Megan Marshall Quotes & Sayings

the importance of words as "the signs of our thoughts and feelings in all their minutest shades and variations. — Megan Marshall

the middle child's classic tendency to withdraw. — Megan Marshall

In Allston, as generous as he was with his praise and encouragement, Sophia had come face-to-face with the male art establishment and its aesthetic. She had encountered it before when she was hustled out of Thomas Doughty's studio while a men's painting class was in session. More recently, at a gathering in the Reverend Channing's parlor, she had been stunned when the minister had quoted the influential British artist Henry Fuseli's sneering observation that there was "no fist" in women's painting - and then demanded Sophia's response. Flustered, Sophia had "sunk away into my shell," unable to speak, she confided in her journal. She had enough trouble summoning the confidence to paint each day, let alone defend women artists as a class. Channing's question struck to the heart of Sophia's ambivalence about taking the initiative to create original works of art. Virtually — Megan Marshall

It mattered little to anyone outside the Transcendental coterie that Bronson Alcott had finally written something publishable - his "Orphic Sayings" - for the opening issue; or that an unemployed schoolteacher named Henry David Thoreau had his first piece published in its pages. — Megan Marshall

pain clinging to me - like a good friend, — Megan Marshall

her essential goodness, telling her that "self-knowledge is the foundation of Religion," not self-hatred. — Megan Marshall

Silence is the cruelest means of rejection, even if it only masks confusion or regret. The — Megan Marshall

What she did not yet realize was that those boundaries were much looser for a child in the progressive circles of Salem and Boston, where a young girl who "poured out her whole heart" would be kindly received by adults eager to see proof of the innocent wisdom of childhood. As she grew older, Elizabeth would have to reckon with the fact that others began to find that same forthright manner disturbing in a young woman. — Megan Marshall

What had become of the girl who sought out British Socinian texts all on her own, argued over Swedenborgian theology with adults three times her age, read the New Testament thirty times in one summer, and taught herself Hebrew so that she could make her own translation of the Old Testament? There had been many obstacles. Because of financial hardship, she had been "thrown too early" into the working world, teaching long hours when she might have studied and written more. And there was the fact of her sex. Without the option of college or a profession, Elizabeth had not known how or where to apply herself. She had looked to men of genius to confirm her talents and grown "dependent on the daily consolations of friendship." She could see now that she had "constantly craved . . . assurances" that should have "come from within." Yet — Megan Marshall

they "come to the business of life & the application of knowledge they find that they are inferior - & all their studies have not given them that practical good sense & mother wisdom & wit which grew up with our grandmothers at the spinning wheel, — Megan Marshall

Elizabeth Bishop wrote love poems, and poems about lovemaking, and one of the best poems ever written in English about the loss of love, but she had made her way through life as an orphan, a solitary. Reticence wasn't the reason she'd become a poet of the self - of a singular "mind in action," as she'd once described the effect she hoped to achieve in her poems. She had discovered early on, perhaps too early, that she was "an I . . . an Elizabeth" - and she'd treasured that painful, "unlikely" self-awareness ever since, knowing it was the same thing as her imagination. — Megan Marshall

All great acquisitions come from voluntary thought" was Elizabeth's guiding principle. She would not cultivate any motive for learning in her students besides curiosity, claiming that study for the sake of reward or in fear of punishment produced "superficial rather than profound" knowledge. — Megan Marshall

As Margaret would later write, Europe had come to seem "my America," an unsettled territory where liberty was at hand, while the New World she had left behind had grown "stupid with the lust of gain, soiled by crime in its willing perpetuation of slavery, shamed by an unjust war," the imperialist conflict with Mexico over the annexation of Texas. — Megan Marshall

In no country is it more important to cultivate good manners, than in our own," Eliza Farrar wrote, "where we acknowledge no distinctions but what are founded on character and manners." America's — Megan Marshall

her smile was always to me like the shining out of an angel's face from behind a mask where brave struggles with heavy sorrows had left deep imprints of mortality. — Megan Marshall