“Paris was a universe whole and entire unto herself, hollowed and fashioned by history; so she seemed in this age of Napoleon III with her towering buildings, her massive cathedrals, her grand boulevards and ancient winding medieval streets--as vast and indestructible as nature itself. All was embraced by her, by her volatile and enchanted populace thronging the galleries, the theaters, the cafes, giving birth over and over to genius and sanctity, philosophy and war, frivolity and the finest art; so it seemed that if all the world outside her were to sink into darkness, what was fine, what was beautiful, what was essential might there still come to its finest flower. Even the majestic trees that graced and sheltered her streets were attuned to her--and the waters of the Seine, contained and beautiful as they wound through her heart; so that the earth on that spot, so shaped by blood and consciousness, had ceased to be the earth and had become Paris.”

“Dana had four beautiful eyes. She wore glasses. But her eyes were so beautiful that the glasses only made her prettier. With two eyes she was pretty. With four eyes she was beautiful. With six eyes she would have been even more beautiful. And if she had a hundred eyes, all over her face and her arms and her feet, why, she would have been the most beautiful creature in the world.”

“Very gently and quietly, almost as if it were the blood singing in her veins, or the water of the stream running over stones, she became conscious of a new feeling within her. She wondered for a moment what it was, and then said to herself, with a little surprise at recognising in her own person so famous a thing: is happiness.”

“Before getting to my mother's house, I would always think of her on the porch or even on the street, sweeping. She had a light way of sweeping, as if removing the dirt were not as important as moving the broom over the ground. Her way of sweeping was symbolic; so airy, so fragile, with a broom she tried to sweep away all the horrors, all the loneliness, all the misery that had accompanied her all her life...”

“...listening with absorbed attention more to her voice than to what she was saying, and thinking how like she was, flowering through her voice into beauty in the darkness, to some butterflies he had come across in the Swiss mountains the summer before. When they were folded up they were grey, mothlike creatures that one might easily overlook, but directly they opened their wings they became the loveliest things in the world, all rose-colour or heavenly blue. So had she been to him in the daylight that afternoon,—an ordinary woman, not in any way noticeable; but now listen to her, opening into beauty on the wings of her voice!”

“Many a night that summer she left Dr. Archie's office with a desire to run and run about those quiet streets until she wore out her shoes, or wore out the streets themselves; when her chest ached and it seemed as if her heart were spreading all over the desert. When she went home, it was not to go to sleep. She used to drag her mattress beside her low window and lie awake for a long while, vibrating with excitement, as a machine vibrates from speed. Life rushed in upon her through that window -- or so it seemed. In reality, of course, life rushes from within, not from without. There is no work of art so big or so beautiful that it was not once all contained in some youthful body, like this one which lay on the floor in the moonlight, pulsing with ardor and anticipation. It was on such nights that Thea Kronborg learned the thing that old Dumas meant when he told the Romanticists that to make a drama he needed but one passion and four walls.”