Alice Meynell Quotes

Red has been praised for its nobility as the colour of life. But the true colour of life is not red. Red is the colour of violence, or of life broken open, edited, and published. Or if red is indeed the colour of life, it is so only on condition that it is not seen. Once fully visible, red is the colour of life violated, and in the act of betrayal and of waste.

Children have a fastidiousness that time is slow to cure. It is to be wondered, for example, whether if the elderly were half as hungry as children are they would yet find so many things at table to be detestable.

Life, light, and distance—in poetry—seem to leave on the mind's eye the impression of red, yellow, and blue, radiant less or more according as the life is less or more impassioned, the light celestial, and the space remote.

In the case of women, it is of the living and unpublished blood that the violent world has professed to be delicate and ashamed. See the curious history of the political rights of women under the Revolution. On the scaffold she enjoyed an ungrudged share in the fortunes of party. Political life might be denied her, but that seems a trifle when you consider how generously she was permitted political death. She was to spin and cook for her citizen in the obscurity of her living hours; but to the hour of her death was granted a part in the largest interests, social, national, international. The blood wherewith she should, according to Robespierre, have blushed to be seen or heard in the tribune, was exposed in the public sight unsheltered by her veins.

I make the whole world answer to my art.

[F]or man, woman, and child the tender, irregular, sensitive, living foot, which does not even stand with all its little surface on the ground, and which makes no base to satisfy an architectural eye, is, as it were, the unexpected thing.[…] How weak it is may be seen from a footprint: for nothing makes a more helpless and unsymmetrical sign than does a naked foot.

In childhood we all have a more exalted sense of dawn and summer sunrise than we ever fully retain or quite recover; and also a far higher sensibility for April and April evenings—a heartache for them, which in riper years is gradually and irretrievably consoled.

[A]n English wit has well said that affectation displeases us because it has not too much, but too little, art.

It is principally for the sake of the leg that a change in the dress of man is so much to be desired.[…] The leg is the best part of the figure,[…] and the best leg is the man's.[…] But man should no longer disguise the long lines, the strong forms in those lengths of piping or tubing that are of all garments the most stupid.

My day-mind can endure
Upright, in hope, all it must undergo. But O, afraid, unsure,
My night-mind waking lies too low, too low.

I am dark but fair,
Black but fair.

[R]ight language enlarges the soul as no other power or influence may do.

Rich meanings of the prophet-Spring adorn,
Unseen, this colourless sky of folded showers,
And folded winds; no blossom in the bowers;
A poet's face asleep in this grey morn.
Now in the midst of the old world forlorn
A mystic child is set in these still hours.
I keep this time, even before the flowers,
Sacred to all the young and the unborn.

The quality of poetry is not strained. It has not to abide our repeated questions. It tests and is not tested. Every true lover of poetry knows that when he cites great lines it is not the poetry but the hearer that is to be judged.

[T]here is nothing so exacting, so difficult, so various, as the consistency of a complete theory, nothing so overwhelming to a slothful student.