Virginia Woolf Quote
We are all women you assure me? Then I may tell you that the very next words I read were these – ‘Chloe liked Olivia …’ Do not start. Do not blush. Let us admit in the privacy of our own society that these things sometimes happen. Sometimes women do like women. ‘Chloe liked Olivia,’ I read. And then it struck me how immense a change was there. Chloe liked Olivia perhaps for the first time in literature. Cleopatra did not like Octavia. And how completely Antony and Cleopatra would have been altered had she done so! As it is, I thought, letting my mind, I am afraid, wander a little from Life’s Adventure, the whole thing is simplified, conventionalized, if one dared say it, absurdly. Cleopatra’s only feeling about Octavia is one of jealousy. Is she taller than I am? How does she do her hair? The play, perhaps, required no more. But how interesting it would have been if the relationship between the two women had been more complicated. All these relationships between women, I thought, rapidly recalling the splendid gallery of fictitious women, are too simple. So much has been left out, unattempted. And I tried to remember any case in the course of my reading where two women are represented as friends. There is an attempt at it in Diana of the Crossways. They are confidantes, of course, in Racine and the Greek tragedies. They are now and then mothers and daughters. But almost without exception they are shown in their relation to men.
We are all women you assure me? Then I may tell you that the very next words I read were these – ‘Chloe liked Olivia …’ Do not start. Do not blush. Let us admit in the privacy of our own society that these things sometimes happen. Sometimes women do like women. ‘Chloe liked Olivia,’ I read. And then it struck me how immense a change was there. Chloe liked Olivia perhaps for the first time in literature. Cleopatra did not like Octavia. And how completely Antony and Cleopatra would have been altered had she done so! As it is, I thought, letting my mind, I am afraid, wander a little from Life’s Adventure, the whole thing is simplified, conventionalized, if one dared say it, absurdly. Cleopatra’s only feeling about Octavia is one of jealousy. Is she taller than I am? How does she do her hair? The play, perhaps, required no more. But how interesting it would have been if the relationship between the two women had been more complicated. All these relationships between women, I thought, rapidly recalling the splendid gallery of fictitious women, are too simple. So much has been left out, unattempted. And I tried to remember any case in the course of my reading where two women are represented as friends. There is an attempt at it in Diana of the Crossways. They are confidantes, of course, in Racine and the Greek tragedies. They are now and then mothers and daughters. But almost without exception they are shown in their relation to men.
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About Virginia Woolf
Virginia Woolf was born in South Kensington, London, into an affluent and intellectual family as the seventh child of Julia Prinsep Jackson and Leslie Stephen. She grew up in a blended household of eight children, including her sister, the painter Vanessa Bell. Educated at home in English classics and Victorian literature, Woolf later attended King’s College London, where she studied classics and history and encountered early advocates for women’s rights and education.
After the death of her father in 1904, Woolf and her family moved to the bohemian Bloomsbury district, where she became a founding member of the influential Bloomsbury Group. She married Leonard Woolf in 1912, and together they established the Hogarth Press in 1917, which published much of her work. They eventually settled in Sussex in 1940, maintaining their involvement in literary circles throughout their lives.
Woolf began publishing professionally in 1900 and rose to prominence during the interwar period with novels like Mrs Dalloway (1925), To the Lighthouse (1927), and Orlando (1928), as well as the feminist essay A Room of One’s Own (1929). Her work became central to 1970s feminist criticism and remains influential worldwide, having been translated into over 50 languages. Woolf’s legacy endures through extensive scholarship, cultural portrayals, and tributes such as memorials, societies, and university buildings bearing her name.