Jacob’s Room, Virginia Woolf [books like beach read .TXT] 📗

gardens; the massive fronts of the respectable conceal after all their secret code; or why so impermeable? And then, doffing one’s own headpiece, how strange to assume for a moment someone’s⁠—anyone’s⁠—to be a man of valour who has ruled the Empire; to refer while Brangaena sings to the fragments of Sophocles, or see in a flash, as the shepherd pipes his tune, bridges and aqueducts. But no⁠—we must choose. Never was there a harsher necessity! or one which entails greater pain, more certain disaster; for wherever I seat myself, I die in exile: Whittaker in his lodging-house; Lady Charles at the Manor.

A young man with a Wellington nose, who had occupied a seven-and-sixpenny seat, made his way down the stone stairs when the opera ended, as if he were still set a little apart from his fellows by the influence of the music.

At midnight Jacob Flanders heard a rap on his door.

“By Jove!” he exclaimed. “You’re the very man I want!” and without more ado they discovered the lines which he had been seeking all day; only they come not in Virgil, but in Lucretius.

“Yes; that should make him sit up,” said Bonamy, as Jacob stopped reading. Jacob was excited. It was the first time he had read his essay aloud.

“Damned swine!” he said, rather too extravagantly; but the praise had gone to his head. Professor Bulteel, of Leeds, had issued an edition of Wycherley without stating that he had left out, disembowelled, or indicated only by asterisks, several indecent words and some indecent phrases. An outrage, Jacob said; a breach of faith; sheer prudery; token of a lewd mind and a disgusting nature. Aristophanes and Shakespeare were cited. Modern life was repudiated. Great play was made with the professional title, and Leeds as a seat of learning was laughed to scorn. And the extraordinary thing was that these young men were perfectly right⁠—extraordinary, because, even as Jacob copied his pages, he knew that no one would ever print them; and sure enough back they came from the Fortnightly, the Contemporary, the Nineteenth Century⁠—when Jacob threw them into the black wooden box where he kept his mother’s letters, his old flannel trousers, and a note or two with the Cornish postmark. The lid shut upon the truth.

This black wooden box, upon which his name was still legible in white paint, stood between the long windows of the sitting-room. The street ran beneath. No doubt the bedroom was behind. The furniture⁠—three wicker chairs and a gate-legged table⁠—came from Cambridge. These houses (Mrs. Garfit’s daughter, Mrs. Whitehorn, was the landlady of this one) were built, say, a hundred and fifty years ago. The rooms are shapely, the ceilings high; over the doorway a rose, or a ram’s skull, is carved in the wood. The eighteenth century has its distinction. Even the panels, painted in raspberry-coloured paint, have their distinction.⁠ ⁠…

“Distinction”⁠—Mrs. Durrant said that Jacob Flanders was “distinguished-looking.” “Extremely awkward,” she said, “but so distinguished-looking.” Seeing him for the first time that no doubt is the word for him. Lying back in his chair, taking his pipe from his lips, and saying to Bonamy: “About this opera now” (for they had done with indecency). “This fellow Wagner”⁠ ⁠… distinction was one of the words to use naturally, though, from looking at him, one would have found it difficult to say which seat in the opera house was his, stalls, gallery, or dress circle. A writer? He lacked self-consciousness. A painter? There was something in the shape of his hands (he was descended on his mother’s side from a family of the greatest antiquity and deepest obscurity) which indicated taste. Then his mouth⁠—but surely, of all futile occupations this of cataloguing features is the worst. One word is sufficient. But if one cannot find it?

“I like Jacob Flanders,” wrote Clara Durrant in her diary. “He is so unworldly. He gives himself no airs, and one can say what one likes to him, though he’s frightening because⁠ ⁠…” But Mr. Letts allows little space in his shilling diaries. Clara was not the one to encroach upon Wednesday. Humblest, most candid of women! “No, no, no,” she sighed, standing at the greenhouse door, “don’t break⁠—don’t spoil”⁠—what? Something infinitely wonderful.

But then, this is only a young woman’s language, one, too, who loves, or refrains from loving. She wished the moment to continue forever precisely as it was that July morning. And moments don’t. Now, for instance, Jacob was telling a story about some walking tour he’d taken, and the inn was called “The Foaming Pot,” which, considering the landlady’s name⁠ ⁠… They shouted with laughter. The joke was indecent.

Then Julia Eliot said “the silent young man,” and as she dined with Prime Ministers, no doubt she meant: “If he is going to get on in the world, he will have to find his tongue.”

Timothy Durrant never made any comment at all.

The housemaid found herself very liberally rewarded.

Mr. Sopwith’s opinion was as sentimental as Clara’s, though far more skilfully expressed.

Betty Flanders was romantic about Archer and tender about John; she was unreasonably irritated by Jacob’s clumsiness in the house.

Captain Barfoot liked him best of the boys; but as for saying why⁠ ⁠…

It seems then that men and women are equally at fault. It seems that a profound, impartial, and absolutely just opinion of our fellow-creatures is utterly unknown. Either we are men, or we are women. Either we are cold, or we are sentimental. Either we are young, or growing old. In any case life is but a procession of shadows, and God knows why it is that we embrace them so eagerly, and see them depart with such anguish, being shadows. And why, if this⁠—and much more than this is true, why are we yet surprised in the window corner by a sudden vision that the young man in the chair is of all things in the world the most real, the most solid, the best known to us⁠—why indeed? For the moment after we know nothing about him.

Such is the manner of our