Summary

Portrait of E. Nesbit E. Nesbit Daphne in Fitzroy Street — X : INTRUDER (1909)

Undressing in the bigness that almost seemed publicity, she asked herself whether any of her sketches—the pictures of saints that girls had begged for their paroissiens, the satirical sketches that had convulsed submissive classes—might, after all, be marketable. One could—insisted a swift-motioned Daphne divesting herself of petticoats—one could but try. Anyhow, the child was the centre of her universe, the one thing that must not be neglected or set aside. If she could not sit for the sketch club without neglecting the child—well sitting for sketch clubs was not her vocation.
Source: Wikisource

Portrait of E. Nesbit E. Nesbit Daphne in Fitzroy Street — X : INTRUDER (1909)

There had been plenty of shop talked, but there had been no talk of the aims of art or the dignity of art, or of anything but the application of art as a means to getting one’s bread and butter. Only the tall, dark man, who had been unable or unwilling to dissociate himself from his charcoal dust, the man who had looked at her through half-closed eyes, had scowled a little, and muttered something about crossing-sweepers and rotten work. But nobody had paid any attention to him, least of all Daphne.
Source: Wikisource

Portrait of E. Nesbit E. Nesbit Daphne in Fitzroy Street — X : INTRUDER (1909)

And they’re nice, too.”
“Some of them,” said Green Eyes. “You have to be careful who you trust.”
“I’d rather die than do that,” said Daphne, strongly. “You have either to think everyone’s nice till you know they aren’t, or that everyone’s horrid, till you find out that they’re decent. I’d rather believe that everyone’s nice. Nearly everyone is.”
“You’ll hurt yourself if you think everyone nice and everyone interesting. Because they aren’t, and when you find that out it’ll hurt. It’s safer to mistrust everyone.”
Source: Wikisource

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