Quotes About Expression

It is the duty of the writer to describe.

Who would not spout the family teapot in order to talk with Keats for an hour about poetry, or with Jane Austen about the art of fiction?

We shall be the mouthpieces of the divine spirit—

But what little I can get down into my pen of what is so vivid to my eyes, and not only to my eyes; also to some nervous fibre, or fanlike membrane in my species.

And as all Orlando's loves had been women, now, through the culpable laggardry of the human frame to adapt itself to convention, though she herself was a woman, it was still a woman she loved; and if the consciousness of being of the same sex had any effect at all, it was to quicken and deepen those feelings which she had had as a man.

Intellectual freedom depends upon material things. Poetry depends upon intellectual freedom.

Never had any boy begged apples as Orlando begged paper; nor sweetmeats as he begged ink. Stealing away from talk and games, he had hidden himself behind curtains, in priest's holes, or in the cupboard behind his mother's bedroom which had a great hole in the floor and smelt horribly of starling's dung, with an inkhorn in one hand, a pen in another, and on his knee a roll of paper.

Shakespeare} the word-coining genius, as if thought plunged into a sea of words and came up dripping

The novel is the medium which makes it possible for people of ordinary intelligence to communicate their ideas to the world.

There was all the difference in the world between this planning airily away from the canvas and actually taking her brush and making the first mark.

a woman must have money and a room of her own if she is to write fiction; and that, as you will see, leaves the great problem of the true nature of woman and the true nature of fiction unsolved.

Perhaps then one reason why we have no great poet, novelist or critic writing today is that we refuse to allow words their liberty. We pin them down to one meaning, their useful meaning: the meaning which makes us catch the train, the meaning which makes us pass the examination.

When you asked me to speak about women and fiction I sat down on the banks of a river and began to wonder what the words meant. They might mean simply a few remarks about Fanny Burney; a few more about Jane Austen; a tribute to the Brontes and a sketch of Haworth Parsonage under snow, some witticisms if possible about Miss Mitford; a respectful allusion to George Eliot; a reference to Mrs Gaskell and one would have done.

But one only woke people if one knew what one wanted to say to them. And she wanted to say not one thing, but everything.

He is forced to coin words himself, and, taking his pain in one hand, and a lump of pure sound in the other (as perhaps the people of Babel did in the beginning), so to crush them together that a brand new word in the end drops out.

Judith Shakespeare] lives in you and in me [...] she lives; for great poets do not die; they are continuing presences; they need only the opportunity to walk among us in the flesh.

But language is wine upon his lips

Then beneath the colour [of the paint] was the shape. She could see it all so clearly, so commandingly, when she looked: it was when she took her brush in hand that the whole thing changed. It was in that moment's flight between the picture and her canvas that the demons set on her who often brought her to the verge of tears and made this passage from conception to work as dreadful as any down a dark passage for a child.

But let other pens treat of sex and sexuality; we quit such odious subjects as soon as we can.

And if literature is not the Bride and Bedfellow of Truth, what is she? 'Confound it all.' he cried, 'why say Bedfellow when one's already said Bride? Why not simply say what one means and save it?

Here is Lady Winchilsea, for example, I thought, taking down her poems. She was born in the year 1661; she was noble both by birth and by marriage; she was childless; she wrote poetry, and one has only to open her poetry to find her bursting out in indignation against the position of women:

She could have wept. It was bad, it was bad, it was infinitely bad! She could have done it differently of course; the colour could have been thinned and faded; the shapes etherealised; that was how Paunceforte would have seen it. But then she did not see it like that. She saw the colour burning on a framework of steel; the light of a butterfly's wing lying upon the arches of a cathedral.

And that is the time to read poetry . . . when we are almost able to write it.

When, however, one reads of a witch being ducked, of a woman possessed by devils, of a wise woman selling herbs, or even of a very remarkable man who had a mother, then I think we are on the track of a lost novelist, a suppressed poet, of some mute and inglorious Jane Austen, some Emily Brontë who dashed her brains out on the moor or mopped and mowed about the highways crazed with the torture that her gift had put her to.