Virginia Woolf - To the Lighthouse ("The Lighthouse" 3) lyrics

So they're gone, she thought, sighing with relief and disappointment. Her sympathy seemed to be cast back on her, like a bramble sprung across her face. She felt curiously divided, as if one part of her were drawn out there—it was a still day, hazy; the Lighthouse looked this morning at an immense distance; the other had fixed itself doggedly, solidly, here on the lawn. She saw her canvas as if it had floated up and placed itself white and uncompromising directly before her. It seemed to rebuke her with its cold stare for all this hurry and agitation; this folly and waste of emotion; it drastically recalled her and spread through her mind first a peace, as her disorderly sensations (he had gone and she had been so sorry for him and she had said nothing) trooped off the field; and then, emptiness. She looked blankly at the canvas, with its uncompromising white stare; from the canvas to the garden. There was something (she stood screwing up her little Chinese eyes in her small puckered face), something she remembered in the relations of those lines cutting across, slicing down, and in the ma** of the hedge with its green cave of blues and browns, which had stayed in her mind; which had tied a knot in her mind so that at odds and ends of time, involuntarily, as she walked along the Brompton Road, as she brushed her hair, she found herself painting that picture, pa**ing her eye over it, and untying the knot in imagination. But there was all the difference in the world between this planning airily away from the canvas and actually taking her brush and making the first mark. She had taken the wrong brush in her agitation at Mr. Ramsay's presence, and her easel, rammed into the earth so nervously, was at the wrong angle. And now that she had put that right, and in so doing had subdued the impertinences and irrelevances that plucked her attention and made her remember how she was such and such a person, had such and such relations to people, she took her hand and raised her brush. For a moment it stayed trembling in a painful but exciting ecstasy in the air. Where to begin?—that was the question at what point to make the first mark? One line placed on the canvas committed her to innumerable risks, to frequent and irrevocable decisions. All that in idea seemed simple became in practice immediately complex; as the waves shape themselves symmetrically from the cliff top, but to the swimmer among them are divided by steep gulfs, and foaming crests. Still the risk must be run; the mark made. With a curious physical sensation, as if she were urged forward and at the same time must hold herself back, she made her first quick decisive stroke. The brush descended. It flickered brown over the white canvas; it left a running mark. A second time she did it—a third time. And so pausing and so flickering, she attained a dancing rhythmical movement, as if the pauses were one part of the rhythm and the strokes another, and all were related; and so, lightly and swiftly pausing, striking, she scored her canvas with brown running nervous lines which had no sooner settled there than they enclosed ( she felt it looming out at her) a space. Down in the hollow of one wave she saw the next wave towering higher and higher above her. For what could be more formidable than that space? Here she was again, she thought, stepping back to look at it, drawn out of gossip, out of living, out of community with people into the presence of this formidable ancient enemy of hers—this other thing, this truth, this reality, which suddenly laid hands on her, emerged stark at the back of appearances and commanded her attention. She was half unwilling, half reluctant. Why always be drawn out and haled away? Why not left in peace, to talk to Mr. Carmichael on the lawn? It was an exacting form of intercourse anyhow. Other worshipful objects were content with worship; men, women, God, all let one kneel prostrate; but this form, were it only the shape of a white lamp-shade looming on a wicker table, roused one to perpetual combat, challenged one to a fight in which one was bound to be worsted. Always (it was in her nature, or in her s**, she did not know which) before she exchanged the fluidity of life for the concentration of painting she had a few moments of nakedness when she seemed like an unborn soul, a soul reft of body, hesitating on some windy pinnacle and exposed without protection to all the blasts of doubt. Why then did she do it? She looked at the canvas, lightly scored with running lines. It would be hung in the servants' bedrooms. It would be rolled up and stuffed under a sofa. What was the good of doing it then, and she heard some voice saying she couldn't paint, saying she couldn't create, as if she were caught up in one of those habitual currents in which after a certain time experience forms in the mind, so that one repeats words without being aware any longer who originally spoke them. Can't paint, can't write, she murmured monotonously, anxiously considering what her plan of attack should be. For the ma** loomed before her; it protruded; she felt it pressing on her eyeballs. Then, as if some juice necessary for the lubrication of her faculties were spontaneously squirted, she began precariously dipping among the blues and umbers, moving her brush hither and thither, but it was now heavier and went slower, as if it had fallen in with some rhythm which was dictated to her (she kept looking at the hedge, at the canvas) by what she saw, so that while her hand quivered with life, this rhythm was strong enough to bear her along with it on its current. Certainly she was losing consciousness of outer things. And as she lost consciousness of outer things, and her name and her personality and her appearance, and whether Mr. Carmichael was there or not, her mind kept throwing up from its depths, scenes, and names, and sayings, and memories and ideas, like a fountain spurting over that glaring, hideously difficult white space, while she modelled it with greens and blues. Charles Tansley used to say that, she remembered, women can't paint, can't write. Coming up behind her, he had stood close beside her, a thing she hated, as she painted her on this very spot. “Shag tobacco,” he said, “fivepence an ounce,” parading his poverty, his principles. (But the war had drawn the sting of her femininity. Poor devils, one thought, poor devils, of both s**es.) He was always carrying a book about under his arm—a purple book. He “worked.” He sat, she remembered, working in a blaze of sun. At dinner he would sit right in the middle of the view. But after all, she reflected, there was the scene on the beach. One must remember that. It was a windy morning. They had all gone down to the beach. Mrs. Ramsay sat down and wrote letters by a rock. She wrote and wrote. “Oh,” she said, looking up at something floating in the sea, “is it a lobster pot? Is it an upturned boat?” She was so short-sighted that she could not see, and then Charles Tansley became as nice as he could possibly be. He began playing ducks and drakes. They chose little flat black stones and sent them skipping over the waves. Every now and then Mrs. Ramsay looked up over her spectacles and laughed at them. What they said she could not remember, but only she and Charles throwing stones and getting on very well all of a sudden and Mrs. Ramsay watching them. She was highly conscious of that. Mrs. Ramsay, she thought, stepping back and screwing up her eyes. (It must have altered the design a good deal when she was sitting on the step with James. There must have been a shadow.) When she thought of herself and Charles throwing ducks and drakes and of the whole scene on the beach, it seemed to depend somehow upon Mrs. Ramsay sitting under the rock, with a pad on her knee, writing letters. (She wrote innumerable letters, and sometimes the wind took them and she and Charles just saved a page from the sea.) But what a power was in the human soul! she thought. That woman sitting there writing under the rock resolved everything into simplicity; made these angers, irritations fall off like old rags; she brought together this and that and then this, and so made out of that miserable silliness and spite (she and Charles squabbling, sparring, had been silly and spiteful) something—this scene on the beach for example, this moment of friendship and liking—which survived, after all these years complete, so that she dipped into it to re-fashion her memory of him, and there it stayed in the mind affecting one almost like a work of art. “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 traversed 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 pa**ing and flowing (she looked at the clouds 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. All was silence. Nobody seemed yet to be stirring in the house. She looked at it there sleeping in the early sunlight with its windows green and blue with the reflected leaves. The faint thought she was thinking of Mrs. Ramsay seemed in consonance with this quiet house; this smoke; this fine early morning air. Faint and unreal, it was amazingly pure and exciting. She hoped nobody would open the window or come out of the house, but that she might be left alone to go on thinking, to go on painting. She turned to her canvas. But impelled by some curiosity, driven by the discomfort of the sympathy which she held undischarged, she walked a pace or so to the end of the lawn to see whether, down there on the beach, she could see that little company setting sail. Down there among the little boats which floated, some with their sails furled, some slowly, for it was very calm moving away, there was one rather apart from the others. The sail was even now being hoisted. She decided that there in that very distant and entirely silent little boat Mr. Ramsay was sitting with Cam and James. Now they had got the sail up; now after a little flagging and silence, she watched the boat take its way with deliberation past the other boats out to sea.