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

could see her blurred outline; her little black body; her face and hands; her turning movements at the table, as she took up a reel, or looked (she was apt to lose things) for her silk. She was making a hat for Mrs. Filmer’s married daughter, whose name was⁠—he had forgotten her name.

“What is the name of Mrs. Filmer’s married daughter?” he asked.

“Mrs. Peters,” said Rezia. She was afraid it was too small, she said, holding it before her. Mrs. Peters was a big woman; but she did not like her. It was only because Mrs. Filmer had been so good to them⁠—“She gave me grapes this morning,” she said⁠—that Rezia wanted to do something to show that they were grateful. She had come into the room the other evening and found Mrs. Peters, who thought they were out, playing the gramophone.

“Was it true?” he asked. She was playing the gramophone? Yes; she had told him about it at the time; she had found Mrs. Peters playing the gramophone.

He began, very cautiously, to open his eyes, to see whether a gramophone was really there. But real things⁠—real things were too exciting. He must be cautious. He would not go mad. First he looked at the fashion papers on the lower shelf, then, gradually at the gramophone with the green trumpet. Nothing could be more exact. And so, gathering courage, he looked at the sideboard; the plate of bananas; the engraving of Queen Victoria and the Prince Consort; at the mantelpiece, with the jar of roses. None of these things moved. All were still; all were real.

“She is a woman with a spiteful tongue,” said Rezia.

“What does Mr. Peters do?” Septimus asked.

“Ah,” said Rezia, trying to remember. She thought Mrs. Filmer had said that he travelled for some company. “Just now he is in Hull,” she said.

“Just now!” She said that with her Italian accent. She said that herself. He shaded his eyes so that he might see only a little of her face at a time, first the chin, then the nose, then the forehead, in case it were deformed, or had some terrible mark on it. But no, there she was, perfectly natural, sewing, with the pursed lips that women have, the set, the melancholy expression, when sewing. But there was nothing terrible about it, he assured himself, looking a second time, a third time at her face, her hands, for what was frightening or disgusting in her as she sat there in broad daylight, sewing? Mrs. Peters had a spiteful tongue. Mr. Peters was in Hull. Why, then, rage and prophesy? Why fly scourged and outcast? Why be made to tremble and sob by the clouds? Why seek truths and deliver messages when Rezia sat sticking pins into the front of her dress, and Mr. Peters was in Hull? Miracles, revelations, agonies, loneliness, falling through the sea, down, down into the flames, all were burnt out, for he had a sense, as he watched Rezia trimming the straw hat for Mrs. Peters, of a coverlet of flowers.

“It’s too small for Mrs. Peters,” said Septimus.

For the first time for days he was speaking as he used to do! Of course it was⁠—absurdly small, she said. But Mrs. Peters had chosen it.

He took it out of her hands. He said it was an organ grinder’s monkey’s hat.

How it rejoiced her, that! Not for weeks had they laughed like this together, poking fun privately like married people. What she meant was that if Mrs. Filmer had come in, or Mrs. Peters or anybody, they would not have understood what she and Septimus were laughing at.

“There,” she said, pinning a rose to one side of the hat. Never had she felt so happy! Never in her life!

But that was still more ridiculous, Septimus said. Now the poor woman looked like a pig at a fair. (Nobody ever made her laugh as Septimus did.)

What had she got in her work-box? She had ribbons and beads, tassels, artificial flowers. She tumbled them out on the table. He began putting odd colours together⁠—for though he had no fingers, could not even do up a parcel, he had a wonderful eye, and often he was right, sometimes absurd, of course, but sometimes wonderfully right.

“She shall have a beautiful hat!” he murmured, taking up this and that, Rezia kneeling by his side, looking over his shoulder. Now it was finished⁠—that is to say the design; she must stitch it together. But she must be very, very careful, he said, to keep it just as he had made it.

So she sewed. When she sewed, he thought, she made a sound like a kettle on the hob; bubbling, murmuring, always busy, her strong little pointed fingers pinching and poking; her needle flashing straight. The sun might go in and out, on the tassels, on the wallpaper, but he would wait, he thought, stretching out his feet, looking at his ringed sock at the end of the sofa; he would wait in this warm place, this pocket of still air, which one comes on at the edge of a wood sometimes in the evening, when, because of a fall in the ground, or some arrangement of the trees (one must be scientific above all, scientific), warmth lingers, and the air buffets the cheek like the wing of a bird.

“There it is,” said Rezia, twirling Mrs. Peters’ hat on the tips of her fingers. “That’ll do for the moment. Later⁠ ⁠…” her sentence bubbled away drip, drip, drip, like a contented tap left running.

It was wonderful. Never had he done anything which made him feel so proud. It was so real, it was so substantial, Mrs. Peters’ hat.

“Just look at it,” he said.

Yes, it would always make her happy to see that hat. He had become himself then, he had laughed then. They had been alone together. Always she would like that hat.

He told her to try it on.

“But I must look so queer!” she cried, running over to the glass and looking first this side, then that. Then she snatched it off again, for there was a tap at the