Virginia Woolf - To the Lighthouse ("The Lighthouse" 11) lyrics

So much depends then, thought Lily Briscoe, looking at the sea which had scarcely a stain on it, which was so soft that the sails and the clouds seemed set in its blue, so much depends, she thought, upon distance: whether people are near us or far from us; for her feeling for Mr. Ramsay changed as he sailed further and further across the bay. It seemed to be elongated, stretched out; he seemed to become more and more remote. He and his children seemed to be swallowed up in that blue, that distance; but here, on the lawn, close at hand, Mr. Carmichael suddenly grunted. She laughed. He clawed his book up from the gra**. He settled into his chair again puffing and blowing like some sea monster. That was different altogether, because he was so near. And now again all was quiet. They must be out of bed by this time, she supposed, looking at the house, but nothing appeared there. But then, she remembered, they had always made off directly a meal was over, on business of their own. It was all in keeping with this silence, this emptiness, and the unreality of the early morning hour. It was a way things had sometimes, she thought, lingering for a moment and looking at the long glittering windows and the plume of blue smoke: they became illness, before habits had spun themselves across the surface, one felt that same unreality, which was so startling; felt something emerge. Life was most vivid then. One could be at one's ease. Mercifully one need not say, very briskly, crossing the lawn to greet old Mrs. Beckwith, who would be coming out to find a corner to sit in, “Oh, good-morning, Mrs. Beckwith! What a lovely day! Are you going to be so bold as to sit in the sun? Jasper's hidden the chairs. Do let me find you one!” and all the rest of the usual chatter. One need not speak at all. One glided, one shook one's sails (there was a good deal of movement in the bay, boats were starting off) between things, beyond things. Empty it was not, but full to the brim. She seemed to be standing up to the lips in some substance, to move and float and sink in it, yes, for these waters were unfathomably deep. Into them had spilled so many lives. The Ramsays'; the children's; and all sorts of waifs and strays of things besides. A washer-woman with her basket; a rook, a red-hot poker; the purples and grey-greens of flowers: some common feeling which held the whole together. It was some such feeling of completeness perhaps which, ten years ago, standing almost where she stood now, had made her say that she must be in love with the place. Love had a thousand shapes. There might be lovers whose gift it was to choose out the elements of things and place them together and so, giving them a wholeness not theirs in life, make of some scene, or meeting of people (all now gone and separate), one of those globed compacted things over which thought lingers, and love plays. Her eyes rested on the brown speck of Mr. Ramsay's sailing boat. They would be at the Lighthouse by lunch time she supposed. But the wind had freshened, and, as the sky changed slightly and the sea changed slightly and the boats altered their positions, the view, which a moment before had seemed miraculously fixed, was now unsatisfactory. The wind had blown the trail of smoke about; there was something displeasing about the placing of the ships. The disproportion there seemed to upset some harmony in her own mind. She felt an obscure distress. It was confirmed when she turned to her picture. She had been wasting her morning. For whatever reason she could not achieve that razor edge of balance between two opposite forces; Mr. Ramsay and the picture; which was necessary. There was something perhaps wrong with the design? Was it, she wondered, that the line of the wall wanted breaking, was it that the ma** of the trees was too heavy? She smiled ironically; for had she not thought, when she began, that she had solved her problem? What was the problem then? She must try to get hold of something that evaded her. It evaded her when she thought of Mrs. Ramsay; it evaded her now when she thought of her picture. Phrases came. Visions came. Beautiful pictures. Beautiful phrases. But what she wished to get hold of was that very jar on the nerves, the thing itself before it has been made anything. Get that and start afresh; get that and start afresh; she said desperately, pitching herself firmly again before her easel. It was a miserable machine, an inefficient machine, she thought, the human apparatus for painting or for feeling; it always broke down at the critical moment; heroically, one must force it on. She stared, frowning. There was the hedge, sure enough. But one got nothing by soliciting urgently. One got only a glare in the eye from looking at the line of the wall, or from thinking—she wore a grey hat. She was astonishingly beautiful. Let it come, she thought, if it will come. For there are moments when one can neither think nor feel. And if one can neither think nor feel, she thought, where is one? Here on the gra**, on the ground, she thought, sitting down, and examining with her brush a little colony of plantains. For the lawn was very rough. Here sitting on the world, she thought, for she could not shake herself free from the sense that everything this morning was happening for the first time, perhaps for the last time, as a traveller, even though he is half asleep, knows, looking out of the train window, that he must look now, for he will never see that town, or that mule-cart, or that woman at work in the fields, again. The lawn was the world; they were up here together, on this exalted station, she thought, looking at old Mr. Carmichael, who seemed (though they had not said a word all this time) to share her thoughts. And she would never see him again perhaps. He was growing old. Also, she remembered, smiling at the slipper that dangled from his foot, he was growing famous. People said that his poetry was “so beautiful.” They went and published things he had written forty years ago. There was a famous man now called Carmichael, she smiled, thinking how many shapes one person might wear, how he was that in the newspapers, but here the same as he had always been. He looked the same—greyer, rather. Yes, he looked the same, but somebody had said, she recalled, that when he had heard of Andrew Ramsay's d**h (he was k**ed in a second by a shell; he should have been a great mathematician) Mr. Carmichael had “lost all interest in life.” What did it mean—that? she wondered. Had he marched through Trafalgar Square grasping a big stick? Had he turned pages over and over, without reading them, sitting in his room in St. John's Wood alone? She did not know what he had done, when he heard that Andrew was k**ed, but she felt it in him all the same. They only mumbled at each other on staircases; they looked up at the sky and said it will be fine or it won't be fine. But this was one way of knowing people, she thought: to know the outline, not the detail, to sit in one's garden and look at the slopes of a hill running purple down into the distant heather. She knew him in that way. She knew that he had changed somehow. She had never read a line of his poetry. She thought that she knew how it went though, slowly and sonorously. It was seasoned and mellow. It was about the desert and the camel. It was about the palm tree and the sunset. It was extremely impersonal; it said something about d**h; it said very little about love. There was an impersonality about him. He wanted very little of other people. Had he not always lurched rather awkwardly past the drawing-room window with some newspaper under his arm, trying to avoid Mrs. Ramsay whom for some reason he did not much like? On that account, of course, she would always try to make him stop. He would bow to her. He would halt unwillingly and bow profoundly. Annoyed that he did not want anything of her, Mrs. Ramsay would ask him (Lily could hear her) wouldn't he like a coat, a rug, a newspaper? No, he wanted nothing. (Here he bowed.) There was some quality in her which he did not much like. It was perhaps her masterfulness, her positiveness, something matter-of-fact in her. She was so direct. (A noise drew her attention to the drawing-room window—the squeak of a hinge. The light breeze was toying with the window.) There must have been people who disliked her very much, Lily thought (Yes; she realised that the drawing-room step was empty, but it had no effect on her whatever. She did not want Mrs. Ramsay now.)—People who thought her too sure, too drastic. Also, her beauty offended people probably. How monotonous, they would say, and the same always! They preferred another type—the dark, the vivacious. Then she was weak with her husband. She let him make those scenes. Then she was reserved. Nobody knew exactly what had happened to her. And (to go back to Mr. Carmichael and his dislike) one could not imagine Mrs. Ramsay standing painting, lying reading, a whole morning on the lawn. It was unthinkable. Without saying a word, the only token of her errand a basket on her arm, she went off to the town, to the poor, to sit in some stuffy little bedroom. Often and often Lily had seen her go silently in the midst of some game, some discussion, with her basket on her arm, very upright. She had noted her return. She had thought, half laughing (she was so methodical with the tea cups), half moved (her beauty took one's breath away), eyes that are closing in pain have looked on you. You have been with them there. And then Mrs. Ramsay would be annoyed because somebody was late, or the bu*ter not fresh, or the teapot chipped. And all the time she was saying that the bu*ter was not fresh one would be thinking of Greek temples, and how beauty had been with them there in that stuffy little room. She never talked of it—she went, punctually, directly. It was her instinct to go, an instinct like the swallows for the south, the artichokes for the sun, turning her infallibly to the human race, making her nest in its heart. And this, like all instincts, was a little distressing to people who did not share it; to Mr. Carmichael perhaps, to herself certainly. Some notion was in both of them about the ineffectiveness of action, the supremacy of thought. Her going was a reproach to them, gave a different twist to the world, so that they were led to protest, seeing their own prepossessions disappear, and clutch at them vanishing. Charles Tansley did that too: it was part of the reason why one disliked him. He upset the proportions of one's world. And what had happened to him, she wondered, idly stirring the platains with her brush. He had got his fellowship. He had married; he lived at Golder's Green. She had gone one day into a Hall and heard him speaking during the war. He was denouncing something: he was condemning somebody. He was preaching brotherly love. And all she felt was how could he love his kind who did not know one picture from another, who had stood behind her smoking shag (“fivepence an ounce, Miss Briscoe”) and making it his business to tell her women can't write, women can't paint, not so much that he believed it, as that for some odd reason he wished it? There he was lean and red and raucous, preaching love from a platform (there were ants crawling about among the plantains which she disturbed with her brush—red, energetic, shiny ants, rather like Charles Tansley). She had looked at him ironically from her seat in the half-empty hall, pumping love into that chilly space, and suddenly, there was the old cask or whatever it was bobbing up and down among the waves and Mrs. Ramsay looking for her spectacle case among the pebbles. “Oh, dear! What a nuisance! Lost again. Don't bother, Mr. Tansley. I lose thousands every summer,” at which he pressed his chin back against his collar, as if afraid to sanction such exaggeration, but could stand it in her whom he liked, and smiled very charmingly. He must have confided in her on one of those long expeditions when people got separated and walked back alone. He was educating his little sister, Mrs. Ramsay had told her. It was immensely to his credit. Her own idea of him was grotesque, Lily knew well, stirring the plantains with her brush. Half one's notions of other people were, after all, grotesque. They served private purposes of one's own. He did for her instead of a whipping-boy. She found herself flagellating his lean flanks when she was out of temper. If she wanted to be serious about him she had to help herself to Mrs. Ramsay's sayings, to look at him through her eyes. She raised a little mountain for the ants to climb over. She reduced them to a frenzy of indecision by this interference in their cosmogony. Some ran this way, others that. One wanted fifty pairs of eyes to see with, she reflected. Fifty pairs of eyes were not enough to get round that one woman with, she thought. Among them, must be one that was stone blind to her beauty. One wanted most some secret sense, fine as air, with which to steal through keyholes and surround her where she sat knitting, talking, sitting silent in the window alone; which took to itself and treasured up like the air which held the smoke of the steamer, her thoughts, her imaginations, her desires. What did the hedge mean to her, what did the garden mean to her, what did it mean to her when a wave broke? (Lily looked up, as she had seen Mrs. Ramsay look up; she too heard a wave falling on the beach.) And then what stirred and trembled in her mind when the children cried, “How's that? How's that?” cricketing? She would stop knitting for a second. She would look intent. Then she would lapse again, and suddenly Mr. Ramsay stopped dead in his pacing in front of her and some curious shock pa**ed through her and seemed to rock her in profound agitation on its breast when stopping there he stood over her and looked down at her. Lily could see him. He stretched out his hand and raised her from her chair. It seemed somehow as if he had done it before; as if he had once bent in the same way and raised her from a boat which, lying a few inches off some island, had required that the ladies should thus be helped on shore by the gentlemen. An old-fashioned scene that was, which required, very nearly, crinolines and peg-top trousers. Letting herself be helped by him, Mrs. Ramsay had thought (Lily supposed) the time has come now. Yes, she would say it now. Yes, she would marry him. And she stepped slowly, quietly on shore. Probably she said one word only, letting her hand rest still in his. I will marry you, she might have said, with her hand in his; but no more. Time after time the same thrill had pa**ed between them—obviously it had, Lily thought, smoothing a way for her ants. She was not inventing; she was only trying to smooth out something she had been given years ago folded up; something she had seen. For in the rough and tumble of daily life, with all those children about, all those visitors, one had constantly a sense of repetition—of one thing falling where another had fallen, and so setting up an echo which chimed in the air and made it full of vibrations. But it would be a mistake, she thought, thinking how they walked off together, arm in arm, past the greenhouse, to simplify their relationship. It was no monotony of bliss—she with her impulses and quicknesses; he with his shudders and glooms. Oh, no. The bedroom door would slam violently early in the morning. He would start from the table in a temper. He would whizz his plate through the window. Then all through the house there would be a sense of doors slamming and blinds fluttering, as if a gusty wind were blowing and people scudded about trying in a hasty way to fasten hatches and make things ship-shape. She had met Paul Rayley like that one day on the stairs. They had laughed and laughed, like a couple of children, all because Mr. Ramsay, finding an earwig in his milk at breakfast had sent the whole thing flying through the air on to the terrace outside. “An earwig”, Prue murmured, awestruck, “in his milk.” Other people might find centipedes. But he had built round him such a fence of sanctity, and occupied the space with such a demeanour of majesty that an earwig in his milk was a monster. But it tired Mrs. Ramsay, it cowed her a little—the plates whizzing and the doors slamming. And there would fall between them sometimes long rigid silences, when, in a state of mind which annoyed Lily in her, half plaintive, half resentful, she seemed unable to surmount the tempest calmly, or to laugh as they laughed, but in her weariness perhaps concealed something. She brooded and sat silent. After a time he would hang stealthily about the places where she was—roaming under the window where she sat writing letters or talking, for she would take care to be busy when he pa**ed, and evade him, and pretend not to see him. Then he would turn smooth as silk, affable, urbane, and try to win her so. Still she would hold off, and now she would a**ert for a brief season some of those prides and airs the due of her beauty which she was generally utterly without; would turn her head; would look so, over her shoulder, always with some Minta, Paul, or William Bankes at her side. At length, standing outside the group the very figure of a famished wolfhound (Lily got up off the gra** and stood looking at the steps, at the window, where she had seen him), he would say her name, once only, for all the world like a wolf barking in the snow, but still she held back; and he would say it once more, and this time something in the tone would rouse her, and she would go to him, leaving them all of a sudden, and they would walk off together among the pear trees, the cabbages, and the raspberry beds. They would have it out together. But with what attitudes and with what words? Such a dignity was theirs in this relationship that, turning away, she and Paul and Minta would hide their curiosity and their discomfort, and begin picking flowers, throwing balls, chattering, until it was time for dinner, and there they were, he at one end of the table, she at the other, as usual. “Why don't some of you take up botany?.. With all those legs and arms why doesn't one of you . . .?” So they would talk as usual, laughing, among the children. All would be as usual, save only for some quiver, as of a blade in the air, which came and went between them as if the usual sight of the children sitting round their soup plates had freshened itself in their eyes after that hour among the pears and the cabbages. Especially, Lily thought, Mrs. Ramsay would glance at Prue. She sat in the middle between brothers and sisters, always occupied, it seemed, seeing that nothing went wrong so that she scarcely spoke herself. How Prue must have blamed herself for that earwig in the milk! How white she had gone when Mr. Ramsay threw his plate through the window! How she drooped under those long silences between them! Anyhow, her mother now would seem to be making it up to her; a**uring her that everything was well; promising her that one of these days that same happiness would be hers. She had enjoyed it for less than a year, however. She had let the flowers fall from her basket, Lily thought, screwing up her eyes and standing back as if to look at her picture, which she was not touching, however, with all her faculties in a trance, frozen over superficially but moving underneath with extreme speed. She let her flowers fall from her basket, scattered and tumbled them on to the gra** and, reluctantly and hesitatingly, but without question or complaint—had she not the faculty of obedience to perfection?—went too. Down fields, across valleys, white, flower-strewn—that was how she would have painted it. The hills were austere. It was rocky; it was steep. The waves sounded hoarse on the stones beneath. They went, the three of them together, Mrs. Ramsay walking rather fast in front, as if she expected to meet some one round the corner. Suddenly the window at which she was looking was whitened by some light stuff behind it. At last then somebody had come into the drawing-room; somebody was sitting in the chair. For Heaven's sake, she prayed, let them sit still there and not come floundering out to talk to her. Mercifully, whoever it was stayed still inside; had settled by some stroke of luck so as to throw an odd-shaped triangular shadow over the step. It altered the composition of the picture a little. It was interesting. It might be useful. Her mood was coming back to her. One must keep on looking without for a second relaxing the intensity of emotion, the determination not to be put off, not to be bamboozled. One must hold the scene—so—in a vise and let nothing come in and spoil it. One wanted, she thought, dipping her brush deliberately, to be on a level with ordinary experience, to feel simply that's a chair, that's a table, and yet at the same time, It's a miracle, it's an ecstasy. The problem might be solved after all. Ah, but what had happened? Some wave of white went over the window pane. The air must have stirred some flounce in the room. Her heart leapt at her and seized her and tortured her. “Mrs. Ramsay! Mrs. Ramsay!” she cried, feeling the old horror come back—to want and want and not to have. Could she inflict that still? And then, quietly, as if she refrained, that too became part of ordinary experience, was on a level with the chair, with the table. Mrs. Ramsay—it was part of her perfect goodness—sat there quite simply, in the chair, flicked her needles to and fro, knitted her reddish-brown stocking, cast her shadow on the step. There she sat. And as if she had something she must share, yet could hardly leave her easel, so full her mind was of what she was thinking, of what she was seeing, Lily went past Mr. Carmichael holding her brush to the edge of the lawn. Where was that boat now? And Mr. Ramsay? She wanted him.