William Rohner

“But what after all is one night? A short space, especially when the darkness dims so soon, and so soon a bird sings, a cock crows, or a faint green quickens, like a turning leaf, in the hollow of the wave. Night, however, succeeds to night. The winter holds a pack of them in store and deals them equally, evenly, with indefatigable fingers. They lengthen; they darken. Some of them hold aloft clear planets, plates of brightness. The autumn trees, ravaged as they are, take on the flash of tattered flags kindling in the gloom of cool cathedral caves where gold letters on marble pages describe death in battle and how bones bleach and burn far away in Indian sands. The autumns trees gleam in the yellow moonlight, in the light of harvest moons, the light which mellows the energy of labour, and smooths the stubble, and brings the wave lapping blue to the shore.”
― Virginia Woolf, To the Lighthouse

“They were happier now than they would ever be again. A tenpenny tea set made Cam happy for days. She heard them stamping and crowing on the floor above her head the moment they woke. They came bustling along the passage. Then the door sprang open and in they came, fresh as roses, staring, wide awake, as if this coming into the dining-room after was a positive event to them, and so on, with one thing after another, all day long, until she went up to say good-night to them, and found them netted in their cots like birds among cherries and raspberries, still making up stories about some little bit of rubbish-–something they heard, something they had picked up in the garden. They had all their little treasures. . . And so she went down and said to her husband, Why must they grow up and lose it all? Never will they be so happy again. And he was angry. Why take such a gloomy view of life? he said. It is not sensible. For it was odd; and he believed it to be true; that with all his gloom and desperation he was happier, more hopeful on the whole, than she was. Less exposed to human worries––perhaps that was it. He had always his work to fall back on.”
― Virginia Woolf, To the Lighthouse

“He was really, Lily Briscoe thought, in spite of his eyes, but then look at his nose, look at his hands, the most uncharming human being she had ever met. Then why did she mind what he said? Women can't write, women can't paint - what did that matter coming from him, since clearly it was not true to him but for some reason helpful to him, and that was why he said it? Why did her whole being bow, like corn under a wind, and erect itself again from this abasement only with a great and rather painful effort? She must make it once more. There's the sprig on the table-cloth; there's my painting; I must move the tree to the middle; that matters - nothing else. Could she not hold fast to that, she asked herself, and not lose her temper, and not argue; and if she wanted revenge take it by laughing at him?”
― Virginia Woolf, To the Lighthouse

“Why level downward to our dullest perception always, and praise that as common sense? The commonest sense is the sense of men asleep, which they express by snoring. Sometimes we are inclined to class those who are once-and-a-half witted with the half-witted, because we appreciate only a third part of their wit. Some would find fault with the morning-red, if they ever got up early enough. “They pretend,” as I hear, “that the verses of Kabir have four different senses; illusion, spirit, intellect, and the exoteric doctrine of the Vedas;” but in this part of the world it is considered a ground for complaint if a man’s writings admit of more than one interpretation. While England endeavors to cure the potato-rot, will not any endeavor to cure the brain-rot, which prevails so much more widely and fatally?”
― Henry David Thoreau, Walden; Or, Life in the Woods