Rhoda comes now, having slipped in while we were not looking. She must have made a tortuous course, taking cover now behind a waiter, now behind some ornamental pillar, so as to put off as long as possible the shock of recognition, so as to be secure for one more moment to rock her petals in her basin. We wake her. We torture her. She dreads us, she despises us, yet she comes cringing to our sides because for al our cruelty there is always some name, some face which sheds a radiance, which lights up her pavements and makes it possible for her to replenish her dreams.

It is as if Emily Brontë could tear up all that we know human beings by, and fill these unrecognizable transparencies with such a gust of life that they transcend reality.

Once conform, once do what other people do because they do it, and a lethargy steals over all the finer nerves and faculties of the soul. She becomes all outer show and inward emptiness; dull, callous, and indifferent.

I will go down with my colours flying.

...the problem of space remained, she thought, taking up her brush again. It glared at her. The whole mass of the picture was poised upon that weight. Beautiful and bright it should be on the surface, feathery and evanescent, one colour melting into another like the colours on a butterfly's wing; but beneath the fabric must be clamped together with bolts of iron.

It was strange to think that all the great women of fiction were, until Jane Austen's day, not only seen by the other sex, but seen only in relation to the other sex. And how small a part of woman's life is that.

Am I too fast, too facile? I do not know. I do not know myself sometimes, or how to measure and name and count out the grains that make me what I am.