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Joanna Baillie

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But woman's grief is like a summer storm,
Short as it violent is.
--
Act V, scene 3.

 
Joanna Baillie

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A woman in white stood atop the rubble a short distance away, a massive halo of power surrounding her, her arm outstretched toward the fleeing soldiers, her eyes intense. The woman stood like vengeance itself, the power of saidar like a storm around her. The very air seemed alight, and her brown hair blew from the wind of the open gap in the wall beside them. Egwene al'Vere.

 
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Marie falls back upon her idea, obdurately, and says, "A woman only lives by love and for love. When she's no longer good for that she's no longer anything."
She repeats, "You see — I'm nothing any more."
Ah, she is at the bottom of her abyss! She is at the extremity of a woman's mourning! She is not thinking only of me. Her thought is higher and vaster. She is thinking of all the woman she is, of all that love is, of all possible things when she says, "I'm no longer anything." And I — I am only he who is present with her just now, and no help whatever is left her to look for from any one.
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That man over there says that women need to be helped into carriages, and lifted over ditches, and to have the best place everywhere. Nobody ever helps me into carriages, or over mud-puddles, or gives me any best place! And ain't I a woman? Look at me! Look at my arm! I have ploughed and planted, and gathered into barns, and no man could head me! And ain't I a woman? I could work as much and eat as much as a man — when I could get it — and bear the lash as well! And ain't I a woman? I have borne thirteen children, and seen most all sold off to slavery, and when I cried out with my mother's grief, none but Jesus heard me! And ain't I a woman?

 
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Was this perhaps life, then?—to have loved one summer in youth and not to have been aware of it until it was over, some sea-wet footprints on the floor and sand in the prints, the fragrance of a woman, soft loving lips in the dusk of a summer night, sea birds; and then nothing more; gone.

 
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