β
But luxury has never appealed to me, I like simple things, books, being alone, or with somebody who understands.
β
β
Daphne du Maurier
β
Women want love to be a novel. Men, a short story.
β
β
Daphne du Maurier
β
Last night I dreamt I went to Manderley again.
β
β
Daphne du Maurier (Rebecca)
β
If only there could be an invention that bottled up a memory, like scent. And it never faded, and it never got stale. And then, when one wanted it, the bottle could be uncorked, and it would be like living the moment all over again.
β
β
Daphne du Maurier (Rebecca)
β
Happiness is not a possession to be prized, it is a quality of thought, a state of mind.
β
β
Daphne du Maurier (Rebecca)
β
I am glad it cannot happen twice, the fever of first love. For it is a fever, and a burden, too, whatever the poets may say.
β
β
Daphne du Maurier (Rebecca)
β
I suppose sooner or later in the life of everyone comes a moment of trial. We all of us have our particular devil who rides us and torments us, and we must give battle in the end.
β
β
Daphne du Maurier (Rebecca)
β
I wish I was a woman of about thirty-six dressed in black satin with a string of pearls.
β
β
Daphne du Maurier (Rebecca)
β
I wondered how many people there were in the world who suffered, and continued to suffer, because they could not break out from their own web of shyness and reserve, and in their blindness and folly built up a great distorted wall in front of them that hid the truth.
β
β
Daphne du Maurier (Rebecca)
β
Men are simpler than you imagine my sweet child. But what goes on in the twisted, tortuous minds of women would baffle anyone.
β
β
Daphne du Maurier (Rebecca)
β
I wondered why it was that places are so much lovelier when one is
alone.
β
β
Daphne du Maurier (Rebecca)
β
Either you go to America with Mrs. Van Hopper or you come home to Manderley with me."
"Do you mean you want a secretary or something?"
"No, I'm asking you to marry me, you little fool.
β
β
Daphne du Maurier (Rebecca)
β
A dreamer, I walked enchanted, and nothing held me back.
β
β
Daphne du Maurier (Rebecca)
β
We're not meant for happiness, you and I.
β
β
Daphne du Maurier (Rebecca)
β
The road to Manderley lay ahead. There was no moon. The sky above our heads was inky black. But the sky on the horizon was not dark at all. It was shot with crimson, like a splash of blood. And the ashes blew towards us with the salt wind from the sea.
β
β
Daphne du Maurier (Rebecca)
β
I believe there is a theory that men and women emerge finer and stronger after suffering, and that to advance in this or any world we must endure ordeal by fire.
β
β
Daphne du Maurier (Rebecca)
β
Every moment was a precious thing, having in it the essence of finality.
β
β
Daphne du Maurier (Rebecca)
β
We can never go back again, that much is certain. The past is still close to us. The things we have tried to forget and put behind us would stir again, and that sense of fear, of furtive unrest, struggling at length to blind unreasoning panic - now mercifully stilled, thank God - might in some manner unforeseen become a living companion as it had before.
β
β
Daphne du Maurier (Rebecca)
β
Writers should be read, but neither seen nor heard.
β
β
Daphne du Maurier
β
...the routine of life goes on, whatever happens, we do the same things, go through the little performance of eating, sleeping, washing. No crisis can break through the crust of habit.
β
β
Daphne du Maurier (Rebecca)
β
I have no talent for making new friends, but oh such genius for fidelity to old ones.
β
β
Daphne du Maurier
β
It wouldn't make for sanity would it, living with the devil.
β
β
Daphne du Maurier (Rebecca)
β
The point is, life has to be endured, and lived. But how to live it is the problem.
β
β
Daphne du Maurier (My Cousin Rachel)
β
Will you look into my eyes and tell me that you love me now?
β
β
Daphne du Maurier (Rebecca)
β
Boredom is a pleasing antidote for fear
β
β
Daphne du Maurier (Rebecca)
β
Because I want to; because I must; because now and forever more this is where I belong to be.
β
β
Daphne du Maurier (Jamaica Inn)
β
I had build up false pictures in my mind and sat before them. I had never had the courage to demand the truth.
β
β
Daphne du Maurier (Rebecca)
β
Come and see us if you feel like it,' she said. 'I always expect people to ask themselves. Life is too short to send out invitations.
β
β
Daphne du Maurier (Rebecca)
β
Time will mellow it, make it a moment for laughter. But now it was not funny, now I did not laugh. It was not the future, it was the present. It was too vivid and too real.
β
β
Daphne du Maurier (Rebecca)
β
The moment of crisis had come, and I must face it. My old fears, my diffidence, my shyness, my hopeless sense of inferiority, must be conquered now and thrust aside. If I failed now I should fail forever.
β
β
Daphne du Maurier (Rebecca)
β
There is no going back in life. There is no return. No second chance.
β
β
Daphne du Maurier
β
This house sheltered us, we spoke, we loved within those walls. That was yesterday. To-day we pass on, we see it no more, and we are different, changed in some infinitesimal way. We can never be quite the same again.
β
β
Daphne du Maurier (Rebecca)
β
We've got a bond in common, you and I. We are both alone in the world.
β
β
Daphne du Maurier (Rebecca)
β
If you think I'm one of those people who try to be funny at breakfast you're wrong. I'm invariably ill-tempered in the early morning.
β
β
Daphne du Maurier (Rebecca)
β
I wanted to go on sitting there, not talking, not listening to the others, keeping the moment precious for all time, because we were peaceful all of us, we were content and drowsy even as the bee who droned above our heads. In a little while it would be different, there would come tomorrow, and the next day and another year. And we would be changed perhaps, never sitting quite like this again. Some of us would go away, or suffer, or die, the future stretched away in front of us, unknown, unseen, not perhaps what we wanted, not what we planned. This moment was safe though, this could not be touched. Here we sat together, Maxim and I, hand-in-hand, and the past and the future mattered not at all. This was secure, this funny little fragment of time he would never remember, never think about againβ¦For them it was just after lunch, quarter-past-three on a haphazard afternoon, like any hour, like any day. They did not want to hold it close, imprisoned and secure, as I did. They were not afraid.
β
β
Daphne du Maurier (Rebecca)
β
She knew that this was happiness, this was living as she had always wished to live.
β
β
Daphne du Maurier (Frenchman's Creek)
β
Sometimes itβs a sort of indulgence to think the worst of ourselves. We say, βNow I have reached the bottom of the pit, now I can fall no further,β and it is almost a pleasure to wallow in the darkness. The trouble is, itβs not true. There is no end to the evil in ourselves, just as there is no end to the good. Itβs a matter of choice. We struggle to climb, or we struggle to fall. The thing is to discover which way weβre going.
β
β
Daphne du Maurier
β
They are not brave, the days when we are twenty-one. They are full of little cowardices, little fears without foundation, and one is so easily bruised, so swiftly wounded, one falls to the first barbed word. To-day, wrapped in the complacent armour of approaching middle age, the infinitesimal pricks of day by day brush one but lightly and are soon forgotten, but thenβhow a careless word would linger, becoming a fiery stigma, and how a look, a glance over a shoulder, branded themselves as things eternal.
β
β
Daphne du Maurier (Rebecca)
β
We are all ghosts of yesterday, and the phantom of tomorrow awaits us alike in sunshine or in shadow, dimly perceived at times, never entirely lost.
β
β
Daphne du Maurier (Myself When Young: The Shaping of a Writer 1st edition by Du Maurier, Daphne (1977) Hardcover)
β
Why this man should love that woman, what queer chemical mix-up in our blood draws us to one another, who can tell?
β
β
Daphne du Maurier
β
I held out my arms to him and he came to me like a child.
β
β
Daphne du Maurier (Rebecca)
β
I don't mind. I like being alone.
β
β
Daphne du Maurier (Rebecca)
β
There is no going back in life, no return, no second chance. I cannot call back the spoken word or the accomplished deed.
β
β
Daphne du Maurier (My Cousin Rachel)
β
Dead men tell no tales, Mary.
β
β
Daphne du Maurier (Jamaica Inn)
β
We all of us have our particular devil who ruses us and torments us, and we must give battle in the end.
β
β
Daphne du Maurier (Rebecca)
β
Why did dogs make one want to cry? There was something so quiet and hopeless about their sympathy. Jasper, knowing something was wrong, as dogs always do. Trunks being packed. Cars being brought to the door. Dogs standing with drooping tails, dejected eyes. Wandering back to their baskets in the hall when the sound of the car dies away.
β
β
Daphne du Maurier (Rebecca)
β
I would have gone too but I wanted to come straight back to you.I kept thinking of you, waiting here, all by yourself, not knowing what was going to happen.
β
β
Daphne du Maurier (Rebecca)
β
I wondered why it was that places are so much lovelier when one is alone. How commonplace and stupid it would be if I had a friend now, sitting beside me, someone I had known at school, who would say: βBy-the-way, I saw old Hilda the other day. You remember her, the one who was so good at tennis. Sheβs married, with two children.β And the bluebells beside us unnoticed, and the pigeons overhead unheard. I did not want anyone with me. Not even Maxim. If Maxim had been there I should not be lying as I was now, chewing a piece of grass, my eyes shut. I should have been watching him, watching his eyes, his expression. Wondering if he liked it, if he was bored. Wondering what he was thinking. Now I could relax, none of these things mattered. Maxim was in London. How lovely it was to be alone again.
β
β
Daphne du Maurier (Rebecca)
β
I am glad it cannot happen twice, the fever of first love. For it is a fever, and a burden, too, whatever the poets may say. They are not brave, the days when we are twenty-one. They are full of little cowardices, little fears without foundation, and one is so easily bruised, so swiftly wounded, one falls to the first barbed word. To-day, wrapped in the complacent armour of approaching middle age, the infinitesimal pricks of day by day brush one but lightly and are soon forgotten, but then--how a careless word would linger, becoming a fiery stigma, and how a look, a glance over a shoulder, branded themselves as things eternal. A denial heralded the thrice crowing of a cock, and an insincerity was like the kiss of Judas. The adult mind can lie with untroubled conscience and a gay composure, but in those days even a small deception scoured the tongue, lashing one against the stake itself.
β
β
Daphne du Maurier (Rebecca)
β
And this then, that I am feeling now, is the hell that comes with love, the hell and the damnation and the agony beyond all enduring, because after the beauty and the loveliness comes the sorrow and the pain.
β
β
Daphne du Maurier (Frenchman's Creek)
β
I thought of all those heroines of fiction who looked pretty when they cried, and what a contrast I must make with a blotched and swollen face, and red rims to my eyes.
β
β
Daphne du Maurier (Rebecca)
β
You understand now... how simple life becomes when things like mirrors are forgotten.
β
β
Daphne du Maurier (Frenchman's Creek)
β
What degradation lay in being young.
β
β
Daphne du Maurier (Rebecca)
β
We know one another. This is the present. There is no past and no future. Here I am washing my hands, and the cracked mirror shows me to myself, suspended as it were, in time; this is me, this moment will not pass.
And then I open the door and go to the dining-room, where he is sitting waiting for me at a table, and I think how in that moment I have aged, and passed on, how I have advanced one step towards an unknown destiny.
We smile, we choose our lunch, we speak of this and that, but - I say to myself-I am not she who left him five minutes ago. She has stayed behind. I am another woman, older, more matureβ¦
β
β
Daphne du Maurier
β
He was like someone sleeping who woke suddenly and found the world...all the beauty of it, and the sadness too. The hunger and the thirst. Everything he had never thought about or known was there before him, and magnified into one person who by chance, or fate--call it what you will--happened to be me.
β
β
Daphne du Maurier (My Cousin Rachel)
β
She had to live in this bright, red gabled house with the nurse until it was time for her to die... I thought how little we know about the feelings of old people. Children we understand, their fears and hopes and make-believe.
β
β
Daphne du Maurier (Rebecca)
β
She has done for me at last, Rachel my torment.
β
β
Daphne du Maurier (My Cousin Rachel)
β
An empty house can be as lonely as a full hotel" he said at length."The trouble is that it is less impersonal.
β
β
Daphne du Maurier (Rebecca)
β
...but I should say that kindliness, and sincerity, and if I may say so--modesty--are worth far more to a man, to a husband, than all the wit and beauty in the world.
β
β
Daphne du Maurier
β
She had contemplated life so long it had become indifferent to her.
β
β
Daphne du Maurier (My Cousin Rachel)
β
He stole horses' you'll say to yourself, 'and he didn't care for women; and but for my pride I'd have been with him now.
β
β
Daphne du Maurier (Jamaica Inn)
β
When she smiled it was as though she embraced the world.
β
β
Daphne du Maurier (The Birds and Other Stories)
β
Life was a series of greetings and farewells, one was always saying good-bye to something, to someone.
β
β
Daphne du Maurier
β
Watch that boy. He's going to startle somebody someday.
β
β
Daphne du Maurier (The Parasites)
β
... and through it all and afterwards they would be together, making their own world where nothing mattered but the things they could give to one another, the loveliness, the silence, and the peace.
β
β
Daphne du Maurier (Frenchman's Creek)
β
No, Mary had no illusions about romance. Falling in love was a pretty name for it, that was all.
β
β
Daphne du Maurier (Jamaica Inn)
β
We were like two performers in a play, but we were divided, we were not acting with one another. We had to endure it alone, we had to put up this show, this miserable, sham performance for the sake of all these people I did not know and did not want to see again.
β
β
Daphne du Maurier (Rebecca)
β
I could not ask for forgiveness for something I had not done. As scapegoat, I could only bear the fault.
β
β
Daphne du Maurier (The Scapegoat)
β
There was something rather blousy about roses in full bloom, something shallow and raucous, like women with untidy hair
β
β
Daphne du Maurier (Rebecca)
β
Living as we do in an age of noise and bluster, success is now measured accordingly. We must all be seen, and heard, and on the air.
β
β
Daphne du Maurier (The "Rebecca" Notebook: And Other Memories)
β
I felt rather exhausted, and wondered, rather shocked at my callous thought, why old people were sometimes such a strain. Worse than young children or puppies because one had to be polite.
β
β
Daphne du Maurier (Rebecca)
β
I wonder ... when it was that the world first went amiss, and men forgot how to live and to love and to be happy.
β
β
Daphne du Maurier (Frenchman's Creek)
β
They used to hang men at Four Turnings in the old days.
Not anymore, though.
β
β
Daphne du Maurier (My Cousin Rachel)
β
I could fight with the living but I could not fight the dead. If there was some woman in London that Maxim loved, someone he wrote to, visited, dined with, slept with, I could fight her. We would stand on common ground. I should not be afraid. Anger and jealousy were things that could be conquered. One day the woman would grow old or tired or different, and Maxim would not love her anymore. But Rebecca would never grow old. Rebecca would always be the same. And she and I could not fight. She was too strong for me.
β
β
Daphne du Maurier (Rebecca)
β
I wondered how it could be that two people who had loved could yet have such a misconception of each other and, with a common grief, grow far apart. There must be something in the nature of love between a man and a woman that drove them to torment and suspicion.
β
β
Daphne du Maurier (My Cousin Rachel)
β
He lacked tenderness; he was rude; and he had more than a streak of cruelty in him; he was a thief and a liar. He stood for everything she feared and hated and despised; but she knew she could love him... This was no choice made with the mind.
β
β
Daphne du Maurier
β
For love, as she knew it now, was something without shame and without reserve, the possession of two people who had no barrier between them, and no pride; whatever happened to him would happen to her too, all feeling, all movement, all sensation of body and of mind.
β
β
Daphne du Maurier (Frenchman's Creek)
β
We were dreamers, both of us, unpractical, reserved, full of great theories never put to test, and like all dreamers, asleep to the waking world. Disliking our fellow men, we craved affection; but shyness kept impulse dormant until the heart was touched. When that happened the heavens opened, and we felt, the pair of us, that we have the whole wealth of the universe to give. We would have both survived, had we been other men.
β
β
Daphne du Maurier (My Cousin Rachel)
β
Of course we have our moments of depression; but there are other moments too, when time, unmeasured by the clock, runs on into eternity and, catching his smile, I know we are together, we march in unison, no clash of thought or of opinion makes a barrier between us.
β
β
Daphne du Maurier (Rebecca)
β
I am glad it cannot happen twice, the fever of first love. For it is a fever, and a burden, too, whatever the poets may say. They are not brave, the days when we are twenty one. They are so full of little cowardices, little fears without foundation, and one is so easily bruised, so swiftly wounded, one falls to the first barbed word.
β
β
Daphne du Maurier (Rebecca)
β
I was following a phantom in my mind, whose shadowy form had taken shape at last. Her features were blurred, her coloring indistinct, the setting of her eyes and the texture of her hair was still uncertain, still to be revealed.
She had beauty that endured, and a smile that was not forgotten. Somewhere her voice still lingered, and the memory of her words.
β
β
Daphne du Maurier (Rebecca)
β
We can see the film stars of yesterday in yesterdayβs films, hear the voices of poest and singers on a record, keep the plays of dead dramatists upon our bookshelves, but the actor who holds his audience captive for one brief moment upon a lighted stage vanishes forever when the curtain falls.
β
β
Daphne du Maurier (The "Rebecca" Notebook: And Other Memories)
β
Those dripping crumpets, I can see them now. Tiny crisp wedges of toast, and piping-hot, flaky scones. Sandwiches of unknown nature, mysteriously flavoured and quite delectable, and that very special gingerbread. Angel cake, that melted in the mouth, and his rather stodgier companion, bursting with peel and raisins. There was enough food there to keep a starving family for a week.
β
β
Daphne du Maurier (Rebecca)
β
When the leaves rustle, they sound very much like the stealthy movement of a woman in evening dress, and when they shiver suddenly, and fall, and scatter away along the ground, they might be the patter of a womanβs hurrying footsteps, and the mark in the gravel the imprint of a high-heeled shoe.
β
β
Daphne du Maurier (Rebecca)
β
But I have had enough melodrama in this life, and would willingly give my five senses if they could ensure us our present peace and security. Happiness is not a possession to be prized, it is a quality of thought, a state of mind. Of course we have our moments of depression; but there are other moments too, when time, unmeasured by the clock, runs on into eternity and, catching his smile, I know we are together, we march in unison, no flash of thought or opinion makes a barrier between us.
β
β
Daphne du Maurier (Rebecca)
β
There was never an accident.Rebecca was not drowned at all. I killed her.I shot Rebecca in the cottage in the cove.I carried her body to the cabin, and took the boat out that night and sunk it there, where they found it today.It's Rebecca who's lying dead there on the cabin floor.Will you look into my eyes and tell me that you love me now?
β
β
Daphne du Maurier (Rebecca)
β
And all this, she thought, is only momentary, is only a fragment in time that will never come again, for yesterday already belongs to the past and is ours no longer, and tomorrow is an unknown thing that may be hostile. This is our day, our moment, the sun belongs to us, and the wind, and the sea, and the men for'ard there singing on the deck. This day is forever a day to be held and cherished, because in it we shall have lived, and loved, and nothing else matters but that in this world of our own making to which we have escaped.
β
β
Daphne du Maurier (Frenchman's Creek)
β
He belonged to a walled city of the fifteenth century, a city of narrow, cobbled streets, and thin spires, where the inhabitants wore pointed shoes and worsted hose. His face was arresting, sensitive, medieval in some strange inexplicable way, and I was reminded of a portrait seen in a gallery I had forgotten where, of a certain Gentleman Unknown. Could one but rob him of his English tweeds, and put him in black, with lace at his throat and wrists, he would stare down at us in our new world from a long distant pastβa past where men walked cloaked at night, and stood in the shadow of old doorways, a past of narrow stairways and dim dungeons, a past of whispers in the dark, of shimmering rapier blades, of silent, exquisite courtesy.
β
β
Daphne du Maurier (Rebecca)
β
here was a silence between them for a moment, and she wondered if all women, when in love, were torn between two impulses, a longing to throw modesty and reserve to the winds and confess everything, and an equal determination to conceal the love forever, to be cool, aloof, utterly detached, to die rather than admit a thing so personal, so intimate.
β
β
Daphne du Maurier
β
...as the slow sea sucked at the shore and then withdrew, leaving the strip of seaweed bare and the shingle churned, the sea birds raced and ran upon the beaches. Then that same impulse to flight seized upon them too. Crying, whistling, calling, they skimmed the placid sea and left the shore. Make haste, make speed, hurry and begone; yet where, and to what purpose? The restless urge of autumn, unsatisfying, sad, had put a spell upon them and they must flock, and wheel, and cry; they must spill themselves of motion before winter came.
β
β
Daphne du Maurier (The Birds and Other Stories)
β
He had the face of one who walks in his sleep, and for a wild moment the idea came to me that perhaps he was not normal, not altogether sane. There were people who had trances, I had surely heard of them, and they followed strange laws of which we could know nothing, they obeyed the tangled orders of their own sub-conscious minds. Perhaps he was one of them, and here we were within six feet of death.
β
β
Daphne du Maurier (Rebecca)
β
...she thought with pity of all the men and women who were not light-hearted when they loved, who were cold, who were reluctant, who were shy, who imagined that passion and tenderness were two things separate from one another, and not the one, gloriously intermingled, so that to be fierce was also to be gentle, so that silence was a speaking without words.
β
β
Daphne du Maurier (Frenchman's Creek)
β
The child destined to be a writer is vulnerable to every wind that blows. Now warm, now chill, next joyous, then despairing, the essence of his nature is to escape the atmosphere about him, no matter how stable, even loving. No ties, no binding chains, save those he forges for himself. Or so he thinks. But escape can be delusion, and what he is running from is not the enclosing world and its inhabitants, but his own inadequate self that fears to meet the demands which life makes upon it. Therefore create. Act God. Fashion men and women as Prometheus fashioned them from clay, and, by doing this, work out the unconscious strife within and be reconciled. While in others, imbued with a desire to mold, to instruct, to spread a message that will inspire the reader and so change his world, though the motive may be humane and even noble--many great works have done just this--the source is the same dissatisfaction, a yearning to escape.
β
β
Daphne du Maurier (The Loving Spirit)
β
Packing up. The nagging worry of departure. When shutting drawers and flinging wide an hotel wardrobe, or the impersonal shelves of a furnished villa, I am aware of sadness, of a sense of loss. Here, I say, we have lived, we have been happy. This has been ours, however brief the time. Though two nights only have been spent beneath a roof, yet we leave something of ourselves behind. Nothing material, not a hair-pin on a dressing-table, not an empty bottle of Aspirin tablets, not a handkerchief beneath a pillow, but something indefinable, a moment of our lives, a thought, a mood. This house sheltered us, we spoke, we loved within those walls. That was yesterday. Today we pass on, we see it no more, and we are different, changed in some infinitesimal way. We can never be quite the same again.
β
β
Daphne du Maurier (Rebecca)
β
I believe there is a theory that men and women emerge finer and stronger after suffering, and that to advance in this or any world we must endure ordeal by fire. This we have done in full measure, ironic though it seems. We have both known fear, and loneliness, and very great distress. I suppose sooner or later in the life of everyone comes a moment of trial. We all of us have our particular devil who rides us and torments us, and we must give battle in the end.
β
β
Daphne du Maurier (Rebecca)
β
I am aware of sadness, of a sense of loss. Here, I say, we have lived, we have been happy. This has been ours, however brief the time. Though two nights only have been spent beneath a roof, yet we leave something of ourselves behind. Nothing material, . . . but something indefinable, a moment of our lives, a thought, a mood.
The house sheltered us, we spoke, we loved within those walls. That was yesterday. To-day we pass on, we see it no more, and we are different, changed in some infinitesimal way. We can never be quite the same again.
β
β
Daphne du Maurier (Rebecca)
β
They were all fitting into place, the jig-saw pieces. The odd strained shapes that I had tried to piece together with my fumbling fingers and they had never fitted. Frank's odd manner when I spoke about Rebecca. Beatrice and her rather diffident negative attitude. The silence that I had always taken for sympathy and regret was a silence born of shame and embarrassment. It seemed incredible to me now that I had never understood. I wondered how many people there were in the world who suffered, and continued to suffer, because they could not break out from their own web of shyness and reserve, and in their blindness and folly built up a great wall in front of them that hid the truth. This was what I had done. I had built up false pictures in my mind and sat before them. I had never had the courage to demand the truth. Had I made one step forward out of my own shyness Maxim would have told these things four months, five months ago.
β
β
Daphne du Maurier (Rebecca)
β
I wanted to go on sitting there, not talking, not listening to the others, keeping the moment precious for all time, because we were peaceful all of us, we were content and drowsy even as the bee who droned above our heads. In a little while it would be different, there would come tomorrow, and the next day and another year. And we would be changed perhaps, never sitting qite like this again. Some of us would go away, or suffer, or die, the future stretched away in front of us, unknown, unseen, not perhaps what we wanted, not what we planned. This moment was safe though, this could not be touched.
β
β
Daphne du Maurier (Rebecca)
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The peace of Manderley. The quietude and the grace. Whoever lived within its walls, whatever trouble there was and strife, however much uneasiness and pain, no matter what tears were shed, what sorrows borne, the peace of Manderley could not be broken or the loveliness destroyed. The flowers that died would bloom again another year, the same birds build their nests, the same trees blossom. That old quiet moss smell would linger in the air, and the bees would come, and crickets, the herons build their nests in the deep dark woods. The butterflies would dance their merry jug across the lawns, and spiders spin foggy webs, and small startled rabbits who had no business to come trespassing poke their faces through the crowded shrubs. There would be lilac, and honeysuckle still, and the white magnolia buds unfolding slow and tight beneath the dining-room window. No one would ever hurt Manderley. It would lie always in its hollow like an enchanted thing, guarded by the woods, safe, secure, while the sea broke and ran and came again in the little shingle bays below.
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Daphne du Maurier (Rebecca)
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I thought how little we know about the feelings of old people. Children we understand, their fears and hopes and make-believe. I was a child yesterday. I had not forgotten. But Maximβs grandmother, sitting there in her shawl with her poor blind eyes, what did she feel, what was she thinking? Did she know that Beatrice was yawning and glancing at her watch? Did she guess that we had come to visit her because we felt it right, it was a duty, so that when she got home afterwards Beatrice would be able to say, βWell, that clears my conscience for three monthsβ? Did she ever think about Manderley? Did she remember sitting at the dining room table, where I sat? Did she too have tea under the chestnut tree? Or was it all forgotten and laid aside, and was there nothing left behind that calm, pale face of hers but little aches and little strange discomforts, a blurred thankfulness when the sun shone, a tremor when the wind blew cold? I wished that I could lay my hands upon her face and take the years away. I wished I could see her young, as she was once, with color in her cheeks and chestnut hair, alert and active as Beatrice by her side, talking as she did about hunting, hounds, and horses. Not sitting there with her eyes closed while the nurse thumped the pillows behind her head. βWeβve got a treat today, you know,β said the nurse, βwatercress sandwiches for tea. We love watercress, donβt we?
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Daphne du Maurier (Rebecca)