Virginia Woolf citáty

strana 11

„Není třeba spěchat. Není třeba se třpytit. Není třeba být nikým jiným než sám sebou.“

„Existuje zvláštní schopnost měnit fakta silou představivosti.“

„Mám hluboce skrytou a nevyřčenou touhu po něčem, co přesahuje každodenní život.“

„Někteří lidé chodí ke kněžím, jiní k poezii, já ke svým přátelům.“

„Chtěla jsem psát o smrti, ale jako obvykle se do toho zamíchal život.“

„Kdo nás okrádá o naše sny, okrádá nás o život.“

„..život je to, co člověk vidí v lidských očích..“

„Život je těžký, člověk potřebuje hroší kůži - a tu nemá“

„Po většinu běhu dějin „Anonym“ byla žena.“

„Odvažoval bych se hádat, že Anon, který napsal tolik básní, aniž by je podepsal, byla často žena.“

„Neboť vzpomínáme prostřednictvím naší matky, jsme-li ženou.“

„Knihy jsou zrcadly duše.“

„Přišla na to, že jediné, co stojí za to - je říkat, co člověk cítí. Chytrost je hloupost. Člověk musí prostě říci, co cítí.“

„Psaní je jako sex. Nejdřív to uděláš pro lásku, pak to uděláš pro své přátele a pak to uděláš za peníze.“

„Všechny citové extrémy jsou spojené s šílenstvím.“

„Zničili jsme cosi svou přítomností, možná svět.“

„Láska je celou ženinou existencí.“

„Oči druhých jsou naše vězení; jejich myšlenky naše klece.“

„Ke změnám docházelo neustále a možná to nikdy nepřestane.“

„Co kdybych ti řekl, že nejsem schopen tolerovat své vlastní srdce?“

„Uzamkněte své knihovny, pokud chcete; ale není tam žádná brána, žádný zámek, žádný šroub, který byste mohli postavit proti svobodě mé mysli.“

„Jsme stvořeni tak, že musíme brát smrt v malých dávkách denně jinak by jsme nemohli pokračovat v bytí?“

„Když vezmete v úvahu věci jako hvězdy, zdá se, že na našich záležitostech moc nezáleží, že?“

„Chci napsat román o Tichu; řekl: věci, které lidé neřeknou.“

„… bohatství je, pokud jsme klidní v srdci chaosu.“

„Ten velký katedrální vesmír, který byl dětství.“

„Na okamžik prozkoumejte obyčejnou mysl v obyčejný den.“

„Jeho forma v sobě spojila sílu muže a ženskou milost.“

„… Ale krása musí být denně zlomena, aby zůstala krásná…“

„Paní Dallowayová řekla, že si koupí květiny sama.“

„Čím je člověk starší, tím víc má rád nemravnost.“

„A ty si přeješ být básníkem; a ty si přeješ být milencem.“

„Kolikrát lidé použili pero nebo štětec, protože nedokázali zmáčknout spoušť?“

“There was no freedom in life, and certainly there was none in death…”

“And it was awfully strange, he thought, how she still had the power, as she came tinkling, rustling, still had the power as she came across the room, to make the moon, which he detested, rise at Bourton on the terrace in the summer sky.”

“I like people to be unhappy because I like them to have souls.”

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

“There is no doubt in my mind, that I have found out how to begin (at 40) to say something in my own voice.”

“Lies will flow from my lips, but there may perhaps be some truth mixed up with them; it is for you to seek out this truth and to decide whether any part of it is worth keeping.”

“When you are silent you are again beautiful.”

“Yes, I miss you, I miss you.”

“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. Little words that broke up the thought and dismembered it said nothing. 'About life, about death; about Mrs Ramsay”

“It was enemies one wanted, not friends.”

“Now, through my own infirmity I recover what he was to me: my opposite. Being naturally truthful, he did not see the point of these exaggerations, and was borne on by a natural sense of the fitting, was indeed a great master of the art of living so that he seems to have lived long, and to have spread calm round him, indifference one might almost say, certainly to his own advancement, save that he had also great compassion. […] We have no ceremonies, only private dirges and no conclusions, only violent sensations, each separate. Nothing that has been said meets our case. […] After a long lifetime, loosely, in a moment of revelation, I may lay hands on it, but now the idea breaks in my hand. Ideas break a thousand times for once that they globe themselves entire. […] I am yawning. I am glutted with sensations. I am exhausted with the strain and the long, long time — twenty-five minutes, half an hour — that I have held myself alone outside the machine.”

“The merest schoolgirl [school girl, ] when she falls in love, has Shakespeare or Keats to speak her mind for her; but let a sufferer [try to] describe a pain in his head to a doctor and language at once runs dry.”

“I like the copious, shapeless, warm, not so very clever, but extremely easy and rather coarse aspect of things; the talk of men in clubs and public-houses; of miners half naked in drawers — the forthright, perfectly unassuming, and without end in view except dinner, love, money and getting along tolerably; that which is without great hopes, ideals, or anything of that kind; what is unassuming except to make a tolerably, good job of it. I like all that.”

“But the novels of women were not affected only by the necessarily narrow range of the writer's experience. They showed, at least in the nineteenth century, another characteristic which may be traced to the writer's sex. In Middlemarch and in Jane Eyre we are conscious not merely of the writer's character, as we are conscious of the character of Charles Dickens, but we are conscious of a woman's presence — of someone resenting the treatment of her sex and pleading for its rights.”

“For some reason, we know not what, his childhood was sharply severed. It lodged in him whole and entire. He could not disperse it.”

“For our penitence deserves a glimpse only; our toil respite only.”

“Thought and theory must precede all salutary action; yet action is nobler in itself than either thought or theory.”

“We may enjoy our room in the tower, with the painted walls and the commodious bookcases, but down in the garden there is a man digging who buried his father this morning, and it is he and his like who live the real life and speak the real language.”

“Outwardly, what is simpler than to write books? Outwardly, what obstacles are there for a woman rather than for a man? Inwardly, I think, the case is very different; she has still many ghosts to fight, many prejudices to overcome. Indeed it will be a long time still, I think, before a woman can sit down to write a book without finding a phantom to be slain, a rock to be dashed against. And if this is so in literature, the freest of all professions for women, how is it in the new professions which you are now for the first time entering?”

“In the past, the virtue of women's writing often lay in its divine spontaneity … But it was also, and much more often, chattering and garrulous … In future, granted time and books and a little space in the house for herself, literature will become for women, as for men, an art to be studied. Women's gift will be trained and strengthened. The novel will cease to be the dumping-ground for the personal emotions. It will become, more than at present, a work of art like any other, and its resources and its limitations will be explored.”

“At this Helen laughed outright. "Nonsense," she said. "You're not a Christian. You've never thought what you are.—And there are lots of other questions," she continued, "though perhaps we can't ask them yet." Although they had talked so freely they were all uncomfortably conscious that they really knew nothing about each other.
"The important questions," Hewet pondered, "the really interesting ones. I doubt that one ever does ask them."
Rachel, who was slow to accept the fact that only a very few things can be said even by people who know each other well, insisted on knowing what he meant.
"Whether we've ever been in love?" she enquired. "Is that the kind of question you mean?"”

“In brain and insight she is not as highly organised as I am. But then she is aware of this, and so lavishes on me the maternal protection which, for some reason, is what I have always most wished from everyone.”

“You are not listening to me. You are making phrases about Byron. And while you gesticulate, with your cloak, your cane, I am trying to expose a secret told to nobody yet; I am asking you (as I stand with my back to you) to take my life in your hands and tell me whether I am doomed always to cause repulsion in those I love?”

“Happiness is to have a little string onto which things will attach themselves.”

“Here I come to one of the memoir writer’s difficulties — one of the reasons why, though I read so many, so many are failures. They leave out the person to whom things happened. The reason is that it is so difficult to describe any human being. So they say: ‘This is what happened’; but they do not say what the person was like to whom it happened. Who was I then? Adeline Virginia Stephen, the second daughter of Leslie and Julia Prinsep Stephen, born on 25th January 1882, descended from a great many people, some famous, others obscure; born into a large connection, born not of rich parents, but of well-to-do parents, born into a very communicative, literate, letter writing, visiting, articulate, late nineteenth century world.”

“Margaret Ll. Davies writes that Janet is dying and will I write on her for The Times – a curious thought, rather: as if it mattered who wrote, or not. But this flooded me with the idea of Janet yesterday. I think writing, my writing, is a species of mediumship. I become the person.”

“A desire for children, I suppose; for Nessa's life; for the sense of flowers breaking all round me involuntarily. […] Years and years ago, after the Lytton affair, I said to myself, walking up the hill at Bayreuth, never pretend that the things you haven't got are not worth having; good advice I think. And then I went on to say to myself that one must like things for themselves; or rather, rid them of their bearing upon one's personal life. One must venture on to the things that exist independently of oneself. Now this is very hard for young women to do. Yet I got satisfaction from it. And now, married to L., I never have to make the effort. Perhaps I have been to happy for my soul's good? And does some of my discontent come from feeling that?”

“Morgan has the artist's mind; he says the simple things that clever people don't say; I find him the best of critics for that reason. Suddenly out comes the obvious thing that one has overlooked.”

“The chief charges against her were (1) that she was dead, and therefore could not hold any property; (2) that she was a woman which amounts to much the same thing …”