Virginia Woolf Famous Quotes

I will not be "famous," "great." I will go on adventuring, changing, opening my mind and my eyes, refusing to be stamped and stereotyped. The thing is to free one's self: to let it find its dimensions, not be impeded.

Yet Byron never made tea as you do, who fill the pot so that when you put the lid on the tea spills over. There is a brown pool on the table--it is running among your books and papers. Now you mop it up, clumsily, with your pocket-hankerchief. You then stuff your hankerchief back into your pocket--that is not Byron; that is so essentially you that if I think of you in twenty years' time, when we are both famous, gouty and intolerable, it will be by that scene: and if you are dead, I shall weep.

He would give every penny he has (such is the malignity of the germ) to write one little book and become famous; yet all the gold in Peru will not buy him the treasure of a well-turned line.

That a famous library has been cursed by a woman is a matter of complete indifference to a famous library.

You have been reading Byron. You have been marking the passages that seem to approve of your own character. I find marks against all those sentences which seem to express a sardonic yet passionate nature; a moth-like impetuosity dashing itself against hard glass. You thought, as you drew your pencil there, "I too throw off my cloak like that. I too snap my fingers in the face of destiny". Yet Byron never made tea as you do, who fill the pot so that when you put the lid on the tea spills over. There is a brown pool on the table - it is running among your books and papers. Now you mop it up, clumsily, with your pocket-handkerchief. You then stuff your handkerchief back into your pocket - that is not Byron; that is you; that is so essentially you that if I think of you in twenty years' time, when we are both famous, gouty and intolerable, it will be by that scene: and if you are dead, I shall weep.

and Orlando (1928), and the book-length essay A Room of One's Own (1929) with its famous dictum, "a woman must have money and a room of her own if she is to write fiction

It is a still stranger thing that there is nothing so delightful in the world as telling stories. It is far pleasanter than writing reviews of famous novels.

London was like a machine. We were all being shot backwards and forwards on this plain foundation to make some pattern. The British Museum was another department of the factory. The swing-doors swung open; and there one stood under the vast dome, as if one where a thought in the huge bald fore head which is so splendidly encircled by a band of famous names.

Words, English words, are full of echoes, of memories, of associations. They have been out and about, on people's lips, in their houses, in the streets, in the fields, for so many centuries. And that is one of the chief difficulties in writing them today – that they are stored with other meanings, with other memories, and they have contracted so many famous marriages in the past.

Very gently and quietly, almost as if it were the blood singing in her veins, or the water of the stream running over stones, she became conscious of a new feeling within her. She wondered for a moment what it was, and then said to herself, with a little surprise at recognising in her own person so famous a thing: is happiness.

Virginia Woolf wrote famously, “About December 1910 human nature changed.” Well, one doubts it. What did change, and has been changing all through the closing decades of the 19th century, is that the intelligentsia became increasingly alienated from the bourgeois world from which it sprung, and wished to become something Higher. It wished to make novels difficult and technical – think of Woolf or Joyce – to keep them out of the hands of the uneducated and to elevate the intelligentsia to a new clerisy, a new aristocracy of the spirit. Similarly in painting, music, and philosophy. It wished to make everything difficult and technical, and it succeeded. [Economists Lawrence] Klein, [Paul] Samuelson, and [Jan] Tinbergen were middle-period modernists. The vices of modernism come from the master vice of Pride, the vice so characteristic of an actual or wannabe aristocracy. It is prideful overreaching to think that social engineering can work, that a smart lad at a blackboard can outwit the wisdom of the world or the ages, that a piece of machinery like statistical significance can tell you how big or small a number is.

But to continue the story of my professional experiences. I made one pound ten and six by my first review; and I bought a Persian cat with the proceeds. Then I grew ambitious. A Persian cat is all very well, I said; but a Persian cat is not enough. I must have a motor car. And it was thus that I became a novelist--for it is a very strange thing that people will give you a motor car if you will tell them a story. It is a still stranger thing that there is nothing so delightful in the world as telling stories. It is far pleasanter than writing reviews of famous novels.

Virginia Woolf (January 25, 1882 – March 28, 1941) was an English novelist and essayist regarded as one of the foremost modernist literary figures of the twentieth century. During the interwar period, Woolf was a significant figure in London literary society and a member of the Bloomsbury Group. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927), and Orlando (1928), and the book-length essay A Room of One's Own (1929) with its famous dictum, "a woman must have money and a room of her own if she is to write fiction".

My mother used to say that if I couldn’t sleep I should count something that matters, anything but sheep. Count stars. Count Mercedes-Benzes. Count U.S. presidents. Count the years you have left to live. I might jump out the window, I thought, if I couldn’t sleep. I pulled the blanket up to my chest. I counted state capitals. I counted different kinds of flowers. I counted shades of blue. Cerulean. Cadet. Electric. Teal. Tiffany. Egyptian. Persian. Oxford. I didn’t sleep. I wouldn’t sleep. I couldn’t. I counted as many kinds of birds as I could think of. I counted TV shows from the eighties. I counted movies set in New York City. I counted famous people who committed suicide: Diane Arbus, the Hemingways, Marilyn Monroe, Sylvia Plath, van Gogh, Virginia Woolf. Poor Kurt Cobain. I counted the times I’d cried since my parents died. I counted the seconds passing. Time could go on forever like this, I thought again. Time would. Infinity loomed consistently and all at once, forever, with or without me. Amen.

Well, how was she going to defend herself? Now that she knew what it was, she felt perfectly happy. They thought, or Peter at any rate thought, that she enjoyed imposing herself; liked to have famous people about her; great names; was simply a snob in short. Well, Peter might think so. Richard merely thought it foolish of her to like excitement when she knew it was bad for her heart. It was childish, he thought. And both were quite wrong. What she liked was simply life.

They thought, or Peter at any rate thought, that she enjoyed imposing herself; liked to have famous people about her; great names; was simply a snob in short. Well, Peter might think so. Richard merely thought it foolish of her to like excitement when she knew it was bad for her heart. It was childish, he thought. And both were quite wrong. What she liked was simply life.

As for the other experiences, the solitary ones, which people go through alone, in their bedrooms, in their offices, walking the fields and the streets of London, he had them; had left home, a mere boy, because of his mother; she lied; because he came down to tea for the fiftieth time with his hands unwashed; because he could see no future for a poet in Stroud; and so, making a confidant of his little sister, had gone to London leaving an absurd note behind him, such as great men have written, and the world has read later when the story of their struggles has become famous. London has swallowed up many millions of young men called Smith; thought nothing of fantastic Christian names like Septimus with which their parents have thought to distinguish them. Lodging off the Euston Road, there were experiences, again experiences, such as change a face in two years from a pink innocent oval to a face lean, contracted, hostile. But of all this what could the most observant of friends have said except what a gardener says when he opens the conservatory door in the morning and finds a new blossom on his plant: — It has flowered; flowered from vanity, ambition, idealism, passion, loneliness, courage, laziness, the usual seeds, which all muddled up (in a room off the Euston Road), made him shy, and stammering, made him anxious to improve himself, made him fall in love with Miss Isabel Pole, lecturing in the Waterloo Road upon Shakespeare. Was he not like Keats? she asked; and reflected how she might give him a taste of Antony and Cleopatra and the rest; lent him books; wrote him scraps of letters; and lit in him

Leonard Woolf’s endurance of Virginia’s famous frigidity is, we must suppose after the fact, altogether to his credit. Their honeymoon did not bring the amelioration they had hoped for and it is incredibly innocent and moving to think of them discussing it with Vanessa. They wanted to know when she had first had an orgasm. She said she couldn’t remember but she knew she had been “sympathetic” from the age of two. Vita Sackville-West said about Virginia, “She dislikes the possessiveness and love of domination in men. In fact she dislikes the quality of masculinity.

But soon Flush became aware of the more profound differences that distinguish Pisa—it was in Pisa that they were now settled—from London. The dogs were different. In London he could scarcely trot round to the pillar-box without meeting some pug dog, retriever, bulldog, mastiff, collie, Newfoundland, St. Bernard, fox terrier or one of the seven famous families of the Spaniel tribe. To each he gave a different name, and to each a different rank. But here in Pisa, though dogs abounded, there were no ranks; all—could it be possible?—were mongrels. As far as he could see, they were dogs merely—grey dogs, yellow dogs, brindled dogs, spotted dogs; but it was impossible to detect a single spaniel, collie, retriever or mastiff among them. Had the Kennel Club, then, no jurisdiction in Italy? Was the Spaniel Club unknown? Was there no law which decreed death to the topknot, which cherished the curled ear, protected the feathered foot, and insisted absolutely that the brow must be domed but not pointed? Apparently not. Flush felt himself like a prince in exile. He was the sole aristocrat among a crowd of canaille. He was the only pure-bred cocker spaniel in the whole of Pisa.

It was Mrs. Ramsay reading to James, she said. She knew his objection--that no one could tell it for a human shape. But she had made no attempt at likeness, she said. For what reason had she introduced them then? he asked. Why indeed?--except that if there, in that corner, it was bright here, in this, she felt the need of darkness. Simple, obvious, commonplace, as it was, Mr. Bankes was interested. Mother and child then--objects of universal veneration, and in this case the mother was famous for her beauty--might be reduced, he pondered, to a purple shadow without irreverence. But the picture was not of them, she said. Or, not in his sense. There were other senses too in which one might reverence them. By a shadow here and a light there, for instance.

They thought, or Peter at any rate thought, that she enjoyed imposing herself; liked to have famous people about her; great names; was simply a snob in short. Well, Peter might think so. Richard merely thought it foolish of her to like excitement when she knew it was bad for her heart. It was childish, he thought. And both were quite wrong. What she liked was simply life. “That's what I do it for," she said, speaking aloud, to life. ... But suppose Peter said to her, "Yes, yes, but your parties—what's the sense of your parties?" all she could say was (and nobody could be expected to understand): They're an offering; which sounded horribly vague. ... And she felt quite continuously a sense of their existence; and she felt what a waste; and she felt what a pity; and she felt if only they could be brought together; so she did it. And it was an offering; to combine, to create; but to whom?

And while I was writing this review, I discovered that if I were going to review books I should need to do battle with a certain phantom. And the phantom was a woman, and when I came to know her better I called her after the heroine of a famous poem, The Angel in the House. It was she who used to come between me and my paper when I was writing reviews. It was she who bothered me and wasted my time and so tormented me that at last I killed her. You who come of a younger and happier generation may not have heard of her — you may not know what I mean by the Angel in the House. I will describe her as shortly as I can. She was intensely sympathetic. She was immensely charming. She was utterly unselfish. She excelled in the difficult arts of family life. She sacrificed herself daily. If there was chicken, she took the leg; if there was a draught she sat in it — in short she was so constituted that she never had a mind or a wish of her own, but preferred to sympathize always with the minds and wishes of others. Above all — I need not say it —-she was pure. Her purity was supposed to be her chief beauty — her blushes, her great grace. And when I came to write I encountered her with the very first words. The shadow of her wings fell on my page; I heard the rustling of her skirts in the room. Directly, that is to say, I took my pen in my hand to review that novel by a famous man, she slipped behind me and whispered: “My dear, you are a young woman. You are writing about a book that has been written by a man. Be sympathetic; be tender; flatter; deceive; use all the arts and wiles of our sex. Never let anybody guess that you have a mind of your own. Above all, be pure.” And she made as if to guide my pen. I turned upon her and caught her by the throat. I did my best to kill her. My excuse, if I were to be had up in a court of law, would be that I acted in self-defence. Had I not killed her she would have killed me. She would have plucked the heart out of my writing. For, as I found, directly I put pen to paper, you cannot review even a novel without having a mind of your own, without expressing what you think to be the truth about human relations, morality, sex. And all these questions, according to the Angel of the House, cannot be dealt with freely and openly by women; they must charm, they must conciliate, they must — to put it bluntly — tell lies if they are to succeed. Thus, whenever I felt the shadow of her wing or the radiance of her halo upon my page, I took up the inkpot and flung it at her. She died hard. Her fictitious nature was of great assistance to her. It is far harder to kill a phantom than a reality. But it was a real experience; it was an experience that was bound to befall all women writers at that time. Killing the Angel in the House was part of the occupation of a woman writer.

As for the other experiences, the solitary ones, which people go through alone, in their bedrooms, in their offices, walking the fields and the streets of London, he had them; had left home, a mere boy, because of his mother; she lied; because he came down to tea for the fiftieth time with his hands unwashed; because he could see no future for a poet in Stroud; and so, making a confidant of his little sister, had gone to London leaving an absurd note behind him, such as great men have written, and the world has read later when the story of their struggles has become famous. London has swallowed up many millions of young men called Smith; thought nothing of fantastic Christian names like Septimus with which their parents have thought to distinguish them. Lodging off the Euston Road, there were experiences, again experiences, such as change a face in two years from a pink innocent oval to a face lean, contracted, hostile. But of all this what could the most observant of friends have said except what a gardener says when he opens the conservatory door in the morning and finds a new blossom on his plant: — It has flowered; flowered from vanity, ambition, idealism, passion, loneliness, courage, laziness, the usual seeds, which all muddled up (in a room off the Euston Road), made him shy, and stammering, made him anxious to improve himself, made him fall in love with Miss Isabel Pole, lecturing in the Waterloo Road upon Shakespeare. Was he not like Keats? she asked; and reflected how she might give him a taste of Antony and Cleopatra and the rest; lent him books; wrote him scraps of letters; and lit in him such a fire as burns only once in a lifetime, without heat, flickering a red gold flame infinitely ethereal and insubstantial over Miss Pole; Antony and Cleopatra; and the Waterloo Road. He thought her beautiful, believed her impeccably wise; dreamed of her, wrote poems to her, which, ignoring the subject, she corrected in red ink; he saw her, one summer evening, walking in a green dress in a square. “It has flowered,” the gardener might have said, had he opened the door; had he come in, that is to say, any night about this time, and found him writing; found him tearing up his writing; found him finishing a masterpiece at three o’clock in the morning and running out to pace the streets, and visiting churches, and fasting one day, drinking another, devouring Shakespeare, Darwin, The History of Civilisation, and Bernard Shaw.

I will not be ‘famous’ ‘great’ . I will go on adventuring, changing, opening my mind and my eyes , refusing to be stamped and stereotyped

Diana had been finishing up a session with the Russian artist and mosaicist Boris Anrep at the National Gallery when the messenger arrived. Anrep had asked eleven friends to model for the nine Muses, plus Apollo and Dionysus, that he was depicting on a mosaic floor in the entryway to the famous museum. The chosen few were draped in togas and arranged in languid positions—Clive Bell as Dionysus, Virginia Woolf as Clio, Greta Garbo as Melpomene, and Diana as Polyhymnia, muse of sacred music and oratory, and so on—when a uniformed man clomped into the private

. . . it would seem to be a fact that writers stamp themselves upon their possessions more indelibly than other people. Of artistic taste they may have none; but they seem always to possess a much rarer and more interesting gift—a faculty for housing themselves appropriately, for making the table, the chair, the curtain, the carpet into their own image.

Aside from being famous, what do Beethoven, Mark Rothko, Hemingway, Francis Ford Coppola, Van Gogh, Alvin Ailey, Robin Williams, Sylvia Plath, Balzac, Jackson Pollock, Edgar Allan Poe, Axl Rose, Mark Twain, and Virginia Woolf have in common? They all suffered from some form of mental illness. Even

Milne, whom I will always think of as Russell's literary friend, editor of the Granta, young and quick and clever, is now, of course, famous for a series of books about a bear and a toy piglet and a donkey, books which I have read and from which, I am perfectly willing to admit, I have derived far more pleasure than I have from most of the so-called serious literature published in the last decades. (Give me Milne over Virginia Woolf any day!)

That a famous library has been cursed by a woman is a matter of complete indifference to a famous library. Venerable and calm, with all its treasures safe locked within its breast, it sleeps complacently and will, so far as I am concerned, so sleep for ever.