom where protected by folding doors from anything that might be going on in the front one, they had worked together so long — she the obedient handmaid waiting on his thoughts, taking them down as they emerged from him, typing and retyping them, over and over again with dogged patience typing a single paragraph, a single sentence, sometimes for days working on a single sentence till it was, in father's eyes, as near perfect as it could humanly be got, — "you mustn't think, Jennifer," he said, "that I've sprung this on you unfairly.""

""... I haven't had much time to think, have I? But I can't stay here," said Jen quickly ... "There isn't room for two women in this house. It simply wouldn't hold us both." No; that was precisely what he had been thinking. Though he never, being a decent father, would have said so, it was perfectly true. The house, except extremely awkwardly, couldn't hold them both. No house had yet been built which could hold, in peace and comfort, a maiden daughter approaching middle age, and a young second wife. But that Jennifer should see this at once, and clearly, was the last thing he had dreamed of."

"Beauty; beauty. What was the good of beauty, once it was over? It left nothing behind it but acid regrets, and no heart at all to start fresh. Nearly everything else left something."

"Still, she did seem to have shrunk. Now why should she have shrunk? he wondered, aggrieved. He hadn't; quite the contrary. However, he mustn't mind. She was Fanny, presently to be his Fanny, and he mustn't mind any little alterations. What he did mind mind was that, like Soames, she appeared not to recognize him. She soon would, though, he told himself; and he went over to her determined and confident, lifted her unresisting hand, kissed it with all the fervor of happy reunion, and said with what he felt was immense tact and presence of mind, "I would have known you anywhere." Fanny was much too astonished to speak. She stared at the head bent over her hand. Who was this bald man?"

"... Whether in or New York, London or , von Arnim’s settings almost always tell the reader about the insufferable constraints placed upon the women who inhabit them. Elizabeth von Arnim was also brilliant at men, or rather at skewering their behaviour, usually with the help of outlandish names. Married men, in particular, are targeted as they ignore their wives, whine about their misfortunes, or want fish for breakfast. They also lie, cheat, bully, and diminish. Von Arnim made frequent and barely disguised use of the men in her life. The husband of Elizabeth and her German Garden, based closely on her own, is referred to as ‘the Man of Wrath’, a bald-faced hint that, for all of its delights, Elizabeth was only superficially a book about gardens. Subsequent lovers, including H.G. Wells and publisher (thirty years her junior), also became fodder for her fiction. So did her second husband, , brother of the more famous Bertrand and a human bulldozer who pursued von Arnim in various forms for perceived damages long after their separation. Von Arnim tended to hide such unpleasantness under the guise of humour, at which she was unequivocally brilliant (P.G. Wodehouse must surely have been inspired by her novels). Clergy, relatives, dogs, and toddlers all come with laugh-out-loud descriptions, while her skill at satire rests upon ruthlessly close observation filtered through playful, often inventive language or placed in biting juxtaposition. But underneath – whether taking aim at dismissive doctors or overbearing fathers or the bizarre niceties of the – bristles a bitterness that goes beyond the waspishness of say, Muriel Spark, as von Arnim exposes the societal structures used to limit the autonomy and opportunity of her female characters."

"Hugh Walpole was tutor to Elizabeth's children during her time at , as was E.M. Forster, who was a Cambridge friend of Elizabeth's nephew, . In later years, Forster was to recall his inconspicuous arrival at the , 'his average welcome' ... by the von Arnims, as well as his genuine appreciation of Elizabeth 'as a writer'. ... Though he also insisted that personally, the two, 'were never — or almost never! — in sympathy'. ..."

"Elizabeth von Arnim is probably best remembered as the author of ' (1898) and ' (1922), and as the elder cousin of Katherine Mansfield. In recent times, fresh scholarship has begun has begun to reinstate van Arnim into the cultural milieu of which she was a significant part, while research into the complex relationship between Mansfield and her cousin has done much to shed light on the familial, personal and literary connections between these unlikely friends. ... Although their lives appeared to be very different (Mansfield's largely one of penurious poor health, von Arnim's chiefly one of robust privilege), we know each experienced the other's influential presence. They read and commented on each other's work, and Manfield's critical assessments became part of the widespread reception of von Arnim's writing, while von Arnim's skill as as an author seeped into her cousin's youthful aspirations and into her firs collection of stories, ' (1911)."

"We repaired to the . The powdery appearance was caused by glands scattered all over the ; this, and its general aspect, showed it to be the . No locality could be more favourable to its growth than these woods, where the immense boulders of greeting us at every step left no room to doubt the nature of the rock."

"The pretty white , so called because of its flowering at that season, is also a , and its is a brilliant white. Its beauty and purity, as well as the season when it blooms, insure it being a favourite in every garden."

", in his work on the "Channel Islands," gives a most interesting picture of the harvest in . On the 10th of March and on the 20th of July, all the inhabitants repair to the shore, with such vehicles as they can press into their service, and they gather the weed in great quantities. Some they dry and use for fuel, and the remainder is laid upon the land as manure. It suits potatoe land remarkably well, and on this account is eagerly seized upon in Ireland, where it is carried at least fifteen miles inland."

"Mr. W. F. French, of , prepares very pretty fern-glasses, arranging within them Lilliputian rocks and ruins. They are to be had at the s in ; and, though they do not look by any means beautiful when unfurnished, they have an excellent effect with the full complement of mosses, s, and ferns. The best place for such cases is in a window to the north, and twice a week in the summer the glass should be removed and wiped dry, a little rain-water being administered occasionally to keep up the moisture. These fern-cases make very elegant drawing-room ornaments. All the small hardy and half-hardy ferns are well adapted for the s, as are also many of the 's and all the mosses."

"and others give us such attractive accounts of the charms of , the quantity of nourishment contained in them, and the desirability of out better appreciation of their excellencies, that we set about making ourselves acquainted with them with hearty good will."

"Travellers penetrating to the find ' flourishing alone, and spreading its light s in a region of "thick-ribbed ice;" ' was found by on ; and in and Iceland, where there is scarcely light enough for the humblest vegetables to flourish, ' not only endures the sleet and bitter cold, and spreads its blossoms under such inhospitable circumstances, but actually ripens abundance of seed."

"Occasionally, some tropical bird may perhaps be tempted north in search of food. Among these are the lovely little yellow-breasted s, which are met with in , and, I believe, have sometimes been seen as far north as . s are visitors on the Nile, and brilliant s, too, we saw in the , going to their more Northern homes in Syria, Spain, and Italy. The low sand banks in the river, or some lonely place in the desert, are nightly chosen as resting-places for the s, which are only travellers in the land."

"The , as it is sometimes called, lives in damp woods, where it can find plenty of insects. It catches them on the wing, as well as picking them off plants and trees. Its colouring is grey above with black streaks on its head; its breast is yellow, with a row of black marks across it, set like a ’s . Its song is louder than that of most s, but very sweet and clear."

"There are curious remains near Cairo of a , where portions of trees have been found measuring 60 to 90 feet in length and 3 feet in diameter. It is said to have been formed by a deposit of sand and water which in the course of ages petrified the wood. But although there is little doubt that primeval forests existed in Egypt, they must have disappeared at a very early date, as no special mention of them occurs, either in the oldest monuments or writings."

"The Egyptians possessed much interesting literature, of which poetry formed an important part. The hymns to , , and , and that of , are all beautiful specimens; and so, likewise, is the epic poem to , known as the ".""

"Is it so, O Christ in heaven, that the highest suffer most? That the strongest wander farthest, and more hopelessly are lost? That the mark of rank in nature is capacity for pain, And the anguish of the singer makes the sweetness of the strain? — "I have many things to tell you, but ye cannot bear them now.""

"Reach me down my Tycho Brahé, — I would know him when we meet, When I share my later science, sitting humbly at his feet."

"What, for us, are all distractions of men's fellowship and smiles? What, for us, the goddess Pleasure, with her meretricious wiles?"

"Though my soul may set in darkness, it will rise in perfect light, I have loved the stars too truly to be fearful of the night."

"If you have not the faith of assurance, practise at least the faith of adherence. That, at least, is in your own power. Cleave to God exactly as if you were certain of being accepted by Him at last; and thus, fulfilling his own conditions, you will be accepted by Him whether you are assured of it beforehand or not."

"Today the journey is ended, I have worked out the mandates of fate; Naked, alone, undefended, I knock at the Uttermost Gate. Behind is life and its longing, Its trial, its trouble, its sorrow, Beyond is the Infinite Morning Of a day without a tomorrow."

"Everyone agreed that the day was just right for the picnic to — a shimmering summer morning warm and still, with s shrilling all through breakfast from the outside the dining-room windows and bees murmuring above the pansies bordering the drive. ... The boarders at Mrs Appleby's College for Young Ladies had been up and scanning the bright unclouded sky since six o'clock and were now fluttering about in their holiday s like a flock of excited butterflies. Not only was it a Saturday and the long awaited occasion of the annual picnic, but Saint Valentine's Day, traditionally celebrated on the fourteenth of February by the interchange of elaborate cards and favours."

"... it was written as a mystery, and it remains a mystery. ... like dropping a stone into water ..."

"There’s a version of Lindsay’s life story that is defined by the men in her life. She was the daughter of a judge and the granddaughter of a state governor. She was married to painter , the director of the between 1942 and 1956, and later knighted for his services to the arts. Novelist was her cousin, was her drawing teacher and her friend launched Picnic at Hanging Rock."

"Had Lindsay not written ', she might now be simply described as the enigmatic and charming wife of – artist and director of the – hostess of their rural mansion , a minor writer and artist renowned for her skills in hospitality and flower arrangement."

"Et quand divinement ta voix m’enchaine Je vois s’évanouir tout ma peine Et tout ton être chante et vive en moi."

"O, England's full of Englishmen And France is full of French, And Italy has sons enough To fill up ev'ry trench; But what are we across the sea Who come from all the earth To the land that gives us freedom,— Though it did not give us birth? O, we are all Americans, And when we come away From England, France and Italy, We swore we came to stay."

"And we will lift our country's flag And float its Stripes and Stars In place of those we used to wave For Kaisers, Kings and Czars."

"Yet we will cross the seas again To Europe's tortured sod, With those who, though not brothers born, Are brothers under God. Since we have sworn our manhood's oath, We stand to make it good Against the mightiest foes of earth, Whatever be their blood. For we are all Americans, And we shall fight our way To victory and back again, And then come home to stay."

"It is only the women whose eyes have been washed clear with tears who get the broad vision that makes them little sisters to all the world."

"Love is the gift that brings us nearer Heaven Than any other gift the world can hold, And perfect Love is nearest perfect bliss."

"Ah! "All things come to those who wait" — (I say these words to make me glad). But something answers soft and sad "They come, but often come too late!""

"Car, vois-tu, chaque jour je t'aime davantage, Aujourd'hui plus qu'hier et bien moins que demain."

"Aimer qui vous aime, admirer qui vous admire, en un mot, être l'idole de son idole! ... C'est trop, c'est dépasser les joies humaines, c'est déruber le feu du ciel!"

"Les esprits dont la mission est de détruire les préjugés, sont précisément ceux qui ont la plus de préjugés, et qui les professent avec le plus d'aveuglement."

"Quand on veut dessécher un marais, on ne fait pas en voter les grenouilles!"

"For ages happiness has been represented as a huge precious stone, impossible to find, which people seek for hopelessly. It is not so — happiness is a mosaic, composed of a thousand little stones, which, separately and of themselves, have little value, but which, united with art form a graceful design. Set the mosaic carefully, and you have a beautiful ornament; learn to understand intelligently the passing enjoyments which chance, which your character gives you, or which Heaven sends you, and you have an agreeable existence. Why always look to the horizon when there are such fine roses in the garden you live in?"

"There is only one proper way to wear a beautiful dress: to forget you are wearing it."

"Good taste is the modestly of the mind; that is why it cannot be either imitated or acquired."

"Hope, alas! is our waking dream."

"Infidelity, like death, admits of no degrees."

"I do not believe in virtue, but I do believe in innocence. They are very different. Innocence is ignorance."

"Our instinct inspires us, — warns us, our intelligence scents out what our reason docs not discover, for instinct is the nose of the mind."

"Love with men is not a sentiment, but an idea."

"We are only vulnerable and ridiculous through our pretensions."

"Self-interest, that leprosy of the age, attacks us from infancy, and we are startled to observe little heads calculate before knowing how to reflect."

"It has been said that society is for the happy, the rich; we should rather say the happy have no need of it."

"O, how true it is there can be no tête-à-tête where vanity reigns!"

"Treasures are not for youth; at twenty years one does not know how to be rich, or to be loved."

"It is not easy to be a widow: one must reassume all the modesty of girlhood, without being allowed to even feign its ignorance."

"A woman's life can be divided thus: the age when she dances but does not dare to waltz — it is the spring; the age when she dances and dares to waltz — it is summer; the age when she dances but prefers to waltz — it is autumn; finally, when she dances no longer — it is winter, that rigorous winter of life."

"Weep not for those Who sink within the arms of death Ere yet the chilling wintry breath Of sorrow o'er them blows; But weep for them who here remain, The mournful heritors of pain, Condemn'd to see each bright joy fade, And mark grief's melancholy shade Flung o'er Hope's fairest rose."

"Sorrow treads heavily, and leaves behind A deep impression e’en when she departs; While joy trips by, with steps light as the wind, And scarcely leaves a trace upon our hearts Of the faint footfalls, only this is sure — In this world nought, save suffering can endure."

"The gathered rose, and the stolen heart, Can charm but for a day."

"Like lamps in Eastern sepulchres, Amid my heart’s deep gloom, Affection sheds its holiest light Upon my husband’s tomb. And, as those lamps, if brought once more To upper air grow dim, So my soul’s love is cold and dead, Unless it glow for him."

"The charm of eloquence, — the skill To wake each secret string, And from the bosom's chords at will Life's mournful music bring, — The o'ermastering strength of mind, which sway The haughty and the free, Whose might earth's mightiest one obeys, These, — these were given to thee."

"Oh never yet did Peace her chaplet twine, To lay upon base Mammon’s sordid shrine, Where Earth’s most precious things are bought and sold; Thrown on that pile, the "pearl of price" would be Despised, because unfit for merchantry."

"Peace, sweet Peace, is always found In her eternal home on holy ground."

"When the glad sun, exulting in his might, Comes from the dusky-curtain'd tents of night."

"Like the sweet melody which faintly lingers Upon the wind-harp's strings at close of day, When gently touch'd by evening's dewy fingers It breathes a low and melancholy lay; So the calm voice of sympathy meseemeth; And while its magic spell is round me cast, My spirit in its cloistered silence dreameth, And vaguely blends the future with the past."

"Number the riches by thy memory hoarded, Relics of joys thy by-past years have known, — How many real things has life afforded? How much true light was o'er thy pathway thrown?"

"— The grave's dark portal Soon shuts this world of shadows from our view, Then shall we grasp realities immortal, If to the truth within us we are true."

"There dwelleth in the sinlessness of youth A sweet rebuke that vice may not endure."

"Influence follows close upon the heels of character; and whatever we are, that we shall in the end be acknowledged to be."

"There is, between the sexes, a law of incessant reciprocal action, of which God avails himself in the constitution of the family, when He permits brothers and sisters to nestle about the same hearthstone. Its ministration is essential to the best educational results. Our own educational institutions should rest upon this divine basis."

"I have seen no Hindu who seemed to me prepared intellectually and morally for the freedom he would find in American society; nor are Americans prepared for the air of innocence and exaltation worn by very undeserving Orientals."

"Let us candidly confess our indebtedness to the needle. How many hours of sorrow has it softened, how many bitter irritations calmed, how many confused thoughts reduced to order, how many life-plans sketched in purple!"

"Let woman once reject the absurd notion that she was created for happiness, let her constitute herself instead a creator of it, let her accept with joy the fact that this is a working-day world; then she will no longer strive to escape from labor, discipline, or sorrow, but will gladly hail each in its turn as part of God's appointed teaching, a shadow crossing the sunshine to show that it is bright."

"I cannot help directing your attention to the significant fact that while the word "mistress," applied to a woman, serves at once to mark her out for reprobation, there is no corresponding term which, applied to man, produces the same effect; and this because the interests of the state are still paramount to the interests of the soul itself."

"We claim for women a share of the educational opportunities offered to man, because we believe that they will never be thoroughly taught until they are taught at the same time and in the same classes."

"Woman is quick to recognize genius, to listen when wisdom speaks. She chatters, to be sure, in the presence of fools; but when earnest men come to know the value of her enthusiasm, they will never be willing to lose it."

"I thought I knew how corrupt modem society could be; but I did not know how unsoundness had darted to its very core till I began to read law, and to understand the estimate which that puts upon women and chastity."

"Let a neatness as exquisite as womanly, and as polished as that of Charlotte Brontë, pervade not only our homes, but consecrate our own personal appearance; then may we safely wear the livery of the schools."

"In the of Linnæus mosses were placed among the . It is true that the various parts of their are so small as only to be fully examined by the help of a , but the flower and fruit as a whole may on most species be easily seen."

"In the order of the universe we find that the use of mosses is primarily to other and more . They are spread at the roots of trees, and by their depth keeps the warmth about them in winter, and the moisture in summer, which are necessary to their growth. But when they grow on their trunks and branches, mosses injure trees, by clogging their breathing pores. We next find that mosses are useful to the insect tribe, countless numbers of which find homes among their branches, and roam about in their shades as in mighty forests, and look with their thousand eyes upon the wonders of their gauzy leaves, and sun their wings of purple and gold, and burnish their shining armour upon the polished columns of their urns. Over her nest the constructs a dome of moss; and ascending higher yet, we find the bird's nest "built of wool and hay and moss.""

"Great Western Land whose mighty breast Between two oceans finds its rest, Begirt with storm on either side, And washed by strong Pacific tide; The knowledge of thy wondrous birth Gave balance to the rounded earth. In sea of darkness thou didst stand Now first in light, my Western Land."

"There have always been women, from the days of the Queen of Sheba, who sought out wisdom, who made great sacrifices, and endured arduous toil to come to a fountain-head of knowledge. This 19th century, these last fifty years, have brought to women, to large numbers of women, opportunities before accessible only to the gifted few. Now these streams flow freely, and women come in throngs. But does the draught quicken them to new life? Culture is more than the acquisition of knowledge. To bear fruit, learning must pass into life. It is the touch of man upon nature that makes art; and as the highest art is a going back to nature, having received it, having been nourished upon it, to return it stamped with man’s impress, so the finest fruit of learning must be personality. The soul is the supreme power always. To enlarge its kingdom, to bring warring elements under its control — this is the supreme task of education. Intellectual knowledge is so much dead matter until it is vitalized by a union with the soul’s wisdom. To foster this union, to provide material for the nourishment of the spirit, to train the mind to appreciate and to choose and govern — these are the great fundamental tasks which lie at the root of all education."

"Our road is the Road of Yesterday and the Road of Today, for Yesterday and Today are still the same."

"Surely the world we live in is but the world that lives in us?"

"Your true gentlewoman does not sit down and weep and say "I've never done such things"—she simply "does" and no more about it."

"There are a few fortunate races that have been endowed with cheerfulness as their main characteristic, the Australian Aborigine and the Irish being among these."

"No man or woman, who tries to pursue an ideal in his or her own way, is without enemies."

"The Australian native can withstand all the reverses of nature, fiendish droughts and sweeping floods, horrors of thirst and enforced starvation—but he cannot withstand civilization."

"By this time I was a confirmed wanderer, a nomad even as the aborigines. So close had I been in contact with them, that it was now impossible for me to relinquish the work. I realized that they were passing from us. I must make their passing easier. Moreover, all that I knew was little in comparison with all there was yet to learn. I made the decision to dedicate the rest of my life to this fascinating study."

"A glorious thing it is to live in a tent in the infinite—to waken in the grey of dawn, a good hour before the sun outlines the low ridges of the horizon, and to come out into the bright cool air, and scent the wind blowing across the mulga plains. My first thought would be to probe the ashes of my open fireplace, where hung my primitive cooking-vessels, in the hope that some embers had remained alight. Before I retired at night, I invariably made a good fire and covered the glowing coals with the soft ash of the jilyeli, having watched my compatriots so cover their turf fires in Ireland. I would next readjust the stones of the hob to leeward of the morning wind, and set the old Australian billy to boil, while I tidied my tent, and transformed it from bedroom to breakfast-room. As the sun came up, it changed that plain white room into the most exquisitely-frescoed pergola, with a patterning far surpassing the best of Grinling Gibbon’s handiwork. In a constant play of leafy light and shadow, I would eat my tea and toast in absolute content, while outside the blue smoke of the fire changed to grey in the bright sunlight. The mornings were spent in wandering from camp to camp, attending to the bodily needs of the scattered flock. I knew every bush, every pool, every granite boulder, by its age-old prehistoric name, with its legends and dream-time secrets, and its gradual inevitable change. There was no loneliness."

"Every one of the natives whom I encountered on the east-west line had partaken of human meat, with the exception of Nyerdain, who told me it made him sick. They freely admitted their sharing of these repasts and enumerated those killed and eaten by naming the waters, and drawing a line with the big toe on the sand as they told over in gruesome memory the names they dared not mention. My first words to them were always “No more man-meat.” From the weekly supply train, I would procure part of a bullock or sheep and show them the game food areas, mallee-hen’s eggs, rabbits and so on, that must be their meats now, with as many dampers as I could provide, and a drink of sweetened tea. One morning very early, the news came that Nyan-ngauera had left the camp, taking a fire-stick and accompanied by her little girl. No one would follow her or help to track her. For twelve miles I followed the track unsuccessfully, but Nyan-ngauera doubled many times and gave birth to a child a mile west of my camp, where she killed and ate the baby, sharing the food with the little daughter. Later, with the help of her sons and grandsons, the spot was found, nothing to be seen there save the ashes of a fire. "The bones are under the fire", the boys told me, and digging with the digging-stick we came upon the broken skull, and one or two charred bones, which I later sent to the Adelaide Museum."

"I invariably rose at sunrise, when the days are at their most glorious, and the whole world is full of beauty and music and dreaming, waking from its slumbers under the mists. I made my toilet to a chorus of impatient twittering. It was a fastidious toilet, for throughout my life I have adhered to the simple but exact dictates of fashion as I left it, when Victoria was queen—a neat white blouse, stiff collar and ribbon tie, a dark skirt and coat, stout and serviceable, trim shoes and neat black stockings, a sailor hat and a fly-veil, and, for my excursions to the camps, always a dust-coat and a sunshade. Not until I was in meticulous order would I emerge from my tent, dressed for the day. My first greeting was for the birds."

"I myself never even dreamed of being a business woman … I took over because I had to."

"I work and work and still it seems I have nothing done."

"We must teach these people the laws of health; we must preach this new gospel, That gospel, was that the respectability of a household ought to be measured by the condition of the cellar."

"So, long ago I got the idea that the only way I could ever get ahead was to believe in myself and not the other fellow."

"The erasure of black history is intentional. And so we’re going to be intentional about counteracting that narrative and bringing the truth to our curriculum. And it starts with Annie Fisher."

"I am happy in my work and I try to make everyone else happy by sticking to it."

"Because I was of African descent, that unless I could afford to go to Europe for final 'polishing' in my music, I would probably end up singing in a cabaret in America. If I chose science, my chances were better for a good future."

"(Richmond, Virginia was) a proper field for real missionary work, and one that would present ample opportunities to become acquainted with the diseases of women and children. During my stay there nearly every hour was improved in that sphere of labor. The last quarter of the year 1866, I was enabled ... to have access each day to a very large number of the indigent, and others of different classes, in a population of over 30,000 colored."

"It may be well to state here that, having been reared by a kind aunt in Pennsylvania, whose usefulness with the sick was continually sought, I early conceived a liking for, and sought every opportunity to relieve the sufferings of others. Later in life I devoted my time, when best I could, to nursing as a business, serving under different doctors for a period of eight years (from 1852 to 1860); most of the time at my adopted home in Charlestown, Middlesex County, Massachusetts. From these doctors I received letters commending me to the faculty of the New England Female Medical College, whence, four years afterward, I received the degree of doctress of medicine."

"When I saw a colored woman doing all the work in cases of accouchement, and all the fee going to a white doctor who merely looked on, I asked myself, should I not get the fee myself?"

"I have no money and no source from which to get it, only as I work for every dollar. Do you know any way that might be provided for an emancipated slave to receive any help into this lofty profession? If you cannot do otherwise, then give me a chance, a fair chance."

"I went to Philadelphia, studied medicine hard, procured my degree, and have come back to Atlanta where I have lived all my life, to practice my profession. Some of the best white doctors in the city have welcomed me and say that they will give me an even chance in the profession. That is all I ask."

"Two people within the last month have brought their idols and desired to be known as believers in the God of gods,” she wrote on October 10, 1887. “I shall keep them to show to friends in America as the first trophies of my Congo work.”"

"He drew me unto Himself, and after passing through the shadow of doubts, I entered into the blessed light of His love“"

"I was truly happy then, and since I have set sail for the benighted country, I am happier,” she wrote. “When I reach the doleful shores, I shall be happiest. What comfort comes to us from doing the perfect will of God concerning us!”"

"We have a mission house two miles away, where I work mornings in the capacity of preacher, teacher, and doctor,” she wrote. “I hope to be allowed two years home to study medicine, to better help these suffering people."

"There are some roses that always flower late, not just in a freak year. I always enjoy November roses, whether it is 'Madame Abel Chatenay', that wreathes the dining-room window, or , who pops up from behind the barton wall at a time when I thought all good roses had gone to sleep."

"If the flower spikes are kept cut the makes good cover because the roots are strong and the beetroot-colored leaves quite big. The plants should be put fairly close together and soon colonise if all the spikes are not removed very quickly."

"s are particularly valuable for the winter and one in particular, , is a good all-the-year plant for a place in the garden that is in constant use. I noticed a very happy and very natural treatment of a bed next to the porch of a front door."

"It is not possible to make sweeping statements about what will or will not grow in clay soil, because there are so many different types of clay. Some are much stickier and more difficult to handle than others; clay that has been made easier to handle by the addition of will grow most plants. I don't believe there is any soil that will not grow something."

"believed in manuring with a very generous hand and woe betide any little plant of mine that grew nearby, as it would surely die of suffocation under the great gallops of manure that were plastered round every rose. All the manure we could get was devoted to the roses and s."

"holidays— and 1st of November—were our aim for the ceremonies of ."

"All the from my open fires is shared among the plants that particularly like , s and es particularly, and I give some to the , and in the winter the apple trees get their share. When I grew potatoes and es they, too, were lucky."

"If ever a garden was born of creative tension, it is the one at in . When Margery Fish moved there with her husband, in 1937, she wished to fill beds with simple cottage garden plants; he desired neat lawns, straight paths and bright summer bedding. Margery went on to record their battle for control in her 1956 book, We Made A Garden; with its passive aggressive tone, it is as much about their marriage as the garden, yet it is still a horticultural classic to be read and re-read., In the end, Margery won: Walter died in 1947, and with him the need to compromise. In 1951, she wrote her first piece on gardening for , and went on to publish numerous magazine articles and eight books."

"The gardener Margery Fish married , the tyrannical editor of , and they moved out of London to where a regimented, formal garden was created. After he died she uprooted the lot and started again, to create a romanitc oasis, now designated by as a ."

"Margery Fish, who published eight gardening books in the 1950s and 1960s, was, with Sackville-West and , one of the leading English s of her day. She began late, in her 40s, and We Made A Garden tells us how it happened."

"My learned and accomplished friend, , has written a most interesting history, entitled One Generation of a Norfolk House. It is more or less the history of the in early times."

"Among the political squibs in my scrap-book there is one directed against the over-taxation which in long-past days certainly did press heavily upon the people of England. Exceedingly well written, it is, I believe, an extract from an article by Sydney Smith, published in the ' about 1820."

"I remember a story that my great-grandmother, who never drove out but in a carriage and four with outriders, one day met with a mishap, her coach breaking down. In this terrible state of affairs no one knew what to do, my grandmother sitting, ruffled but dignified, in the carriage, the wheels of which seemed damaged beyond repair. Matters seemed at a complete standstill, till a servant of a daringly brilliant and inventive turn of mind ventured to suggest that her ladyship might possibly walk to her mansion, not far away; and, wonderful to relate, she actually managed to do it. As a matter of fact, the rendered exercise almost impossible for ladies."

"Amongst other pictures which I remember in was the famous now in the , as well as a fine portrait of and another of e—both presents from the Cardinal and the poet to ."

"My dear mother was a great friend of the poet Samuel Rogers, and we often went to his breakfasts, which were at that time celebrated, for there were usually one or two great people present. His house at 22, was filled with pictures and curiosities; on a sideboard in the dining-room was a cast of the head of Pope by , whilst between the the fireplace and window was the poet's writing-table; there was an ingenious mechanical contrivance by means of which the larger pictures in the house could be moved from their place so as to be viewed in different lights. The library and drawing-room were on the first floor, the book-cases being surmounted by s, whilst by Sir Joshua Reynolds, hung over one of the two mantelpieces — the other, beautifully carved by , was crowned, I think, by a study by ; altogether, there were six or seven Reynolds's in the house, which was a real haven of artistic rest and repose."

"Not very far from is the quaint old town of , which, I believe, took its name from the de Pydeles, one of those Norman families which came into England with the Conqueror. The church is particularly interesting, being one of the very few unrestored ones in —a county which has suffered terribly at the hands of the . ... If only because Puddletown Church is the church of Mr. Hardy's ', it should be left untouched."

"During my childhood at Islington the vicar of Puddletown was of the fox-hunting sort, quite different to the modern conception of a clergyman. He was popular enough with his parishioners, though I suspect he never saw half of them till they came up to be buried."

"Lady Dorothy Nevill is the most interesting of all known and recognized nonagenarians. The very title of her new book indicates the long backward reach of her memory. She was a little girl when died. She has lived to see the accession of She loves the old days, but she is no bigoted admirer of the old ways. She recognizes that, on the whole, the march of progress has uplifted classes and masses alike, though at some temporary loss, among the first, in charm and distinction of manner, and, among the second, in color and atmosphere."

"Writing a grief-stricken epitaph to Lady Dorothy Nevill née Walpole in 1913, the English poet and then librarian of the , Edmund Gosse observed, ‘life was a spectacle for her and society a congress of little s.’ ... Gosse conjures up an image of Lady Dorothy as a master manipulator, pulling the strings of her many puppets over the years, thus suggesting the influential position this aristocratic woman held in society throughout her long life. Born into the historical dynasty of the Walpole family, Lady Dorothy (1826–1913) was the daughter of the . She grew up at reading the correspondence of , the one-time ambassador to , and stated proudly that ‘like my kinsman Horace Walpole I am fond of collecting’. ... Lady Dorothy gained acclaim as a botanist, a political hostess, one of the founding members of the , an art collector, and a supporter of writers, s, and artists, many of whom she patronized."

"Food is an indispensable factor to the health and strength of a people in time of war or time of peace. It deserves a most important consideration in the planning of our national defense."

"My place is here. I cannot in conscience abandon my work and my girls."

"Eat well, consume nutritious foods such as meat, eggs and milk, if available in the morning. Don't overexert yourself and get enough sleep."

"In a bowlder of which the glacier carried two or three miles, possibly, and deposited not far from the site of , the writer recently found an excellently preserved skeleton of a small dinosaur the length of whose body is about 18. The bowlder was split along the plane in which the fossil lies and part of the bones are in one half and part in the other. These bones are hollow and the whole framework is very light and delicate."

"Women are in many respects superior to men, since generally speaking, they have more patience and often more taste and discrimination in arranging collections and more deftness in manipulating materials. How true this is!"

"Talbot worked on the paleontology of both vertebrates and . Her contributions to invertebrate paleontology included a revision of the s of New York State and the investigation of Stafford limestone, also in New York State. Her discovery of the approximately eighteen-centimeter dinosaur , in the Triassic sandstone near , established her reputation in vertebrate paleontology. She postulated that this small dinosaur was a bipedal carnivore."

"That a malady so widely disseminated and so unmanageable as the tubercular variety of phthisis pulmonalis, or what is popular known as consumption, must, in its beginnings, be microscopic in character, has for years been suspected by students of medicine. That the patient and persistent labors of one individual, , should at last have at last revealed it, may be almost, but is not quite, beyond belief. The fullness of time for such a discovery had been indicate by the great amount of research, in regard to both the and of the disease."

"A , with a broken leg past mending, was kept in our house in a cage about a year and a half, fed, bathed, otherwise cared for and occasionally allowed the freedom of a room. A happier, merrier fellow, I never saw. He sang early and late, nearly the year round, moped a few dayss and died. The said he was much wasted in flesh, and had lived as long as he could. He was kept as comfortable as possible, and his song seemed purely an expression of happiness."

"In 1874, Mary Moody became the first female student at the . ... Moody graduated from medical school in 1876 and worked as a physician in for approximately nine years. While in Buffalo, she advocated for preventative medicine, lectured at the Women’s Gymnasium, and participated in the establishment of the Dispensary for Women and Children. ... The also is significant. It is an exuberant expression of the style of the late Victorian period and one of the few surviving buildings dating from this period in this section of ."

"Lindsay S. Hannah,"

"It might seem an extremely easy matter to obtain accurate records of food consumed. Experience shows that it is not so. At the foot of the social scale there is a residue of housewives who are incapable of keeping accurate records, even with help and supervision. The work of Dr A. M. Thomson (unpublished) on shows that those unable to keep records are, almost certainly, worse fed than the more intelligent. In most surveys they swell the proportion of non-cooperators. But in all social and intellectual grades, vigilance is needed. Even highly intelligent scientists have been found grossly inaccurate in attempts to record what they ate the day before (Morrison, Russell & Stevenson, 1949)."

"A very large number of variables must be considered and either eliminated by matching or allowed for in the plan of any piece of research in . First the animals, including man: to be taken into account are breed, sex, age, size at birth and at completed growth, rate of growth or of production (milk, egg, meat), stage of reproductive life, previous dietary history, physical environment (e.g., temperature and humidity). Second, in diet there is a great complexity of s. Known to be of importance are about 20 s, 14 inorganic elements each in many different compounds, and 17 s of known structure; of s there are 10 sugars and 8 groups of s; 14 s, and as many s, innumerable pigments and aromatic substances, as well as many injurious and inert components, present in countless different foods. Add to which that a complete longitudinal study of human growth must take about 20 years, of growth in a pig at least 3 years and even in a rat 9 months; and that there is the reproductive span also, and old age beyond that. It is obvious that the number of possible questions is enormous and that no one man or one team in the whole of a lifetime can hope to cover by original research more than a minute part of any nutritional field."

"... Dr Isabella Leitch ... had a profound but often unacknowledged or unrecognizaed influence on nutritional science and scientists. Though a member of the since its formation, she never held office except as an editor of the first three volumes of the ' and the first five volumes of the . She contributed several papers of notable originality to its meetings and in 1979 the Society paid tribute by electing her as an Honorary Member. She was Director of the Commonwealth Bureau of Nutrition in Aberdeen from 1945 until her retirement in 1960; and as a member of staff of the Bureau since its formation was the driving force behind Nutrition Abstracts and Reviews for over 30 years."

"The Indian may now become a free man; free from the thralldom of the tribe; free from the domination of the reservation system; free to enter into the body of our citizens. This bill may therefore be considered as the Magna Carta of the Indians of our country."

"...the woman owns her horses, dogs, and all the lodge equipments; children own their own articles; and parents do not control the possessions of their children … A wife is as independent as the most independent man in our midst.” Combined with the fact that among many tribes, female elders chose, advised, and could depose the male chief and signed treaties with the U.S. government along with male leaders-and that women could divorce and controlled their own fertility though a knowledge of herbs and timing-this caused indigenous women to be seen as immoral and tribal systems to be ridiculed as “petticoat government."

"Her kindred have a prior right and can use that right to separate her from him or protect her from him, should he mistreat her….not only does the woman (under our white nation) lose her independent hold on her property and herself, but there are offenses and injuries which…would be avenged and punished by her relatives under tribal law, but which have no penalty or recognition under our lawas… At the present time, all property is personal…a wife is as independent in the uses of her possessions as is the most independent man in our midst….While I was living with the Indians, my hostess one day gave away a very fine horse….I asked, ,will your husband like to have you give the horse away?….I tried to explain how a white woman would act, but laughter and contempt met my explanation of the white man's hold upon his wife's property….As I have tried to explain our statutes to Indian women, I have met with one response. They have said, "As an Indian woman, I was free, I owned my home, my person, the work of my hands, and my children could never forget me.I was better as an Indian woman than under white law."

"At the present time all property is personal; the man owns his own ponies and other belongings he has personally acquired; the woman owns her horses, dogs, and all the lodge equipments; children own their own articles; and parents do not control the possessions of their children. There is no family property as we use the term. A wife is as independent as the most independent man in our midst. If she chooses to give away or sell all of her property, there is no one to gainsay her."

"Imperceptibly a change had been wrought in me until I no longer felt alone in a strange, silent country. I had learned to hear the echoes of a time when every living thing upon this land and even the varied overshadowing skies had its voice, a voice that was attentively heard and devoutly heeded by the ancient people of America. Henceforth, to me the plants, the trees, the clouds and all things had become vocal with human hopes, fears and supplications."

"When I was living with the Indians, my hostess, a fine looking woman, who wore numberless bracelets, and rings in her ears and on her fingers, and painted her face like a brilliant sunset, one day gave away a very fine horse. I was surprised, for I knew there had been no family talk on the subject, so I asked: “Will your husband like to have you give the horse away?” Her eyes danced, and, breaking into a peal of laughter, she hastened to tell the story to the other women gathered in the tent, and I became the target of many merry eyes. I tried to explain how a white woman would act, but laughter and contempt met my explanation of the white man’s hold upon his wife’s property."

"The Esbat differed from the Sabbat by being primarily for business...very often the Esbat was for sheer enjoyment only."

"I want to say in the beginning that I do not come before you to criticize or find fault especially, but you know that a great deal of harm has been done us as a race by those who have told us of our strong points, of our wonderful advancement, and have neglected to tell us at the same time of our weak points, of our lack of taking hold of the opportunities about us. Praise a child always and he soon gets to the point where he thinks it impossible for him to make mistakes. If we wish to help each other let us not only praise ourselves, but also criticize."

"Plain talk will not hurt us. It will lead each woman to study her own condition, that of her own family and so that of her neighbor’s family. If I can do anything to hasten this study, I shall feel repaid for any effort I may put forth. In consenting to come before you women to day I am influenced by this thought more than anything else: We need, as a race, a good, strong public sentiment in favor of a sounder, healthier body, and a cleaner and highertoned morality. There is no use arguing; we do not think enough of these two conditions; we are too indifferent; too ready to say: ‘O, well, I keep well, my girls and boys behave themselves, and I have nothing to do with the rest of the race!’"

"No nation or race has ever come up by entirely overlooking its members who are less fortunate, less ambitious, less sound in body and hence in soul, and we cannot do it. We must not do it. There are too many of us down. The condition of our race, brought about by slavery, the ignorance, poverty, intemperance, ought to make us women know that in half a century we cannot afford to lose sight of the large majority of the race who have not, as yet, thrown off the badge of the evils which I have just mentioned."

"You are not, I know, surprised to hear me say that the women, young and older, among us, who most need to take caution in the matter of health and character, are the last to take any personal hold. It is no longer a compliment to a girl or woman to be of a frail and delicate mold. It is no longer an indication of refinement in woman to possess a weak and fastidious stomach. It was the great French Emperor who declared that the greatest need of France was mothers. And to day all who are willing to study facts with reference to our growth and strength in this country declare also that the most serious drawback to the race is its lack of a careful, moral and healthy motherhood. You have already noticed that I speak of health, then morals; morals, then health; my sisters, these two things go hand in hand, they are interdependent. They must go thus. They must be studied together at this time. They must be corrected at the same time."

"To be a stronger race physically we have got to be a more moral one. We do not want to lose our tempers when we discuss these conditions either. Now that, as women, we may be able to make a move in the direction of improving the race, we have got to take certain facts regarding our health and morals. They are not all from the standpoint of the Southern white man, either, nor are they all from the Northern white man with a Southern soul. You know that we often feel that every white man and woman south of the Mason and Dixon line is a real devil. It is pretty bad down here, I will admit, but there are many very fine and noble Southern white people, women as well as men. It is a Southern man, an Alabama man, at that, who, in part at least, makes it possible for us to be here together to day to study our own shortcomings and to try to find a way out of them. I say it is not Southern whites alone who have felt that we should make a move upward, who feel that we are weak in these directions; nor is it the white man alone at all, but our own medical men, our own educators, who also feel and know that there is too great a laxity amongst us."

"It is not an easy thing to secure accurate data with reference to the race in these particulars, for, in making up the statistics, especially in Southern localities, the health boards have entirely ignored us; of course many places in the South have had health boards only recently. However, we have evidence sufficient on each of these subjects to condemn us, to make us feel that something must be done; that some step, and that quick, must be made to stay the awful death rate and the alarmingly increasing illegitimate birth rate among our women and girls. This may not apply to a single woman under the sound of my voice, but it does apply to the race, and so far it comes home to you and to me. We cannot separate ourselves from our people, no matter how much we try; for one, I have no desire to do so."

"I do not mean to tell you, or leave the impression, that all of the disease and immorality in the race are confined to what we are pleased to call our poorer classes or second class folks. There is too much in our higher classes, especially in the case of too many men who as fathers of the girls and boys who, in their turn, will be fathers and mothers of other girls and boys. And does hereditary influence count for nothing? Study your own family as far back as your great grandparents and you will agree with me when I say hereditary influence is a mighty power in the formation of character, physical, as well as moral."

"I give you now these facts for five of our large Southern cities: these relate especially to the death rate of colored people in excess of white people: Rate per thousand in city No. 1, colored 36, white 19; city No. 2, colored 36, white 22; city No. 3, colored 37, white 22; city No. 4, colored 32, white 18; city No. 5, colored 35, white 17. This gives us a decrease in race by death rate in these five cities, in excess of the white people, who already so far outnumber us, respectively 100, of a fraction, 68 and over, 77 and over, and 106 per cent. In one of the large Western cities, and this is not Chicago, either, the death rate of colored people is more than twice that of the white people. Pneumonia and consumption are our most deadly foes. They are not standing still, but are on the increase in every city I have mentioned. In one Northern city alone, in one year, out of ten thousand, there was an excess of deaths, caused by pneumonia and consumption, of 135 percent of colored people over whites; colored dying, 225, and whites, 126."

"The death rate of our children is something to make us tremble. As long as it is so high we cannot hope for much. Numbers count for a great deal is this country. For five years, in one of our largest Southern cities alone, the excess in death rate among colored children under 5 years of age was 163 per cent, while that of the whites was only 32 per cent and a fraction over. In another large Southern city the death rate per cent in excess for colored children over whites is 883.4 per cent. The diseases which are undermining the life of our babies and robbing the race of its future men and women are, cholera infantum, convulsions and still born. There is an excess in this last disease, still born, of colored infants over white of 149 per cent per thousand. What a terrible tribute to our womanhood and to our motherhood this is. In another Southern city, not a thousand miles from here, over half the colored children die before they are 12 months old."

"We are very often inclined to treat this subject lightly by saying that we are a great reducing race, but I have no patience with this indifference, for it is simply impossible for any race to balance any such loss at this. And now, more than this, women, wee are not so productive as we used to be. I do not know why, I wish I did. I would count no sacrifice too great to bring about a change in this respect. My grandmother had thirteen sons and daughters, every one of whom lived to rear large families. My mother had ten, most of whom have lived long enough, but they have no children. In the whole ten of us, all grown, there are only two children, and they are the children of the youngest girl, who is now 27 years of age, and there has never been more than these, and what is worse, there never will be. Study this race question, this phase of it, and you will find what I say to be true."

"We have got to change this state of things. Our educated women will not or do not become mothers and our less intelligent mothers let their little ones die, and thus our numbers are each year growing less and less. In every city in the country where you observe it you find that we are losing by death more than we are gaining by birth. Immorality, as well as poverty and ignorance, bears its share of the blame for this low state of vitality. It makes us susceptible to all forms of disease and death. We must have a cleaner ‘social morality.’ A man who has given thought to the moral life of the race claims that over 25 per cent of the colored children born in one city alone are admittedly illegitimate. In a certain locality, in a certain State, another man states that there were during one year 300 marriage licenses taken out by white men. According to the population 1,200 licenses should have been bought by colored men. How many do you suppose were in reality taken out? Twelve hundred should have been secured and only 3 per cent were taken out. Twelve hundred colored men and women, for whom there is no excuse, living immoral lives, handing down to their offspring disease and crime, and only three living in such a way as to advance the race. No spectacle can be more appalling."

"In a certain Northern city only 2 per cent of the people are colored, yet we furnish 16 per cent of male prisoners and 34 per cent [of] female criminals. In another Northern or Northwestern city we make up 1 1/3 per cent of the whole city, and yet 10 per cent of the arrests fall on us. Immorality is directly responsible for these crimes, and hence punishment. Immorality is also directly responsible for physical inability to resist crime."

"Go North or South, East or West, and the numbers of the dens of abandoned women, of profligate men is too large. These are the breeders of disease and the millstone of the race. You say there are causes for all these, causes for which we are not responsible. I admit this much, but there are also causes for which we are responsible. And the fact that there are causes ought to make us hopeful, because we have it in our power to remove these causes. It will take time, however, and it will take wise and consecrated women to effect a change along these lines. Not only are poverty, ignorance and intemperance the cause of all this misery, but downright negligence, too, plays a large part in these matters. Colored men drive, cut wood, unload ships, etc., all day in the pouring rain, at night they throw themselves onto a bed and sleep without removing their wet clothes. Our women are little or no better. What is a better feeder for pneumonia and all forms of tuberculosis? The men clean streets, sweep and dust great buildings, with no effort to keep the throat clear of dust and dirt."

"The majority of cases of consumption are not inherent, but are contracted through lack of thought and interest in one’s own self. How many of our women during their pregnancy make nothing of lifting from one bench to another heavy tubs of clothes, drawing buckets of water, lift great sticks of wood, run up and down stairs, and a dozen other similar things entirely against them. They do not know the laws of health, and they will not learn them. No, I do not say do not work during the months of unborn motherhood; work, even hard work, is good for one, but the manner in which labor is performed is what I criticize. As women can we not do something to correct our condition physically and morally? I think we can"

"The average colored person dislikes water, and he won’t keep himself clean. He bathes, if at all, once a week Saturday night and changes his clothes in the same indifferent way. He seldom uses a tooth brush. He often even neglects to comb his hair, except on Sunday. There is no excuse for this. Bathe at least twice a week, and change the clothes as often, and be sure to clean the teeth at least once a day, and do not forget to comb the hair each day."

"We eat too little or too poor food. We are ready to buy showy clothing, but we stint our stomachs too often. They call us great eaters. Let us eat more and better food. There is very little vitality in grits and gravy. Get fresh women, but to their offspring. Keep regular hours. Do not stay in church till 12 and 1 o’clock at night. Go to bed at 10, especially if you labor through the day. When you get up in the mornings air the bedding, open up things for a while and let the sunshine in. When the little child comes do not have an ignorant granny, secure a good physician in addition to at least a clean nurse. Apply your lessons of bathing, feeding, sleeping to these little ones, remembering, of course, their age. Teach the boys as well as the girls respect for the marriage tie and home."

"Be companions for your sons and daughters if you would stop the tide of immorality. A young girl has no business out to a party or church or picnic without some older member of her family or woman friend. Teach the boys to come home at night. Teach them the sin of ruining some man’s daughter. These lessons can be taught around the fireside at night, from the pulpit, in the school room, in mothers’ meetings; and there should be a mothers’ meeting in every community. They can be instilled in many ways. Help secure a minister and teacher who will take an interest in the physical and moral improvement of our families, and together with what we women can do and our ministers and teachers, we shall be able to make some progress in the coming ten or fifteen years which will prove to our enemies that our condition physically and morally is nothing inherent or peculiar to race, but rather the outcome of circumstances over which we can and will become masters. In this way and only in this way will [we] satisfy the men and women, both North and South, who still have faith in us. Let us teach our boys and girls some useful occupations, let us insist upon an intelligent and moral ministry, let us employ teachers only who are above reproach, and above all let those of us who have had an opportunity, who have educational advantages, modify our cause lines stoop down now and then and lift up others."

"Man is a product of the earth’s surface. This means not merely that he is a child of the earth, dust of her dust; but that the earth has mothered him, fed him, set him tasks, directed his thoughts, confronted him with difficulties that have strengthened his body and sharpened his wits, given him his problems of navigation or irrigation, and at the same time whispered hints for their solution"

"An important characteristic of plains is their power to facilitate every phase of historical movement; that of mountains is their power to retard, arrest, or deflect it. Man, as part of the mobile envelope of the earth, like air and water feels always the pull of gravity."

"If one could only go on and on with original work…, life would be a most beautiful dream; but you…use most of your available time preparing the work of others for publication"

"While we cannot maintain that in everything woman is man’s equal, yet in many things her patience, perseverance, and method make her his superior"

"I am immediately told that I receive an excellent salary as women’s salaries stand.…Does he ever think that I have a home to keep and a family to take care of as well as the men?…And this is considered an enlightened age!"

"My home life is necessarily different from that of other officers of the University since all housekeeping cares rest on me, in addition to those of providing the means to meet their expenses. My son Edward…knows little or nothing of the value of money and, therefore, has the idea but that everything should be forthcoming on demand"

"Labor honestly, conscientiously, and steadfastly, and recognition and success must crown your efforts in the end.”"

"Art has always been a big part of my life, I can always remember sitting down and painting and drawing with my sisters, and art would always be spoken about. When I was studying the IB I then realised that all I wanted to do was make art and that’s when I decide to take a gap year and then apply for City and Guilds."

"I am really inspired by Flora Yuknovich’s work, I think as soon as I arrived at City and Guilds and saw her paintings I feel in love with them. I am also really inspired and fascinated with botanical studies and love visiting Kew Gardens. Within my work I try to bring the loose, bold and dynamic style of Flora’s work alongside the minute details found in floral studies, whilst recreate and transcribing classical mythological paintings."

"This year I have been looking the play Antigone by Sophocles. At the beginning of my project I tried to find as many classical painting representations of the play and then I work from these paintings to create my own work."

"I am really interested in the beauty of these paintings and the dark tales that they often depict, and this battle between aesthetic beauty against the dark truth of human behaviours."

"I have just completed my degree series which I have been working on in lockdown. I have really enjoyed making it, however my dream series at the moment is just being able to make work in a large studio where I can work to any scale and have space to stand back. Lockdown had really shown my the importance of having a studio and the space to look at your work."

"When I paint I listen to the Harry Potter audiobooks on repeat."

"Whaaaaa I’m not sure, on my gap year I worked on a super yacht which was a crazy, exhausting and bind blowing all at the same time."

"The Garden of Earthly Delights by Bosch, I am obsessed with it."

"My work is inspired by Renaissance period paintings depicting Greek mythology. I am currently focusing on The Odyssey by Homer. The Renaissance paintings represent the drama within these stories, with dynamic compositions and rich colours. I use a range of different paintings depicting the myth to create a collage on Photoshop, breaking down the classical structure and the figuration; creating contrasts between scale, composition, figuration and abstraction. From them, I create large-scale paintings constructed in layers using a variety of mediums; oil, gouache and acrylic."

"The paintings start with a layer of gouache, blocking in colour and mapping out movement. Then acrylic paint is used for the floral patterns to intensify the placement of colours and black/grey structural lines breaking through the work. For some time now, I have been developing the use of organic floral forms to apply a different painting language when recreating these classical paintings. I am interested in breaking down the barriers between the decorative and the fine arts. So, rather than purely decorative, I see the floral and feminine forms as a different language of abstraction. In this layer, the acrylic is built up and overlaps with changes in scale to create depth. In the final layer oil paint is used, which is applied in glazes to push back areas and for the floral patterning. The oils create a unique, opaque effect as they sit on the surface."

"Process work doesn’t appeal to me. That’s why I like drypoint and not just an etching. I’ve done only twenty-five bitten etchings in my life because I don’t care for all that business that goes on that gets between you and the work. I love drypoint and I think that actually it gives you the same wonderful satisfaction that carving in stone must give to a person. You’re really making something with great effort. And I think that effort is very important in the production of any work of art. If it’s too easy, if you’re just gliding around on a wax surface and then biting it in acid, it doesn’t give you that sensation of making something … That wonderful feeling that you have for the material and the real strength that you have to employ to get the line the right depth and richness and to do the cross-hatching so that the metal doesn’t break down but still you get a rich black. It gives you, oh, a great sensation"

"Pin-head, parsimoniously covered with thin dark hair, on a short, dumpy body. Small features, prominent nose, chipmunk teeth and no chin, conveying the sharp, weak look of a little rodent. Absent-minded eyes with a half-glimmer of observation. Prim, critical mouth and faint coloring. Personality lifeless, retiring, snippy, quietly egotistical. Lacks vigor and sparkle."

"In describing a town in Morocco, Tétouan: "The whiteness and pearliness of the town simply defies you-you can't get it pure and brilliant enough and the shadows drive one silly-you race after them , pause one frenzied moment to decide on a blue mauve yellow or green shadow-when up and over the wall and away and the wretched things gone for that day at least and you are gazing at a glaring blank wall and wondering why on earth you ever started to sketch it.""

"But au fond-deep in my work-I am steadfast and steady as a rock... My present work is consistent-I shall sink or swim by it-I think swim-."

"To her mother, 1921: "Don't let N Zealand wait to put up a memorial tablet to my memory—let her help me now whilst I am working at work that I hope will live after me.""

"It is one of the tragedies of leaving Home—New Zealand is too far away—it ceases to be real. New Zealanders like myself cannot help becoming de-nationalized—they have no country—it is sad—but true ... Art is like that—it absorbs your whole life and being. Few women can do it successfully. It requires enormous vitality. That is my conception of genius—vitality.""

"1912: "I was born in Dunedin; we were an English family in a Scottish settlement.""

"1895: "I am slowly settling down to an oldmaidship, and I have only one prominent idea and that is that nothing will interfere between me and my work.""

"To Dorothy Kate Richmond, 1903: "Come to Tetuan. Come—catch the next steamer, cancel all engagements, chuck the studio let everything go to the winds only come without a moment's delay and value for yourself all the dreams of beauty colour and sunshine...""

"Painting reduces me to tears and misery: peaks of ecstasy, depths of disillusion..."

"To her brother, August 1940: "My aspect of the family talent, or curse? has taken the form of a deep intellectual experience, a force which has given me no rest or peace but infinite joy and sometimes even rapture.""

"From her 1923 article, "The first girl graduates": 'It is too soon yet...for a complete answer to be given to this question, but thousands of university women are proving by their lives that it has not unfitted them for home-making, the noblest sphere of women's work.'"

"Upon her reception to the Wellington women's branch of the Labour Party: "The women of New Zealand have at last arrived,""

"I am a very ordinary type of woman, but I can get on with all women, irrespective of their political outlook."

"Regarding her father, Edwin John Howard, a member of the Canterbury General Labourers' Union and Labour MP for Christchurch South:"I am what I am because of the training my father gave me,""

"I am going to work really hard to improve health conditions in New Zealand, because I think it is work which can best be handled by a woman."

"In the gloaming, oh, my darling! When the lights are dim and low, And the quiet shadows, falling, Softly come and softly go."

"The question is often asked, "What do women want?" We want men "to stand out of our sunshine"; that is all."

"The New Woman is she who had discovered herself, not relatively as mother, wife, sister, but absolutely...she recognises her restrictions, and she further recognises that these restrictions must be struggled against, not in the direction of denying her nature, but rather of shaking off every artificial restraint and repression which will in any way hinder her own full and free development..."

"...I would rather have this new woman - even in her occasional perversity, exaggeration, and revolt - than the female oyster who discovers no interest in life outside the limits of her own shell."

"We want to grow as flowers of the field are permitted to grow, whether they be of male or female form. We want to develop as do the mothers of the animal world where infanticide or female subjections are alike unheard of and undesired. Let woman but have free course and she will glorify not only herself, but the whole race; and in order to her having free course our request for woman is only this, that she may have a fair field and no favour, freedom to give expression to her own powers. Our New Zealand University has been thrown open to women on the same terms as men, and nothing but good has eventuated. Our professions have been thrown open to women, and neither have the skies fallen nor wedding bells ceased to peal.Our polling booths have been thrown open to women, and drunkenness and rowdyism, bribery and corrupt practices have in great measure given place to decency, good order and kindly camaraderie. Let the Civil Service, and other posts, appointments and positions in the colony-or beyond it for that matter-be thrown open to women. In a word, let disability of sex be withdrawn, as have those other disabilities of colour, race, caste and class, and only good will result..."

"...The political head of this colony says women do not want the removal of their disabilities. I can believe that a few women, through sheer ignorance, say they do not want it. I can believe that some dare not admit they want it. But that the majority do not want it is, I believe, simply untrue. We women of the National Council do not pay annual visits to the towns of the colony for our own amusement. There is no royal road to the capacity for real service, as there is no royal road to any supreme attainment, and we who have taken up the white woman's burden of responsibility in this corner of our great Empire are bound to do what we can to put an end to this hell born conspiracy of silence which is eating into the very vitals of our humanity. We crave for education and free and unhampered life-a life of wholesome economic independence. It is perhaps too much to expect those who have grown up in indifference or ignorance to adjust themselves to the new conditions which a century of scientific discovery has rendered inevitable, but surely our younger brothers who have grown up side by side with our girls in the happy comradeship of mixed schools and colleges will range themselves, as I believe they are already doing, on the side of justice and right."

"We didn't do anything but just work at the club … day in and day out, I never knew what Sunday was, Christmas was ... anything."

"The story of Margaret Haughery is one of the sweetest ever told. Her life is a lesson of love in charity which this age needs to learn. While philanthropists and social workers vainly talk about problems, she solved them; for she met those problems with the wisdom that came from the love of her big Irish heart. In her simple life we read again the lesson that there is but one way to become great in the Kingdom of God. And because she found that way, Margaret Haughery, the "Mother of the Orphans," is entitled to a high place among the great wives and mothers who have brought glory to the Catholic Church."

"Heritage must not be sacrificed for progress. What matters for now is for every Filipino to protect our tradition and let no one distort it under the guise of modernization."

"... Horticultural Show in the Temple Gardens. I go every year now, and should be sorry to miss it. How odd it seems, that for years and years I never went to a , or knew anything about them, and now they have become one of the interests of my life! The great attraction this year is the revival of what are called old-fashioned late single Tulips—Breeders, Flames, &c. Those who like to buy the bulbs, ordering them carefully by the catalogue, may have their gardens gay with Tulips for over two months, certainly the whole of April and May."

"Many people would say, 'So strict a way of would make life unbearable,' but after a time this strictness so changes the tastes the simpler foods are really enjoyed, and I distinctly think, that when people have dieted for several years, the amount of harm done by an occasional relapse is so small that the social convenience of it makes it worth while, so long as it is acknowledged as a concession to weakness and not a thing to be continued. It is what is done every day that matters."

"Charles and Theresa entertained many friends at ‘Woodlands’ including , , , Henry James, Thomas Croft, and members of the Lushington family who also lived locally. Edward Burne-Jones was particularly keen to visit. He had previously stayed with his friend Stanhope at neighbouring ‘Sandroyd House’ which had been built in 1860 for the pre-Raphaelite painter by the architect , and visited the lovely fir woods in the surrounding area. Theresa’s garden was much admired by those in her circle, it comprised a terrace with planters, beds and borders of hardy plants and a in which she also grew culinary herbs."

"Shatter her beauteous breast ye may; The Spirit of England none can slay! Dash the bomb on the dome of Paul's, — Deem ye the fame of the Admiral falls? Pry the stone from the chancel floor, — Dream ye that Shakespeare shall live no more? Where is the giant shot that kills Wordsworth walking the old green hills? Trample the red rose on the ground, — Keats is Beauty while earth spins round! Bind her, grind her, burn her with fire, Cast her ashes into the sea, — She shall escape, she shall aspire, She shall arise to make men free: She shall arise in a sacred scorn, Lighting the lives that are yet unborn; Spirit supernal, splendor eternal, !"