I can only note that the past is beautiful because one never realises an emotion at the time. It expands later, and thus we don't have complete emotions about the present, only about the past.
A strange thing has happened - while all the other arts were born naked, this, the youngest, has been born fully-clothed. It can say everything before it has anything to say. It is as if the savage tribe, instead of finding two bars of iron to play with, had found scattering the seashore fiddles, flutes, saxophones, trumpets, grand pianos by Erhard and Bechstein, and had begun with incredible energy, but without knowing a note of music, to hammer and thump upon them all at the same time.
Interpretation
What this quote means
Woolf reflects on how the art of literature appears to have a richness and complexity that other art forms develop over time.
In this quote, Virginia Woolf comments on the unique nature of literature, suggesting that it emerged fully formed and sophisticated compared to other art forms, which evolved gradually. She illustrates this by imagining a primitive tribe stumbling upon a variety of musical instruments and experimenting with them without any prior knowledge, symbolizing how writers engage with the vast potential of language even before mastering it.
Themes
In practice
Example use cases
In a discussion on the evolution of creative expression, this quote can illustrate how literature's complexity sets it apart.
More from Virginia Woolf
All quotes →Death is woven in with the violets,” said Louis. “Death and again death.”)
He began to search among the infinite series of impressions which time had laid down, leaf upon leaf, fold upon fold softly, incessantly upon his brain; among scents, sounds; voices, harsh, hollow, sweet; and lights passing, and brooms tapping; and the wash and hush of the sea.
I want to think quietly, calmly, spaciously, never to be interrupted, never to have to rise from my chair, to slip easily from one thing to another, without any sense of hostility, or obstacle. I want to sink deeper and deeper, away from the surface, with its hard separate facts.
I do think all good and evil comes from words. I have to tune myself into a good temper with something musical, and I run to a book as a child to its mother.
London perpetually attracts, stimulates, gives me a play and a story and a poem, without any trouble, save that of moving my legs through the streets... To walk alone through London is the greatest rest.
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Whosoever knoweth the power of the dance, dwelleth in God.
Muse of the many twinkling feet, whose charms are now extending up from legs to arms.
Fantasy is not antirational, but pararational; not realistic but surrealistic, a heightening of reality. In Freud's terminology, it employs primary not secondary process thinking. It employs archetypes which, as Jung warned us, are dangerous things. Fantasy is nearer to poetry, to mysticism, and to insanity than naturalistic fiction is. It is a wilderness, and those who go there should not feel too safe.
You have to be aware of what the audience's expectations are, and then you have to pervert them, basically, and hit them upside the head from a direction they weren't looking.
You're creating a different world and the actor's job is to be able to convince the audience to enter into that world, whether it be actually something that you recognize from your own life or not.