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Una stanza tutta ...
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Daphne du Maurier
“He was on her before she could move, seizing her throat in his right hand, bending her legs with his knees, pressing her down into the water beneath him. She fought in his grip, but was unable to free herself. She opened her mouth: 'Papa - Papa... Papa...' a last cry, a last choking struggle for breath.”
Daphne du Maurier, Julius

Daphne du Maurier
“I have a new thing about living, it's not going to be the same any more. It's going to be more wonderful than anything has ever been. I'm so happy.'
[...]
'This will hurt you, of course, but - I can't help that, I can't think of anyone but myself when I'm happy. You said I was always to think of myself.”
Daphne du Maurier, Julius

Daphne du Maurier
“She would be the victor, she would never be possessed. Nothing could hurt her now. In her life she would go out and do as she pleased and take the things that waited for her, She and Papa were two branches on a tree, and he had tried to see if he was stronger than she. He thought he had won. He thought he had beaten her down and she would let him go on thinking this as long as it suited her. She would keep him by her side and draw upon his strength; his life was her life, his flesh and blood were her flesh and blood, but it would never be he who was master. She held him between her hands and he did not know. When two forces came against each other and struggled and battled for supremacy one of the two must suffer and be hurt.”
Daphne du Maurier, Julius

Daphne du Maurier
“You know, I think she's terribly attractive, but when you dance with her she makes you feel she doesn't want you. It's as if she were tremendously alive and you were a piece of wood. And that's all wrong, because she obviously must hate pieces of wood - shes has such hot eyes.”
Daphne du Maurier, Julius

Daphne du Maurier
“She had played too long a part unworthy of her. She had consented to be the Dona her world had demanded – a superficial, lovely creature, who walked, and talked, and laughed, accepting praise and admiration with a shrug of the shoulder as natural homage to her beauty, careless, insolent, deliberately indifferent, and all the while another Dona, a strange, phantom Dona, peered at her from a dark mirror and was ashamed. This other self knew that life need not be bitter, nor worthless, nor bounded by a narrow casement, but could be limitless, infinite – that it meant suffering, and love, and danger, and sweetness, and more than this even, much more.”
Daphne du Maurier, Frenchman's Creek

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