As for 'drawing you out,' please believe I don't do such things deliberately, with an object -- It's only that I am, as a rule, far more interested in people than they are in me -- But it makes me a nuisance, I know: only an innocent nuisance.

Was there no safety? No learning by heart of the ways of the world? No guide, no shelter, but all was miracle, and leaping from the pinnacle of a tower into the air? Could it be, even for elderly people, that this was life?--startling, unexpected, unknown?

Yes, yes, I'm coming. Right up the top of the house. One moment I'll linger. How the mud goes round in the mind-what a swirl these monsters leave, the waters rocking, the weeds waving and green here, black there, striking to the sand, till by degrees the atoms reassemble, the deposit sifts itself, and a gain through the eyes one sees clear and still, and there comes to the lips some prayer for the departed, some obsequy for the souls of those one nods to, the one never meets again.

But the close withdrew: the hand softened. It was over-- the moment.

The comparison between Coleridge and Johnson is obvious in so far as each held sway chiefly by the power of his tongue. The difference between their methods is so marked that it is tempting, but also unnecessary, to judge one to be inferior to the other. Johnson was robust, combative, and concrete; Coleridge was the opposite. The contrast was perhaps in his mind when he said of Johnson: "his bow-wow manner must have had a good deal to do with the effect produced.

A woman must have money and a room of her own if she is to write fiction.

Moreover, a book is not made of sentences laid end to end, but of sentences built, if an image helps, into arcades or domes.