1 Fetaxe

A Bolt From The Blue And Other Essays On Friendship

Virginia Woolf (25 January1882 – 28 March1941), born Adeline Virginia Stephen, was a British writer who is considered to be one of the foremost modernist/feminist literary figures of the twentieth century.

See also: Orlando: A Biography


  • At this Helen laughed outright. "Nonsense," she said. "You're not a Christian. You've never thought what you are.—And there are lots of other questions," she continued, "though perhaps we can't ask them yet." Although they had talked so freely they were all uncomfortably conscious that they really knew nothing about each other.
    "The important questions," Hewet pondered, "the really interesting ones. I doubt that one ever does ask them."
    Rachel, who was slow to accept the fact that only a very few things can be said even by people who know each other well, insisted on knowing what he meant.
    "Whether we've ever been in love?" she enquired. "Is that the kind of question you mean?"
  • Margaret Ll. Davies writes that Janet is dying and will I write on her for The Times – a curious thought, rather: as if it mattered who wrote, or not. But this flooded me with the idea of Janet yesterday. I think writing, my writing, is a species of mediumship. I become the person.
    • Entry of 11 July 1937, in A Writer's Diary (1953)
  • Here I come to one of the memoir writer’s difficulties — one of the reasons why, though I read so many, so many are failures. They leave out the person to whom things happened. The reason is that it is so difficult to describe any human being. So they say: ‘This is what happened’; but they do not say what the person was like to whom it happened. Who was I then? Adeline Virginia Stephen, the second daughter of Leslie and Julia Prinsep Stephen, born on 25th January 1882, descended from a great many people, some famous, others obscure; born into a large connection, born not of rich parents, but of well-to-do parents, born into a very communicative, literate, letter writing, visiting, articulate, late nineteenth century world.
  • The Reverend C. L. Dodgson had no life. He passed through the world so lightly that he left no print. He melted so passively into Oxford that he is invisible.
    • Essay "Lewis Carroll" (1939); reprinted in The Moment, and Other Essays (1948)
  • For some reason, we know not what, his childhood was sharply severed. It lodged in him whole and entire. He could not disperse it.
    • Essay "Lewis Carroll" (1939)
  • Dearest,
    I want to tell you that you have given me complete happiness. No one could have done more than you have done. Please believe that.
    But I know that I shall never get over this: and I am wasting your life. It is this madness. Nothing anyone says can persuade me. You can work, and you will be much better without me. You see I can't write this even, which shows I am right. All I want to say is that until this disease came on we were perfectly happy. It was all due to you. No one could have been so good as you have been, from the very first day till now. Everyone knows that.

Night and Day (1919)[edit]

  • No one can escape the power of language, let alone those of English birth brought up from childhood, as Mrs. Hilbery had been, to disport themselves now in the Saxon plainness, now in the Latin splendor of the tongue, and stored with memories, as she was, of old poets exuberating in an infinity of vocables. Even Katharine was slightly affected against her better judgment by her mother's enthusiasm. Not that her judgment could altogether acquiesce in the necessity for a study of Shakespeare's sonnets as a preliminary to the fifth chapter of her grandfather's biography. Beginning with a perfectly frivolous jest, Mrs. Hilbery had evolved a theory that Anne Hathaway had a way, among other things, of writing Shakespeare's sonnets; the idea, struck out to enliven a party of professors, who forwarded a number of privately printed manuals within the next few days for her instruction, had submerged her in a flood of Elizabethan literature; she had come half to believe in her joke, which was, she said, at least as good as other people's facts, and all her fancy for the time being centered upon Stratford-on-Avon.
  • "What is this romance?" she mused.
    "Ah, that’s the question. I’ve never come across a definition that satisfied me, though there are some very good ones"—he glanced in the direction of his books.
    "It’s not altogether knowing the other person, perhaps—it’s ignorance," she hazarded.
    "Some authorities say it’s a question of distance—romance in literature, that is—"
    "Possibly, in the case of art. But in the case of people it may be—" she hesitated.

Jacob's Room (1922)[edit]

  • The strange thing about life is that though the nature of it must have been apparent to every one for hundreds of years, no one has left any adequate account of it. The streets of London have their map; but our passions are uncharted. What are you going to meet if you turn this corner?

The Common Reader (1925)[edit]

  • But can we go to posterity with a sheaf of loose pages, or ask the readers of those days, with the whole of literature before them, to sift our enormous rubbish heaps for our tiny pearls? Such are the questions which the critics might lawfully put to their companions at table, the novelists and poets.
    • "How It Strikes a Contemporary"
  • Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions — trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms; and as they fall, as they shape themselves into the life of Monday or Tuesday, the accent falls differently from of old; the moment of importance came not here but there; so that, if a writer were a free man and not a slave, if he could write what he chose, not what he must, if he could base his work upon his own feeling and not upon convention, there would be no plot, no comedy, no tragedy, no love interest or catastrophe in the accepted style, and perhaps not a single button sewn on as the Bond Street tailors would have it. Life is not a series of gig-lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end. Is it not the task of the novelist to convey this varying, this unknown and uncircumscribed spirit, whatever aberration or complexity it may display, with as little mixture of the alien and external as possible? We are not pleading merely for courage and sincerity; we are suggesting that the proper stuff of fiction is a little other than custom would have us believe it.
  • Theirs, too, is the word-coining genius, as if thought plunged into a sea of words and came up dripping.
    • "Notes on an Elizabethan Play"
  • But delightful though it is to indulge in righteous indignation, it is misplaced if we agree with the lady's-maid that high birth is a form of congenital insanity, that the sufferer merely inherits the diseases of his ancestors, and endures them, for the most part very stoically, in one of those comfortably padded lunatic asylums which are known, euphemistically, as the stately homes of England.
    • "Outlines: Lady Dorothy Nevill"
  • We may enjoy our room in the tower, with the painted walls and the commodious bookcases, but down in the garden there is a man digging who buried his father this morning, and it is he and his like who live the real life and speak the real language.
  • For ourselves, who are ordinary men and women, let us return thanks to Nature for her bounty by using every one of the senses she has given us; vary our state as much as possible; turn now this side, now that, to the warmth, and relish to the full before the sun goes down the kisses of youth and the echoes of a beautiful voice singing Catullus. Every season is likeable, and wet days and fine, red wine and white, company and solitude. Even sleep, that deplorable curtailment of the joy of life, can be full of dreams; and the most common actions—a walk, a talk, solitude in one’s own orchard—can be enhanced and lit up by the association of the mind. Beauty is everywhere, and beauty is only two finger’s-breadth from goodness.

Mrs Dalloway (1925)[edit]

  • Mrs Dalloway said she would buy the flowers herself.
  • It was enemies one wanted, not friends.
  • A whole lifetime was too short to bring out, the full flavour; to extract every ounce of pleasure, every shade of meaning.
  • What she loved was this, here, now, in front of her; the fat lady in the cab. Did it matter then, she asked herself, walking towards Bond Street, did it matter that she must inevitably cease completely; all this must go on without her; did she resent it; or did it not become consoling to believe that death ended absolutely? but that somehow in the streets of London, on the ebb and flow of things, here there, she survived. Peter survived, lived in each other, she being part, she was positive, of the trees at home; of the house there, ugly, rambling all to bits and pieces as it was; part of people she had never met; being laid out like a mist between the people she knew best, who lifted her on their branches as she had seen the trees lift the mist, but it spread ever so far, her life, herself.
  • But to go deeper, beneath what people said (and these judgements, how superficial, how fragmentary they are!) in her own mind now, what did it mean to her, this thing she called life? Oh, it was very queer. Here was So-and-so in South Kensington; some one up in Bayswater; and somebody else, say, in Mayfair. And she felt quiet continuously a sense of their existence and she felt what a waste; and she felt what a pity; and she felt if only they could be brought together; so she did it. And it was an offering; to combine, to create; but to whom?
    An offering for the sake of offering, perhaps. Anyhow, it was her gift. Nothing else had she of the slightest importance; could not think, write, even play the piano. She muddled Armenians and Turks; loved success; hated discomfort; must be liked; talked oceans of nonsense: and to this day, ask her what the Equator was, and she did not know.
    All the same, that one day should follow another; Wednesday, Thursday, Friday, Saturday; that one should wake up in the morning; see the sky; walk in the park; meet Hugh Whitbread; then suddenly in came Peter; then these roses; it was enough. After that, how unbelievable death was! — that it must end; and no one in the whole world would know how she had loved it all.
  • Rigid, the skeleton of habit alone upholds the human frame.

On Being Ill (1926)

  • The merest schoolgirl [school girl,] when she falls in love, has Shakespeare or Keats to speak her mind for her; but let a sufferer [try to] describe a pain in his head to a doctor and language at once runs dry.

To the Lighthouse (1927)[edit]

  • Could loving, as people called it, make her and Mrs Ramsay one? for it was not knowledge but unity that she desired, not inscription on tablets, nothing that could be written in any language known to men, but intimacy itself, which is knowledge, she had thought, leaning her head on Mrs Ramsay's knee.
  • A light here required a shadow there.
  • She felt this thing that she called life terrible, hostile, and quick to pounce on you if you gave it a chance. There were the eternal problems: suffering; death; the poor. There was always a woman dying of cancer even here. And yet she had said to all these children, You shall go through with it.
  • She had done the usual trick – been nice. She would never know him. He would never know her. Human relations were all like that, she thought, and the worst (if it had not been for Mr Bankes) were between men and women. Inevitably these were extremely insincere.
  • For our penitence deserves a glimpse only; our toil respite only.
  • "Like a work of art," she repeated, looking from her canvas to the drawing-room steps and back again. She must rest for a moment. And, resting, looking from one to the other vaguely, the old question which transversed the sky of the soul perpetually, the vast, the general question which was apt to particularise itself at such moments as these, when she released faculties that had been on the strain, stood over her, paused over her, darkened over her. What is the meaning of life? That was all — a simple question; one that tended to close in on one with years. The great revelation had never come. The great revelation perhaps never did come. Instead there were little daily miracles, illuminations, matches struck unexpectedly in the dark; here was one. This, that, and the other; herself and Charles Tansley and the breaking wave; Mrs. Ramsay bringing them together; Mrs. Ramsay saying, "Life stand still here"; Mrs. Ramsay making of the moment something permanent (as in another sphere Lily herself tried to make of the moment something permanent) — this was of the nature of a revelation. In the midst of chaos there was shape; this eternal passing and flowing (she looked at the cloud going and the leaves shaking) was struck into stability. Life stand still here, Mrs. Ramsay said. "Mrs. Ramsay! Mrs. Ramsay!" she repeated. She owed it all to her.
  • Mrs Ramsay sat silent. She was glad, Lily thought, to rest in silence, uncommunicative; to rest in the extreme obscurity of human relationships. Who knows what we are, what we feel? Who knows even at the moment of intimacy, This is knowledge? Aren't things spoilt then, Mrs Ramsay may have asked (it seemed to have happened so often, this silence by her side) by saying them?
  • But one only woke people if one knew what one wanted to say to them. And she wanted to say not one thing, but everything. Little words that broke up the thought and dismembered it said nothing. 'About life, about death; about Mrs Ramsay' – no, she thought, one could say nothing to nobody.
  • She alone spoke the truth; to her alone could he speak it. That was the source of her everlasting attraction for him, perhaps; she was a person to whom one could say what came into one's head.

A Room of One's Own (1929)[edit]

Harcourt, Brace & World, 1957, ISBN 0-156-78732-6
  • A woman must have money and a room of her own if she is to write fiction.
  • When a subject is highly controversial — and any question about sex is that — one cannot hope to tell the truth. One can only show how one came to hold whatever opinion one does hold. One can only give one's audience the chance of drawing their own conclusions as they observe the limitations, the prejudices, the idiosyncrasies of the speaker.
  • The beauty of the world which is so soon to perish, has two edges, one of laughter, one of anguish, cutting the heart asunder.
  • The human frame being what it is, heart, body and brain all mixed together, and not contained in separate compartments as they will be no doubt in another million years, a good dinner is of great importance to good talk. One cannot think well, love well, sleep well, if one has not dined well.
  • Have you any notion how many books are written about women in the course of one year? Have you any notion how many are written by men? Are you aware that you are, perhaps, the most discussed animal in the universe?
  • Life for both sexes — and I looked at them, shouldering their way along the pavement — is arduous, difficult, a perpetual struggle. It calls for gigantic courage and strength. More than anything, perhaps, creatures of illusion as we are, it calls for confidence in oneself. Without self-confidence we are as babes in the cradle. And how can we generate this imponderable quality, which is yet so invaluable, most quickly? By thinking that other people are inferior to one self. By feeling that one has some innate superiority — it may be wealth, or rank, a straight nose, or the portrait of a grandfather by Romney — for there is no end to the pathetic devices of the human imagination — over other people.
  • Women have served all these centuries as looking-glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size.
  • Fiction is like a spider's web, attached ever so lightly perhaps, but still attached to life at all four corners. Often the attachment is scarcely perceptible; Shakespeare's plays, for instance, seem to hang there complete by themselves. But when the web is pulled askew, hooked up at the edge, torn in the middle, one remembers that these webs are not spun in midair by incorporeal creatures, but are the work of suffering human beings, and are attached to the grossly material things, like health and money and the houses we live in.
  • I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.
    • Ch. 3, p. 51
    • Very often misquoted as "For most of history, Anonymous was a woman."
  • For it needs little skill in psychology to be sure that a highly gifted girl who had tried to use her gift for poetry would have been so thwarted and hindered by other people, so tortured and pulled asunder by her own contrary instincts, that she must have lost her health and sanity to a certainty.
  • Literature is strewn with the wreckage of men who have minded beyond reason the opinions of others.
  • The history of men's opposition to women's emancipation is more interesting perhaps than the story of that emancipation itself.
  • It is the nature of the artist to mind excessively what is said about him. Literature is strewn with the wreckage of men who have minded beyond reason the opinions of others.
  • Lock up your libraries if you like; but there is no gate, no lock, no bolt that you can set upon the freedom of my mind.
  • I told you in the course of this paper that Shakespeare had a sister; but do not look for her in Sir Sidney Lee's life of the poet. She died young — alas, she never wrote a word... Now my belief is that this poet who never wrote a word and was buried at the cross-roads still lives. She lives in you and in me, and in many other women who are not here to-night, for they are washing up the dishes and putting the children to bed. But she lives; for great poets do not die; they are continuing presences; they need only the opportunity to walk among us in the flesh.
  • My belief is that if we live another century or so — I am talking of the common life which is the real life and not of the little separate lives which we live as individuals — and have five hundred a year each of us and rooms of our own; if we have the habit of freedom and the courage to write exactly what we think; if we escape a little from the common sitting-room and see human beings not always in their relation to each other but in relation to reality; and the sky, too, and the trees or whatever it may be in themselves; if we look past Milton's bogey, for no human being should shut out the view; if we face the fact, for it is a fact, that there is no arm to cling to, but that we go alone and that our relation is to the world of reality and not only to the world of men and women, then the opportunity will come and the dead poet who was Shakespeare's sister will put on the body which she has so often laid down. Drawing her life from the lives of the unknown who were her forerunners, as her brother did before her, she will be born. As for her coming without that preparation, without that effort on our part, without that determination that when she is born again she shall find it possible to live and write her poetry, that we cannot expect, for that would be impossible. But I maintain that she would come if we worked for her, and that so to work, even in poverty and obscurity, is worth while.

Orlando: A Biography (1928)[edit]

Main article: Orlando: A Biography

  • He — for there could be no doubt of his sex, though the fashion of the time did something to disguise it — was in the act of slicing at the head of a Moor which swung from the rafters.
  • At the age of thirty, or thereabouts, this young Nobleman had not only had every experience that life has to offer, but had seen the worthlessness of them all. Love and ambition, women and poets were all equally vain. Literature was a farce. The night after reading Greene's Visit to a Nobleman in the Country, he burnt in a great conflagration fifty-seven poetical works, only retaining 'The Oak Tree', which was his boyish dream and very short. Two things alone remained to him in which he now put any trust: dogs and nature; an elk-hound and a rose bush. The world, in all its variety, life in all its complexity, had shrunk to that. Dogs and a bush were the whole of it.
  • Time, unfortunately, though it makes animals and vegetables bloom and fade with amazing punctuality, has no such simple effect upon the mind of man. The mind of man, moreover, works with equal strangeness upon the body of time. An hour, once it lodges in the queer element of the human spirit, may be stretched to fifty or a hundred times its clock length; on the other hand, an hour may be accurately represented on the timepiece of the mind by one second. This extraordinary discrepancy between time on the clock and time in the mind is less known than it should be and deserves fuller investigation.
  • While fame impedes and constricts, obscurity wraps about a man like a mist; obscurity is dark, ample, and free; obscurity lets the mind take its way unimpeded. Over the obscure man is poured the merciful suffusion of darkness. None knows where he goes or comes. He may seek the truth and speak it; he alone is free; he alone is truthful, he alone is at peace.
  • Better was it to go unknown and leave behind you an arch, a potting shed, a wall where peaches ripen, than to burn like meteor and leave no dust.
  • The trumpeters, ranging themselves side by side in order, blow one terrific blast: —
    at which Orlando woke.

    He stretched himself. He rose. He stood upright in complete nakedness before us, and while the trumpets pealed Truth! Truth! Truth! we have no choice left but confess — he was a woman.
  • The sound of the trumpets died away and Orlando stood stark naked. No human being, since the world began, has ever looked more ravishing. His form combined in one the strength of a man and a woman's grace.
  • We may take advantage of this pause in the narrative to make certain statements. Orlando had become a woman — there is no denying it. But in every other respect, Orlando remained precisely as he had been. The change of sex, though it altered their future, did nothing whatever to alter their identity. Their faces remained, as their portraits prove, practically the same. His memory — but in future we must, for convention's sake, say 'her' for 'his,' and 'she' for 'he' — her memory then, went back through all the events of her past life without encountering any obstacle. Some slight haziness there may have been, as if a few dark drops had fallen into the clear pool of memory; certain things had become a little dimmed; but that was all. The change seemed to have been accomplished painlessly and completely and in such a way that Orlando herself showed no surprise at it. Many people, taking this into account, and holding that such a change of sex is against nature, have been at great pains to prove (1) that Orlando had always been a woman, (2) that Orlando is at this moment a man. Let biologists and psychologists determine. It is enough for us to state the simple fact; Orlando was a man till the age of thirty; when he became a woman and has remained so ever since.
  • No passion is stronger in the breast of man than the desire to make others believe as he believes. Nothing so cuts at the root of his happiness and fills him with rage as the sense that another rates low what he prizes high. Whigs and Tories, Liberal party and Labour party — for what do they battle except their own prestige?
  • The chief charges against her were (1) that she was dead, and therefore could not hold any property; (2) that she was a woman which amounts to much the same thing …
  • Something, perhaps, we must believe in, and as Orlando, we have said, had no belief in the usual divinities she bestowed her credulity upon great men — yet with a distinction. Admirals, soldiers, statesmen, moved her not at all. But the very thought of a great writer stirred her to such a pitch of belief that she almost believed him to be invisible. Her instinct was a sound one. One can only believe entirely, perhaps, in what one cannot see.
  • Only those who have little need of the truth, and no respect for it — the poets and novelists — can be trusted to do it, for this is one of the cases where the truth does no exist. Nothing exists. The whole thing is a miasma — a mirage.
  • Society is the most powerful conception in the world and society has no existence whatsoever.
  • Old Madame du Deffand and her friends talked for fifty years without stopping. And of it all, what remains? Perhaps three witty sayings.
  • The hostess is our modern Sibyl. She is a witch who lays her guests under a spell. In this house they think themselves happy; in that witty; in a third profound. It is all an illusion (which is nothing against it, for illusions are the most valuable and necessary of all things, and she who can create one is among the world's greatest benefactors), but as it is notorious that illusions are shattered by conflict with reality, so no real happiness, no real wit, no real profundity are tolerated where the illusion prevails.
  • As long as she thinks of a man, nobody objects to a woman thinking.

The Waves (1931)[edit]

Harcourt Brace Jovanovich, 1978, ISBN 0-15-694960-1
  • But look — he flicks his hand to the back of his neck. For such gesture one falls hopelessly in love for a lifetime.
  • Here on this ring of grass we have sat together, bound by the tremendous power of some inner compulsion. The trees wave, the clouds pass. The time approaches when these soliloquies shall be shared. We shall not always give out a sound like a beaten gong as one sensation strikes and then another. Children, our lives have been gongs striking; clamour and boasting; cries of despair; blows on the nape of the neck in gardens.
  • You are not listening to me. You are making phrases about Byron. And while you gesticulate, with your cloak, your cane, I am trying to expose a secret told to nobody yet; I am asking you (as I stand with my back to you) to take my life in your hands and tell me whether I am doomed always to cause repulsion in those I love?
  • For I am more selves than Neville thinks. We are not simple as our friends would have us to meet their needs. Yet love is simple.
  • Among the tortures and devastations of life is this then — our friends are not able to finish their stories.
  • ‘Now,’ said Neville, ‘my tree flowers. My heart rises. All oppression is relieved. All impediment is removed. The reign of chaos is over. He has imposed order. Knives cut again.’ [...]
    ‘Here is Percival,’ said Bernard, ‘[...] We [...] now come nearer; and shuffling closer on our perch in this restaurant where everybody’s interests are at variance, and the incessant passage of traffic chafes us with distractions, and the door opening perpetually its glass cage solicits us with myriad temptations and offers insults and wounds to our confidence — sitting together here we love each other and believe in our own endurance.’
  • Now, through my own infirmity I recover what he was to me: my opposite. Being naturally truthful, he did not see the point of these exaggerations, and was borne on by a natural sense of the fitting, was indeed a great master of the art of living so that he seems to have lived long, and to have spread calm round him, indifference one might almost say, certainly to his own advancement, save that he had also great compassion. [...] We have no ceremonies, only private dirges and no conclusions, only violent sensations, each separate. Nothing that has been said meets our case. [...] After a long lifetime, loosely, in a moment of revelation, I may lay hands on it, but now the idea breaks in my hand. Ideas break a thousand times for once that they globe themselves entire. [...] I am yawning. I am glutted with sensations. I am exhausted with the strain and the long, long time — twenty-five minutes, half an hour — that I have held myself alone outside the machine.
    • Bernard on Percival, section V
  • Things have dropped from me. I have outlived certain desires; I have lost friends, some by death... others through sheer inability to cross the street.
  • Yet there are moments when the walls of the mind grow thin; when nothing is unabsorbed, and I could fancy that we might blow so vast a bubble that the sun might set and rise in it and we might take the blue of midday and the black of midnight and be cast off and escape from here and now.
  • I like the copious, shapeless, warm, not so very clever, but extremely easy and rather coarse aspect of things; the talk of men in clubs and public-houses; of miners half naked in drawers — the forthright, perfectly unassuming, and without end in view except dinner, love, money and getting along tolerably; that which is without great hopes, ideals, or anything of that kind; what is unassuming except to make a tolerably, good job of it. I like all that.
  • We have dined well. The fish, the veal cutlets, the wine have blunted the sharp tooth of egotism. Anxiety is at rest. The vainest of us, Louis perhaps, does not care what people think. Neville’s tortures are at rest. Let others prosper — that is what he thinks. Susan hears the breathing of all her children safe asleep. Sleep, sleep, she murmurs. Rhoda has rocked her ships to shore. Whether they have foundered, whether they have anchored, she cares no longer.
  • ‘The flower,’ said Bernard, ‘the red carnation that stood in the vase on the table of the restaurant when we dined together with Percival, is become a six-sided flower; made of six lives.’
  • *Was there no sword, nothing with which to batter down these walls, this protection, this begetting of children and living behind curtains, and becoming daily more involved and committed, with books and pictures? Better burn one’s life out like Louis, desiring perfection; or like Rhoda leave us, flying past us to the desert; or choose one out of millions and one only like Neville; better be like Susan and love and hate the heat of the sun or the frost-bitten grass; or be like Jinny, honest, an animal. All had their rapture; their common feeling with death; something that stood them in stead. Thus I visited each of my friends in turn, trying, with fumbling fingers, to prise open their locked caskets. I went from one to the other holding my sorrow — no, not my sorrow but the incomprehensible nature of this our life — for their inspection. Some people go to priests; others to poetry; I to my friends, I to my own heart, I to seek among phrases and fragments something unbroken — I to whom there is not beauty enough in moon or tree; to whom the touch of one person with another is all, yet who cannot grasp even that, who am so imperfect, so weak, so unspeakably lonely. There I sat.
  • Our friends, how seldom visited, how little known — it is true; and yet, when I meet an unknown person, and try to break off, here at this table, what I call “my life”, it is not one life that I look back upon; I am not one person; I am many people; I do not altogether know who I am — Jinny, Susan, Neville, Rhoda, or Louis; or how to distinguish my life from theirs.

Three Guineas (1938)[edit]

Harcourt Brace Jovanovich, 1966, ISBN 0-156-90177-3
  • Though we see the same world, we see it through different eyes. Any help we can give you must be different from that you can give yourselves, and perhaps the value of that help may lie in the fact of that difference.
  • Directly the mulberry tree begins to make you circle, break off. Pelt the tree with laughter.
  • The outsider will say, "in fact, as a woman, I have no country. As a woman I want no country. As a woman my country is the whole world." And if, when reason has said its say, still some obstinate emotion remains, some love of England dropped into a child's ears by the cawing of rooks in an elm tree, by the splash of waves on a beach, or by English voices murmuring nursery rhymes, this drop of pure, if irrational, emotion she will make serve her to give to England first what she desires of peace and freedom for the whole world.

Between the Acts (1941)[edit]

  • 'That was the burden,' she mused, 'laid on me in the cradle; murmured by waves; breathed by restless elm trees; crooned by singing women; what we must rememeber; what we would forget.'
  • Words rose above the intolerably laden dumb oxen plodding through the mud. Words without meaning - wonderful words.
  • They never pulled the curtains till it was too dark to see, nor shut the windows till it was too cold. Why shut out the day before it was over? The flowers were still bright; the birds chirped. You could see more in the evening often when nothing interrupted, when there was no fish to order, no telephone to answer.
  • Mrs Swithin took her knitting from the table. 'Did you feel,' she asked, 'what he said: we act different parts but are the same?'
'Yes,' Isa answered. 'No,' she added. It was Yes, No. Yes, yes, yes, the tide rushed out embracing. No, no, no, it contracted.
  • The flowers flashed before they faded. She watched them flash.

The Death of the Moth and Other Essays (1942)[edit]

  • The artist after all is a solitary being.
    • "The Historian and 'The Gibbon'"
  • Once you begin to take yourself seriously as a leader or as a follower, as a modern or as a conservative, then you become a self-conscious, biting, and scratching little animal whose work is not of the slightest value or importance to anybody.
    • "A Letter to a Young Poet"
  • Lines slip easily down the accustomed grooves. The old designs are copied so glibly that we are half inclined to think them original, save for that very glibness.
    • "A Letter to a Young Poet"
  • I mean, what is a woman? I assure you, I do not know. I do not believe that you know. I do not believe that anybody can know until she has expressed herself in all the arts and professions open to human skill.
  • Outwardly, what is simpler than to write books? Outwardly, what obstacles are there for a woman rather than for a man? Inwardly, I think, the case is very different; she has still many ghosts to fight, many prejudices to overcome. Indeed it will be a long time still, I think, before a woman can sit down to write a book without finding a phantom to be slain, a rock to be dashed against. And if this is so in literature, the freest of all professions for women, how is it in the new professions which you are now for the first time entering?

The Moment and Other Essays (1948)[edit]

  • If you do not tell the truth about yourself you cannot tell it about other people.
    • "The Leaning Tower", lecture delivered to the Workers' Educational Association, Brighton (May 1940)

Granite and Rainbow (1958)[edit]

  • The extraordinary woman depends on the ordinary woman. It is only when we know what were the conditions of the average woman's life … it is only when we can measure the way of life and the experience of life made possible to the ordinary woman that we can account for the success or failure of the extraordinary woman as a writer.
  • But the novels of women were not affected only by the necessarily narrow range of the writer's experience. They showed, at least in the nineteenth century, another characteristic which may be traced to the writer's sex. In Middlemarch and in Jane Eyre we are conscious not merely of the writer's character, as we are conscious of the character of Charles Dickens, but we are conscious of a woman's presence — of someone resenting the treatment of her sex and pleading for its rights.
  • If, then, one should try to sum up the character of women's fiction at the present moment, one would say that it is courageous; it is sincere; it keeps closely to what women feel. It is not bitter. It does not insist upon its femininity.
  • In the past, the virtue of women's writing often lay in its divine spontaneity … But it was also, and much more often, chattering and garrulous … In future, granted time and books and a little space in the house for herself, literature will become for women, as for men, an art to be studied. Women's gift will be trained and strengthened. The novel will cease to be the dumping-ground for the personal emotions. It will become, more than at present, a work of art like any other, and its resources and its limitations will be explored.

Books and Portraits (1977)[edit]

  • The strongest natures, when they are influenced, submit the most unreservedly: it is perhaps a sign of their strength. But that Thoreau lost any of his own force in the process, or took on permanently any colours not natural to himself the readers of his books will certainly deny. The Transcendentalist movement, like most movements of vigour, represented the effort of one or two remarkable people to shake off the old clothes which had become uncomfortable to them and fit themselves more closely to what now appeared to them to be the realities.

Moments of Being (1939-1940)[edit]

  • That great Cathedral space which was childhood.

A Moment's Liberty (1990)[edit]

  • Our patience wore rather thin. Visitors do tend to chafe one, though impeccable as friends. L. and I discussed this. He says that with people in the house his hours of positive pleasure are reduced to one; he has I forget how many hours of negative pleasure; and a respectable margin of the acutely unpleasant. Are we growing old?
  • Morgan has the artist's mind; he says the simple things that clever people don't say; I find him the best of critics for that reason. Suddenly out comes the obvious thing that one has overlooked.
  • This last week L. has been having a little temperature in the evening, due to malaria, and that due to a visit to Oxford; a place of death and decay. I'm almost alarmed to see how entirely my weight rests on his prop. And almost alarmed to see how intensely I'm specialised. My mind turned by anxiety, or other cause, from its scrutiny of blank paper, is like a lost child – wandering the house, sitting on the bottom step to cry.
  • We have been to Rodmell, and as usual I come home depressed – for no reason. Merely moods. Have other people as many as I have? That I shall never now. And sometimes I suppose that even if I came to the end of my incessant search into what people are and feel I should know nothing still.
  • I have seen very few people. Nessa came again. How painful these meetings are! Let me try to analyse. Perhaps it is that we both feel that we can exist independently of the other. The door shuts between us, and life flows on again and completely removes the trace. That is an absurd exaggeration.
  • Neither of us knows what the public will think. There's no doubt in my mind that I have found out how to begin (at forty) to say something in my own voice; and that interests me so that I feel I can go ahead without praise.
  • A desire for children, I suppose; for Nessa's life; for the sense of flowers breaking all round me involuntarily. [...] Years and years ago, after the Lytton affair, I said to myself, walking up the hill at Bayreuth, never pretend that the things you haven't got are not worth having; good advice I think. And then I went on to say to myself that one must like things for themselves; or rather, rid them of their bearing upon one's personal life. One must venture on to the things that exist independently of oneself. Now this is very hard for young women to do. Yet I got satisfaction from it. And now, married to L., I never have to make the effort. Perhaps I have been to happy for my soul's good? And does some of my discontent come from feeling that?
  • Even Morgan seems to me to be based on some hidden rock. Talking of Proust and Lawrence he said he'd prefer to be Lawrence; but much rather would be himself. He is aloof, serene, a snob, he says, reading masterpieces only.
    • Tuesday 18 September 1923
  • I must try to set aside half an hour in some part of my day, and consecrate it to diary writing. Give it a name and a place, and then perhaps, such is the human mind, I shall come to think it a duty, and disregard other duties for it.
  • Happiness is to have a little string onto which things will attach themselves.
  • In brain and insight she is not as highly organised as I am. But then she is aware of this, and so lavishes on me the maternal protection which, for some reason, is what I have always most wished from everyone.
  • As for the soul: why did I say I would leave it out? I forget. And the truth is, one can't write directly about the soul. Looked at, it vanishes; but look at the ceiling, at Grizzle, at the cheaper beasts in the Zoo which are exposed to walkers in Regent's Pak, and the soul slips in. Mrs Webb's book has made me think a little what I could say of my own life. But then there were causes in her life: prayer; principle. None in mine. Great excitability and search after something. Great content – almost always enjoying what I'm at, but with constant change of mood. I don't think I'm ever bored. Yet I have some restless searcher in me. Why is there not a discovery in life? Something one can lay hands on and say 'This is it'? What is it? And shall I die before I can find it? Then (as I was walking through Russell Square last night) I see mountains in the sky: the great clouds, and the moon which is risen over Persia; I have a great and astonishing sense of something there, which is 'it' – A sense of my own strangeness, walking on the earth is there too. Who am I, what am I, and so on; these questions are always floating about in me. Is that what I meant to say? Not in the least. I was thinking about my own character; not about the universe. Oh and about society again; dining with Lord Berners at Clive's made me think that. How, at a certain moment, I see through what I'm saying; detest myself; and wish for the other side of the moon; reading alone, that is.
    • Saturday 27 February 1926
  • I am amused at my relations with her: left so ardent in January – and now what? Also I like her presence and her beauty. Am I in love with her? But what is love? Her being 'in love' with me, excites and flatters; and interests. What is this 'love'?
  • Happily, at forty-six I still feel as experimental and on the verge of getting at the truth as ever.
  • A State of Mind. Woke up perhaps at 3. Oh its beginning it coming – the horror – physically like a painful wave swelling about the heart – tossing me up. I'm unhappy unhappy! Down – God, I wish I were dead. Pause. But why am I feeling like this? Let me watch the wave rise. I watch. Vanessa. Children. Failure. Yes, I detect that. Failure failure. (The wave rises). Oh they laughed at my taste in green paint. Wave crashes. I wish I were dead! I've only a few years to live I hope. I can't face this horror any more – (this is the wave spreading out over me). This goes on; several times, with varieties of horror. Then, at the crisis, instead of the pain remaining intense, it becomes rather vague. I doze. I wake with a start. The wave again! The irrational pain: the sense of failure; generally some specific incident, as for example my taste in green paint, or buying a new dress, or asking Dadie for the week-end, tacked on. At last I say, watching as dispassionately as I can, Now take a pull of yourself. No more of this. I shove to throw to batter down. I begin to march blindly forward. I feel obstacles go down. I say it doesn't matter. Nothing matters. I become rigid and straight, and sleep again, and half wake and feel the wave beginning and watch the light whitening and wonder how, this time, breakfast and daylight will overcome it; and then hear L. in the passage and simulate, for myself as well as for him, great cheerfulness; and generally am cheerful, by the time breakfast is over. Does everyone go through this state? Why have I so little control? It is the case of much waste and pain in my life.
    • Wednesday 15 September, 1926
  • What a born melancholiac I am! The only way I keep afloat is by working. Directly I stop working I feel that I am sinking down, down. And as usual, I feel that if I sink further I shall reach the truth. That is the only mitigation; a kind of nobility. Solemnity. Work, reading, writing, are all disguising; and relations with other people. Yes, even having children wold be useless.
  • Lord, how I praise God that I had a bent strong enough to coerce every minute of my life since I was born! This fiddling and drifting and not impressing oneself upon anything – this always refraining and fingering and cutting things up into little jokes and facetiousness – that's what's so annihilating. Yet given little money, little looks, no special gift – what can one do? How could one battle? How could one leap on the back of life and wring its scruff?
    • Thursday 20 February, 1930
  • I will use these last pages to sum up our circumstances. A map of the world. [...]
    I seldom see Lytton; that is true. The reason is that we don't fit in, I imagine, to his parties nor he to ours; but that if we can meet in solitude, all goes as usual. Yet what do one's friends mean to one, if one only sees them eight times a year? [...]
    I use my friends rather as giglamps: there's another field I see; by your light. Over there's a hill. I widen my landscape.
    • Tuesday 2 September, 1930
  • Very much screwed in the head by trying to get Roger's marriage chapter into shape; and also warmed by L. saying last night that he was fonder of me than I of him. A discussion as to which would mind the other's death most. He said he depended more upon our common life than I did. He gave the garden as an instance. He said I live more in a world of my own. I go for long walks alone. So we argued. I was very happy to think I was so much needed. Its strange how seldom one feels this: yet 'life in common' is an immense reality.


  • Thought and theory must precede all salutary action; yet action is nobler in itself than either thought or theory.
    • Sometimes ascribed to Virginia Woolf, but it appeared as early as 1854 in Anna Jameson's A Commonplace Book of Thoughts, Memories and Fancies, where it is ascribed to William Wordsworth.
  • Writing is like sex. First you do it for love, then you do it for your friends, and then you do it for money.
We were sitting one morning two Summers ago, Ferenc Molnár, Dr. Rudolf Kommer and I, in the little garden of a coffee-house in the Austrian Tyrol. “Your writing?” we asked him. “How do you regard it?” Languidly he readjusted the inevitable monocle to his eye. “Like a whore,” he blandly ventured. “First, I did it for my own pleasure. Then I did it for the pleasure of my friends. And now — I do it for money.”

Quotes about Woolf[edit]

  • In A Room of One's Own, Virginia Woolf satirically describes her perplexity at the bulging card catalog of the British Museum: why, she asks, are there so many books written by men about women but none by women about men? The answer to her question is that from the beginning of time men have been struggling with the threat of woman's dominance.
  • I enjoyed talking to her, but thought nothing of her writing. I considered her 'a beautiful little knitter'.

External links[edit]

Once you begin to take yourself seriously as a leader or as a follower, as a modern or as a conservative, then you become a self-conscious, biting, and scratching little animal whose work is not of the slightest value or importance to anybody.
It is so difficult to describe any human being. So they say: ‘This is what happened’; but they do not say what the person was like to whom it happened.
Who was I then? Adeline Virginia Stephen, the second daughter of Leslie and Julia Prinsep Stephen, born on 25th January 1882, descended from a great many people, some famous, others obscure … born into a very communicative, literate, letter writing, visiting, articulate, late nineteenth century world.
The strange thing about life is that though the nature of it must have been apparent to every one for hundreds of years, no one has left any adequate account of it.
A whole lifetime was too short to bring out, the full flavour; to extract every ounce of pleasure, every shade of meaning.
Fiction is like a spider's web, attached ever so lightly perhaps, but still attached to life at all four corners.
These webs are not spun in midair by incorporeal creatures, but are the work of sufferinghuman beings, and are attached to the grossly material things, like health and money and the houses we live in.
I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.
One can only believe entirely, perhaps, in what one cannot see.
Here on this ring of grass we have sat together, bound by the tremendous power of some inner compulsion. The trees wave, the clouds pass. The time approaches when these soliloquies shall be shared.
There are moments when the walls of the mind grow thin; when nothing is unabsorbed, and I could fancy that we might blow so vast a bubble that the sun might set and rise in it…
Though we see the same world, we see it through different eyes. Any help we can give you must be different from that you can give yourselves, and perhaps the value of that help may lie in the fact of that difference.
The extraordinary woman depends on the ordinary woman.
There's no doubt in my mind that I have found out how to begin (at forty) to say something in my own voice; and that interests me so that I feel I can go ahead without praise.
He said I live more in a world of my own. I go for long walks alone. So we argued. I was very happy to think I was so much needed. Its strange how seldom one feels this: yet 'life in common' is an immense reality.
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The Power of Friendship

A major theme in all media. The villain or Ineffectual Loner mocks the idea of relying on others, insisting that friends make you weak and only fear brings servitude. Then he discovers to his extreme shock and dismay that the hero's friends really do stand up for him, and this really does enable the hero to kick the crap out of the bad guy. The Aesop: Having friends makes you strong, being alonemakes you weak. Even What You Are in the Dark can depend on your memory of your friends. The moment at which The Power of Friendship becomes clear is A Friend in Need, but beware the Apple of Discord. When the loner has been brought into the group, Remember That You Trust Me may be needed to keep him attached. More often than not a hero who makes good use of this power is going to attract villains who try to prove that it doesn't work. (The biggest reason is such villains rarely have any friends, as heroes occasionally point out.) After slugging it out with the hero one or more times the villain in question may become a Friendly Enemy, a Worthy Opponent, or do a full on Heel–Face Turn. A Combined Energy Attack is another perk of believing in said power. Taken more literally, the Power of Friendship may be used as a required element of some magical effect, such as a Care-Bear Stare or a Circle of Friendship. Heroes, especially the Magnetic Hero, usually spend the first few episodes building this group of loyal followers. Sometimes it can go too far; Heroes fall prey to becoming a Martyr Without a Cause and allies could be Poisonous Friends. Contrast In the End, You Are on Your Own, in which case Friendship becomes less helpful. This trope is a key element of buddy pictures. The Power of Friendship can be just as strong for the bad guys as for the good guys, but they seldom have enough common sense to play it straight. When they do, expect a pretty wild ride, and a clash with The Remnant once the main conflict's over. See also Team Spirit, True Companions, The Power of Love, The Power of Trust, Defeat Means Friendship, Fire-Forged Friends, Dying Alone, You Are Not Alone. Often results in a Crowning Moment of Heartwarming if done well. The risk of Tastes Like Diabetes or even Narm is present if done poorly. The Good King should be wary of this trope, it can turn into Nepotism (well, technically cronyism). If your protagonists are entirely reliant on their friends for any characterization or motivation, they will rapidly become Flat Characters.


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  • Attack on Titan plays with this to varying results.
    • Eren, Mikasa, and Armin are noted to be such a potent team due to their friendship, which is later Invoked by a recap page as pivotal to humanity's chances of victory.
    • Invoked with the Special Operations Squad, which are stated to be such incredible fighters due to the deep bonds they share. But ultimately it ends up horribly subverted — Petra's request that Eren trust in his comrades and believe in their friendship results in him fleeing while they cover his escape. As a direct result, the Female Titan slaughters the entire team. Eren ultimately concludes he should have believed in himself, rather than his friends.
    • It plays a vital role in the defeat of all three Titan Shifters, as their attachment to the other cadets leads to them making huge mistakes. It even gets invoked by Jean and Connie, in an effort to talk down Reiner and Bertolt, appealing to the bonds of friendship formed between them all over the years.
  • In a sense, Berserk does this as well, as a lot of the story revolves around the importance of camaraderie, with Guts, who had been solitary for most of his life, having to rely on his comrades and other people even if he doesn't want to, but forming bonds so strong that he'll go off on a rampage when that bond is broken, specifically when his former charismatic leader/friend Griffith betrays the Band of the Hawk by making them sacrifices to the Godhand so that he could continue his selfish life dream, resulting in a nightmare-fueled bloodbath of unforgivable proportions.
  • Bleach:
    • Orihime's 'six hearts beat as one' speech.
    • Parodied in the Karakurizer fillers (anime episodes 213-214). Tessai sells the Karakurizer in episode 213 that they will defeat the hollows using the power of friendship, and they they actually do in episode 214.
    • Played straight at the end of anime episode 340. Kon tells Nozomi that Ichigo and his friends would save her by teaching the Big Bad Yushima "the power of friendship".
  • Busou Renkin. Kazuki, while defending his school from a homunculus army released by Doctor Butterfly, says that he's regaining strength by drawing on the spirits of his friends and classmates. What he (and the audience at this point) don't know at the time is exactly how literal that statement is - he's begun to draw on the life force of the people in the school, signaling that the Black Kakugane in him is beginning to awaken.
  • Code Geass: Lelouch salvages a potentially disastrous situation by successfully pulling off a speech about friendship and The Power of Love. The most startling is probably when he tells the Chinese Empress that she can marry for love, instead of being forced into a political marriage with one of his Black Knights.
  • While the girls of Deadline Summonner are already pretty powerful by themselves, they can pretty much demolish anything that comes their way when Mamoru coordinates them with the help of his Desperation Attack.
  • Each character in Digimon Adventure has a "crest" that ties them to a particular virtue; Most of the characters had some kind of crisis related to their crests, where they started to doubt their own virtues only to pick up an Aesop just in time for a Big Damn Heroes moment. For example, Tai tried to force a digivolution and traded courage for recklessness and hubris, then ended up with the rampaging SkullGreymon, he learned to be somewhat less reckless before Agumon reached the true ultimate stage. Also, one of the Crests is the Crest of Friendship. so.. it's the power of friendship saving the day. The digimon CAN'T digivolve really without these kids...in a sense, these kids, the bond the Digimon share with their human partners, lets them grow in power.
    • In "Digimon Tamers", Renamon was finally able to evolve after Ruki refused to leave her for dead. Later she explains that she was able to evolve because Ruki truly cared for her.
    • Digimon Frontier, meanwhile, is essentially the story of five (later six) lonely kids coming together as friends, and then their friendship saving the world in the form of the Zeta Hybrids and later Susasnoomon. This plus the Power of Love also manages to bring Kouichi back to life after his heroic sacrifice in the final battle.
  • Generally this is averted in Dragon Ball, making it an Unbuilt Trope for shonen series later to come. Although supporting characters can delay or subdue the villain, ultimately Goku is The Only One who can defeat them for good.
    • Dragon Ball Z: Battle of Gods both discusses and deconstructs this trope. Goku is able to reach Super Saiyan God level by gaining the power of five other Saiyans and he's really thankful for that. However, Goku is a guy who trains constantly and the fact that he didn't gain this form on his own upsets him because he didn't do it on his own.
    • In Dragon Ball Super, the Tournament of Power enforces this trope: Goku is part of a team of ten fighters (all of whom are former rivals of his), and the tournament rules mean that good teamwork is critical to success. It takes Goku a while to really understand this, and even then his tendency to go it alone puts his team at a disadvantage at several points in the competition. This is ultimately epitomed in the final fight between Goku and Universe 11's Jiren: Jiren is a being who became the World's Strongest Man, supposedly stronger than even a God of Destruction, by himself, considers friendship or any bonds as pathetic and uses his teammates within the Pride Troopers as tools while Goku is a man striving to keep pushing himself further and further past his bounds, treats friend and foe alike with kindness even if they don't deserve it and is ultimately what allows him to awaken Ultra Instinct, a form not even Jiren can awaken.
  • Duel Masters, as mentioned above, used this a lot, with Shobu's friends constantly helping him build and rebuild his deck, and regain his dueling spirit, among other things. Shobu's not the only one to take advantage of this... Hakuoh, the aloof Dragon of the first season, was subjected to Defeat Means Friendship, breaking through his shell, and he manages to defeat Shobu in their next game.
  • The second favorite trope of the namesake mage guild from Fairy Tail, the first one being friends. Not only the characters must rely on each other to win in this manga, hurting their friends pushes Berserk Button for more than one of them, resulting in Unstoppable Rage, directed at the villain responsible. Asskicking for justice usually ensues. One could say that it's a theme prevalent throughout the entire series and is not just limited to the namesake guild.
    • In a more literal sense, two mages who are very close to each other can perform a Unison Raid, linking their magic to produce an incredibly powerful effect. The first time we see this is when Lucy and Juvia use the power of their friendship to use water magic to overwhelm a guy who can absorb water by sheer force.
  • FateZero: Rider's Noble Phantasm Ionioi Hetairoi: Army of the King is created by the ideals of Alexander the Great as collectively was cherished and experienced by the grand army of legendary heroes - his soldiers and comrades when he was alive - that is rallied to his call.
    • As one Youtuber described it: "Broskandar took the Power of Friendship and fucking weaponized it!"
  • Fist of the North Star plays it straight in the final battle, where Kenshiro draws power from everyone he cares about, but it's used before that when Rei, preparing to attack Raoh, yells "Everyone, lend me your strength!" before hurling himself at Raoh and using his Dangerous Forbidden Technique... and Raoh not only point-blank counters it, but hits him with an attack that kills him over three agonizing days.
  • Flint the Time Detective has this in most if not all of the episodes with frienship not only being what is needed to void the effects of the Petra Stamp but also make the Great Clock move again and save the world.
  • The climax and resolution of Fruits Basket revolves around this.
  • A recurring theme in Fullmetal Alchemist (manga and Brotherhood anime), though most beautifully portrayed at the very end when Edward has his final confrontation with the Truth. He offers to exchange his ability to use alchemy in order to get his brother Alphonse's body back. When the Truth asks if he's sure he can manage without the ability, Ed replies that he knows he'll be okay because he has his friends to back him up. The Truth smiles, tells him that he's just given the right answer, and shows him how to get out with Al's body.
  • Fushigi Yuugi. Specifically, Nakago scornfully mentioning it and declaiming that it won't defeat him. And then it does.
  • GaoGaiGar. Friendship + Courage + G-Stone = VICTORY.
  • Likewise in the show's Spiritual Successor by the same writers, Guilty Crown. The main character, Shu, gets the ability to draw powerful weapons known as Voids (that always take full advantage of the show's seemingly limitless animation budget) from other people. Voids that Shu draws from his friends are usually more powerful than others. The page quote says it all:
    Shu: The power to use my friends as weapons. This is the sinful crown I shall accept.
  • High School Of The Dead has a subversion. Toshimi and Misuzu's bid for BFF survivors of the apocalypse — complete with pinky promise — lasts about as long as it takes one of them to kick the other down a flight of stairs.
  • Higurashi: When They Cry:
    • In the answer arcs, the protagonists believe the Power of Friendship to be the key to Screw Destiny. In that light, the question arcs can be seen as examples of what happens when the friends are broken up by suspicion and distrust.
    • The answer arcs of Higurashi do show that the power of friendship can help overcome anything...especially if one of your friends is the heiress to a family of Yakuza, a couple others are moles for the conspiracy, and a few more are cops who are incredibly skilled at hand-to-hand combat.
    • The tagline is even "Higurashi is a series about "friendship"! Friends help you move...Real friends help you move bodies!"
  • THE iDOLM@STER - A good portion of the anime is about this.
  • Early in InuYasha, it's suggested that the empathic sword Tessaiga's full power can only be unlocked if it's being used to protect a human. This quickly falls by the wayside as the plot progresses, in response to a general shift in the mindset of the title character from being only out for himself toward being more protective of others in general.
  • The titular character of Kenichi: The Mightiest Disciple believes in this...which is odd, since in the beginning the closest thing he has to a friend is the blatantly self-serving Nijima. He's clearly aware of this too, since he uses Nijima's personality to make a point a few times.
  • Kinnikuman:
    • The penultimate arc dealt with the "theft" of the heroes' Friendship Power with a number of cursed dolls. This resulted in everyone abandoning our hero when he needed a partner for the tag-team Tournament Arc. Thankfully, he manages to get some help from his unaffected mentor.
    • The final arc returns to the issue. Kinnikuman, stripped of the Kajiba Kuso no Djikara, his Heroic Resolve in a can, early on, is constantly shown unable to perform his old tried-and-true techniques simply because he's fighting at barely more than 1% power. His first major fight after losing the KKD is one he only starts winning when he taps into a similar, though inferior, force known as "Shin Yujo no Power", "Genuine Friendship Power."
    • Played with when Kinnikuman Soldier enters the picture. At first, he appears to be a rather cool-headed and stoic leader who constantly insists "This Is Something He's Got to Do Himself" whenever he's told to rush to a teammate's aid. After being called out for this attitude in the match between Team Super Phoenix and Team Soldier yet again, Kinnikuman Soldier fires back that the Justice Choujin's friendship is a rather weak one: sure, they're all pals, but they've become far too dependent and protective of one another, and that such a friendship is more of a detriment than an advantage. While everyone is skeptical at first, it's proven true twice, first when Buffaloman immediately demands to tag in Soldier when he sees the terrifying power of Mammothman's tusks because he's injured, and then when all of Kinnikuman's team wants to rush to Buffaloman's aid despite being on opposing teams. Soldier then goes on to show them "Genuine Friendship Power" in action.
  • The Law of Ueki does this nearly as often as Yu-Gi-Oh!, which gets pretty Anvilicious at times. At one point, the gang is fighting a team of soldiers, and the soldiers can't comprehend how helping each other out is so important—they even mention that a soldier should "follow orders and look out for himself." Which is what real-life soldiers are taught...plus one more thing: Watch your buddies' backs.
  • Magical Girl Lyrical Nanoha is theorized to weaponize the Power of Friendship into giant energy beams, particularly in the first season where her motive is not to defeat Fate but to become her friend.
  • Magic Knight Rayearth is built entirely on this trope, but Hikaru in particular has it really bad. The OAV is even more explicit.
  • Mahou Sensei Negima!:
    • Taken literally, as Negi's artifact allows him to use all of his partner's artifacts, meaning that he gets stronger as he aquires more allies.
    • It's also deconstructed a bit, as Negi constantly goes through Training from Hell so that he won't have to rely on the Power of Friendship, and by extension, won't endanger his friends by forcing them to fight alongside him (not that it stops them). Makes his abovementioned artifact much more ironic.
    • Played straight when Negi's Black Magic causes his Superpowered Evil Side to manifest. It only stops because Chisame, Asakura, and Nodoka pull one of these.
  • In Mai-HiME, in the 25th special, Natsuki reflects on how she had once been a bitter loner, but meeting Shizuru, Mai and Mikoto enabled her to open up to others and realize that no one can live alone.
  • In Mermaid Melody Pichi Pichi Pitch, the Power Trio sticks together through sadness via pep talks and cake sharing, making it through everything thrown at them. In the series finale, Lucia and Seira reveal that, no matter what kind of pain Michal and Michel, respectively, have put them through, they still empathize with them and want to become their friends. The Power of Friendship is strong enough to actually make them waver, and Fuku panics and goes to try and take over their combined mind and body. He succeeds... but not for long, as the mermaids' friendship and forgiveness reach even him.
  • Mobile Fighter G Gundam has the Shuffle Alliance, five of the most powerful Gundam Fighters participating in the Gundam Fight. While they have to represent their individual nations during the tournament, they come together to fight the forces of the Devil Gundam. During the final battle, they combine their powers to defeat the Grand Master Gundam, before Domon can take on the Devil Gundam himself.
  • The Evil General Durahan in the anime Monster Rancher specifically references this trope in an episode where the bad guys betrayed each other no less than four times in under an hour. Friendship has its benefits it seems.
    • In a more straight use of this trope, the characters' courage, along with friendship, can be used to make themselves stronger. In the last episode Genki summoned the courage of every heroic character on the planet to use in a Combined Energy Attack. In contrast, when Moo goaded the heroes into hating him to make him stronger, the power of their hatred drove him insane.
  • Naruto:
    • One can derive a considerable amount of strength from the mere fact that you're using it to protect someone important to you (chiefly Naruto himself, but there are others). This lesson is explained by one of the first villains in fact; a ninja's greatest strength comes when they are protecting someone they hold dear. (There are those in the Naruto fandom who call this phenomenon "Friendship no Jutsu" or an "Epic Battle of Friendship").
    • The philosophical conflict between this and The Power of Hate leads to Sasuke's split with the village.
    • In chapter 570, Naruto finally befriends the Nine-Tails himself!
    • In a twisted way, this is also the key to unlocking the potential of the Uchiha clan's Sharingan power. The upgraded Mangekyo Sharingan can only be achieved by losing someone with whom the user shares a close emotional bond (ie a best friend or beloved sibling)
  • One Piece:
    • Not only does the entire series practically run on friendship, Luffy sets the stage early on with an epic speech to Arlong (while beating the living daylights out of him), in which he includes all of the things his friends can do that he can't:
      Luffy: Of course I don't know how to use a sword! I don't know anything about navigation, either! I can't cook! I've never even told a lie! I know that I can't survive without people around me to help!
      Arlong: And you call yourself a Captain!?" "What are you capable of?
      Luffy: I can beat you to a pulp!
    • But the best part is when all the Straw Hats declare war against the "World Government" (a.k.a. 170 united nations) just to prove their friendship to a desperateandsuicidal Robin and save her from herself.
  • Pokémon: All Pokémon companions. The various manga series will also often invoke this between the humans themselves, whether it's between trainers, rivals, gym leaders, and companions.
  • The Pretty Cure franchise has this as its premise. The power of every Precure is formed by their bonds with the others; the first two sets can't even transform separately. The yuri fanboys for that series have popularized the notion of "the power of Romantic Two-Girl Friendship", which is sort of the same thing.
  • Puella Magi Madoka Magica:
    • When Mami Tomoe gets hyped up on the Power of Friendship during the battle with Charlotte, it causes her to fight recklessly against the witch, as opposed to the cool, careful and methodical style of witch killing that she used from the second episode. This results in Mami freezing up when Charlotte goes One-Winged Angel, immediately followed by one of the most nightmarish and horrific deaths of the entire series as Mami is Eaten Alive.
    • Episode 10, where it is revealed that Homura's reason for going through many timelines' worth of witch fighting is because of her undying devotion to Madoka.
  • A spoiler-laden plot twist in Read or Die hinges on this. Maybe.
  • Most of the major battles in Sailor Moon are won via the power of forgiveness, and the friendship of the protagonists is a major source of power. (Marketing for The '90s Canadian dub of the anime emphasized this aspect of the series as much as it possibly could.) A VHS tape of the English dub has the words 'The Power of Friendship' on it.
  • In Act 2 of Sailor Moon Crystal, when Brainwashed shortly after making her first friend ever in Usagi, Ami's attachment to the pen from their first outing is so strong it renders her oblivious to orders from the Monster of the Week as she tries to retrieve it from across a room. When Usagi's Secret Identity Sailor Moon explicitly calls Ami "friend," she gradually shakes off the brainwashing just in time for her pen to be revealed as a Transformation Trinket.
  • Although the series is more focused on individual empowerment, Saint Seiya often indulges in the Power of Friendship. More often than not, combining everyone's Cosmo through their friendship is the only way to overcome the current arc's Big Bad.
  • Saiyuki's Genjyo Sanzo, a mortal man with no supernatural powers beyond his religious rank, is several times shown able to stop the rampages of Son Goku in all-out Seiten Taisei God Mode - usually with his bare hands. How? Because of the depth of the friendship they shared in their previous lives.
    • The villains aren't any weaker in this, because they actually tend to act much more like "conventional" True Companions than Sanzo and company, save for them formally being on the side of evil. Probably the best example of this is when Kougaiji

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