Best 15 quotes of Daisy Goodwin on MyQuotes

Duets are not about individual skill but about the relationship between the two players.

For daughters of the new American billionaires of the 19th century, it was the ultimate deal: marriage to a cash-strapped British Aristocrat in return for a title and social status. But money didn't always buy them happiness.

And English society was was not exactly welcoming to these rich newcomers: Imagine Kim Kardashian marrying Prince Henry today and you get the general idea of the suspicion and disdain that the Americans encountered.

... anyone can acquire wealth, the real art is giving it away.

But it was better to know of it than to see it in its daily monotony.

In the Blue Room, Cora Cash was trying to concentrate on her book. Cora found most novels hard to sympathise with -- all those plain governesses -- but this one had much to recommend it. The heroine was 'handsome, clever, and rich', rather like Cora herself. Cora knew she was handsome -- wasn't she always referred to in the papers as 'the divine Miss Cash'? She was clever -- she could speak three languages and could handle calculus. And as to rich, well, she was undoubtedly that. Emma Woodhouse was not rich in the way that she, Cora Cash, was rich. Emma Woodhouse did not lie on a lit à la polonaise once owned by Madame du Barry in a room which was, but for the lingering smell of paint, an exact replica of Marie Antoinette's bedchamber at le petit Trianon. Emma Woodhouse went to dances at the Assembly Rooms, not fancy dress spectaculars in specially built ballrooms. But Emma Woodhouse was motherless which meant, thought Cora, that she was handsome, clever, rich and free.

I told you, you're my black pearl. When i first set eyes on you in the servant's hall I thought you were the most beautiful thing I had ever seen in my life.

I was so happy … before.’ ‘I find that happiness can always be recollected in tranquillity, Ma’am,’ said Melbourne. Victoria put her hands down and looked up at him, her pale blue eyes searching his face. ‘You were happy too?’ When Melbourne spoke, it was in the voice not of the urbane Prime Minister, but of a man of advancing years who is facing the loss of the only thing that is still capable of bringing him joy. ‘You know I was, Ma’am.

I was waiting at table tonight, on account of it being such a big party, and just as I was coming round with the savoury, one of the ladies went and broke her necklace by fidgeting with it at the ta ble. She thought she picked 'em all up but this one rolled under my foot and I stood on it tight until all the ladies went upstairs. I wanted to give it to you. You're a black pearl, Bertha, that's what you are and it's only right that you should have it.

Perhaps she would never really know him. A year and a half ago that though would have been unbearable to her, but now she had learnt to live with uncertainty, even to love it.

She knew that people generally behaved only as well as they had to.

...to ride well to hounds is simply a diversion. It leaves no record. But already, my dear Charlotte, you have created something, a legacy.

Well, have you ever known someone who is nice and nasty, who makes you love them one minute and hate them the next? Who makes you feel wonderful and terrible and you never know which one it is going to be?

...when I see you here amidst all this, I realise that I proposed to a very small part of you. I thought I was giving you a home and a position, but here I see that I am taking you away from so much.

When she was chair of the Orange Prize for Fiction in 2010, Daisy Goodwin wrote a controversial essay lamenting the 'unrelenting grimness' of so many novels and pointing out that 'generally great fiction contains light and shade'---not only misery but joy and humor. 'It is time for publishers to stop treating literary fiction as the novelistic equivalent of cod-liver oil: if it's nasty it must be good for you.