Virginia Woolf born Adeline Virginia Stephen, was a British writer who is considered to be one of the foremost modernist/feminist literary figures of the twentieth century.

See also : Orlando: A Biography

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• Dearest,

  I want to tell you that you have given me complete happiness. No one could have done more than you have done. Please believe that.

  But I know that I shall never get over this: and I am wasting your life. It is this madness. Nothing anyone says can persuade me. You can work, and you will be much better without me. You see I can't write this even, which shows I am right. All I want to say is that until this disease came on we were perfectly happy. It was all due to you. No one could have been so good as you have been, from the very first day till now. Everyone knows that.

  V.

  • Letter to Leonard Woolf (28 March 1941), from The Virginia Woolf Reader, ed. Mitchell A. Leaska (Harcourt Trade, 1984, ISBN 0156935902), p. 369

Jacob's Room (1922)

• The strange thing about life is that though the nature of it must have been apparent to every one for hundreds of years, no one has left any adequate account of it. The streets of London have their map; but our passions are uncharted. What are you going to meet if you turn this corner?
  • Chapter 8

The Common Reader (1925)

• But can we go to posterity with a sheaf of loose pages, or ask the readers of those days, with the whole of literature before them, to sift our enormous rubbish heaps for our tiny pearls? Such are the questions which the critics might lawfully put to their companions at table, the novelists and poets.
  • "How It Strikes a Contemporary"

• Life is not a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end.
  • "Modern Fiction"

• Theirs, too, is the word-coining genius, as if thought plunged into a sea of words and came up dripping.
  • "Notes on an Elizabethan Play"

• But delightful though it is to indulge in righteous indignation, it is misplaced if we agree with the lady's-maid that high birth is a form of congenital insanity, that the sufferer merely inherits the diseases of his ancestors, and endures them, for the most part very stoically, in one of those comfortably padded lunatic asylums which are known, euphemistically, as the stately homes of England.
  • "Outlines: Lady Dorothy Nevill"

Mrs. Dalloway (1925)

• Mrs. Dalloway said she would buy the flowers herself.

• It was enemies one wanted, not friends.

• What she loved was this, here, now, in front of her; the fat lady in the cab. Did it matter then, she asked herself, walking towards Bond Street, did it matter that she must inevitably cease completely; all this must go on without her; did she resent it; or did it not become consoling to believe that death ended absolutely? but that somehow in the streets of London, on the ebb and flow of things, here there, she survived. Peter survived, lived in each other, she being part, she was positive, of the trees at home; of the house there, ugly, rambling all to bits and pieces as it was; part of people she had never met; being laid out like a mist between the people she knew best, who lifted her on their branches as she had seen the trees lift the mist, but it spread ever so far, her life, herself.

• But to go deeper, beneath what people said (and these judgements, how superficial, how fragmentary they are!) in her own mind now, what did it mean to her, this thing she called life? Oh, it was very queer. Here was So-and-so in South Kensington; some one up in Bayswater; and somebody else, say, in Mayfair. And she felt quiet continuously a sense of their existence and she felt what a waste; and she felt what a pity; and she felt if only they could be brought together; so she did it. And it was an offering; to combine, to create; but to whom?

  An offering for the sake of offering, perhaps. Anyhow, it was her gift. Nothing else had she of the slightest importance; could not think, write, even play the piano. She muddled Armenians and Turks; loved success; hated discomfort; must be liked; talked oceans of nonsense: and to this day, ask her what the Equator was, and she did not know.

  All the same, that one day should follow another; Wednesday, Thursday, Friday, Saturday; that one should wake up in the morning; see the sky; walk in the park; meet Hugh Whitbread; then suddenly in came Peter; then these roses; it was enough. After that, how unbelievable death was! — that it must end; and no one in the whole world would know how she had loved it all.

To the Lighthouse (1927)

• A light here required a shadow there.
  • Part I, Chapter 9

• A sort of transaction went on between them, in which she was on one side, and life was on another, and she was always trying to get the better of it, as it was of her; and sometimes they parleyed (when she sat alone); there were, she remembered, great reconciliation scenes; but for the most part, oddly enough, she must admit that she felt this thing that she called life terrible, hostile, and quick to pounce on you if you gave it a chance. There were the eternal problems: suffering; death; the poor. There was always a woman dying of cancer even here. And yet she had said to all these children, You shall go through with it. To eight people she had said relentlessly that... For that reason, knowing what was before them — love and ambition and being wretched alone in dreary places — she had often the feeling, Why must they grow up and lose it all? And then she said to herself, brandishing her sword at life, Nonsense. They will be perfectly happy.
  • Part I, Chapter 10

• There is a code of behaviour, she knew, whose seventh article (it may be) says that on occasions of this sort it behoves the woman, whatever her own occupation might be, to go to the help of the young man opposite so that he may expose and relieve the thigh bones, the ribs, of his vanity, of his urgent desire to assert himself; as indeed it is their duty, she reflected, in her old maidenly fairness, to help us, suppose the Tube were to burst into flames. Then, she thought, I should certainly expect Mr Tansley to get me out. But how would it be, she thought, if neither of us did either of these things? So she sat there smiling.
  • Part I, Chapter 17

• For our penitence deserves a glimpse only; our toil respite only.
  • Part II, Chapter 3

• "Like a work of art," she repeated, looking from her canvas to the drawing-room steps and back again. She must rest for a moment. And, resting, looking from one to the other vaguely, the old question which transversed the sky of the soul perpetually, the vast, the general question which was apt to particularise itself at such moments as these, when she released faculties that had been on the strain, stood over her, paused over her, darkened over her. What is the meaning of life? That was all — a simple question; one that tended to close in on one with years. The great revelation had never come. The great revelation perhaps never did come. Instead there were little daily miracles, illuminations, matches struck unexpectedly in the dark; here was one. This, that, and the other; herself and Charles Tansley and the breaking wave; Mrs. Ramsay bringing them together; Mrs. Ramsay saying, "Life stand still here"; Mrs. Ramsay making of the moment something permanent (as in another sphere Lily herself tried to make of the moment something permanent) — this was of the nature of a revelation. In the midst of chaos there was shape; this eternal passing and flowing (she looked at the cloud going and the leaves shaking) was struck into stability. Life stand still here, Mrs. Ramsay said. "Mrs. Ramsay! Mrs. Ramsay!" she repeated. She owed it all to her.
  • Part III, Chapter 3

A Room of One's Own (1929)

Harcourt, Brace & World, 1957, ISBN 0-156-78732-6

• A woman must have money and a room of her own if she is to write fiction.
  • Ch. 1 (p. 4)

• When a subject is highly controversial — and any question about sex is that — one cannot hope to tell the truth. One can only show how one came to hold whatever opinion one does hold. One can only give one's audience the chance of drawing their own conclusions as they observe the limitations, the prejudices, the idiosyncrasies of the speaker.
  • Ch. 1 (p. 4)

• The beauty of the world which is so soon to perish, has two edges, one of laughter, one of anguish, cutting the heart asunder.
  • Ch. 1 (p. 17)

• The human frame being what it is, heart, body and brain all mixed together, and not contained in separate compartments as they will be no doubt in another million years, a good dinner is of great importance to good talk. One cannot think well, love well, sleep well, if one has not dined well.
  • Ch. 1 (p. 18)

• Have you any notion how many books are written about women in the course of one year? Have you any notion how many are written by men? Are you aware that you are, perhaps, the most discussed animal in the universe?
  • Ch. 2 (p. 26)

• Life for both sexes — and I looked at them, shouldering their way along the pavement — is arduous, difficult, a perpetual struggle. It calls for gigantic courage and strength. More than anything, perhaps, creatures of illusion as we are, it calls for confidence in oneself. Without self-confidence we are as babes in the cradle. And how can we generate this imponderable quality, which is yet so invaluable, most quickly? By thinking that other people are inferior to one self. By feeling that one has some innate superiority — it may be wealth, or rank, a straight nose, or the portrait of a grandfather by Romney — for there is no end to the pathetic devices of the human imagination — over other people.
  • Ch. 2 (p. 35)

• Women have served all these centuries as looking-glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size.
  • Ch. 2 (p. 35)

• Fiction is like a spider's web, attached ever so lightly perhaps, but still attached to life at all four corners. Often the attachment is scarcely perceptible; Shakespeare's plays, for instance, seem to hang there complete by themselves. But when the web is pulled askew, hooked up at the edge, torn in the middle, one remembers that these webs are not spun in midair by incorporeal creatures, but are the work of suffering human beings, and are attached to the grossly material things, like health and money and the houses we live in.
  • Ch. 3 (pp. 43-44)

• I would venture to guess than Anon, who wrote so many poems without signing them, was often a woman.
  • Ch. 3 (p. 51)

• For it needs little skill in psychology to be sure that a highly gifted girl who had tried to use her gift for poetry would have been so thwarted and hindered by other people, so tortured and pulled asunder by her own contrary instincts, that she must have lost her health and sanity to a certainty.
  • Ch. 3 (p. 51)

• Literature is strewn with the wreckage of men who have minded beyond reason the opinions of others.
  • Ch. 3 (p. 58)

• I told you in the course of this paper that Shakespeare had a sister; but do not look for her in Sir Sidney Lee's life of the poet. She died young — alas, she never wrote a word... 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.
  • Ch. 6 (p. 117)

• My belief is that if we live another century or so — I am talking of the common life which is the real life and not of the little separate lives which we live as individuals — and have five hundred a year each of us and rooms of our own; if we have the habit of freedom and the courage to write exactly what we think; if we escape a little from the common sitting-room and see human beings not always in their relation to each other but in relation to reality; and the sky, too, and the trees or whatever it may be in themselves; if we look past Milton's bogey, for no human being should shut out the view; if we face the fact, for it is a fact, that there is no arm to cling to, but that we go alone and that our relation is to the world of reality and not only to the world of men and women, then the opportunity will come and the dead poet who was Shakespeare's sister will put on the body which she has so often laid down. Drawing her life from the lives of the unknown who were her forerunners, as her brother did before her, she will be born. 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.
  • Ch. 6 (pp. 117-118)

The Waves (1931)

Harcourt Brace Jovanovich, 1978, ISBN 0-15-694960-1

• Here on this ring of grass we have sat together, bound by the tremendous power of some inner compulsion. The trees wave, the clouds pass. The time approaches when these soliloquies shall be shared. We shall not always give out a sound like a beaten gong as one sensation strikes and then another. Children, our lives have been gongs striking; clamour and boasting; cries of despair; blows on the nape of the neck in gardens.
  • pp. 39-40

• Things have dropped from me. I have outlived certain desires; I have lost friends, some by death... others through sheer inability to cross the street.
  • p. 186

• Yet there are moments when the walls of the mind grow thin; when nothing is unabsorbed, and I could fancy that we might blow so vast a bubble that the sun might set and rise in it and we might take the blue of midday and the black of midnight and be cast off and escape from here and now.
  • p. 224

• I like the copious, shapeless, warm, not so very clever, but extremely easy and rather coarse aspect of things; the talk of men in clubs and public-houses; of miners half naked in drawers — the forthright, perfectly unassuming, and without end in view except dinner, love, money and getting along tolerably; that which is without great hopes, ideals, or anything of that kind; what is unassuming except to make a tolerably, good job of it. I like all that.
  • p. 246

Three Guineas (1938)

Harcourt Brace Jovanovich, 1966, ISBN 0-156-90177-3

• Though we see the same world, we see it through different eyes. Any help we can give you must be different from that you can give yourselves, and perhaps the value of that help may lie in the fact of that difference.
  • Ch. 1 (p. 18)

• Directly the mulberry tree begins to make you circle, break off. Pelt the tree with laughter.
  • Ch. 2 (p. 80)

• The outsider will say, "in fact, as a woman, I have no country. As a woman I want no country. As a woman my country is the whole world." And if, when reason has said its say, still some obstinate emotion remains, some love of England dropped into a child's ears by the cawing of rooks in an elm tree, by the splash of waves on a beach, or by English voices murmuring nursery rhymes, this drop of pure, if irrational, emotion she will make serve her to give to England first what she desires of peace and freedom for the whole world.
  • Ch. 3 (p. 109)

The Death of the Moth and Other Essays (1942)

• The artist after all is a solitary being.
  • "The Historian and 'The Gibbon'"

• Once you begin to take yourself seriously as a leader or as a follower, as a modern or as a conservative, then you become a self-conscious, biting, and scratching little animal whose work is not of the slightest value or importance to anybody.
  • "A Letter to a Young Poet"

• Lines slip easily down the accustomed grooves. The old designs are copied so glibly that we are half inclined to think them original, save for that very glibness.
  • "A Letter to a Young Poet"

• I mean, what is a woman? I assure you, I do not know. I do not believe that you know. I do not believe that anybody can know until she has expressed herself in all the arts and professions open to human skill.
  • "Professions for Women"

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

The Moment and Other Essays (1948)

• If you do not tell the truth about yourself you cannot tell it about other people.
  • "The Leaning Tower"
  • Lecture delivered to the Workers' Educational Association, Brighton, May 1940

Granite and Rainbow (1958)

• The extraordinary woman depends on the ordinary woman. It is only when we know what were the conditions of the average woman's life ... it is only when we can measure the way of life and the experience of life made possible to the ordinary woman that we can account for the success or failure of the extraordinary woman as a writer.
  • "Women and Fiction"

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

• If, then, one should try to sum up the character of women's fiction at the present moment, one would say that it is courageous; it is sincere; it keeps closely to what women feel. It is not bitter. It does not insist upon its femininity.
  • "Women and Fiction"

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

Books and Portraits (1977)

• The strongest natures, when they are influenced, submit the most unreservedly: it is perhaps a sign of their strength.
  • "Thoreau"

Misattributions

• Thought and theory must precede all salutary action; yet action is nobler in itself than either thought or theory.
  • Sometimes ascribed to Virginia Woolf, but it appeared as early as 1854 in Anna Jameson's A Commonplace Book of Thoughts, Memories and Fancies, where it is ascribed to William Wordsworth.