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

man like Huxtable of Trinity, who writes all his letters in Greek, they say, and could have kept his end up with Bentley. And then there is science, pictures, architecture⁠—an enormous mind.

They pushed the walking-stick across the counter. Jacob stood beneath the porch of the British Museum. It was raining. Great Russell Street was glazed and shining⁠—here yellow, here, outside the chemist’s, red and pale blue. People scuttled quickly close to the wall; carriages rattled rather helter-skelter down the streets. Well, but a little rain hurts nobody. Jacob walked off much as if he had been in the country; and late that night there he was sitting at his table with his pipe and his book.

The rain poured down. The British Museum stood in one solid immense mound, very pale, very sleek in the rain, not a quarter of a mile from him. The vast mind was sheeted with stone; and each compartment in the depths of it was safe and dry. The night-watchmen, flashing their lanterns over the backs of Plato and Shakespeare, saw that on the twenty-second of February neither flame, rat, nor burglar was going to violate these treasures⁠—poor, highly respectable men, with wives and families at Kentish Town, do their best for twenty years to protect Plato and Shakespeare, and then are buried at Highgate.

Stone lies solid over the British Museum, as bone lies cool over the visions and heat of the brain. Only here the brain is Plato’s brain and Shakespeare’s; the brain has made pots and statues, great bulls and little jewels, and crossed the river of death this way and that incessantly, seeking some landing, now wrapping the body well for its long sleep; now laying a penny piece on the eyes; now turning the toes scrupulously to the East. Meanwhile, Plato continues his dialogue; in spite of the rain; in spite of the cab whistles; in spite of the woman in the mews behind Great Ormond Street who has come home drunk and cries all night long, “Let me in! Let me in!”

In the street below Jacob’s room voices were raised.

But he read on. For after all Plato continues imperturbably. And Hamlet utters his soliloquy. And there the Elgin Marbles lie, all night long, old Jones’s lantern sometimes recalling Ulysses, or a horse’s head; or sometimes a flash of gold, or a mummy’s sunk yellow cheek. Plato and Shakespeare continue; and Jacob, who was reading the Phaedrus, heard people vociferating round the lamppost, and the woman battering at the door and crying, “Let me in!” as if a coal had dropped from the fire, or a fly, falling from the ceiling, had lain on its back, too weak to turn over.

The Phaedrus is very difficult. And so, when at length one reads straight ahead, falling into step, marching on, becoming (so it seems) momentarily part of this rolling, imperturbable energy, which has driven darkness before it since Plato walked the Acropolis, it is impossible to see to the fire.

The dialogue draws to its close. Plato’s argument is done. Plato’s argument is stowed away in Jacob’s mind, and for five minutes Jacob’s mind continues alone, onwards, into the darkness. Then, getting up, he parted the curtains, and saw, with astonishing clearness, how the Springetts opposite had gone to bed; how it rained; how the Jews and the foreign woman, at the end of the street, stood by the pillar-box, arguing.

Every time the door opened and fresh people came in, those already in the room shifted slightly; those who were standing looked over their shoulders; those who were sitting stopped in the middle of sentences. What with the light, the wine, the strumming of a guitar, something exciting happened each time the door opened. Who was coming in?

“That’s Gibson.”

“The painter?”

“But go on with what you were saying.”

They were saying something that was far, far too intimate to be said outright. But the noise of the voices served like a clapper in little Mrs. Withers’s mind, scaring into the air blocks of small birds, and then they’d settle, and then she’d feel afraid, put one hand to her hair, bind both round her knees, and look up at Oliver Skelton nervously, and say:

“Promise, promise, you’ll tell no one.”⁠ ⁠… so considerate he was, so tender. It was her husband’s character that she discussed. He was cold, she said.

Down upon them came the splendid Magdalen, brown, warm, voluminous, scarcely brushing the grass with her sandalled feet. Her hair flew; pins seemed scarcely to attach the flying silks. An actress of course, a line of light perpetually beneath her. It was only “My dear” that she said, but her voice went jodelling between Alpine passes. And down she tumbled on the floor, and sang, since there was nothing to be said, round ah’s and oh’s. Mangin, the poet, coming up to her, stood looking down at her, drawing at his pipe. The dancing began.

Grey-haired Mrs. Keymer asked Dick Graves to tell her who Mangin was, and said that she had seen too much of this sort of thing in Paris (Magdalen had got upon his knees; now his pipe was in her mouth) to be shocked. “Who is that?” she said, staying her glasses when they came to Jacob, for indeed he looked quiet, not indifferent, but like someone on a beach, watching.

“Oh, my dear, let me lean on you,” gasped Helen Askew, hopping on one foot, for the silver cord round her ankle had worked loose. Mrs. Keymer turned and looked at the picture on the wall.

“Look at Jacob,” said Helen (they were binding his eyes for some game).

And Dick Graves, being a little drunk, very faithful, and very simple-minded, told her that he thought Jacob the greatest man he had ever known. And down they sat cross-legged upon cushions and talked about Jacob, and Helen’s voice trembled, for they both seemed heroes to her, and the friendship between them so much more beautiful than women’s friendships. Anthony Pollett now asked her to dance, and as she danced