Mrs. Dalloway, Virginia Woolf [primary phonics TXT] 📗

on the grass stalks⁠—all of this, calm and reasonable as it was, made out of ordinary things as it was, was the truth now; beauty, that was the truth now. Beauty was everywhere.

“It is time,” said Rezia.

The word “time” split its husk; poured its riches over him; and from his lips fell like shells, like shavings from a plane, without his making them, hard, white, imperishable words, and flew to attach themselves to their places in an ode to Time; an immortal ode to Time. He sang. Evans answered from behind the tree. The dead were in Thessaly, Evans sang, among the orchids. There they waited till the War was over, and now the dead, now Evans himself⁠—

“For God’s sake don’t come!” Septimus cried out. For he could not look upon the dead.

But the branches parted. A man in grey was actually walking towards them. It was Evans! But no mud was on him; no wounds; he was not changed. I must tell the whole world, Septimus cried, raising his hand (as the dead man in the grey suit came nearer), raising his hand like some colossal figure who has lamented the fate of man for ages in the desert alone with his hands pressed to his forehead, furrows of despair on his cheeks, and now sees light on the desert’s edge which broadens and strikes the iron-black figure (and Septimus half rose from his chair), and with legions of men prostrate behind him he, the giant mourner, receives for one moment on his face the whole⁠—

“But I am so unhappy, Septimus,” said Rezia trying to make him sit down.

The millions lamented; for ages they had sorrowed. He would turn round, he would tell them in a few moments, only a few moments more, of this relief, of this joy, of this astonishing revelation⁠—

“The time, Septimus,” Rezia repeated. “What is the time?”

He was talking, he was starting, this man must notice him. He was looking at them.

“I will tell you the time,” said Septimus, very slowly, very drowsily, smiling mysteriously. As he sat smiling at the dead man in the grey suit the quarter struck⁠—the quarter to twelve.

And that is being young, Peter Walsh thought as he passed them. To be having an awful scene⁠—the poor girl looked absolutely desperate⁠—in the middle of the morning. But what was it about, he wondered, what had the young man in the overcoat been saying to her to make her look like that; what awful fix had they got themselves into, both to look so desperate as that on a fine summer morning? The amusing thing about coming back to England, after five years, was the way it made, anyhow the first days, things stand out as if one had never seen them before; lovers squabbling under a tree; the domestic family life of the parks. Never had he seen London look so enchanting⁠—the softness of the distances; the richness; the greenness; the civilisation, after India, he thought, strolling across the grass.

This susceptibility to impressions had been his undoing no doubt. Still at his age he had, like a boy or a girl even, these alternations of mood; good days, bad days, for no reason whatever, happiness from a pretty face, downright misery at the sight of a frump. After India of course one fell in love with every woman one met. There was a freshness about them; even the poorest dressed better than five years ago surely; and to his eye the fashions had never been so becoming; the long black cloaks; the slimness; the elegance; and then the delicious and apparently universal habit of paint. Every woman, even the most respectable, had roses blooming under glass; lips cut with a knife; curls of Indian ink; there was design, art, everywhere; a change of some sort had undoubtedly taken place. What did the young people think about? Peter Walsh asked himself.

Those five years⁠—1918 to 1923⁠—had been, he suspected, somehow very important. People looked different. Newspapers seemed different. Now for instance there was a man writing quite openly in one of the respectable weeklies about water-closets. That you couldn’t have done ten years ago⁠—written quite openly about water-closets in a respectable weekly. And then this taking out a stick of rouge, or a powder-puff and making up in public. On board ship coming home there were lots of young men and girls⁠—Betty and Bertie he remembered in particular⁠—carrying on quite openly; the old mother sitting and watching them with her knitting, cool as a cucumber. The girl would stand still and powder her nose in front of everyone. And they weren’t engaged; just having a good time; no feelings hurt on either side. As hard as nails she was⁠—Betty What’shername⁠—; but a thorough good sort. She would make a very good wife at thirty⁠—she would marry when it suited her to marry; marry some rich man and live in a large house near Manchester.

Who was it now who had done that? Peter Walsh asked himself, turning into the Broad Walk⁠—married a rich man and lived in a large house near Manchester? Somebody who had written him a long, gushing letter quite lately about “blue hydrangeas.” It was seeing blue hydrangeas that made her think of him and the old days⁠—Sally Seton, of course! It was Sally Seton⁠—the last person in the world one would have expected to marry a rich man and live in a large house near Manchester, the wild, the daring, the romantic Sally!

But of all that ancient lot, Clarissa’s friends⁠—Whitbreads, Kinderleys, Cunninghams, Kinloch-Jones’s⁠—Sally was probably the best. She tried to get hold of things by the right end anyhow. She saw through Hugh Whitbread anyhow⁠—the admirable Hugh⁠—when Clarissa and the rest were at his feet.

“The Whitbreads?” he could hear her saying. “Who are the Whitbreads? Coal merchants. Respectable tradespeople.”

Hugh she detested for some reason. He thought of nothing but his own appearance, she said. He ought to have been a Duke. He would be certain to marry one of the