“The magnificence of such objects hardly pertains to the human. They live only in a world of icons and there they participate in rituals which transmute life itself to a series of grand gestures, as moving as they are absurd.”

“ruin had been the original blueprint and men and women had lived here only in a necessary but intermediate stage of the execution of the grand design”

“What are the butcherly delights of meat? These are not sensual but analytical. The satisfaction of scientific curiosity in dissection. A clinical pleasure in the precision with which the process of reducing the living, moving, vivid object to the dead status of thing is accomplished. The pleasure of watching the spectacle of the slaughter that derives from the knowledge one is disassociated from the spectacle; the bloody excitation of the audience in the abattoir, who watch the dramatic transformation act, from living flesh to dead meat, derives from the knowledge they are safe from the knife themselves. There is the technical pleasure of carving and the anticipatory pleasure of the prospect of eating the meat, of the assimilation of the dead stuff, after which it will be humanly transformed into flesh.”

“She sleeps. And now she wakes each day a little less. And, each day, takes less and less nourishment, as if grudging the least moment of wakefulness, for, from the movement under her eyelids, and the somnolent gestures of her hands and feet, it seems as if her dreams grow more urgent and intense, as if the life she lives in the closed world of dreams is now about to possess her utterly, as if her small, increasingly reluctant wakenings were an interpretation of some more vital existence, so she is loath to spend even those necessary moments of wakefulness with us, wakings strange as her sleepings. Her marvellous fate - a sleep more lifelike than the living, a dream which consumes the world.'And, sir,' concluded Fevvers, in a voice that now took on the sombre, majestic tones of a great organ, 'we do believe . . . her dream will be the coming century.'And, oh, God . . . how frequently she weeps!”

“we must not blame our poor symbols if they take forms that seem trivial to us, or absurd, ... however paltry they may be; the nature of our life alone has determined their forms.”

“I see her as a series of marvellous shapes formed at random in the kaleidoscope of desire.”

“It is, perhaps, a better thing to be valued only as an object of passion than never to be valued at all. I had never been so absolutely the mysterious other. I had become a kind of phoenix, a fabulous beast; I was an outlandish jewel.”