Quotes

"It is vain to say human beings ought to be satisfied with tranquillity: they must have action; and they will make it if they cannot find it. Millions are condemned to a stiller doom than mine, and millions are in silent revolt against their lot. Nobody knows how many rebellions ferment in the masses of life which people earth. Women are supposed to be very calm generally; but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a constraint, to absolute a stagnation, precisely as men would suffer; and it is narrow minded in their more privileged fellow creatures to say they ought to confine themselves to making puddings and knitting stockings, to playing the piano and embroidering bags."

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

And I went on amateurishly to sketch a plan of the soul so that in each of us two powers preside, one male, one female; and in the man's brain the man predominates over the woman, and in the woman's brain the woman predominates over the man. The normal and comfortable state of being is that when the two live in harmony together, spiritually co-operating. If one is a man, still the woman part of his brain must have effect; and a woman also must have intercourse with the man in her. Coleridge perhaps meant this when he said that a great mind is androgynous. It is when this fusion takes place that the mind is fully fertilized and uses all its faculties.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

And here, I said, opening a book about music, we have the very words used again in this year of grace, 1928, of women who try to write music. 'Of Mlle. Germaine Tailleferre one can only repeat Dr Johnson's dictum concerning, a woman preacher, transposed into terms of music. "Sir, a woman's composing is like a dog's walking on his hind legs. It is not done well, but you are surprised to find it done at all."'

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

At the thought of all those women working year after year and finding it hard to get two thousand pounds together, and as much as they could do to get thirty thousand pounds, we burst out in scorn at the reprehensible poverty of our sex. What had our mothers been doing then that they had no wealth to leave us? Powdering their noses? Looking in at shop windows? Flaunting in the sun at Monte Carlo?.... If only Mrs Seton and her mother and her mother before her had learnt the great art of making money and had left their money, like their fathers and their grandfathers before them, to found fellowships and lectureships and prizes and scholarships appropriated to the use of their own sex, we might have dined very tolerably up here alone off a bird and a bottle of wine; we might have looked forward without undue confidence to a pleasant and honourable lifetime spent in the shelter of one of the liberally endowed professions. We might have been exploring or writing; mooning about the venerable places of the earth; sitting contemplative on the steps of the Parthenon, or going at ten to an office and coming home comfortably at half-past four to write a little poetry

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

But what I find deplorable...is that nothing is known about women before the eighteenth century. I have no model in my mind to turn about this way and that. Here am I asking why women did not write poetry in the Elizabethan age, and I am not sure how they were educated; whether they were taught to write; whether they had sitting-rooms to themselves; how many women had children before they were twenty-one; what, in short, they did from eight in the morning till eight at night. They had no money evidently; according to Professor Trevelyan they were married whether they liked it or not before they were out of the nursery, at fifteen or sixteen very likely. It would have been extremely odd, even upon this showing, had one of them suddenly written the plays of Shakespeare, I concludedà

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

But whatever effect discouragement and criticism had upon their writing--and I believe that they had a very great effect--that was unimportant compared with the other difficulty which faced them (I was still considering those early nineteenth-century novelists) when they came to set their thoughts on paper--that is that they had no tradition behind them, or one so short and partial that it was of little help.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

For masterpieces are not single and solitary births; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice. Jane Austen should have laid a wreath upon the grave of Fanny Burney, and George Eliot done homage to the robust shade of Eliza Carter--the valiant old woman who tied a bell to her bedstead in order that she might wake early and learn Greek. All women together ought to let flowers fall upon the tomb of AphraBehn, which is, most scandalously but rather appropriately, in Westminster Abbey, for it was she who earned them the right to speak their minds. It is she--shady and amorous as she was--who makes it not quite fantastic for me to say to you to-night: Earn five hundred a year by your wits.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

For, to endow a college would necessitate the suppression of families altogether. Making a fortune and bearing thirteen children—no human being could stand it. Consider the facts, we said. First there are nine months before the baby is born. Then the baby is born. Then there are three or four months spent in feeding the baby. After the baby is fed there are certainly five years spent in playing with the baby. You cannot, it seems, let children run about the streets. People who have seen them running wild in Russia say that the sight is not a pleasant one. People say, too, that human nature takes its shape in the years between one and five. If Mrs Seton, I said, had been making money, what sort of memories would you have had of games and quarrels

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

He hinted--you can imagine what. She could get no training in her craft. Could she even seek her dinner in a tavern or roam the streets at midnight? Yet her genius was for fiction and lusted to feed abundantly upon the lives of men and women and the study of their ways. At last--for she was very young, oddly like Shakespeare the poet in her face, with the same grey eyes and rounded brows--at last Nick Greene the actor-manager took pity on her; she found herself with child by that gentleman and so--who shall measure the heat and violence of the poet's heart when caught and tangled in a woman's body?--killed herself one winter's night and lies buried at some cross-roads where the omnibuses now stop outside the Elephant and Castle.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

I pondered why it was that Mrs Seton had no money to leave us; and what effect poverty has on the mind; and what effect wealth has on the mind; and I thought of the queer old gentlemen I had seen that morning with tufts of fur upon their shoulders; and I remembered how if one whistled one of them ran; and I thought of the organ booming in the chapel and of the shut doors of the library; and I thought how unpleasant it is to be locked out; and I thought how it is worse perhaps to be locked in; and, thinking of the safety and prosperity of the one sex and of the poverty and insecurity of the other and of the effect of tradition and of the lack of tradition upon the mind of a writer, I thought at last that it was time to roll up the crumpled skin of the day, with its arguments and its impressions and its anger and its laughter, and cast it into the hedge.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

When they reach'd where Laura was They stood stock still upon the moss, Leering at each other, Brother with queer brother; Signalling each other, Brother with sly brother. One set his basket down, One rear'd his plate; One began to weave a crown Of tendrils, leaves, and rough nuts brown (Men sell not such in any town); One heav'd the golden weight Of dish and fruit to offer her:

"Goblin Market" by Christina Rossetti (Victorian Literature)

I wondered, would PRIDE AND PREJUDICE have been a better novel if Jane Austen had not thought it necessary to hide her manuscript from visitors? I read a page or two to see; but I could not find any signs that her circumstances had harmed her work in the slightest. That, perhaps, was the chief miracle about it. Here was a woman about the year 1800 writing without hate, without bitterness, without fear, without protest, without preaching. That was how Shakespeare wrote, I thought, looking at ANTONY AND CLEOPATRA; and when people compare Shakespeare and Jane Austen, they may mean that the minds of both had consumed all impediments; and for that reason we do not know Jane Austen and we do not know Shakespeare, and for that reason Jane Austen pervades every word that she wrote, and so does Shakespeare.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

Indeed, if woman had no existence save in the fiction written by men, one would imagine her a person of the utmost importance; very various; heroic and mean; splendid and sordid; infinitely beautiful and hideous in the extreme; as great as a man, some think even greater. But this is woman in fiction. In fact, as Professor Trevelyan points out, she was locked up, beaten and flung about the room.... A very queer, composite being thus emerges. Imaginatively she is of the highest importance; practically she is completely insignificant. She pervades poetry from cover to cover; she is all but absent from history.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

It was a thousand pities that the woman who could write like that, whose mind was tuned to nature and reflection, should have been forced to anger and bitterness. But how could she have helped herself? I asked, imagining the sneers and the laughter, the adulation of the toadies, the scepticism of the professional poet. She must have shut herself up in a room in the country to write, and been torn asunder by bitterness and scruples perhaps, though her husband was of the kindest, and their married life perfection. She 'must have', I say, because when one comes to seek out the facts about Lady Winchilsea, one finds, as usual, that almost nothing is known about her.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

Meanwhile his extraordinarily gifted sister, let us suppose, remained at home. She was as adventurous, as imaginative, as agog to see the world as he was. But she was not sent to school. She had no chance of learning grammar and logic, let alone of reading Horace and Virgil. She picked up a book now and then, one of her brother's perhaps, and read a few pages. But then her parents came in and told her to mend the stockings or mind the stew and not moon about with books and papers. They would have spoken sharply but kindly, for they were substantial people who knew the conditions of life for a woman and loved their daughter--indeed, more likely than not she was the apple of her father's eye. Perhaps she scribbled some pages up in an apple loft on the sly but was careful to hide them or set fire to them. Soon, however, before she was out of her teens, she was to be betrothed to the son of a neighbouring wool-stapler. à

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

Moreover, it is equally useless to ask what might have happened if Mrs Seton and her mother and her mother before her had amassed great wealth and laid it under the foundations of college and library, because, in the first place, to earn money was impossible for them, and in the second, had it been possible, the law denied them the right to possess what money they earned.... Every penny I earn, they may have said, will be taken from me and disposed of according to my husband's wisdom—perhaps to found a scholarship or to endow a fellowship in Balliol or Kings, so that to earn money, even if I could earn money, is not a matter that interests me very greatly. I had better leave it to my husband.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

Now my belief is that this poet who never wrote a word and was buried at the cross-roads still lives. She lives in you and in me, and in many other women who are not here to-night, for they are washing up the dishes and putting the children to bed. But she lives; for great poets do not die; they are continuing presences; they need only the opportunity to walk among us in the flesh.... As for her coming without that preparation, without that effort on our part, without that determination that when she is born again she shall find it possible to live and write her poetry, that we cannot expect, for that would be impossible. But I maintain that she would come if we worked for her, and that so to work, even in poverty and obscurity, is worth while.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

One could not but play for a moment with the thought of what might have happened if Charlotte Brontė had possessed say three hundred a year--but the foolish woman sold the copyright of her novels outright for fifteen hundred pounds; had somehow possessed more knowledge of the busy world, and towns and regions full of life; more practical experience, and intercourse with her kind and acquaintance with a variety of character.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

Only Jane Austen did it and Emily Brontė. It is another feather, perhaps the finest, in their caps. They wrote as women write, not as men write. Of all the thousand women who wrote novels then, they alone entirely ignored the perpetual admonitions of the eternal pedagogue--write this, think that. They alone were deaf to that persistent voice, now grumbling, now patronizing, now domineering, now grieved, now shocked, now angry, now avuncular, that voice which cannot let women alone, but must be at them, like some too-conscientious governess, adjuring them, like Sir Egerton Brydges, to be refined; dragging even into the criticism of poetry criticism of sex.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

Poetry depends upon intellectual freedom. And women have always been poor, not for two hundred years merely, but from the beginning of time. Women have had less intellectual freedom than the sons of Athenian slaves. Women, then, have not had a dog's chance of writing poetry. That is why I have laid so much stress on money and a room of one's own. However, thanks to the toils of those obscure women in the past, of whom I wish we knew more, thanks, curiously enough to two wars, the Crimean which let Florence Nightingale out of her drawing-room, and the European War which opened the doors to the average woman some sixty years later, these evils are in the way to be bettered. Otherwise you would not be here tonight, and your chance of earning five hundred pounds a year, precarious as I am afraid that it still is, would be minute in the extreme.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

Shall we lay the blame on the war? When the guns fired in August 1914, did the faces of men and women show so plain in each other's eyes that romance was killed? Certainly it was a shock (to women in particular with their illusions about education, and so on) to see the faces of our rulers in the light of the shell-fire. So ugly they looked—German, English, French—so stupid. But lay the blame where one will, on whom one will, the illusion which inspired Tennyson and Christina Rossetti to sing so passionately about the coming of their loves is far rarer now than then. One has only to read, to look, to listen, to remember. But why say 'blame'? Why, if it was an illusion, not praise the catastrophe, whatever it was, that destroyed illusion and put truth in its place? For truth . . . those dots mark the spot where, in search of truth, I missed the turning up to Fernham.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

She cried out that marriage was hateful to her, and for that she was severely beaten by her father. Then he ceased to scold her. He begged her instead not to hurt him, not to shame him in this matter of her marriage. He would give her a chain of beads or a fine petticoat, he said; and there were tears in his eyes. How could she disobey him? How could she break his heart? The force of her own gift alone drove her to it. She made up a small parcel of her belongings, let herself down by a rope one summer's night and took the road to London. She was not seventeen. The birds that sang in the hedge were not more musical than she was. She had the quickest fancy, a gift like her brother's, for the tune of words. Like him, she had a taste for the theatre. She stood at the stage door; she wanted to act, she said. Men laughed in her face. The manager--a fat, looselipped man--guffawed. He bellowed something about poodles dancing and women acting--no woman, he said, could possibly be an actress.à

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

That, more or less, is how the story would run, I think, if a woman in Shakespeare's day had had Shakespeare's genius. But for my part, I agree with the deceased bishop, if such he was--it is unthinkable that any woman in Shakespeare's day should have had Shakespeare's genius. For genius like Shakespeare's is not born among labouring, uneducated, servile people. It was not born in England among the Saxons and the Britons. It is not born to-day among the working classes. How, then, could it have been born among women whose work began, according to Professor Trevelyan, almost before they were out of the nursery, who were forced to it by their parents and held to it by all the power of law and custom.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

Well, said Mary Seton, about the year 1860—Oh, but you know the story, she said, bored, I suppose, by the recital. And she told me—rooms were hired. Committees met. Envelopes were addressed. Circulars were drawn up. Meetings were held; letters were read out; so-andso has promised so much; on the contrary, Mr —— won't give a penny. The Saturday Review has been very rude. How can we raise a fund to pay for offices? Shall we hold a bazaar? Can't we find a pretty girl to sit in the front row? Let us look up what John Stuart Mill said on the subject. Can anyone persuade the editor of the —— to print a letter? Can we get Lady —— to sign it? Lady —— is out of town. That was the way it was done, presumably, sixty years ago, and it was a prodigious effort, and a great deal of time was spent on it. And it was only after a long struggle and with the utmost difficulty that they got thirty thousand pounds together. So obviously we cannot have wine and partridges and servants carrying tin dishes on their heads, she said. We cannot have sofas and separate rooms. 'The amenities,' she said, quoting from some book or other, 'will have to wait.'

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

What a vision of loneliness and riot the thought of Margaret Cavendish brings to mind! as if some giant cucumber had spread itself over all the roses and carnations in the garden and choked them to death. What a waste that the woman who wrote 'the best bred women are those whose minds are civilest' should have frittered her time away scribbling nonsense and plunging ever deeper into obscurity and folly till the people crowded round her coach when she issued out.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

[H]ere was an enormous body of masculine opinion to the effect that nothing could be expected of women intellectually. Even if her father did not read out loud these opinions, any girl could read them for herself; and the reading, even in the nineteenth century, must have lowered her vitality, and told profoundly upon her work. There would always have been that assertion--you cannot do this, you are incapable of doing that--to protest against, to overcome.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

and I thought of that old gentleman, who is dead now, but was a bishop, I think, who declared that it was impossible for any woman, past, present, or to come, to have the genius of Shakespeare. He wrote to the papers about it. He also told a lady who applied to him for information that cats do not as a matter of fact go to heaven, though they have, he added, souls of a sort. How much thinking those old gentlemen used to save one! How the borders of ignorance shrank back at their approach! Cats do not go to heaven. Women cannot write the plays of Shakespeare.

"A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

"For Conrad things being in their place is of the utmost importance."

"An Image of Africa" by Chinua Achebe (Post-colonialism)

Africa is to Europe as the picture is to Dorian Gray -- a carrier onto whom the master unloads his physical and moral deformities so that he may go forward, erect and immaculate. Consequently Africa is something to be avoided just as the picture has to be hidden away to safeguard the man's jeopardous integrity. Keep away from Africa, or else! Mr. Kurtz of Heart of Darkness should have heeded that warning and the prowling horror in his heart would have kept its place, chained to its lair. But he foolishly exposed himself to the wild irresistible allure of the jungle and lo! the darkness found him out.

"An Image of Africa" by Chinua Achebe (Post-colonialism)

If there is something in these utterances more than youthful inexperience, more than a lack of factual knowledge, what is it? Quite simply it is the desire -- one might indeed say the need -- in Western psychology to set Africa up as a foil to Europe, as a place of negations at once remote and vaguely familiar, in comparison with which Europe's own state of spiritual grace will be manifest.

"An Image of Africa" by Chinua Achebe (Post-colonialism)

The point of my observations should be quite clear by now, namely that Joseph Conrad was a thoroughgoing racist. That this simple truth is glossed over in criticisms of his work is due to the fact that white racism against Africa is such a normal way of thinking that its manifestations go completely unremarked. Students of Heart of Darkness will often tell you that Conrad is concerned not so much with Africa as with the deterioration of one European mind caused by solitude and sickness. They will point out to you that Conrad is, if anything, less charitable to the Europeans in the story than he is to the natives, that the point of the story is to ridicule Europe's civilizing mission in Africa. A Conrad student informed me in Scotland that Africa is merely a setting for the disintegration of the mind of Mr. Kurtz.

"An Image of Africa" by Chinua Achebe (Post-colonialism)

Which is partly the point. Africa as setting and backdrop which eliminates the African as human factor. Africa as a metaphysical battlefield devoid of all recognizable humanity, into which the wandering European enters at his peril. Can nobody see the preposterous and perverse arrogance in thus reducing Africa to the role of props for the break-up of one petty European mind? But that is not even the point. The real question is the dehumanization of Africa and Africans which this age-long attitude has fostered and continues to foster in the world. And the question is whether a novel which celebrates this dehumanization, which depersonalizes a portion of the human race, can be called a great work of art. My answer is: No, it cannot.

"An Image of Africa" by Chinua Achebe (Post-colonialism)

Days, weeks, months, years Afterwards, when both were wives With children of their own; Their mother-hearts beset with fears, Their lives bound up in tender lives; Laura would call the little ones And tell them of her early prime, Those pleasant days long gone Of not-returning time: Would talk about the haunted glen, The wicked, quaint fruit-merchant men, Their fruits like honey to the throat But poison in the blood; (Men sell not such in any town): Would tell them how her sister stood In deadly peril to do her good, And win the fiery antidote: Then joining hands to little hands Would bid them cling together, "For there is no friend like a sister In calm or stormy weather; To cheer one on the tedious way, To fetch one if one goes astray, To lift one if one totters down, To strengthen whilst one stands.

"Goblin Market" by Christina Rossetti (Victorian Literature)

Laugh'd every goblin When they spied her peeping: Came towards her hobbling, Flying, running, leaping, Puffing and blowing, Chuckling, clapping, crowing, Clucking and gobbling, Mopping and mowing, Full of airs and graces, Pulling wry faces, Demure grimaces, Cat-like and rat-like, Ratel- and wombat-like, Snail-paced in a hurry, Parrot-voiced and whistler, Helter skelter, hurry skurry, Chattering like magpies, Fluttering like pigeons, Gliding like fishes,— Hugg'd her and kiss'd her: Squeez'd and caress'd her: Stretch'd up their dishes,

"Goblin Market" by Christina Rossetti (Victorian Literature)

Laura stretch'd her gleaming neck Like a rush-imbedded swan, Like a lily from the beck, Like a moonlit poplar branch, Like a vessel at the launch When its last restraint is gone.

"Goblin Market" by Christina Rossetti (Victorian Literature)

Laura turn'd cold as stone To find her sister heard that cry alone, That goblin cry, "Come buy our fruits, come buy." Must she then buy no more such dainty fruit? Must she no more such succous pasture find, Gone deaf and blind? Her tree of life droop'd from the root: She said not one word in her heart's sore ache; But peering thro' the dimness, nought discerning, Trudg'd home, her pitcher dripping all the way; So crept to bed, and lay Silent till Lizzie slept; Then sat up in a passionate yearning, And gnash'd her teeth for baulk'd desire, and wept As if her heart would break.

"Goblin Market" by Christina Rossetti (Victorian Literature)

Morning and evening Maids heard the goblins cry: "Come buy our orchard fruits, Come buy, come buy: Apples and quinces, Lemons and oranges, Plump unpeck'd cherries, Melons and raspberries, Bloom-down-cheek'd peaches, Swart-headed mulberries, Wild free-born cranberries, Crab-apples, dewberries, Pine-apples, blackberries, Apricots, strawberries;— All ripe together In summer weather,— Morns that pass by, Fair eves that fly; Come buy, come buy: Our grapes fresh from the vine, Pomegranates full and fine, Dates and sharp bullaces, Rare pears and greengages, Damsons and bilberries, Taste them and try: Currants and gooseberries, Bright-fire-like barberries, Figs to fill your mouth, Citrons from the South, Sweet to tongue and sound to eye; Come buy, come buy."

"Goblin Market" by Christina Rossetti (Victorian Literature)

She cried, "Laura," up the garden, "Did you miss me? Come and kiss me. Never mind my bruises, Hug me, kiss me, suck my juices Squeez'd from goblin fruits for you, Goblin pulp and goblin dew. Eat me, drink me, love me; Laura, make much of me; For your sake I have braved the glen And had to do with goblin merchant men."

"Goblin Market" by Christina Rossetti (Victorian Literature)

Should not loiter in the glen In the haunts of goblin men. Do you not remember Jeanie, How she met them in the moonlight, Took their gifts both choice and many, Ate their fruits and wore their flowers Pluck'd from bowers Where summer ripens at all hours? But ever in the noonlight She pined and pined away; Sought them by night and day, Found them no more, but dwindled and grew grey; Then fell with the first snow, While to this day no grass will grow Where she lies low:

"Goblin Market" by Christina Rossetti (Victorian Literature)

Then suck'd their fruit globes fair or red: Sweeter than honey from the rock, Stronger than man-rejoicing wine, Clearer than water flow'd that juice; She never tasted such before, How should it cloy with length of use? She suck'd and suck'd and suck'd the more Fruits which that unknown orchard bore; She suck'd until her lips were sore; Then flung the emptied rinds away But gather'd up one kernel stone, And knew not was it night or day As she turn'd home alone.

"Goblin Market" by Christina Rossetti (Victorian Literature)

They began to scratch their pates, No longer wagging, purring, But visibly demurring, Grunting and snarling. One call'd her proud, Cross-grain'd, uncivil; Their tones wax'd loud, Their looks were evil. Lashing their tails They trod and hustled her, Elbow'd and jostled her, Claw'd with their nails, Barking, mewing, hissing, mocking, Tore her gown and soil'd her stocking, Twitch'd her hair out by the roots, Stamp'd upon her tender feet, Held her hands and squeez'd their fruits Against her mouth to make her eat.

"Goblin Market" by Christina Rossetti (Victorian Literature)

White and golden Lizzie stood, Like a lily in a flood,— Like a rock of blue-vein'd stone Lash'd by tides obstreperously,— Like a beacon left alone In a hoary roaring sea, Sending up a golden fire,— Like a fruit-crown'd orange-tree White with blossoms honey-sweet Sore beset by wasp and bee,— Like a royal virgin town Topp'd with gilded dome and spire Close beleaguer'd by a fleet Mad to tug her standard down.

"Goblin Market" by Christina Rossetti (Victorian Literature)

He stood alone on ffie stones, his mess-tin spilled at his feet. Out of the vortex, rifling the air it came — bright, brass-shod, Pandoran ; with all-filling screaming the howl- ing crescendo's up-piling snapt. The universal world, breath held, one half second, a bludgeoned stillness. Then the pent violence released a consummation of all burst- ings out; all sudden up-rendings and rivings-through — all taking-out of vents — all barrier-breaking — all unmaking. Pemitric begetting — the dissolving and splitting of solid things. In which unearthing aftermath, John Ball picked up his mess-tin and hurried within ; ashen, huddled, waited in the dismal straw. Behind 'E' Battery, fifty yards down die road, a great many mangolds, uprooted, pulped, congealed with chemical earth, spattered and made slippery the rigid boards leading to the emplacement. The sap of vegetables slobbered the spotless breech-block of No. 3 gun.

"In Parenthesis" by David Jones (Modernist Literature)

On addressing commissioned officers — it was his favouritetheme. John Ball stood patiently, waiting for the eloquence to spend itself. The tedious flow continued, then broke off very suddenly. He looked straight at Sergeant Snell enquiringly — whose eyes changed queerly, who ducked in under the low entry. John Ball would have followed, but stood fixed and alone in the little yard — his senses highly alert, his body incapable of movement or response. The exact disposition of small things — the precise shapes of trees, the tilt of a bucket, the movement of a straw, the disappearing right boot of Sergeant Snell — all minute noises, separate and distinct, in a stillness charged through with some approaching violence — registered not by the ear nor any single faculty — an on-rushing pervasion, saturating all existence; with exactitude, logarithmic, dial-timed, millesimal— of calculated velocity, some mean chemist's contrivance, a stinking physicist's destroying toy.

"In Parenthesis" by David Jones (Modernist Literature)

The Line — going up the line — up the line tomorrow morning and the reveille so early. He hoped the cooks would light their fires in time. Moving into the line. It had all the unknownness of something of immense realness, but of which you lack all true perceptual knowledge.... The gulped-dowmtea, the distribution of eked-out bacon, the wiping dry of mess-tins with straw — they must carry this day's bread. The score of last-minute scamperings and searchings for things mislaid and the sudden heart thump at small things of importance remembered too late — no use now — leave the bloody thing.

"In Parenthesis" by David Jones (Modernist Literature)

The countryside looking familiar: It was at one to all appearances with what you knew already. The sodden hedgeless fields — the dykes so full to overflowing to bound these furrows from these, ran narrow glassy demarkatitms. The firm, straight-thrust, plumb-forward way, to march upon; the black bundles labouring, bent to the turnips for each wide plot; the same astonishing expanse of sky. Truly the unseen wind had little but your nice body for its teeth — and 02 Weavel's snuffle would depress anyone — but what was the matter with that quite ordinary tree. That 's a very usual looking farm house. The road was as Napoleon had left it. The day itself was what you'd expect of December.

"In Parenthesis" by David Jones (Modernist Literature)

There seemed in the whole air above but from no sensible direction, or point, a strong droning, as if a million bees were hiving to the stars. They gazed upwards as they went, their ill-guided feet stumbling stupidly over filled-in circular roughnesses pitting the newly-mended road. Ten minutes passed uneventfully and in silence. Close in left — large hole to right of road. As each congested file skirted that cavity, apprehensive eyes glanced sideways, turned in imison, as though at a saluting base. Eyes front can't you — open out again in thosefours. That hole was wide and very deeply conical — the hard cut stones split and dislodged lay all about for many yards, they had to step over the fragments as they passed. ...Men were busy here shovelling rubble into a great tom upheaval in the paving. A splintered tree scattered its winter limbs, spilled its life low on the ground. They stepped over its branches and went on.

"In Parenthesis" by David Jones (Modernist Literature)

And let the misty mountain-winds be free To blow against thee: and, in after years, When these wild ecstasies shall be matured Into a sober pleasure; when thy mind Shall be a mansion for all lovely forms, Thy memory be as a dwelling-place For all sweet sounds and harmonies; oh! then, If solitude, or fear, or pain, or grief, Should be thy portion, with what healing thoughts Of tender joy wilt thou remember me, And these my exhortations! Nor, perchance— If I should be where I no more can hear

"LINES COMPOSED A FEW MILES ABOVE TINTERN ABBEY, ON REVISITING THE BANKS OF THE WYE DURING A TOUR. JULY 13, 1798" William Wordsworth (Earnest Romanticism)

And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days And their glad animal movements all gone by) To me was all in all.—I cannot paint What then I was. The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, nor any interest Unborrowed from the eye.

"LINES COMPOSED A FEW MILES ABOVE TINTERN ABBEY, ON REVISITING THE BANKS OF THE WYE DURING A TOUR. JULY 13, 1798" William Wordsworth (Earnest Romanticism)

If I believed that my answer were to a person who should ever return to the world, this flame would stand without further movement; but since never one returns alive from this deep, if I hear true, I answer you without fear of infamy.

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

Five years have past; five summers, with the length Of five long winters! and again I hear These waters, rolling from their mountain-springs With a soft inland murmur.—Once again Do I behold these steep and lofty cliffs, That on a wild secluded scene impress Thoughts of more deep seclusion; and connect The landscape with the quiet of the sky. The day is come when I again repose Here, under this dark sycamore, and view These plots of cottage-ground, these orchard-tufts, Which at this season, with their unripe fruits,

"LINES COMPOSED A FEW MILES ABOVE TINTERN ABBEY, ON REVISITING THE BANKS OF THE WYE DURING A TOUR. JULY 13, 1798" William Wordsworth (Earnest Romanticism)

For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue.—And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man: A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things.

"LINES COMPOSED A FEW MILES ABOVE TINTERN ABBEY, ON REVISITING THE BANKS OF THE WYE DURING A TOUR. JULY 13, 1798" William Wordsworth (Earnest Romanticism)

If I were not thus taught, should I the more Suffer my genial spirits to decay: For thou art with me here upon the banks Of this fair river; thou my dearest Friend, My dear, dear Friend; and in thy voice I catch The language of my former heart, and read My former pleasures in the shooting lights Of thy wild eyes. Oh! yet a little while May I behold in thee what I was once, My dear, dear Sister! and this prayer I make, Knowing that Nature never did betray The heart that loved her; 'tis her privilege, Through all the years of this our life, to lead From joy to joy:

"LINES COMPOSED A FEW MILES ABOVE TINTERN ABBEY, ON REVISITING THE BANKS OF THE WYE DURING A TOUR. JULY 13, 1798" William Wordsworth (Earnest Romanticism)

If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee!

"LINES COMPOSED A FEW MILES ABOVE TINTERN ABBEY, ON REVISITING THE BANKS OF THE WYE DURING A TOUR. JULY 13, 1798" William Wordsworth (Earnest Romanticism)

Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things.

"LINES COMPOSED A FEW MILES ABOVE TINTERN ABBEY, ON REVISITING THE BANKS OF THE WYE DURING A TOUR. JULY 13, 1798" William Wordsworth (Earnest Romanticism)

Therefore am I still A lover of the meadows and the woods And mountains; and of all that we behold From this green earth; of all the mighty world Of eye, and ear,—both what they half create, And what perceive; well pleased to recognise In nature and the language of the sense The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral being.

"LINES COMPOSED A FEW MILES ABOVE TINTERN ABBEY, ON REVISITING THE BANKS OF THE WYE DURING A TOUR. JULY 13, 1798" William Wordsworth (Earnest Romanticism)

These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love.

"LINES COMPOSED A FEW MILES ABOVE TINTERN ABBEY, ON REVISITING THE BANKS OF THE WYE DURING A TOUR. JULY 13, 1798" William Wordsworth (Earnest Romanticism)

Thy voice, nor catch from thy wild eyes these gleams Of past existence—wilt thou then forget That on the banks of this delightful stream We stood together; and that I, so long A worshipper of Nature, hither came Unwearied in that service: rather say With warmer love—oh! with far deeper zeal Of holier love. Nor wilt thou then forget, That after many wanderings, many years Of absence, these steep woods and lofty cliffs, And this green pastoral landscape, were to me More dear, both for themselves and for thy sake!

"LINES COMPOSED A FEW MILES ABOVE TINTERN ABBEY, ON REVISITING THE BANKS OF THE WYE DURING A TOUR. JULY 13, 1798" William Wordsworth (Earnest Romanticism)

Are clad in one green hue, and lose themselves 'Mid groves and copses. Once again I see These hedge-rows, hardly hedge-rows, little lines Of sportive wood run wild: these pastoral farms, Green to the very door; and wreaths of smoke Sent up, in silence, from among the trees! With some uncertain notice, as might seem Of vagrant dwellers in the houseless woods, Or of some Hermit's cave, where by his fire The Hermit sits alone.

"LINES COMPOSED A FEW MILES ABOVE TINTERNABBEY, ON REVISITING THE BANKS OF THE WYE DURING A TOUR. JULY 13, 1798" William Wordsworth (Earnest Romanticism)

Then all smiles stopped together. There she stands As if alive. Will't please you rise? We'll meet The company below, then. I repeat, The Count your master's known munificence Is ample warrant that no just pretense Of mine for dowry will be disallowed; Though his fair daughter's self, as I avowed At starting, is my object. Nay, we'll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me!

"My Last Duchess" by Robert Browning (Victorian Era) (Dramatic Monologue)

Igrow old . . .I grow old . . .Ishall wear the bottoms of my trousers rolled.Shall I part my hair behind? Do I dare to eat a peach?I shall wear white flanneltrousers, andwalk upon the beach.I have heard the mermaids singing, each to each.I do not think that they will sing to me.

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

This sort of trifling? Even had you skill In speech—which I have not—to make your will Quite clear to such an one, and say, "Just this Or that in you disgusts me; here you miss, Or there exceed the mark"—and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse— E'en then would be some stooping; and I choose Never to stoop. Oh, sir, she smiled, no doubt, Whene'er I passed her; but who passed without Much the same smile? This grew; I gave commands;

"My Last Duchess" by Robert Browning (Victorian Era) (Dramatic Monologue)

A heart—how shall I say?— too soon made glad, Too easily impressed; she liked whate'er She looked on, and her looks went everywhere. Sir, 'twas all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace—all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men—good! but thanked Somehow—I know not how—as if she ranked My gift of a nine-hundred-years-old name With anybody's gift. Who'd stoop to blame

"My Last Duchess" by Robert Browning (Victorian Era)(Dramatic Monologue)

And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, 'twas not Her husband's presence only, called that spot Of joy into the Duchess' cheek; perhaps Fra Pandolf chanced to say, "Her mantle laps Over my lady's wrist too much," or "Paint Must never hope to reproduce the faint Half-flush that dies along her throat." Such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had

"My Last Duchess" by Robert Browning (Victorian Era)(Dramatic Monologue)

That's my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now; Fra Pandolf's hands Worked busily a day, and there she stands. Will't please you sit and look at her? I said "Fra Pandolf" by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I)

"My Last Duchess" by Robert Browning (Victorian Era)(Dramatic Monologue)

Ah, happy, happy boughs! that cannot shed Your leaves, nor ever bid the Spring adieu; And, happy melodist, unwearied, For ever piping songs for ever new; More happy love! more happy, happy love! For ever warm and still to be enjoy'd, For ever panting, and for ever young; All breathing human passion far above, That leaves a heart high-sorrowful and cloy'd, A burning forehead, and a parching tongue.

"Ode to a Grecian Urn" by John Keats (Earnest Romanticism)

Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear'd, Pipe to the spirit ditties of no tone: Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never, never canst thou kiss, Though winning near the goal yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair!

"Ode to a Grecian Urn" by John Keats (Earnest Romanticism)

O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought As doth eternity: Cold Pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, "Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know."

"Ode to a Grecian Urn" by John Keats (Earnest Romanticism)

Thou still unravish'd bride of quietness, Thou foster-child of silence and slow time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fring'd legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy?

"Ode to a Grecian Urn" by John Keats (Earnest Romanticism)

Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands drest? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn? And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e'er return.

"Ode to a Grecian Urn" by John Keats (Earnest Romanticism)

If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power, and share The impulse of thy strength, only less free Than thou, O uncontrollable! If even I were as in my boyhood, and could be The comrade of thy wanderings over Heaven, As then, when to outstrip thy skiey speed Scarce seem'd a vision; I would ne'er have striven As thus with thee in prayer in my sore need. Oh, lift me as a wave, a leaf, a cloud! I fall upon the thorns of life! I bleed! A heavy weight of hours has chain'd and bow'd One too like thee: tameless, and swift, and proud.

"Ode to the West Wind" by Percy Bysshe Shelley (Earnest Romanticism)

Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe Like wither'd leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguish'd hearth Ashes and sparks, my words among mankind! Be through my lips to unawaken'd earth The trumpet of a prophecy! O Wind, If Winter comes, can Spring be far behind

"Ode to the West Wind" by Percy Bysshe Shelley (Earnest Romanticism)

O wild West Wind, thou breath of Autumn's being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o'er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh hear!

"Ode to the West Wind" by Percy Bysshe Shelley (Earnest Romanticism)

Thou on whose stream, mid the steep sky's commotion, Loose clouds like earth's decaying leaves are shed, Shook from the tangled boughs of Heaven and Ocean, Angels of rain and lightning: there are spread On the blue surface of thine aëry surge, Like the bright hair uplifted from the head Of some fierce Maenad, even from the dim verge Of the horizon to the zenith's height, The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night Will be the dome of a vast sepulchre, Vaulted with all thy congregated might Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: oh hear!

"Ode to the West Wind" by Percy Bysshe Shelley (Earnest Romanticism)

Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lull'd by the coil of his crystalline streams, Beside a pumice isle in Baiae's bay, And saw in sleep old palaces and towers Quivering within the wave's intenser day, All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic's level powers Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know Thy voice, and suddenly grow gray with fear, And tremble and despoil themselves: oh hear!

"Ode to the West Wind" by Percy Bysshe Shelley (Earnest Romanticism)

I met a traveller from an antique land, Who said—"Two vast and trunkless legs of stone Stand in the desert. . . . Near them, on the sand, Half sunk a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed; And on the pedestal, these words appear: My name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair! Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away."

"Ozymandias" by Percy Bysshe Shelley (Earnest Romanticism)

Glory be to God for dappled things - For skies of couple-colour as a brinded cow; For rose-moles all in stipple upon trout that swim; Fresh-firecoal chestnut-falls; finches' wings; Landscape plotted and pieced - fold, fallow, and plough; And áll trádes, their gear and tackle and trim. All things counter, original, spare, strange; Whatever is fickle, freckled (who knows how?) With swift, slow; sweet, sour; adazzle, dim; He fathers-forth whose beauty is past change: Praise him.

"Pied Beauty" by Gerard Manley-Hopkins (Victorian Poetry but more like modernist poetry)

And I have known the eyes already, known them all--The eyes that fix you in a formulated phrase,And when I am formulated, sprawling on a pin,When I am pinned and wriggling on the wall,Then how should I beginTo spit out all the butt-ends of my days and ways?And how should I presume?

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

And indeed there will be time For the yellow smoke that slides along the street,Rubbing its back upon the window-panes; There will be time, there will be time To prepare a face to meet the faces that you meet;There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate;Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea.

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

And the afternoon, the evening, sleeps so peacefully!Smoothed by long fingers,Asleep . . . tired . . . or it malingers,Stretched on the floor, here beside you and me.Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis?But though I have wept and fasted, wept and prayed,Though I have seen my head [grown slightly bald] brought in upon a platter, I am no prophet--and here's no great matter;I have seen the moment of my greatness flicker,And I have seen the eternal Footman hold my coat, and snicker,And in short, I was afraid.

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

And would it have been worth it, after all,After the cups, the marmalade, the tea,Among the porcelain, among some talk of you and me,Would it have been worth while,To have bitten off the matter with a smile,To have squeezed the universe into a ballTo roll it toward some overwhelming question,To say: "I am Lazarus, come from the deadCome back to tell you all, I shall tell you all"--If one, settling a pillow by her head,Should say: "That is not what I meant at all.That is not it, at all."

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

And would it have been worth it, after all,Would it have been worth while,After the sunsets and the dooryards and the sprinkled streets,After the novels, after the teacups, after the skirts that trail along the floor--And this, and so much more?--It is impossible to say just what I mean!But as if a magic lantern threw the nerves in patterns on a screen:Would it have been worth whileIf one, settling a pillow or throwing off a shawl,And turning toward the window, should say:"That is not it at all,That is not what I meant, at all."

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

For I have known them all already, known them all:--Have known the evenings, mornings, afternoons,I have measured out my life with coffee spoons;I know the voices dying with a dying fall Beneath the music from a farther room.So how should I presume?

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

I have seen them riding seaward on the wavesCombing the white hair of the waves blown backWhen the wind blows the water white and black.We have lingered in the chambers of the seaBy sea-girls wreathed with seaweed red and brownTill human voices wake us, and we drown.

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

In the room the women come and goTalking of Michelangelo.And indeed there will be timeTo wonder, "Do I dare?" and, "Do I dare?"Time to turn back and descend the stair,With a bald spot in the middle of my hair--[They will say: "How his hair is growing thin!"]My morning coat, my collar mounting firmly to the chin,My necktie rich and modest, but asserted by a simple pin--[They will say: "But how his arms and legs are thin!"]Do I dareDisturb the universe?In a minute there is timeFor decisions and revisions which a minute will reverse.

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

Let us go then, you and I,When the evening is spread out against the skyLike a patient etherized upon a table;Let us go, through certain half-deserted streets,The muttering retreatsOf restless nights in one-night cheap hotelsAnd sawdust restaurants with oyster-shells:Streets that follow like a tedious argumentOf insidious intentTo lead you to an overwhelming question . . .Oh, do not ask, "What is it?" Let us go and make our visit. In the room the women come and go Talking of Michelangelo.

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

No! I am not Prince Hamlet, nor was meant to be;Am an attendant lord, one that will doTo swell a progress, start a scene or two,Advise the prince; no doubt, an easy tool,Deferential, glad to be of use,Politic, cautious, and meticulous;Full of high sentence, but a bit obtuseAt times, indeed, almost ridiculous--Almost, at times, the Fool.

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

Shall I say, I have gone at dusk through narrow streetsAnd watched the smoke that rises from the pipesOf lonely men in shirt-sleeves, leaning out of windows? . . .I should have been a pair of ragged clawsScuttling across the floors of silent seas.

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

The yellow fog that rubs its back upon the window-panes,The yellow smoke that rubs its muzzle on the window-panesLicked its tongue into the corners of the evening,Lingered upon the pools that stand in drains,Let fall upon its back the soot that falls from chimneys,Slipped by the terrace, made a sudden leap,And seeing that it was a soft October night,Curled once about the house, and fell asleep.

"The Love Song of J. Alfred Prufrock" by T.S. Eliot (Modernist Literature)

A little distance from the prow Those crimson shadows were: I turned my eyes upon the deck— Oh, Christ! what saw I there! • Each corse lay flat, lifeless and flat, And, by the holy rood! A man all light, a seraph-man, On every corse there stood.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

All in a hot and copper sky, The bloody Sun, at noon, Right up above the mast did stand, No bigger than the Moon. • Day after day, day after day, We stuck, nor breath nor motion; As idle as a painted ship Upon a painted ocean. Water, water, every where, And all the boards did shrink; Water, water, every where, Nor any drop to drink. •

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

And I had done a hellish thing, And it would work 'em woe: For all averred, I had killed the bird That made the breeze to blow. Ah wretch! said they, the bird to slay, That made the breeze to blow! Nor dim nor red, like God's own head, The glorious Sun uprist: Then all averred, I had killed the bird That brought the fog and mist. 'Twas right, said they, such birds to slay, That bring the fog and mist.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

And every tongue, through utter drought, Was withered at the root; We could not speak, no more than if We had been choked with soot. • Ah! well a-day! what evil looks Had I from old and young! Instead of the cross, the Albatross About my neck was hung.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

And now, all in my own countree, I stood on the firm land! The Hermit stepped forth from the boat, And scarcely he could stand. 'O shrieve me, shrieve me, holy man!' The Hermit crossed his brow. 'Say quick,' quoth he, 'I bid thee say— What manner of man art thou?' Forthwith this frame of mine was wrenched With a woful agony, Which forced me to begin my tale; And then it left me free.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

And straight the Sun was flecked with bars, (Heaven's Mother send us grace!) As if through a dungeon-grate he peered With broad and burning face. Alas! (thought I, and my heart beat loud) How fast she nears and nears! Are those her sails that glance in the Sun, Like restless gossameres? Are those her ribs through which the Sun Did peer, as through a grate? And is that Woman all her crew? Is that a DEATH? and are there two? Is DEATH that woman's mate?

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

At length did cross an Albatross, Thorough the fog it came; As if it had been a Christian soul, We hailed it in God's name. It ate the food it ne'er had eat, And round and round it flew. The ice did split with a thunder-fit; The helmsman steered us through! And a good south wind sprung up behind; The Albatross did follow, And every day, for food or play, Came to the mariner's hollo!

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

Farewell, farewell! but this I tell To thee, thou Wedding-Guest! He prayeth well, who loveth well Both man and bird and beast. He prayeth best, who loveth best All things both great and small; For the dear God who loveth us, He made and loveth all.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

Four times fifty living men, (And I heard nor sigh nor groan) With heavy thump, a lifeless lump, They dropped down one by one. • The souls did from their bodies fly,— They fled to bliss or woe! And every soul, it passed me by, Like the whizz of my cross-bow!

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

He holds him with his glittering eye— The Wedding-Guest stood still, And listens like a three years' child: The Mariner hath his will. • The Wedding-Guest sat on a stone: He cannot choose but hear; And thus spake on that ancient man, The bright-eyed Mariner.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

Her lips were red, her looks were free, Her locks were yellow as gold: Her skin was as white as leprosy, The Night-mare LIFE-IN-DEATH was she, Who thicks man's blood with cold. • The naked hulk alongside came, And the twain were casting dice; 'The game is done! I've won! I've won!' Quoth she, and whistles thrice.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

In mist or cloud, on mast or shroud, It perched for vespers nine; Whiles all the night, through fog-smoke white, Glimmered the white Moon-shine.' 'God save thee, ancient Mariner! From the fiends, that plague thee thus!— Why look'st thou so?'—With my cross-bow I shot the ALBATROSS.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

It is an ancient Mariner, And he stoppeth one of three. 'By thy long grey beard and glittering eye, Now wherefore stopp'st thou me? The Bridegroom's doors are opened wide, And I am next of kin; The guests are met, the feast is set: May'st hear the merry din.' He holds him with his skinny hand, 'There was a ship,' quoth he. 'Hold off! unhand me, grey-beard loon!' Eftsoons his hand dropt he.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

Since then, at an uncertain hour, That agony returns: And till my ghastly tale is told, This heart within me burns. I pass, like night, from land to land; I have strange power of speech; That moment that his face I see, I know the man that must hear me: To him my tale I teach.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

The Mariner, whose eye is bright, Whose beard with age is hoar, Is gone: and now the Wedding-Guest Turned from the bridegroom's door. He went like one that hath been stunned, And is of sense forlorn: A sadder and a wiser man, He rose the morrow morn.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

The boat came closer to the ship, But I nor spake nor stirred; The boat came close beneath the ship, And straight a sound was heard. Under the water it rumbled on, Still louder and more dread: It reached the ship, it split the bay; The ship went down like lead. Stunned by that loud and dreadful sound, Which sky and ocean smote, Like one that hath been seven days drowned My body lay afloat; But swift as dreams, myself I found Within the Pilot's boat.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

The body of my brother's son Stood by me, knee to knee: The body and I pulled at one rope, But he said nought to me. 'I fear thee, ancient Mariner!' Be calm, thou Wedding-Guest! 'Twas not those souls that fled in pain, Which to their corses came again, But a troop of spirits blest:

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

The bride hath paced into the hall, Red as a rose is she; Nodding their heads before her goes The merry minstrelsy. • The Wedding-Guest he beat his breast, Yet he cannot choose but hear; And thus spake on that ancient man, The bright-eyed Mariner.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

The cold sweat melted from their limbs, Nor rot nor reek did they: The look with which they looked on me Had never passed away. An orphan's curse would drag to hell A spirit from on high; But oh! more horrible than that Is the curse in a dead man's eye! Seven days, seven nights, I saw that curse, And yet I could not die.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

The loud wind never reached the ship, Yet now the ship moved on! Beneath the lightning and the Moon The dead men gave a groan. They groaned, they stirred, they all uprose, Nor spake, nor moved their eyes; It had been strange, even in a dream, To have seen those dead men rise. The helmsman steered, the ship moved on; Yet never a breeze up-blew; The mariners all 'gan work the ropes, Where they were wont to do; They raised their limbs like lifeless tools— We were a ghastly crew.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

This seraph-band, each waved his hand: It was a heavenly sight! They stood as signals to the land, Each one a lovely light; This seraph-band, each waved his hand, No voice did they impart— No voice; but oh! the silence sank Like music on my heart.

"The Rime of the Ancient Mariner" by Samuel Taylor Coleridge (Earnest Romanticism)

It little profits that an idle king, By this still hearth, among these barren crags, Match'd with an aged wife, I mete and dole Unequal laws unto a savage race, That hoard, and sleep, and feed, and know not me. I cannot rest from travel: I will drink Life to the lees: All times I have enjoy'd Greatly, have suffer'd greatly, both with those That loved me, and alone, on shore, and when Thro' scudding drifts the rainy Hyades Vext the dim sea: I am become a name; For always roaming with a hungry heart Much have I seen and known; cities of men And manners, climates, councils, governments, Myself not least, but honour'd of them all; And drunk delight of battle with my peers,

"Ulysses" by Alfred Lord Tennyson (Dramatic Monologue)

Far on the ringing plains of windy Troy. I am a part of all that I have met; Yet all experience is an arch wherethro' Gleams that untravell'd world whose margin fades For ever and forever when I move. How dull it is to pause, to make an end, To rust unburnish'd, not to shine in use! As tho' to breathe were life! Life piled on life Were all too little, and of one to me Little remains: but every hour is saved From that eternal silence, something more, A bringer of new things; and vile it were For some three suns to store and hoard myself, And this gray spirit yearning in desire To follow knowledge like a sinking star, Beyond the utmost bound of human thought.

"Ulysses" by Alfred Lord Tennyson (Victorian Era) (Dramatic Monologue)

Push off, and sitting well in order smite The sounding furrows; for my purpose holds To sail beyond the sunset, and the baths Of all the western stars, until I die. It may be that the gulfs will wash us down: It may be we shall touch the Happy Isles, And see the great Achilles, whom we knew. Tho' much is taken, much abides; and tho' We are not now that strength which in old days Moved earth and heaven, that which we are, we are; One equal temper of heroic hearts, Made weak by time and fate, but strong in will To strive, to seek, to find, and not to yield.

"Ulysses" by Alfred Lord Tennyson (Victorian Era) (Dramatic Monologue)

There lies the port; the vessel puffs her sail: There gloom the dark, broad seas. My mariners, Souls that have toil'd, and wrought, and thought with me— That ever with a frolic welcome took The thunder and the sunshine, and opposed Free hearts, free foreheads—you and I are old; Old age hath yet his honour and his toil; Death closes all: but something ere the end, Some work of noble note, may yet be done, Not unbecoming men that strove with Gods. The lights begin to twinkle from the rocks: The long day wanes: the slow moon climbs: the deep Moans round with many voices. Come, my friends, 'T is not too late to seek a newer world.

"Ulysses" by Alfred Lord Tennyson (Victorian Era) (Dramatic Monologue)

This is my son, mine own Telemachus, To whom I leave the sceptre and the isle,— Well-loved of me, discerning to fulfil This labour, by slow prudence to make mild A rugged people, and thro' soft degrees Subdue them to the useful and the good. Most blameless is he, centred in the sphere Of common duties, decent not to fail In offices of tenderness, and pay Meet adoration to my household gods, When I am gone. He works his work, I mine.

"Ulysses" by Alfred Lord Tennyson(Victorian Era) (Dramatic Monologue)

I caught this morning morning's minion, king- dom of daylight's dauphin, dapple-dawn-drawn Falcon, in his riding Of the rolling level underneath him steady air, and striding High there, how he rung upon the rein of a wimpling wing In his ecstasy! then off, off forth on swing, As a skate's heel sweeps smooth on a bow-bend: the hurl and gliding Rebuffed the big wind. My heart in hiding Stirred for a bird, - the achieve of, the mastery of the thing! • Brute beauty and valour and act, oh, air, pride, plume, here Buckle! AND the fire that breaks from thee then, a billion Times told lovelier, more dangerous, O my chevalier! No wonder of it: shéer plód makes plough down sillion Shine, and blue-bleak embers, ah my dear, Fall, gall themselves, and gash gold-vermilion.

"Windhover" by Gerard Manley-Hopkins (Victorian Poetry but more like modernist poetry)

"I seized on the boy as he passed and drew him towards me. As soon as he beheld my form, he placed his hands before his eyes and uttered a shrill scream; I drew his hand forcibly from his face and said, 'Child, what is the meaning of this? I do not intend to hurt you; listen to me.' "He struggled violently. 'Let me go,' he cried; 'monster! Ugly wretch! You wish to eat me and tear me to pieces. You are an ogre. Let me go, or I will tell my papa.' "'Boy, you will never see your father again; you must come with me.' "'Hideous monster! Let me go. My papa is a syndic—he is M. Frankenstein—he will punish you. You dare not keep me.' "'Frankenstein! you belong then to my enemy—to him towards whom I have sworn eternal revenge; you shall be my first victim.' "The child still struggled and loaded me with epithets which carried despair to my heart; I grasped his throat to silence him, and in a moment he lay dead at my feet.

(Killing William) Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

Land in a swamp, march through the woods, and in some inland post feel the savagery, the utter savagery, had closed round him—all that mysterious life of the wilderness that stirs in the forest, in the jungles, in the hearts of wild men. There's no initiation either into such mysteries. He has to live in the midst of the incomprehensible, which is also detestable. And it has a fascination, too, that goes to work upon him. The fascination of the abomination—you know, imagine the growing regrets, the longing to escape, the powerless disgust, the surrender, the hate."

(Roman Soldier parallel) Heart of Darkness by Joseph Conrad (Modernist Literature)

"I don't believe that, Harry, and I don't believe you do either" (1). Sibyl (7) The voice that spoke was cold and cruel. "You are mad, Dorian, or playing a part," muttered Hallward, frowning.(13) The young man was leaning against the mantelshelf, watching him with that strange expression that one sees on the faces of those who are absorbed in a play when some great artist is acting. There was neither real sorrow in it nor real joy. There was simply the passion of the spectator, with perhaps a flicker of triumph in his eyes. (13).

Acting in The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

Several months passed in this manner. Her father grew worse; her time was more entirely occupied in attending him; her means of subsistence decreased; and in the tenth month her father died in her arms, leaving her an orphan and a beggar. This last blow overcame her, and she knelt by Beaufort's coffin weeping bitterly, when my father entered the chamber. He came like a protecting spirit to the poor girl, who committed herself to his care; and after the interment of his friend he conducted her to Geneva and placed her under the protection of a relation. Two years after this event Caroline became his wife.

Caroline (Frankenstein's mother) - Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

I walke out into a Common that lyes hard by the house where a great many young wenches keep Sheep and Cow's and sitt in the shades singing of Ballads; I goe to them and compare their voyces and Beauty's to some Ancient Shepherdesses that I have read of and finde a vaste difference there, but trust mee I think these are as innocent as those could bee. I talke to them, and finde they want nothing to make them the happiest People in the world, but the knoledge that they are soe. most commonly when we are in the middest of our discourse one looks aboute her and spyes her Cow's goeing into the Corne and then away they all run, as if they had wing's at theire heels.

Dorothy Osborne - "A Room of One's Own" by Virginia Woolf (Modernist literature - first wave of feminism)

"And now, with the world before me, whither should I bend my steps? I resolved to fly far from the scene of my misfortunes; but to me, hated and despised, every country must be equally horrible. At length the thought of you crossed my mind. I learned from your papers that you were my father, my creator; and to whom could I apply with more fitness than to him who had given me life? Among the lessons that Felix had bestowed upon Safie, geography had not been omitted; I had learned from these the relative situations of the different countries of the earth. You had mentioned Geneva as the name of your native town, and towards this place I resolved to proceed.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

"At that instant the cottage door was opened, and Felix, Safie, and Agatha entered. Who can describe their horror and consternation on beholding me? Agatha fainted, and Safie, unable to attend to her friend, rushed out of the cottage. Felix darted forward, and with supernatural force tore me from his father, to whose knees I clung, in a transport of fury, he dashed me to the ground and struck me violently with a stick. I could have torn him limb from limb, as the lion rends the antelope. But my heart sank within me as with bitter sickness, and I refrained. I saw him on the point of repeating his blow, when, overcome by pain and anguish, I quitted the cottage, and in the general tumult escaped unperceived to my hovel."

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

"But Paradise Lost excited different and far deeper emotions. I read it, as I had read the other volumes which had fallen into my hands, as a true history. It moved every feeling of wonder and awe that the picture of an omnipotent God warring with his creatures was capable of exciting. I often referred the several situations, as their similarity struck me, to my own. Like Adam, I was apparently united by no link to any other being in existence; but his state was far different from mine in every other respect. He had come forth from the hands of God a perfect creature, happy and prosperous, guarded by the especial care of his Creator; he was allowed to converse with and acquire knowledge from beings of a superior nature, but I was wretched, helpless, and alone. Many times I considered Satan as the fitter emblem of my condition, for often, like him, when I viewed the bliss of my protectors, the bitter gall of envy rose within me.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

"Cursed, cursed creator! Why did I live? Why, in that instant, did I not extinguish the spark of existence which you had so wantonly bestowed? I know not; despair had not yet taken possession of me; my feelings were those of rage and revenge. I could with pleasure have destroyed the cottage and its inhabitants and have glutted myself with their shrieks and misery.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

"For some days I haunted the spot where these scenes had taken place, sometimes wishing to see you, sometimes resolved to quit the world and its miseries for ever. At length I wandered towards these mountains, and have ranged through their immense recesses, consumed by a burning passion which you alone can gratify. We may not part until you have promised to comply with my requisition. I am alone and miserable; man will not associate with me; but one as deformed and horrible as myself would not deny herself to me. My companion must be of the same species and have the same defects. This being you must create." •

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

"I can hardly describe to you the effect of these books. They produced in me an infinity of new images and feelings, that sometimes raised me to ecstasy, but more frequently sunk me into the lowest dejection. In the Sorrows of Werter, besides the interest of its simple and affecting story, so many opinions are canvassed and so many lights thrown upon what had hitherto been to me obscure subjects that I found in it a never-ending source of speculation and astonishment. The gentle and domestic manners it described, combined with lofty sentiments and feelings, which had for their object something out of self, accorded well with my experience among my protectors and with the wants which were for ever alive in my own bosom.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

"One night during my accustomed visit to the neighbouringwood where I collected my own food and brought home firing for my protectors, I found on the ground a leathern portmanteau containing several articles of dress and some books. I eagerly seized the prize and returned with it to my hovel. Fortunately the books were written in the language, the elements of which I had acquired at the cottage; they consisted of Paradise Lost, a volume of Plutarch's Lives, and the Sorrows of Werter. The possession of these treasures gave me extreme delight; I now continually studied and exercised my mind upon these histories, whilst my friends were employed in their ordinary occupations.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

"When night came I quitted my retreat and wandered in the wood; and now, no longer restrained by the fear of discovery, I gave vent to my anguish in fearful howlings. I was like a wild beast that had broken the toils, destroying the objects that obstructed me and ranging through the wood with a stag-like swiftness. Oh! What a miserable night I passed! The cold stars shone in mockery, and the bare trees waved their branches above me; now and then the sweet voice of a bird burst forth amidst the universal stillness. All, save I, were at rest or in enjoyment; I, like the arch-fiend, bore a hell within me, and finding myself unsympathised with, wished to tear up the trees, spread havoc and destruction around me, and then to have sat down and enjoyed the ruin.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

"You may easily perceive, Captain Walton, that I have suffered great and unparalleled misfortunes. I had determined at one time that the memory of these evils should die with me, but you have won me to alter my determination. You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been. I do not know that the relation of my disasters will be useful to you; yet, when I reflect that you are pursuing the same course, exposing yourself to the same dangers which have rendered me what I am, I imagine that you may deduce an apt moral from my tale, one that may direct you if you succeed in your undertaking and console you in case of failure. Prepare to hear of occurrences which are usually deemed marvellous. Were we among the tamer scenes of nature I might fear to encounter your unbelief, perhaps your ridicule; but many things will appear possible in these wild and mysterious regions which would provoke the laughter of those unacquainted with the ever-varied powers of nature; nor can I doubt but that my tale conveys in its series internal evidence of the truth of the events of which it is composed."

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

Adieu, my dear Margaret. Be assured that for my own sake, as well as yours, I will not rashly encounter danger. I will be cool, persevering, and prudent. But success shall crown my endeavours. Wherefore not? Thus far I have gone, tracing a secure way over the pathless seas, the very stars themselves being witnesses and testimonies of my triumph. Why not still proceed over the untamed yet obedient element? What can stop the determined heart and resolved will of man?

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

Although I possessed the capacity of bestowing animation, yet to prepare a frame for the reception of it, with all its intricacies of fibres, muscles, and veins, still remained a work of inconceivable difficulty and labour. I doubted at first whether I should attempt the creation of a being like myself, or one of simpler organization; but my imagination was too much exalted by my first success to permit me to doubt of my ability to give life to an animal as complex and wonderful as man.... It was with these feelings that I began the creation of a human being. As the minuteness of the parts formed a great hindrance to my speed, I resolved, contrary to my first intention, to make the being of a gigantic stature, that is to say, about eight feet in height, and proportionably large. After having formed this determination and having spent some months in successfully collecting and arranging my materials, I began.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

And now, dear Margaret, do I not deserve to accomplish some great purpose? My life might have been passed in ease and luxury, but I preferred glory to every enticement that wealth placed in my path. Oh, that some encouraging voice would answer in the affirmative! My courage and my resolution is firm; but my hopes fluctuate, and my spirits are often depressed. I am about to proceed on a long and difficult voyage, the emergencies of which will demand all my fortitude: I am required not only to raise the spirits of others, but sometimes to sustain my own, when theirs are failing.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

But I thought Werter himself a more divine being than I had ever beheld or imagined; his character contained no pretension, but it sank deep. The disquisitions upon death and suicide were calculated to fill me with wonder. I did not pretend to enter into the merits of the case, yet I inclined towards the opinions of the hero, whose extinction I wept, without precisely understanding it.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

I cannot describe to you my sensations on the near prospect of my undertaking. It is impossible to communicate to you a conception of the trembling sensation, half pleasurable and half fearful, with which I am preparing to depart. I am going to unexplored regions, to "the land of mist and snow," but I shall kill no albatross; therefore do not be alarmed for my safety or if I should come back to you as worn and woeful as the "Ancient Mariner." You will smile at my allusion, but I will disclose a secret. I have often attributed my attachment to, my passionate enthusiasm for, the dangerous mysteries of ocean to that production of the most imaginative of modern poets. There is something at work in my soul which I do not understand. I am practically industrious—painstaking, a workman to execute with perseverance and labour—but besides this there is a love for themarvellous, a belief in the marvellous, intertwined in all my projects, which hurries me out of the common pathways of men, even to the wild sea and unvisited regions I am about to explore.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

I never saw a more interesting creature: his eyes have generally an expression of wildness, and even madness, but there are moments when, if anyone performs an act of kindness towards him or does him any the most trifling service, his whole countenance is lighted up, as it were, with a beam of benevolence and sweetness that I never saw equalled. But he is generally melancholy and despairing, and sometimes he gnashes his teeth, as if impatient of the weight of woes that oppresses him.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

I paused, examining and analysing all the minutiae of causation, as exemplified in the change from life to death, and death to life, until from the midst of this darkness a sudden light broke in upon me—a light so brilliant and wondrous, yet so simple, that while I became dizzy with the immensity of the prospect which it illustrated, I was surprised that among so many men of genius who had directed their inquiries towards the same science, that I alone should be reserved to discover so astonishing a secret.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

I started from my sleep with horror; a cold dew covered my forehead, my teeth chattered, and every limb became convulsed; when, by the dim and yellow light of the moon, as it forced its way through the window shutters, I beheld the wretch—the miserable monster whom I had created. He held up the curtain of the bed; and his eyes, if eyes they may be called, were fixed on me. His jaws opened, and he muttered some inarticulate sounds, while a grin wrinkled his cheeks. He might have spoken, but I did not hear; one hand was stretched out, seemingly to detain me, but I escaped and rushed downstairs.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

In my education my father had taken the greatest precautions that my mind should be impressed with no supernatural horrors. I do not ever remember to have trembled at a tale of superstition or to have feared the apparition of a spirit. Darkness had no effect upon my fancy, and a churchyard was to me merely the receptacle of bodies deprived of life, which, from being the seat of beauty and strength, had become food for the worm.... My attention was fixed upon every object the most insupportable to the delicacy of the human feelings. I saw how the fine form of man was degraded and wasted; I beheld the corruption of death succeed to the blooming cheek of life; I saw how the worm inherited the wonders of the eye and brain.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

It was on a dreary night of November that I beheld the accomplishment of my toils. With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet. It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs. How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavouredto form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

Last Monday (July 31st) we were nearly surrounded by ice, which closed in the ship on all sides, scarcely leaving her the sea-room in which she floated. Our situation was somewhat dangerous, especially as we were compassed round by a very thick fog. We accordingly lay to, hoping that some change would take place in the atmosphere and weather.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

She found a peasant and his wife, hard working, bent down by care and labour, distributing a scanty meal to five hungry babes. Among these there was one which attracted my mother far above all the rest. She appeared of a different stock. The four others were dark-eyed, hardy little vagrants; this child was thin and very fair. Her hair was the brightest living gold, and despite the poverty of her clothing, seemed to set a crown of distinction on her head.... Her mother was a German and had died on giving her birth. The infant had been placed with these good people to nurse: they were better off then. They had not been long married, and their eldest child was but just born. The father of their charge was one of those Italians nursed in the memory of the antique glory of Italy—one among the schiaviognor frementi, who exerted himself to obtain the liberty of his country. He became the victim of its weakness. Whether he had died or still lingered in the dungeons of Austria was not known. His property was confiscated; his child became an orphan and a beggar. She continued with her foster parents and bloomed in their rude abode, fairer than a garden rose among dark-leaved brambles.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

Six years have passed since I resolved on my present undertaking. I can, even now, remember the hour from which I dedicated myself to this great enterprise. I commenced by inuring my body to hardship. I accompanied the whale-fishers on several expeditions to the North Sea; I voluntarily endured cold, famine, thirst, and want of sleep; I often worked harder than the common sailors during the day and devoted my nights to the study of mathematics, the theory of medicine, and those branches of physical science from which a naval adventurer might derive the greatest practical advantage. Twice I actually hired myself as an under-mate in a Greenland whaler, and acquitted myself to admiration. I must own I felt a little proud when my captain offered me the second dignity in the vessel and entreated me to remain with the greatest earnestness, so valuable did he consider my services.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

Sometimes I have endeavoured to discover what quality it is which he possesses that elevates him so immeasurably above any other person I ever knew. I believe it to be an intuitive discernment, a quick but never-failing power of judgment, a penetration into the causes of things, unequalled for clearness and precision; add to this a facility of expression and a voice whose varied intonations are soul-subduing music.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

These reflections have dispelled the agitation with which I began my letter, and I feel my heart glow with an enthusiasm which elevates me to heaven, for nothing contributes so much to tranquillise the mind as a steady purpose—a point on which the soul may fix its intellectual eye. This expedition has been the favourite dream of my early years. I have read with ardour the accounts of the various voyages which have been made in the prospect of arriving at the North Pacific Ocean through the seas which surround the pole. You may remember that a history of all the voyages made for purposes of discovery composed the whole of our good Uncle Thomas' library. My education was neglected, yet I was passionately fond of reading. These volumes were my study day and night, and my familiarity with them increased that regret which I had felt, as a child, on learning that my father's dying injunction had forbidden my uncle to allow me to embark in a seafaring life.

Frankenstein; Or the Modern Prometheus by Mary Shelley (Romanticism - but more critical of Earnest Romanticism)

"'Repeat them,' she murmured in a heart-broken tone. 'I want—I want—something—something—to—to live with.' "I was on the point of crying at her, 'Don't you hear them?' The dusk was repeating them in a persistent whisper all around us, in a whisper that seemed to swell menacingly like the first whisper of a rising wind. 'The horror! The horror!' "'His last word—to live with,' she insisted. 'Don't you understand I loved him—I loved him—I loved him!' "I pulled myself together and spoke slowly. "'The last word he pronounced was—your name.'

Heart of Darkness by Joseph Conrad (Modernist Literature)

"'The horror! The horror!' "I blew the candle out and left the cabin. The pilgrims were dining in the mess-room, and I took my place opposite the manager, who lifted his eyes to give me a questioning glance, which I successfully ignored. He leaned back, serene, with that peculiar smile of his sealing the unexpressed depths of his meanness. A continuous shower of small flies streamed upon the lamp, upon the cloth, upon our hands and faces. Suddenly the manager's boy put his insolent black head in the doorway, and said in a tone of scathing contempt: "'Mistah Kurtz—he dead.'

Heart of Darkness by Joseph Conrad (Modernist Literature)

"Anything approaching the change that came over his features I have never seen before, and hope never to see again. Oh, I wasn't touched. I was fascinated. It was as though a veil had been rent. I saw on that ivory face the expression of sombre pride, of ruthless power, of craven terror—of an intense and hopeless despair. Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision—he cried out twice, a cry that was no more than a breath:

Heart of Darkness by Joseph Conrad (Modernist Literature)

"I heard a light sigh and then my heart stood still, stopped dead short by an exulting and terrible cry, by the cry of inconceivable triumph and of unspeakable pain. 'I knew it—I was sure!'... She knew. She was sure. I heard her weeping; she had hidden her face in her hands. It seemed to me that the house would collapse before I could escape, that the heavens would fall upon my head. But nothing happened. The heavens do not fall for such a trifle. Would they have fallen, I wonder, if I had rendered Kurtz that justice which was his due? Hadn't he said he wanted only justice? But I couldn't. I could not tell her. It would have been too dark—too dark altogether...."

Heart of Darkness by Joseph Conrad (Modernist Literature)

"I left in a French steamer, and she called in every blamed port they have out there, for, as far as I could see, the sole purpose of landing soldiers and custom-house officers. I watched the coast. Watching a coast as it slips by the ship is like thinking about an enigma. There it is before you—smiling, frowning, inviting, grand, mean, insipid, or savage, and always mute with an air of whispering, 'Come and find out.' This one was almost featureless, as if still in the making, with an aspect of monotonous grimness. The edge of a colossal jungle, so dark-green as to be almost black, fringed with white surf, ran straight, like a ruled line, far, far away along a blue sea whose glitter was blurred by a creeping mist.... Nowhere did we stop long enough to get a particularized impression, but the general sense of vague and oppressive wonder grew upon me. It was like a weary pilgrimage amongst hints for nightmares.

Heart of Darkness by Joseph Conrad (Modernist Literature)

"Now when I was a little chap I had a passion for maps. I would look for hours at South America, or Africa, or Australia, and lose myself in all the glories of exploration. At that time there were many blank spaces on the earth, and when I saw one that looked particularly inviting on a map (but they all look that) I would put my finger on it and say, 'When I grow up I will go there.' The North Pole was one of these places, I remember. Well, I haven't been there yet, and shall not try now. The glamour's off.... True, by this time it was not a blank space any more. It had got filled since my boyhood with rivers and lakes and names. It had ceased to be a blank space of delightful mystery—a white patch for a boy to dream gloriously over. à

Heart of Darkness by Joseph Conrad (Modernist Literature)

"The earth seemed unearthly. We are accustomed to look upon the shackled form of a conquered monster, but there—there you could look at a thing monstrous and free. It was unearthly, and the men were—No, they were not inhuman. Well, you know, that was the worst of it—this suspicion of their not being inhuman. It would come slowly to one. They howled and leaped, and spun, and made horrid faces; but what thrilled you was just the thought of their humanity—like yours—the thought of your remote kinship with this wild and passionate uproar.

Heart of Darkness by Joseph Conrad (Modernist Literature)

'Good God! What is the meaning—' stammered at my elbow one of the pilgrims—a little fat man, with sandy hair and red whiskers, who wore sidespring boots, and pink pyjamastucked into his socks. Two others remained open-mouthed a while minute, then dashed into the little cabin, to rush out incontinently and stand darting scared glances, with Winchesters at 'ready' in their hands. What we could see was just the steamer we were on, her outlines blurred as though she had been on the point of dissolving, and a misty strip of water, perhaps two feet broad, around her—and that was all. The rest of the world was nowhere, as far as our eyes and ears were concerned. Just nowhere. Gone, disappeared; swept off without leaving a whisper or a shadow behind.

Heart of Darkness by Joseph Conrad (Modernist Literature)

'I always ask leave, in the interests of science, to measure the crania of those going out there,' he said. 'And when they come back, too?' I asked. 'Oh, I never see them,' he remarked; 'and, moreover, the changes take place inside, you know.' He smiled, as if at some quiet joke. '

Heart of Darkness by Joseph Conrad (Modernist Literature)

And indeed I don't know whether he had not been a pauper all his life. He had given me some reason to infer that it was his impatience of comparative poverty that drove him out there.

Heart of Darkness by Joseph Conrad (Modernist Literature)

And the lofty frontal bone of Mr. Kurtz! They say the hair goes on growing sometimes, but this—ah—specimen, was impressively bald. The wilderness had patted him on the head, and, behold, it was like a ball—an ivory ball; it had caressed him, and—lo!—he had withered; it had taken him, loved him, embraced him, got into his veins, consumed his flesh, and sealed his soul to its own by the inconceivable ceremonies of some devilish initiation. He was its spoiled and pampered favourite. Ivory? I should think so. Heaps of it, stacks of it. The old mud shanty was bursting with it. You would think there was not a single tusk left either above or below the ground in the whole country. 'Mostly fossil,' the manager had remarked, disparagingly. It was no more fossil than I am; but they call it fossil when it is dug up. It appears these ******s do bury the tusks sometimes—but evidently they couldn't bury this parcel deep enough to save the gifted Mr. Kurtz from his fate.

Heart of Darkness by Joseph Conrad (Modernist Literature)

As to me, I seemed to see Kurtz for the first time. It was a distinct glimpse: the dugout, four paddling savages, and the lone white man turning his back suddenly on the headquarters, on relief, on thoughts of home—perhaps; setting his face towards the depths of the wilderness, towards his empty and desolate station. I did not know the motive. Perhaps he was just simply a fine fellow who stuck to his work for its own sake. His name, you understand, had not been pronounced once. He was 'that man.'

Heart of Darkness by Joseph Conrad (Modernist Literature)

Could we handle that dumb thing, or would it handle us? I felt how big, how confoundedly big, was that thing that couldn't talk, and perhaps was deaf as well. What was in there? I could see a little ivory coming out from there, and I had heard Mr. Kurtz was in there. I had heard enough about it, too—God knows! Yet somehow it didn't bring any image with it—no more than if I had been told an angel or a fiend was in there. I believed it in the same way one of you might believe there are inhabitants in the planet Mars.

Heart of Darkness by Joseph Conrad (Modernist Literature)

Emphasis not on physical action but on internal action Philosophical impasse, not being able to tell truth from a lie, good from bad, the collapse of an older system without the benefits of a new Deliberation, alienation, estrangement, out of touch, out of society By focusing on the internal then also a resurgence of those things that were hiding in the fringes/back. The reuturn of the repressed.

Heart of Darkness by Joseph Conrad (Modernist Literature)

For the moment that was the dominant thought. There was a sense of extreme disappointment, as though I had found out I had been striving after something altogether without a substance. I couldn't have been more disgusted if I had travelled all this way for the sole purpose of talking with Mr. Kurtz. Talking with... I flung one shoe overboard, andbecame aware that that was exactly what I had been looking forward to—a talk with Kurtz. I made the strange discovery that I had never imagined him as doing, you know, but as discoursing. I didn't say to myself, 'Now I will never see him,' or 'Now I will never shake him by the hand,' but, 'Now I will never hear him.' The man presented himself as a voice.

Heart of Darkness by Joseph Conrad (Modernist Literature)

Fresleven—that was the fellow's name, a Dane—thought himself wronged somehow in the bargain, so he went ashore and started to hammer the chief of the village with a stick. Oh, it didn't surprise me in the least to hear this, and at the same time to be told that Fresleven was the gentlest, quietest creature that ever walked on two legs. No doubt he was; but he had been a couple of years already out there engaged in the noble cause, you know, and he probably felt the need at last of asserting his self-respect in some way. ... Afterwards nobody seemed to trouble much about Fresleven'sremains, till I got out and stepped into his shoes.

Heart of Darkness by Joseph Conrad (Modernist Literature)

I could not hear a sound, but through my glasses I saw the thin arm extended commandingly, the lower jaw moving, the eyes of that apparition shining darkly far in its bony head that nodded with grotesque jerks. Kurtz—Kurtz—that means short in German—don't it? Well, the name was as true as everything else in his life—and death. He looked at least seven feet long. His covering had fallen off, and his body emerged from it pitiful and appalling as from a winding-sheet. I could see the cage of his ribs all astir, the bones of his arm waving. It was as though an animated image of death carved out of old ivory had been shaking its hand with menaces at a motionless crowd of men made of dark and glittering bronze. I saw him open his mouth wide—it gave him a weirdly voracious aspect, as though he had wanted to swallow all the air, all the earth, all the men before him.

Heart of Darkness by Joseph Conrad (Modernist Literature)

I ordered the chain, which we had begun to heave in, to be paid out again. Before it stopped running with a muffled rattle, a cry, a very loud cry, as of infinite desolation, soared slowly in the opaque air. It ceased. A complaining clamour, modulated in savage discords, filled our ears. The sheer unexpectedness of it made my hair stir under my cap. I don't know how it struck the others: to me it seemed as though the mist itself had screamed, so suddenly, and apparently from all sides at once, did this tumultuous and mournful uproar arise. It culminated in a hurried outbreak of almost intolerably excessive shrieking, which stopped short, leaving us stiffened in a variety of silly attitudes, and obstinately listening to the nearly as appalling and excessive silence.

Heart of Darkness by Joseph Conrad (Modernist Literature)

I said Hang!—and let things slide. I had plenty of time for meditation, and now and then I would give some thought to Kurtz. I wasn't very interested in him. No. Still, I was curious to see whether this man, who had come out equipped with moral ideas of some sort, would climb to the top after all and how he would set about his work when there."

Heart of Darkness by Joseph Conrad (Modernist Literature)

I suppose you fellows remember I did once turn fresh-water sailor for a bit," that we knew we were fated, before the ebb began to run, to hear about one of Marlow's inconclusive experiences.

Heart of Darkness by Joseph Conrad (Modernist Literature)

Imagine him here—the very end of the world, a sea the colour of lead, a sky the colour of smoke, a kind of ship about as rigid as a concertina—and going up this river with stores, or orders, or what you like. Sand-banks, marshes, forests, savages,—precious little to eat fit for a civilized man, nothing but Thames water to drink. No Falernian wine here, no going ashore. Here and there a military camp lost in a wilderness, like a needle in a bundle of hay—cold, fog, tempests, disease, exile, and death—death skulking in the air, in the water, in the bush. They must have been dying like flies here. Oh, yes—he did it. Did it very well, too, no doubt, and without thinking much about it either, except afterwards to brag of what he had gone through in his time, perhaps. They were men enough to face the darkness. ...

Heart of Darkness by Joseph Conrad (Modernist Literature)

In a very few hours I arrived in a city that always makes me think of a whited sepulchre. Prejudice no doubt. I had no difficulty in finding the Company's offices. It was the biggest thing in the town, and everybody I met was full of it. They were going to run an over-sea empire, and make no end of coin by trade.... "I began to feel slightly uneasy. You know I am not used to such ceremonies, and there was something ominous in the atmosphere. It was just as though I had been let into some conspiracy—I don't know—something not quite right; and I was glad to get out. In the outer room the two women knitted black wool feverishly..... As we sat over our vermouths he glorified the Company's business, and by and by I expressed casually my surprise at him not going out there. He became very cool and collected all at once. 'I am not such a fool as I look, quoth Plato to his disciples,' he said sententiously, emptied his glass with great resolution, and we rose. ...

Heart of Darkness by Joseph Conrad (Modernist Literature)

It had become a place of darkness. But there was in it one river especially, a mighty big river, that you could see on the map, resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land. And as I looked at the map of it in a shop-window, it fascinated me as a snake would a bird—a silly little bird. Then I remembered there was a big concern, a Company for trade on that river. Dash it all! I thought to myself, they can't trade without using some kind of craft on that lot of fresh water—steamboats! Why shouldn't I try to get charge of one? I went on along Fleet Street, but could not shake off the idea. The snake had charmed me.

Heart of Darkness by Joseph Conrad (Modernist Literature)

It had become so pitch dark that we listeners could hardly see one another. For a long time already he, sitting apart, had been no more to us than a voice. There was not a word from anybody. The others might have been asleep, but I was awake. I listened, I listened on the watch for the sentence, for the word, that would give me the clue to the faint uneasiness inspired by this narrative that seemed to shape itself without human lips in the heavy night-air of the river.

Heart of Darkness by Joseph Conrad (Modernist Literature)

Marlow ceased, and sat apart, indistinct and silent, in the pose of a meditating Buddha. Nobody moved for a time. "We have lost the first of the ebb," said the Director suddenly. I raised my head. The offing was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed sombre under an overcast sky—seemed to lead into the heart of an immense darkness.

Heart of Darkness by Joseph Conrad (Modernist Literature)

Not of course that I did not connect him with some sort of action. Hadn't I been told in all the tones of jealousy and admiration that he had collected, bartered, swindled, or stolen more ivory than all the other agents together? That was not the point. The point was in his being a gifted creature, and that of all his gifts the one that stood out preeminently, that carried with it a sense of real presence, was his ability to talk, his words—the gift of expression, the bewildering, the illuminating, the most exalted and the most contemptible, the pulsating stream of light, or the deceitful flow from the heart of an impenetrable darkness.

Heart of Darkness by Joseph Conrad (Modernist Literature)

Oh, these months! Well, never mind. Various things happened. One evening a grass shed full of calico, cotton prints, beads, and I don't know what else, burst into a blaze so suddenly that you would have thought the earth had opened to let an avenging fire consume all that trash. I was smoking my pipe quietly by my dismantled steamer, and saw them all cutting capers in the light, with their arms lifted high, when the stout man with moustaches came tearing down to the river, a tin pail in his hand, assured me that everybody was 'behaving splendidly, splendidly,' dipped about a quart of water and tore back again. I noticed there was a hole in the bottom of his pail.

Heart of Darkness by Joseph Conrad (Modernist Literature)

Once, I remember, we came upon a man-of-war anchored off the coast. There wasn't even a shed there, and she was shelling the bush. It appears the French had one of their wars going on thereabouts. Her ensign dropped limp like a rag; the muzzles of the long six-inch guns stuck out all over the low hull; the greasy, slimy swell swung her up lazily and let her down, swaying her thin masts. In the empty immensity of earth, sky, and water, there she was, incomprehensible, firing into a continent. Pop, would go one of the six-inch guns; a small flame would dart and vanish, a little white smoke would disappear, a tiny projectile would give a feeble screech—and nothing happened. Nothing could happen. There was a touch of insanity in the proceeding, a sense of lugubrious drollery in the sight; and it was not dissipated by somebody on board assuring me earnestly there was a camp of natives—he called them enemies!—hidden out of sight somewhere.

Heart of Darkness by Joseph Conrad (Modernist Literature)

One day he remarked, without lifting his head, 'In the interior you will no doubt meet Mr. Kurtz.' On my asking who Mr. Kurtz was, he said he was a first-class agent; and seeing my disappointment at this information, he added slowly, laying down his pen, 'He is a very remarkable person.' Further questions elicited from him that Mr. Kurtz was at present in charge of a trading-post, a very important one, in the true ivory-country, at 'the very bottom of there. Sends in as much ivory as all the others put together...' He began to write again. The sick man was too ill to groan. The flies buzzed in a great peace

Heart of Darkness by Joseph Conrad (Modernist Literature)

The chief of the Inner Station,' he answered in a short tone, looking away.... 'He is a prodigy,' he said at last. 'He is an emissary of pity and science and progress, and devil knows what else. We want,' he began to declaim suddenly, 'for the guidance of the cause intrusted to us by Europe, so to speak, higher intelligence, wide sympathies, a singleness of purpose.'.... He paid no attention. 'Yes. Today he is chief of the best station, next year he will be assistant-manager, two years more and... but I dare-say you know what he will be in two years' time. You are of the new gang—the gang of virtue. The same people who sent him specially also recommended you.

Heart of Darkness by Joseph Conrad (Modernist Literature)

The original Kurtz had been educated partly in England, and—as he was good enough to say himself—his sympathies were in the right place. His mother was half-English, his father was half-French. All Europe contributed to the making of Kurtz; and by and by I learned that, most appropriately, the International Society for the Suppression of Savage Customs had intrusted him with the making of a report, for its future guidance. And he had written it, too. I've seen it. I've read it. It was eloquent, vibrating with eloquence, but too high-strung, I think. Seventeen pages of close writing he had found time for! But this must have been before his—let us say—nerves, went wrong, and caused him to preside at certain midnight dances ending with unspeakable rites, which—as far as I reluctantly gathered from what I heard at various times—were offered up to him—do you understand?—to Mr. Kurtz himself.

Heart of Darkness by Joseph Conrad (Modernist Literature)

The smell of mud, of primeval mud, by Jove! was in my nostrils, the high stillness of primeval forest was before my eyes; there were shiny patches on the black creek. The moon had spread over everything a thin layer of silver—over the rank grass, over the mud, upon the wall of matted vegetation standing higher than the wall of a temple, over the great river I could see through a sombre gap glittering, glittering, as it flowed broadly by without a murmur. All this was great, expectant, mute, while the man jabbered about himself. I wondered whether the stillness on the face of the immensity looking at us two were meant as an appeal or as a menace. What were we who had strayed in here? à

Heart of Darkness by Joseph Conrad (Modernist Literature)

There were rumours that a very important station was in jeopardy, and its chief, Mr. Kurtz, was ill. Hoped it was not true. Mr. Kurtz was... I felt weary and irritable. Hang Kurtz, I thought. I interrupted him by saying I had heard of Mr. Kurtz on the coast. 'Ah! So they talk of him down there,' he murmured to himself. Then he began again, assuring me Mr. Kurtz was the best agent he had, an exceptional man, of the greatest importance to the Company; therefore I could understand his anxiety. He was, he said, 'very, very uneasy.' Certainly he fidgeted on his chair a good deal, exclaimed, 'Ah, Mr. Kurtz!' broke the stick of sealing-wax and seemed dumfounded by the accident

Heart of Darkness by Joseph Conrad (Modernist Literature)

This is the reason why I affirm that Kurtz was a remarkable man. He had something to say. He said it. Since I had peeped over the edge myself, I understand better the meaning of his stare, that could not see the flame of the candle, but was wide enough to embrace the whole universe, piercing enough to penetrate all the hearts that beat in the darkness. He had summed up—he had judged. 'The horror!' He was a remarkable man. After all, this was the expression of some sort of belief; it had candour, it had conviction, it had a vibrating note of revolt in its whisper, it had the appalling face of a glimpsed truth—the strange commingling of desire and hate.

Heart of Darkness by Joseph Conrad (Modernist Literature)

This was the unbounded power of eloquence—of words—of burning noble words. There weunless a kind of note at the foot of the last page, scrawled evidently much laterre no practical hints to interrupt the magic current of phrases,, in an unsteady hand, may be regarded as the exposition of a method. It was very simple, and at the end of that moving appeal to every altruistic sentiment it blazed at you, luminous and terrifying, like a flash of lightning in a serene sky: 'Exterminate all the brutes!'

Heart of Darkness by Joseph Conrad (Modernist Literature)

Ugly. Yes, it was ugly enough; but if you were man enough you would admit to yourself that there was in you just the faintest trace of a response to the terrible frankness of that noise, a dim suspicion of there being a meaning in it which you—you so remote from the night of first ages—could comprehend. And why not? The mind of man is capable of anything—because everything is in it, all the past as well as all the future. What was there after all? Joy, fear, sorrow, devotion, valour, rage—who can tell?—but truth—truth stripped of its cloak of time. Let the fool gape and shudder—the man knows, and can look on without a wink

Heart of Darkness by Joseph Conrad (Modernist Literature)

Very often coming to this station, I had to wait days and days before he would turn up,' he said. 'Ah, it was worth waiting for!—sometimes.' 'What was he doing? exploring or what?' I asked. 'Oh, yes, of course'; he had discovered lots of villages, a lake, too—he did not know exactly in what direction; it was dangerous to inquire too much—but mostly his expeditions had been for ivory. 'But he had no goods to trade with by that time,' I objected. 'There's a good lot of cartridges left even yet,' he answered, looking away. 'To speak plainly, he raided the country,' I said. He nodded.

Heart of Darkness by Joseph Conrad (Modernist Literature)

We filled the steamboat with it, and had to pile a lot on the deck. Thus he could see and enjoy as long as he could see, because the appreciation of this favour had remained with him to the last. You should have heard him say, 'My ivory.' Oh, yes, I heard him. 'My Intended, my ivory, my station, my river, my—' everything belonged to him.

Heart of Darkness by Joseph Conrad (Modernist Literature)

We penetrated deeper and deeper into the heart of darkness. It was very quiet there. At night sometimes the roll of drums behind the curtain of trees would run up the river and remain sustained faintly, as if hovering in the air high over our heads, till the first break of day. Whether it meant war, peace, or prayer we could not tell. The dawns were heralded by the descent of a chill stillness; the wood-cutters slept, their fires burned low; the snapping of a twig would make you start. We were wanderers on a prehistoric earth, on an earth that wore the aspect of an unknown planet. We could have fancied ourselves the first of men taking possession of an accursed inheritance, to be subdued at the cost of profound anguish and of excessive toil. But suddenly, as we struggled round a bend, there would be a glimpse of rush walls, of peaked grass-roofs, a burst of yells, a whirl of black limbs, a mass of hands clapping of feet stamping, of bodies swaying, of eyes rolling, under the droop of heavy and motionless foliage.

Heart of Darkness by Joseph Conrad (Modernist Literature)

by and by I learned that, most appropriately, the International Society for the Suppression of Savage Customs had intrusted him with the making of a report, for its future guidance. And he had written it, too. I've seen it. I've read it. It was eloquent, vibrating with eloquence, but too high-strung, I think. Seventeen pages of close writing he had found time for!... Hebegan with the argument that wewhites, from the point of development we had arrived at, 'must necessarily appear to them [savages]in the nature of supernaturalbeings—we approach them with the might of a deity,' and so on, and so on. 'By the simple exercise of our will we can exert a power for good practically unbounded,' etc., etc. From that point he soared and took me with him. The peroration was magnificent, though difficult to remember, you know. It gave me the notion of an exotic Immensity ruled by an august Benevolence. It made me tingle with enthusiasm

Heart of Darkness by Joseph Conrad (Modernist Literature)

"Nonsense, my good man," said the undertaker, who was pretty well used to misery in all its shapes. "Nonsense!" "I tell you," said the man: clenching his hands, and stamping furiously on the floor,—"I tell you I won't have her put into the ground. She couldn't rest there. The worms would worry her—not eat her—she is so worn away."

Oliver Twist by Charles Dickens (Victorian Literature)

"Please, sir, I want some more." The master was a fat, healthy man; but he turned very pale. He gazed in stupefied astonishment on the small rebel for some seconds, and then clung for support to the copper. The assistants were paralysed with wonder; the boys with fear. "What!" said the master at length, in a faint voice. "Please, sir," replied Oliver, "I want some more." The master aimed a blow at Oliver's head with the ladle; pinioned him in his arm; and shrieked aloud for the beadle. The board were sitting in solemn conclave, when Mr. Bumble rushed into the room in great excitement, and addressing the gentleman in the high chair, said, "Mr. Limbkins, I beg your pardon, sir! Oliver Twist has asked for more!"

Oliver Twist by Charles Dickens (Victorian Literature)

"So you won't let me have him, gen'l'men?" said Mr. Gamfield, pausing near the door. "No," replied Mr. Limbkins; "at least, as it's a nasty business, we think you ought to take something less than the premium we offered." Mr. Gamfield's countenance brightened, as, with a quick step, he returned to the table, and said, "What'll you give, gen'l'men? Come! Don't be too hard on a poor man. What'll you give?" "I should say, three pound ten was plenty," said Mr. Limbkins. "Ten shillings too much," said the gentleman in the white waistcoat. "Come!" said Gamfield; "say four pound, gen'l'men. Say four pound, and you've got rid of him for good and all. There!"

Oliver Twist by Charles Dickens (Victorian Literature)

"The prices allowed by the board are very small, Mr. Bumble." "So are the coffins," replied the beadle: with precisely as near an approach to a laugh as a great official ought to indulge in. Mr.Sowerberrywas much tickled at this: as of course he ought to be; and laughed a long time without cessation. "Well, well, Mr. Bumble," he said at length, "there's no denying that, since the new system of feeding has come in, the coffins are something narrower andmore shallowthan they used to be; but we must have some profit, Mr. Bumble. Well-seasoned timber is an expensive article, sir; and all the iron handles come, by canal, from

Oliver Twist by Charles Dickens (Victorian Literature)

"Three pound ten," repeated Mr. Limbkins, firmly. "Come! I'll split the diff'erence, gen'l'men," urged Gamfield. "Three pound fifteen." "Not a farthing more," was the firm reply of Mr. Limbkins. "You're desperate hard upon me, gen'l'men," said Gamfield, wavering. "Pooh! pooh! nonsense!" said the gentleman in the white waistcoat. "He'd be cheap with nothing at all, as a premium. Take him, you silly fellow! He's just the boy for you. He wants the stick, now and then: it'll do him good; and his board needn't come very expensive, for he hasn't been overfed since he was born. Ha! ha! ha!"

Oliver Twist by Charles Dickens (Victorian Literature)

"You're a rough speaker, my friend, but you look an honest, open-hearted man," said the old gentleman: turning his spectacles in the direction of the candidate for Oliver's premium, whose villainous countenance was a regular stamped receipt for cruelty. But the magistrate was half blind and half childish, so he couldn't reasonably be expected to discern what other people did. "I hope I am, sir," said Mr. Gamfield, with an ugly leer. "I have no doubt you are, my friend," replied the old gentleman: fixing his spectacles more firmly on his nose, and looking about him for the inkstand.

Oliver Twist by Charles Dickens (Victorian Literature)

1.The Magistrates 2.The Board / Doctor 3.The Beadle (Mr. Bumble) 4.The Caretaker / Chimney Sweep / Nurse / Undertaker / Faigin 5.Shop Boys 6.Charity Boys (Noah Claypole) / The Artful Dodger 7.The Dog (Trip) 8.Oliver

Oliver Twist by Charles Dickens (Victorian Literature)

Among other public buildings in a certain town, which for many reasons it will be prudent to refrain from mentioning, and to which I will assign no fictitious name, there is one anciently common to most towns, great or small: to wit, a workhouse; and in this workhouse was born; on a day and date which I need not trouble myself to repeat, inasmuch as it can be of no possible consequence to the reader, in this stage of the business at all events; the item of mortality whose name is prefixed to the head of this chapter.

Oliver Twist by Charles Dickens (Victorian Literature)

For a long time after it was ushered into this world of sorrow and trouble, by the parish surgeon, it remained a matter of considerable doubt whether the child would survive to bear any name at all; in which case it is somewhat more than probable that these memoirs would never have appeared; or, if they had, that being comprised within a couple of pages, they would have possessed the inestimable merit of being the most concise and faithful specimen of biography, extant in the literature of any age or country.

Oliver Twist by Charles Dickens (Victorian Literature)

He put on his hat, and, pausing by the bed-side on his way to the door, added, "She was a good-looking girl, too; where did she come from?" "She was brought here last night," replied the old woman, "by the overseer's order. She was found lying in the street. She had walked some distance, for her shoes were worn to pieces; but where she came from, or where she was going to, nobody knows." The surgeon leaned over the body, and raised the left hand. "The old story," he said, shaking his head: "no wedding-ring, I see. Ah! Good-night!"

Oliver Twist by Charles Dickens (Victorian Literature)

It was the critical moment of Oliver's fate. If the inkstand had been where the old gentleman thought it was, he would have dipped his pen into it, and signed the indentures, and Oliver would have been straightway hurried off. But, as it chanced to be immediately under his nose, it followed, as a matter of course, that he looked all over his desk for it, without finding it; and happening in the course of his search to look straight before him, his gaze encountered the pale and terrified face of Oliver Twist: who, despite all the admonitory looks and pinches of Bumble, was regarding the repulsive countenance of his future master, with a mingled expression of horror and fear, too palpable to be mistaken, even by a half-blind magistrate.

Oliver Twist by Charles Dickens (Victorian Literature)

Mrs. Mann raised her hands in astonishment; but added, after a moment's reflection, "How comes heto have any name at all, then?" The beadle drew himself up with great pride, and said, "I inwented it." "You, Mr. Bumble!" "I, Mrs. Mann. We name our fondlings in alphabetical order. The last was a S,—Swubble, I named him. This was a T,—Twist, I named him. The next one comes will be Unwin, and the next Vilkins. I have got names ready made to the end of the alphabet, and all the way through it again, when we come to Z." "Why, you're quite a literary character, sir!" said Mrs. Mann.

Oliver Twist by Charles Dickens (Victorian Literature)

Noah was a charity-boy, but not a workhouse orphan. No chance-child was he, for he could trace his genealogy all the way back to his parents, who lived hard by; his mother being a washerwoman, and his father a drunken soldier, discharged with a wooden leg, and a diurnal pension of twopence-halfpenny and an unstateable fraction. The shop-boys in the neighbourhood had long been in the habit of branding Noah in the public streets, with the ignominious epithets of "leathers," "charity," and the like; and Noah had bourne them without reply. But, now that fortune had cast in his way a nameless orphan, at whom even the meanest could point the finger of scorn, he retorted on him with interest. This affords charming food for contemplation. It shows us what a beautiful thing human nature may be made to be; and how impartially the same amiable qualities are developed in the finest lord and the dirtiest charity-boy.

Oliver Twist by Charles Dickens (Victorian Literature)

Now, if, during this brief period, Oliver had been surrounded by careful grandmothers, anxious aunts, experienced nurses, and doctors of profound wisdom, he would most inevitably and indubitably have been killed in no time. There being nobody by, however, but a pauper old woman, who was rendered rather misty by an unwonted allowance of beer; and a parish surgeon who did such matters by contract; Oliver and Nature fought out the point between them.

Oliver Twist by Charles Dickens (Victorian Literature)

Oliver, being left to himself in the undertaker's shop, set the lamp down on a workman's bench, and gazed timidly about him with a feeling of awe and dread, which many people a good deal older than he will be at no loss to understand. An unfinished coffin on black tressels, which stood in the middle of the shop, looked so gloomy and death-like that a cold tremble came over him, every time his eyes wandered in the direction of the dismal object: from which he almost expected to see some frightful form slowly rear its head, to drive him mad with terror. Against the wall were ranged, in regular array, a long row of elm boards cut in the same shape: looking in the dim light, like high-shouldered ghosts with their hands in their breeches pockets. Coffin-plates, elm-chips, bright-headed nails, and shreds of black cloth, lay scattered on the floor; and the wall behind the counter was ornamented with a lively representation of two mutes in very stiff neckcloths, on duty at a large private door, with a hearse drawn by four black steeds, approaching in the distance. The shop was close and hot. The atmosphere seemed tainted with the smell of coffins. The recess beneath the counter in which his flock mattress was thrust, looked like a grave.

Oliver Twist by Charles Dickens (Victorian Literature)

Several rough beds made of old sacks, were huddled side by side on the floor. Seated round the table were four or five boys, none older than the Dodger, smoking long clay pipes, and drinking spirits with the air of middle-aged men. These all crowded about their associate as he whispered a few words to the Jew; and then turned round and grinned at Oliver. So did the Jew himself, toasting-fork in hand.

Oliver Twist by Charles Dickens (Victorian Literature)

The fact is, that there was considerable difficulty in inducing Oliver to take upon himself the office of respiration,—a troublesome practice, but one which custom has rendered necessary to our easy existence; and for some time he lay gasping on a little flock mattress, rather unequally poised between this world and the next: the balance being decidedly in favour of the latter. à

Oliver Twist by Charles Dickens (Victorian Literature)

The man's face was thin and very pale; his hair and beard were grizzly; his eyes were bloodshot. The old woman's face was wrinkled; her two remaining teeth protruded over her under lip; and her eyes were bright and piercing. Oliver was afraid to look at either her or the man. They seemed so like the rats he had seen outside. "Nobody shall go near her," said the man, starting fiercely up, as the undertaker approached the recess. "Keep back! Damn you, keep back, if you've a life to lose!"

Oliver Twist by Charles Dickens (Victorian Literature)

The old gentleman stopped, laid down his pen, and looked from Oliver to Mr. Limbkins; who attempted to take snuff with a cheerful and unconcerned aspect. "My boy!" said the old gentleman, "you look pale and alarmed. What is the matter?" "Stand a little away from him, Beadle," said the other magistrate: laying aside the paper, and leaning forward with an expression of interest. "Now, boy, tell us what's the matter: don't be afraid." Oliver fell on his knees, and clasping his hands together, prayed that they would order him back to the dark room—that they would starve him—beat him—kill him if they pleased—rather than send him away with that dreadful man.

Oliver Twist by Charles Dickens (Victorian Literature)

The parish authorities inquired with dignity of the workhouse authorities, whether there was no female then domiciled in "the house" who was in a situation to impart to Oliver Twist, the consolation and nourishment of which he stood in need. The workhouse authorities replied with humility, that there was not. Upon this, the parish authorities magnanimously and humanelyresolved, that Oliver should be "farmed," or, in other words, that he should be dispatched to a branch-workhouse some three miles off (from Chapter 2).

Oliver Twist by Charles Dickens (Victorian Literature)

The result was, that, after a few struggles, Oliver breathed, sneezed, and proceeded to advertise to the inmates of the workhouse the fact of a new burden having been imposed upon the parish, by setting up as loud a cry as could reasonably have been expected from a male infant who had not been possessed of that very useful appendage, a voice, for a much longer space of time than three minutes and a quarter.

Oliver Twist by Charles Dickens (Victorian Literature)

The surgeon deposited it in her arms. She imprinted her cold white lips passionately on its forehead; passed her hands over her face; gazed wildly round; shuddered; fell back—and died. They chafed her breast, hands, and temples; but the blood had stopped forever. They talked of hope and comfort. They had been strangers too long. "It's all over, Mrs. Thingummy!" said the surgeon at last. "Ah, poor dear, so it is!" said the nurse, picking up the cork of the green bottle, which had fallen out on the pillow, as she stooped to take up the child. "Poor dear!"

Oliver Twist by Charles Dickens (Victorian Literature)

There was a deal table before the fire: upon which were a candle, stuck in a ginger-beer bottle, two or three pewter pots, a loaf and butter, and a plate. In a frying-pan, which was on the fire, and which was secured to the mantelshelf by a string, some sausages were cooking; and standing over them, with a toasting-fork in his hand, was a very old shrivelled Jew, whose villainous-looking and repulsive face was obscured by a quantity of matted red hair. He was dressed in a greasy flannel gown, with his throat bare; and seemed to be dividing his attention between the frying-pan and the clothes-horse, over which a great number of silk handkerchiefs were hanging.

Oliver Twist by Charles Dickens (Victorian Literature)

There was a general start. Horror was depicted on every countenance. "For more!" said Mr. Limbkins. "Compose yourself, Bumble, and answer me distinctly. Do I understand that he asked for more, after he had eaten the supper allotted by the dietary?" "He did, sir," replied Bumble. "That boy will be hung," said the gentleman in the white waistcoat. "I know that boy will be hung."

Oliver Twist by Charles Dickens (Victorian Literature)

There were a good many small shops; but the only stock in trade appeared to be heaps of children, who, even at that time of night, were crawling in and out at the doors, or screaming from the inside. The sole places that seemed to prosper amid the general blight of the place, were the public-houses; and in them, the lowest orders of Irish were wrangling with might and main. Covered ways and yards, which here and there diverged from the main street, disclosed little knots of houses, where drunken men and women were positively wallowing in filth; and from several of the door-ways, great ill-looking fellows were cautiously emerging, bound, to all appearance, on no very well-disposed or harmless errands.

Oliver Twist by Charles Dickens (Victorian Literature)

With the slice of bread in his hand, and the little brown-cloth parish cap on his head, Oliver was then led away by Mr. Bumble from the wretched home where one kind word or look had never lighted the gloom of his infant years. And yet he burst into an agony of childish grief, as the cottage-gate closed after him. Wretched as were the little companions in misery he was leaving behind, they were the only friends he had ever known; and a sense of his loneliness in the great wide world, sank into the child's heart for the first time.

Oliver Twist by Charles Dickens (Victorian Literature)

Orientalism is a style of thought based upon an ontological and epistemological distinction made between "the Orient" and (most of the time) "the Occident." Thus a very large mass of writers, among whom are poets, novelists, philosophers, political theorists, economists, and imperial administrators, have accepted the basic distinction between East and West as the starting point for elaborate theories, epics, novels, social descriptions, and political accounts concerning the Orient, its people, customs, "mind," destiny, and so on. Taking the late eighteenth century as a very roughly defined starting point Orientalism can be discussed and analyzed as the corporate institution for dealing with the Orient—dealing with it by making statements about it, authorizing views of it, describing it, by teaching it, settling it, ruling over it: in short, Orientalism as a Western style for dominating, restructuring, and having authority over the Orient.

Orientalism but related to "An Image of Africa" by Chinua Achebe (Post-colonialism)

"I believe, ma'am, I may safely promise you never to dance with him." "His pride," said Miss Lucas, "does not offend me so much as pride often does, because there is an excuse for it. One cannot wonder that so very fine a young man, with family, fortune, everything in his favour, should think highly of himself. If I may so express it, he has a right to be proud." "That is very true," replied Elizabeth, "and I could easily forgive his pride, if he had not mortified mine." "Pride," observed Mary, who piqued herself upon the solidity of her reflections, "is a very common failing, I believe. By all that I have ever read, I am convinced that it is very common indeed; that human nature is particularly prone to it, and that there are very few of us who do not cherish a feeling of self-complacency on the score of some quality or other, real or imaginary. Vanity and pride are different things, though the words are often used synonymously. A person may be proud without being vain. Pride relates more to our opinion of ourselves, vanity to what we would have others think of us." "If I were as rich as Mr. Darcy," cried a young Lucas, who came with his sisters, "I should not care how proud I was. I would keep a pack of foxhounds, and drink a bottle of wine a day." "Then you would drink a great deal more than you ought," said Mrs. Bennet; "and if I were to see you at it, I should take away your bottle directly." The boy protested that she should not; she continued to declare that she would, and the argument ended only with the visit.

Pride and Prejudice by Jane Austen (Victorian Literature)

"That is as it happens. It does not follow that a deep, intricate character is more or less estimable than such a one as yours." ... "I did not know before," continued Bingley immediately, "that you were a studier of character. It must be an amusing study." "Yes, but intricate characters are the most amusing. They have at least that advantage." "The country," said Darcy, "can in general supply but a few subjects for such a study. In a country neighbourhood you move in a very confined and unvarying society." "But people themselves alter so much, that there is something new to be observed in them for ever"..... "When I am in the country," [Bingley] replied, "I never wish to leave it; and when I am in town it is pretty much the same. They have each their advantages, and I can be equally happy in either." "Aye—that is because you have the right disposition. But that gentleman," looking at Darcy, "seemed to think the country was nothing at all." "Indeed, Mamma, you are mistaken," said Elizabeth, blushing for her mother. "You quite mistook Mr. Darcy. He only meant that there was not such a variety of people to be met with in the country as in the town, which you must acknowledge to be true."

Pride and Prejudice by Jane Austen (Victorian Literature)

"You are dancing with the only handsome girl in the room," said Mr. Darcy, looking at the eldest Miss Bennet. "Oh! She is the most beautiful creature I ever beheld! But there is one of her sisters sitting down just behind you, who is very pretty, and I dare say very agreeable. Do let me ask my partner to introduce you." "Which do you mean?" and turning round he looked for a moment at Elizabeth, till catching her eye, he withdrew his own and coldly said: "She is tolerable, but not handsome enough to tempt me; I am in no humour at present to give consequence to young ladies who are slighted by other men. You had better return to your partner and enjoy her smiles, for you are wasting your time with me." Mr. Bingley followed his advice. Mr. Darcy walked off; and Elizabeth remained with no very cordial feelings toward him. She told the story, however, with great spirit among her friends; for she had a lively, playful disposition, which delighted in anything ridiculous.

Pride and Prejudice by Jane Austen (Victorian Literature)

Elizabeth took up some needlework, and was sufficiently amused in attending to what passed between Darcy and his companion. The perpetual commendations of the lady, either on his handwriting, or on the evenness of his lines, or on the length of his letter, with the perfect unconcern with which her praises were received, formed a curious dialogue, and was exactly in union with her opinion of each.

Pride and Prejudice by Jane Austen (Victorian Literature)

In a few days Mr. Bingley returned Mr. Bennet'svisit, and sat about ten minutes with him in his library. He had entertained hopes of being admitted to a sight of the young ladies, of whose beauty he had heard much; but he saw only the father. The ladies were somewhat more fortunate, for they had the advantage of ascertaining from an upper window that he wore a blue coat, and rode a black horse.

Pride and Prejudice by Jane Austen (Victorian Literature)

It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. However little known the feelings or views of such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered the rightful property of some one or other of their daughters.

Pride and Prejudice by Jane Austen (Victorian Literature)

It was generally evident whenever they met, that he didadmire her and to her it was equally evident that Jane was yielding to the preference which she had begun to entertain for him from the first, and was in a way to be very much in love; but she considered with pleasure that it was not likely to be discovered by the world in general, since Jane united, with great strength of feeling, a composure of temper and a uniform cheerfulness of manner which would guard her from the suspicions of the impertinent.

Pride and Prejudice by Jane Austen (Victorian Literature)

Not all that Mrs. Bennet, however, with the assistance of her five daughters, could ask on the subject, was sufficient to draw from her husband any satisfactory description of Mr. Bingley. They attacked him in various ways—with barefaced questions, ingenious suppositions, and distant surmises; but he eluded the skill of them all, and they were at last obliged to accept the second-hand intelligence of their neighbour, Lady Lucas. Her report was highly favourable. Sir William had been delighted with him. He was quite young, wonderfully handsome, extremely agreeable, and, to crown the whole, he meant to be at the next assembly with a large party. Nothing could be more delightful! To be fond of dancing was a certain step towards falling in love; and very lively hopes of Mr. Bingley's heart were entertained.

Pride and Prejudice by Jane Austen (Victorian Literature)

Nothing is more deceitful," said Darcy, "than the appearance of humility. It is often only carelessness of opinion, and sometimes an indirect boast." "And which of the two do you call my little recent piece of modesty?" "The indirect boast; for you are really proud of your defects in writing, because you consider them as proceeding from a rapidity of thought and carelessness of execution, which, if not estimable, you think at least highly interesting. The power of doing anything with quickness is always prized much by the possessor, and often without any attention to the imperfection of the performance. When you told Mrs. Bennet this morning that if you ever resolved upon quitting Netherfield you should be gone in five minutes, you meant it to be a sort of panegyric, of compliment to yourself—and yet what is there so very laudable in a precipitance which must leave very necessary business undone, and can be of no real advantage to yourself or anyone else?"

Pride and Prejudice by Jane Austen (Victorian Literature)

Occupied in observing Mr. Bingley's attentions to her sister, Elizabeth was far from suspecting that she was herself becoming an object of some interest in the eyes of his friend. Mr. Darcy had at first scarcely allowed her to be pretty; he had looked at her without admiration at the ball; and when they next met, he looked at her only to criticise. But no sooner had he made it clear to himself and his friends that she hardly had a good feature in her face, than he began to find it was rendered uncommonly intelligent by the beautiful expression of her dark eyes. To this discovery succeeded some others equally mortifying. Though he had detected with a critical eye more than one failure of perfect symmetry in her form, he was forced to acknowledge her figure to be light and pleasing; and in spite of his asserting that her manners were not those of the fashionable world, he was caught by their easy playfulness. Of this she was perfectly unaware; to her he was only the man who made himself agreeable nowhere, and who had not thought her handsome enough to dance with.

Pride and Prejudice by Jane Austen (Victorian Literature)

To Mr. Darcy it was welcome intelligence—Elizabeth had been at Netherfield long enough. She attracted him more than he liked—and Miss Bingley was uncivil to her, and more teasing than usual to himself. He wisely resolved to be particularly careful that no sign of admiration should now escape him, nothing that could elevate her with the hope of influencing his felicity; sensible that if such an idea had been suggested, his behaviour during the last day must have material weight in confirming or crushing it. Steady to his purpose, he scarcely spoke ten words to her through the whole of Saturday, and though they were at one time left by themselves for half-an-hour, he adhered most conscientiously to his book, and would not even look at her.

Pride and Prejudice by Jane Austen (Victorian Literature)

"And haven't you your own land to visit," continued Miss Ivors, "that you know nothing of, your own people, and your own country?" • "O, to tell you the truth," retorted Gabriel suddenly, "I'm sick of my own country, sick of it!" • "Why?" asked Miss Ivors. • Gabriel did not answer for his retort had heated him. • "Why?" repeated Miss Ivors. • They had to go visiting together and, as he had not answered her, Miss Ivors said warmly: • "Of course, you've no answer." • Gabriel tried to cover his agitation by taking part in the dance with great energy. He avoided her eyes for he had seen a sour expression on her face. But when they met in the long chain he was surprised to feel his hand firmly pressed. She looked at him from under her brows for a moment quizzically until he smiled. Then, just as the chain was about to start again, she stood on tiptoe and whispered into his ear: • "West Briton!"

The Dead by James Joyce (Modernist Literature)

"And then when it came to the time for me to leave Galway and come up to the convent he was much worse and I wouldn't be let see him so I wrote him a letter saying I was going up to Dublin and would be back in the summer, and hoping he would be better then." • She paused for a moment to get her voice under control, and then went on: • "Then the night before I left, I was in my grandmother's house in Nuns' Island, packing up, and I heard gravel thrown up against the window. The window was so wet I couldn't see, so I ran downstairs as I was and slipped out the back into the garden and there was the poor fellow at the end of the garden, shivering." • "And did you not tell him to go back?" asked Gabriel.

The Dead by James Joyce (Modernist Literature)

"And what did he die of so young, Gretta? Consumption, was it?" • "I think he died for me," she answered. • A vague terror seized Gabriel at this answer, as if, at that hour when he had hoped to triumph, some impalpable and vindictive being was coming against him, gathering forces against him in its vague world. But he shook himself free of it with an effort of reason and continued to caress her hand. He did not question her again, for he felt that she would tell him of herself. Her hand was warm and moist: it did not respond to his touch, but he continued to caress it just as he had caressed her first letter to him that spring morning. • "It was in the winter," she said, "about the beginning of the winter when I was going to leave my grandmother's and come up here to the convent. And he was ill at the time in his lodgings in Galway and wouldn't be let out, and his people in Oughterard were written to. He was in decline, they said, or something like that. I never knew rightly."

The Dead by James Joyce (Modernist Literature)

"Gretta, dear, what are you thinking about?" • She did not answer nor yield wholly to his arm. He said again, softly: • "Tell me what it is, Gretta. I think I know what is the matter. Do I know?" • She did not answer at once. Then she said in an outburst of tears: • "O, I am thinking about that song, The Lass of Aughrim."

The Dead by James Joyce (Modernist Literature)

"He is dead," she said at length. "He died when he was only seventeen. Isn't it a terrible thing to die so young as that?" "What was he?" asked Gabriel, still ironically. • "He was in the gasworks," she said. • Gabriel felt humiliated by the failure of his irony and by the evocation of this figure from the dead, a boy in the gasworks. While he had been full of memories of their secret life together, full of tenderness and joy and desire, she had been comparing him in her mind with another.... Instinctively he turned his back more to the light lest she might see the shame that burned upon his forehead.

The Dead by James Joyce (Modernist Literature)

"I implored of him to go home at once and told him he would get his death in the rain. But he said he did not want to live. I can see his eyes as well as well! He was standing at the end of the wall where there was a tree." • "And did he go home?" asked Gabriel. • "Yes, he went home. And when I was only a week in the convent he died and he was buried in Oughterard, where his people came from. O, the day I heard that, that he was dead!" • She stopped, choking with sobs, and, overcome by emotion, flung herself face downward on the bed, sobbing in the quilt. Gabriel held her hand for a moment longer, irresolutely, and then, shy of intruding on her grief, let it fall gently and walked quietly to the window.

The Dead by James Joyce (Modernist Literature)

"O, Mr. Conroy, will you come for an excursion to the Aran Isles this summer? We're going to stay there a whole month. It will be splendid out in the Atlantic. You ought to come. Mr. Clancy is coming, and Mr. Kilkelly and Kathleen Kearney. It would be splendid for Gretta too if she'd come. She's from Connacht, isn't she?" • "Her people are," said Gabriel shortly. • "But you will come, won't you?" said Miss Ivors, laying her arm hand eagerly on his arm. • "The fact is," said Gabriel, "I have just arranged to go----" • "Go where?" asked Miss Ivors.

The Dead by James Joyce (Modernist Literature)

"Out from the mansion of his forefathers," continued Gabriel, "he drove with Johnny. And everything went on beautifully until Johnny came in sight of King Billy's statue: and whether he fell in love with the horse King Billy sits on or whether he thought he was back again in the mill, anyhow he began to walk round the statue. Gabriel paced in a circle round the hall in his goloshes amid the laughter of the others. "Round and round he went," said Gabriel, "and the old gentleman, who was a very pompous old gentleman, was highly indignant. 'Go on, sir! What do you mean, sir? Johnny! Johnny! Most extraordinary conduct! Can't understand the horse!"

The Dead by James Joyce (Modernist Literature)

"There was no row," said Gabriel moodily, "only she wanted me to go for a trip to the west of Ireland and I said I wouldn't." • His wife clasped her hands excitedly and gave a little jump. • "O, do go, Gabriel," she cried. "I'd love to see Galway again." • "You can go if you like," said Gabriel coldly. • She looked at him for a moment, then turned to Mrs. Malins and said: • "There's a nice husband for you, Mrs. Malins."

The Dead by James Joyce (Modernist Literature)

"Well, we usually go to France or Belgium or perhaps Germany," said Gabriel awkwardly. • "And why do you go to France and Belgium," said Miss Ivors, "instead of visiting your own land?" "Well," said Gabriel, "it's partly to keep in touch with the languages and partly for a change." • "And haven't you your own language to keep in touch with -- Irish?" asked Miss Ivors. • "Well," said Gabriel, "if it comes to that, you know, Irish is not my language."

The Dead by James Joyce (Modernist Literature)

A few light taps upon the pane made him turn to the window. It had begun to snow again. He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight. The time had come for him to set out on his journey westward. Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.

The Dead by James Joyce (Modernist Literature)

A woman was standing near the top of the first flight, in the shadow also. He could not see her face but he could see the terra-cotta and salmon-pink panels of her skirt which the shadow made appear black and white. It was his wife. She was leaning on the banisters, listening to something. Gabriel was surprised at her stillness and strained his ear to listen also. But he could hear little save the noise of laughter and dispute on the front steps, a few chords struck on the piano and a few notes of a man's voice singing.

The Dead by James Joyce (Modernist Literature)

An idea came into his mind and gave him courage. He would say, alluding to Aunt Kate and Aunt Julia: "Ladies and Gentlemen, the generation which is now on the wane among us may have had its faults but for my part I think it had certain qualities of hospitality, of humour, of humanity, which the new and very serious and hypereducatedgeneration that is growing up around us seems to me to lack." Very good: that was one for Miss Ivors. What did he care that his aunts were only two ignorant old women?

The Dead by James Joyce (Modernist Literature)

He stood still in the gloom of the hall, trying to catch the air that the voice was singing and gazing up at his wife. There was grace and mystery in her attitude as if she were a symbol of something. He asked himself what is a woman standing on the stairs in the shadow, listening to distant music, a symbol of. If he were a painter he would paint her in that attitude. Her blue felt hat would show off the bronze of her hair against the darkness and the dark panels of her skirt would show off the light ones. Distant Music he would call the picture if he were a painter.

The Dead by James Joyce (Modernist Literature)

Of one thing, at least, I am sure. As long as this one roof shelters the good ladies aforesaid -- and I wish from my heart it may do so for many and many a long year to come -- the tradition of genuine warm-hearted courteous Irish hospitality, which our forefathers have handed down to us and which we in turn must hand down to our descendants, is still alive among us."

The Dead by James Joyce (Modernist Literature)

She spoke also of the beautiful house her daughter kept in Glasgow, and of all the friends they had there. While her tongue rambled on Gabriel tried to banish from his mind all memory of the unpleasant incident with Miss Ivors. Of course the girl or woman, or whatever she was, was an enthusiast but there was a time for all things. Perhaps he ought not to have answered her like that. But she had no right to call him a West Briton before people, even in joke. She had tried to make him ridiculous before people, heckling him and staring at him with her rabbit's eyes.

The Dead by James Joyce (Modernist Literature)

She was a frank-mannered talkative young lady, with a freckled face and prominent brown eyes. She did not wear a low-cut bodice and the large brooch which was fixed in the front of her collar bore on it an Irish device and motto. • When they had taken their places she said abruptly: • "I have a crow to pluck with you." • "With me?" said Gabriel. • She nodded her head gravely. • "What is it?" asked Gabriel, smiling at her solemn manner. • "Who is G. C.?" answered Miss Ivors, turning her eyes upon him. • Gabriel coloured and was about to knit his brows, as if he did not understand, when she said bluntly: • "O, innocent Amy! I have found out that you write for The Daily Express. Now, aren't you ashamed of yourself?" • "Why should I be ashamed of myself?" asked Gabriel, blinking his eyes and trying to smile. • "Well, I'm ashamed of you," said Miss Ivors frankly. "To say you'd write for a paper like that. I didn't think you were a West Briton."

The Dead by James Joyce (Modernist Literature)

"Because, without intending it, I have put into it some expression of all this curious artistic idolatry, of which, of course, I have never cared to speak to him. He knows nothing about it. He shall never know anything about it. But the world might guess it, and I will not bare my soul to their shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, Harry—too much of myself!"

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

"Dorian, Dorian," she cried, "before I knew you, acting was the one reality of my life. It was only in the theatre that I lived. I thought that it was all true. I was Rosalind one night and Portia the other. The joy of Beatrice was my joy, and the sorrows of Cordelia were mine also. I believed in everything. The common people who acted with me seemed to me to be godlike. The painted scenes were my world. I knew nothing but shadows, and I thought them real. You came—oh, my beautiful love!—and you freed my soul from prison. You taught me what reality really is. To-night, for the first time in my life, I saw through the hollowness, the sham, the silliness of the empty pageant in which I had always played. To-night, for the first time, I became conscious that the Romeo was hideous, and old, and painted, that the moonlight in the orchard was false, that the scenery was vulgar, and that the words I had to speak were unreal, were not my words, were not what I wanted to say. You had brought me something higher, something of which all art is but a reflection. You had made me understand what love really is. My love! My love! Prince Charming! Prince of life! I have grown sick of shadows. You are more to me than all art can ever be."

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

"Harry," he said, "Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I find him in the curves of certain lines, in the loveliness and subtleties of certain colours. That is all."

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

"Harry," said Basil Hallward, looking him straight in the face, "every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself. The reason I will not exhibit this picture is that I am afraid that I have shown in it the secret of my own soul."

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

"My dear Basil, how do I know?" murmured Dorian Gray, sipping some pale-yellow wine from a delicate, gold-beaded bubble of Venetian glass and looking dreadfully bored. "I was at the opera. You should have come on there. I met Lady Gwendolen, Harry's sister, for the first time. We were in her box. She is perfectly charming; and Patti sang divinely. Don't talk about horrid subjects. If one doesn't talk about a thing, it has never happened. It is simply expression, as Harry says, that gives reality to things. I may mention that she was not the woman's only child. There is a son, a charming fellow, I believe. But he is not on the stage. He is a sailor, or something. And now, tell me about yourself and what you are painting."

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

"What does this mean?" cried Hallward, at last. His own voice sounded shrill and curious in his ears. "Years ago, when I was a boy," said Dorian Gray, crushing the flower in his hand, "you met me, flattered me, and taught me to be vain of my good looks. One day you introduced me to a friend of yours, who explained to me the wonder of youth, and you finished a portrait of me that revealed to me the wonder of beauty. In a mad moment that, even now, I don't know whether I regret or not, I made a wish, perhaps you would call it a prayer...." "I remember it! Oh, how well I remember it! No! the thing is impossible. The room is damp. Mildew has got into the canvas. The paints I used had some wretched mineral poison in them. I tell you the thing is impossible." "Ah, what is impossible?" murmured the young man, going over to the window and leaning his forehead against the cold, mist-stained glass.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

"Yes!" answered Dorian Gray. "It was here I found her, and she is divine beyond all living things. When she acts, you will forget everything. These common rough people, with their coarse faces and brutal gestures, become quite different when she is on the stage. They sit silently and watch her. They weep and laugh as she wills them to do. She makes them as responsive as a violin. She spiritualizes them, and one feels that they are of the same flesh and blood as one's self."

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

"You told me you had destroyed it." "I was wrong. It has destroyed me." "I don't believe it is my picture." "Can't you see your ideal in it?" said Dorian bitterly. "My ideal, as you call it..." "As you called it." "There was nothing evil in it, nothing shameful. You were to me such an ideal as I shall never meet again. This is the face of a satyr." "It is the face of my soul." "Christ! what a thing I must have worshipped! It has the eyes of a devil." "Each of us has heaven and hell in him, Basil," cried Dorian with a wild gesture of despair.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

After about a quarter of an hour, he got the coachman and one of the footmen and crept upstairs. They knocked, but there was no reply. They called out. Everything was still. Finally, after vainly trying to force the door, they got on the roof and dropped down on to the balcony. The windows yielded easily—their bolts were old. When they entered, they found hanging upon the wall a splendid portrait of their master as they had last seen him, in all the wonder of his exquisite youth and beauty. Lying on the floor was a dead man, in evening dress, with a knife in his heart. He was withered, wrinkled, and loathsome of visage. It was not till they had examined the rings that they recognized who it was.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

As he was turning the handle of the door, his eye fell upon the portrait Basil Hallward had painted of him. He started back as if in surprise. Then he went on into his own room, looking somewhat puzzled. After he had taken the button-hole out of his coat, he seemed to hesitate. Finally, he came back, went over to the picture, and examined it. In the dim arrested light that struggled through the cream-coloured silk blinds, the face appeared to him to be a little changed. The expression looked different. One would have said that there was a touch of cruelty in the mouth. It was certainly strange. He turned round and, walking to the window, drew up the blind. The bright dawn flooded the room and swept the fantastic shadows into dusky corners, where they lay shuddering. But the strange expression that he had noticed in the face of the portrait seemed to linger there, to be more intensified even. The quivering ardent sunlight showed him the lines of cruelty round the mouth as clearly as if he had been looking into a mirror after he had done some dreadful thing.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

But in some curious way—I wonder will you understand me?—his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. 'A dream of form in days of thought'—who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad—for he seems to me little more than a lad, though he is really over twenty—his merely visible presence—ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body—how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me!

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

But this murder—was it to dog him all his life? Was he always to be burdened by his past? Was he really to confess? Never. There was only one bit of evidence left against him. The picture itself—that was evidence. He would destroy it. Why had he kept it so long? Once it had given him pleasure to watch it changing and growing old. Of late he had felt no such pleasure. It had kept him awake at night. When he had been away, he had been filled with terror lest other eyes should look upon it. It had brought melancholy across his passions. Its mere memory had marred many moments of joy. It had been like conscience to him. Yes, it had been conscience. He would destroy it.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

Cruelty! Had he been cruel? It was the girl's fault, not his. He had dreamed of her as a great artist, had given his love to her because he had thought her great. Then she had disappointed him. She had been shallow and unworthy. And, yet, a feeling of infinite regret came over him, as he thought of her lying at his feet sobbing like a little child. He remembered with what callousness he had watched her. Why had he been made like that? Why had such a soul been given to him? But he had suffered also. During the three terrible hours that the play had lasted, he had lived centuries of pain, aeon upon aeon of torture.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

Dorian Gray glanced at the picture, and suddenly an uncontrollable feeling of hatred for Basil Hallward came over him, as though it had been suggested to him by the image on the canvas, whispered into his ear by those grinning lips. The mad passions of a hunted animal stirred within him, and he loathed the man who was seated at the table, more than in his whole life he had ever loathed anything. He glanced wildly around. Something glimmered on the top of the painted chest that faced him. His eye fell on it. He knew what it was. It was a knife that he had brought up, some days before, to cut a piece of cord, and had forgotten to take away with him. He moved slowly towards it, passing Hallward as he did so. As soon as he got behind him, he seized it and turned round. Hallward stirred in his chair as if he was going to rise. He rushed at him and dug the knife into the great vein that is behind the ear, crushing the man's head down on the table and stabbing again and again.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

Dorian Gray grew pale as he watched her. He was puzzled and anxious. Neither of his friends dared to say anything to him. She seemed to them to be absolutely incompetent. They were horribly disappointed. Yet they felt that the true test of any Juliet is the balcony scene of the second act. They waited for that. If she failed there, there was nothing in her. She looked charming as she came out in the moonlight. That could not be denied. But the staginess of her acting was unbearable, and grew worse as she went on. Her gestures became absurdly artificial. She overemphasized everything that she had to say. ... she spoke the words as though they conveyed no meaning to her. It was not nervousness. Indeed, so far from being nervous, she was absolutely self-contained. It was simply bad art. She was a complete failure.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

Dorian Gray lifted his golden head from the pillow, and with pallid face and tear-stained eyes, looked at him as he walked over to the deal painting-table that was set beneath the high curtained window. What was he doing there? His fingers were straying about among the litter of tin tubes and dry brushes, seeking for something. Yes, it was for the long palette-knife, with its thin blade of lithe steel. He had found it at last. He was going to rip up the canvas. With a stifled sob the lad leaped from the couch, and, rushing over to Hallward, tore the knife out of his hand, and flung it to the end of the studio. "Don't, Basil, don't!" he cried. "It would be murder!" "I am glad you appreciate my work at last, Dorian," said the painter coldly when he had recovered from his surprise. "I never thought you would." "Appreciate it? I am in love with it, Basil. It is part of myself. I feel that."

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

So you think that it is only God who sees the soul, Basil? Draw that curtain back, and you will see mine." The voice that spoke was cold and cruel. "You are mad, Dorian, or playing a part," muttered Hallward, frowning. "You won't? Then I must do it myself," said the young man, and he tore the curtain from its rod and flung it on the ground. An exclamation of horror broke from the painter's lips as he saw in the dim light the hideous face on the canvas grinning at him. There was something in its expression that filled him with disgust and loathing. Good heavens! it was Dorian Gray's own face that he was looking at! The horror, whatever it was, had not yet entirely spoiled that marvellous beauty. There was still some gold in the thinning hair and some scarlet on the sensual mouth. The sodden eyes had kept something of the loveliness of their blue, the noble curves had not yet completely passed away from chiselled nostrils and from plastic throat. Yes, it was Dorian himself. But who had done it? He seemed to recognize his own brushwork, and the frame was his own design. The idea was monstrous, yet he felt afraid. He seized the lighted candle, and held it to the picture. In the left-hand corner was his own name, traced in long letters of bright vermilion.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

Suddenly there flashed across his mind what he had said in Basil Hallward's studio the day the picture had been finished. Yes, he remembered it perfectly. He had uttered a mad wish that he himself might remain young, and the portrait grow old; that his own beauty might be untarnished, and the face on the canvas bear the burden of his passions and his sins; that the painted image might be seared with the lines of suffering and thought, and that he might keep all the delicate bloom and loveliness of his then just conscious boyhood. Surely his wish had not been fulfilled? Such things were impossible. It seemed monstrous even to think of them. And, yet,there was the picture before him, with the touch of cruelty in the mouth.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

The girl grew white, and trembled. She clenched her hands together, and her voice seemed to catch in her throat. "You are not serious, Dorian?" she murmured. "You are acting." "Acting! I leave that to you. You do it so well," he answered bitterly. She rose from her knees and, with a piteous expression of pain in her face, came across the room to him. She put her hand upon his arm and looked into his eyes. He thrust her back. "Don't touch me!" he cried. A low moan broke from her, and she flung herself at his feet and lay there like a trampled flower. "Dorian, Dorian, don't leave me!" she whispered. "I am so sorry I didn't act well. I was thinking of you all the time. But I will try—indeed, I will try. It came so suddenly across me, my love for you. I think I should never have known it if you had not kissed me—if we had not kissed each other. Kiss me again, my love. Don't go away from me. I couldn't bear it.... Her tears and sobs annoyed him. "I am going," he said at last in his calm clear voice. "I don't wish to be unkind, but I can't see you again. You have disappointed me." She wept silently, and made no answer, but crept nearer. Her little hands stretched blindly out, and appeared to be seeking for him. He turned on his heel and left the room. In a few moments he was out of the theatre.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

The moment one sits down to think, one becomes all nose, or all forehead, or something horrid.... Your mysterious young friend, whose name you have never told me, but whose picture really fascinates me, never thinks. I feel quite sure of that. He is some brainless beautiful creature who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence. Don't flatter yourself, Basil: you are not in the least like him.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn. From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion. The sullen murmur of the bees shouldering their way through the long unmown grass, or circling with monotonous insistence round the dusty gilt horns of the straggling woodbine, seemed to make the stillness more oppressive. The dim roar of London was like the bourdon note of a distant organ.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

Then he leaped up and went to the door. "Yes," he cried, "you have killed my love. You used to stir my imagination. Now you don't even stir my curiosity. You simply produce no effect. I loved you because you were marvellous, because you had genius and intellect, because you realized the dreams of great poets and gave shape and substance to the shadows of art. You have thrown it all away. You are shallow and stupid. My God! how mad I was to love you! What a fool I have been! You are nothing to me now. I will never see you again. I will never think of you. I will never mention your name. You don't know what you were to me, once. Why, once.... Oh, I can't bear to think of it! I wish I had never laid eyes upon you!

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

There was a stifled groan and the horrible sound of some one choking with blood. Three times the outstretched arms shot up convulsively, waving grotesque, stiff-fingered hands in the air. He stabbed him twice more, but the man did not move. Something began to trickle on the floor. He waited for a moment, still pressing the head down. Then he threw the knife on the table, and listened. He could hear nothing, but the drip, drip on the threadbare carpet. He opened the door and went out on the landing. The house was absolutely quiet. No one was about. For a few seconds he stood bending over the balustrade and peering down into the black seething well of darkness. Then he took out the key and returned to the room, locking himself in as he did so.

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

When our eyes met, I felt that I was growing pale. A curious sensation of terror came over me. I knew that I had come face to face with some one whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole nature, my whole soul, my very art itself. ... We were quite close, almost touching. Our eyes met again. It was reckless of me, but I asked Lady Brandon to introduce me to him. Perhaps it was not so reckless, after all. It was simply inevitable. We would have spoken to each other without any introduction. I am sure of that. Dorian told me so afterwards. He, too, felt that we were destined to know each other."

The Picture of Dorian Grey by Oscar Wilde (Victorian Literature - waning stages)

"How many are you, then," said I, "If they two are in heaven?" Quick was the little Maid's reply, "O Master! we are seven." "But they are dead; those two are dead! Their spirits are in heaven!" 'Twas throwing words away; for still The little Maid would have her will, And said, "Nay, we are seven!"

We Are Seven by William Wordsworth (Earnest Romanticism)

"Sisters and brothers, little Maid, How many may you be?" "How many? Seven in all," she said, And wondering looked at me. "And where are they? I pray you tell." She answered, "Seven are we; And two of us at Conway dwell, And two are gone to sea. "Two of us in the church-yard lie, My sister and my brother; And, in the church-yard cottage, I Dwell near them with my mother."

We Are Seven by William Wordsworth (Earnest Romanticism)

"The first that died was sister Jane; In bed she moaning lay, Till God released her of her pain; And then she went away. "So in the church-yard she was laid; And, when the grass was dry, Together round her grave we played, My brother John and I. "And when the ground was white with snow, And I could run and slide, My brother John was forced to go, And he lies by her side."

We Are Seven by William Wordsworth (Earnest Romanticism)

"Their graves are green, they may be seen," The little Maid replied, "Twelve steps or more from my mother's door, And they are side by side. "My stockings there I often knit, My kerchief there I hem; And there upon the ground I sit, And sing a song to them. "And often after sun-set, Sir, When it is light and fair, I take my little porringer, And eat my supper there.

We Are Seven by William Wordsworth (Earnest Romanticism)

"You say that two at Conway dwell, And two are gone to sea, Yet ye are seven! I pray you tell, Sweet Maid, how this may be." Then did the little Maid reply, "Seven boys and girls are we; Two of us in the church-yard lie, Beneath the church-yard tree." "You run about, my little Maid, Your limbs they are alive; If two are in the church-yard laid, Then ye are only five."

We Are Seven by William Wordsworth (Earnest Romanticism)

———A simple Child, That lightly draws its breath, And feels its life in every limb, What should it know of death? I met a little cottage Girl: She was eight years old, she said; Her hair was thick with many a curl That clustered round her head. She had a rustic, woodland air, And she was wildly clad: Her eyes were fair, and very fair; —Her beauty made me glad.

We Are Seven by William Wordsworth (Earnest Romanticism)