Jacob's Room, Virginia Woolf [non fiction books to read .txt] 📗
- Author: Virginia Woolf
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street, take out his latch-key, and open the door, “I’m afraid I’m
late”; upon which Nick said nothing and Fanny grew defiant.
“I’ll never come again!” she cried at length.
“Don’t, then,” Nick replied, and off she ran without so much as good-night.
How exquisite it was—that dress in Evelina’s shop off Shaftesbury
Avenue! It was four o’clock on a fine day early in April, and was Fanny
the one to spend four o’clock on a fine day indoors? Other girls in that
very street sat over ledgers, or drew long threads wearily between silk
and gauze; or, festooned with ribbons in Swan and Edgars, rapidly added
up pence and farthings on the back of the bill and twisted the yard and
three-quarters in tissue paper and asked “Your pleasure?” of the next
comer.
In Evelina’s shop off Shaftesbury Avenue the parts of a woman were shown
separate. In the left hand was her skirt. Twining round a pole in the
middle was a feather boa. Ranged like the heads of malefactors on Temple
Bar were hats—emerald and white, lightly wreathed or drooping beneath
deep-dyed feathers. And on the carpet were her feet—pointed gold, or
patent leather slashed with scarlet.
Feasted upon by the eyes of women, the clothes by four o’clock were
flyblown like sugar cakes in a baker’s window. Fanny eyed them too. But
coming along Gerrard Street was a tall man in a shabby coat. A shadow
fell across Evelina’s window—Jacob’s shadow, though it was not Jacob.
And Fanny turned and walked along Gerrard Street and wished that she had
read books. Nick never read books, never talked of Ireland, or the House
of Lords; and as for his finger-nails! She would learn Latin and read
Virgil. She had been a great reader. She had read Scott; she had read
Dumas. At the Slade no one read. But no one knew Fanny at the Slade, or
guessed how empty it seemed to her; the passion for ear-rings, for
dances, for Tonks and Steer—when it was only the French who could
paint, Jacob said. For the moderns were futile; painting the least
respectable of the arts; and why read anything but Marlowe and
Shakespeare, Jacob said, and Fielding if you must read novels?
“Fielding,” said Fanny, when the man in Charing Cross Road asked her
what book she wanted.
She bought Tom Jones.
At ten o’clock in the morning, in a room which she shared with a school
teacher, Fanny Elmer read Tom Jones—that mystic book. For this dull
stuff (Fanny thought) about people with odd names is what Jacob likes.
Good people like it. Dowdy women who don’t mind how they cross their
legs read Tom Jones—a mystic book; for there is something, Fanny
thought, about books which if I had been educated I could have liked—
much better than ear-rings and flowers, she sighed, thinking of the
corridors at the Slade and the fancy-dress dance next week. She had
nothing to wear.
They are real, thought Fanny Elmer, setting her feet on the mantelpiece.
Some people are. Nick perhaps, only he was so stupid. And women never—
except Miss Sargent, but she went off at lunch-time and gave herself
airs. There they sat quietly of a night reading, she thought. Not going
to music-halls; not looking in at shop windows; not wearing each other’s
clothes, like Robertson who had worn her shawl, and she had worn his
waistcoat, which Jacob could only do very awkwardly; for he liked Tom
Jones.
There it lay on her lap, in double columns, price three and sixpence;
the mystic book in which Henry Fielding ever so many years ago rebuked
Fanny Elmer for feasting on scarlet, in perfect prose, Jacob said. For
he never read modern novels. He liked Tom Jones.
“I do like Tom Jones,” said Fanny, at five-thirty that same day early in
April when Jacob took out his pipe in the arm-chair opposite.
Alas, women lie! But not Clara Durrant. A flawless mind; a candid
nature; a virgin chained to a rock (somewhere off Lowndes Square)
eternally pouring out tea for old men in white waistcoats, blue-eyed,
looking you straight in the face, playing Bach. Of all women, Jacob
honoured her most. But to sit at a table with bread and butter, with
dowagers in velvet, and never say more to Clara Durrant than Benson said
to the parrot when old Miss Perry poured out tea, was an insufferable
outrage upon the liberties and decencies of human nature—or words to
that effect. For Jacob said nothing. Only he glared at the fire. Fanny
laid down Tom Jones.
She stitched or knitted.
“What’s that?” asked Jacob.
“For the dance at the Slade.”
And she fetched her head-dress; her trousers; her shoes with red
tassels. What should she wear?
“I shall be in Paris,” said Jacob.
And what is the point of fancy-dress dances? thought Fanny. You meet the
same people; you wear the same clothes; Mangin gets drunk; Florinda sits
on his knee. She flirts outrageously—with Nick Bramham just now.
“In Paris?” said Fanny.
“On my way to Greece,” he replied.
For, he said, there is nothing so detestable as London in May.
He would forget her.
A sparrow flew past the window trailing a straw—a straw from a stack
stood by a barn in a farmyard. The old brown spaniel snuffs at the base
for a rat. Already the upper branches of the elm trees are blotted with
nests. The chestnuts have flirted their fans. And the butterflies are
flaunting across the rides in the Forest. Perhaps the Purple Emperor is
feasting, as Morris says, upon a mass of putrid carrion at the base of
an oak tree.
Fanny thought it all came from Tom Jones. He could go alone with a book
in his pocket and watch the badgers. He would take a train at eight-thirty and walk all night. He saw fire-flies, and brought back glow-worms in pill-boxes. He would hunt with the New Forest Staghounds. It
all came from Tom Jones; and he would go to Greece with a book in his
pocket and forget her.
She fetched her hand-glass. There was her face. And suppose one wreathed
Jacob in a turban? There was his face. She lit the lamp. But as the
daylight came through the window only half was lit up by the lamp. And
though he looked terrible and magnificent and would chuck the Forest, he
said, and come to the Slade, and be a Turkish knight or a Roman emperor
(and he let her blacken his lips and clenched his teeth and scowled in
the glass), still—there lay Tom Jones.
“Archer,” said Mrs. Flanders with that tenderness which mothers so often
display towards their eldest sons, “will be at Gibraltar to-morrow.”
The post for which she was waiting (strolling up Dods Hill while the
random church bells swung a hymn tune about her head, the clock striking
four straight through the circling notes; the glass purpling under a
storm-cloud; and the two dozen houses of the village cowering,
infinitely humble, in company under a leaf of shadow), the post, with
all its variety of messages, envelopes addressed in bold hands, in
slanting hands, stamped now with English stamps, again with Colonial
stamps, or sometimes hastily dabbed with a yellow bar, the post was
about to scatter a myriad messages over the world. Whether we gain or
not by this habit of profuse communication it is not for us to say. But
that letter-writing is practised mendaciously nowadays, particularly by
young men travelling in foreign parts, seems likely enough.
For example, take this scene.
Here was Jacob Flanders gone abroad and staying to break his journey in
Paris. (Old Miss Birkbeck, his mother’s cousin, had died last June and
left him a hundred pounds.)
“You needn’t repeat the whole damned thing over again, Cruttendon,” said
Mallinson, the little bald painter who was sitting at a marble table,
splashed with coffee and ringed with wine, talking very fast, and
undoubtedly more than a little drunk.
“Well, Flanders, finished writing to your lady?” said Cruttendon, as
Jacob came and took his seat beside them, holding in his hand an
envelope addressed to Mrs. Flanders, near Scarborough, England.
“Do you uphold Velasquez?” said Cruttendon.
“By God, he does,” said Mallinson.
“He always gets like this,” said Cruttendon irritably.
Jacob looked at Mallinson with excessive composure.
“I’ll tell you the three greatest things that were ever written in the
whole of literature,” Cruttendon burst out. “‘Hang there like fruit my
soul.’” he began. …
“Don’t listen to a man who don’t like Velasquez,” said Mallinson.
“Adolphe, don’t give Mr. Mallinson any more wine,” said Cruttendon.
“Fair play, fair play,” said Jacob judicially. “Let a man get drunk if
he likes. That’s Shakespeare, Cruttendon. I’m with you there.
Shakespeare had more guts than all these damned frogs put together.
‘Hang there like fruit my soul,’” he began quoting, in a musical
rhetorical voice, flourishing his wine-glass. “The devil damn you black,
you cream-faced loon!” he exclaimed as the wine washed over the rim.
“‘Hang there like fruit my soul,’” Cruttendon and Jacob both began again
at the same moment, and both burst out laughing.
“Curse these flies,” said Mallinson, flicking at his bald head. “What do
they take me for?”
“Something sweet-smelling,” said Cruttendon.
“Shut up, Cruttendon,” said Jacob. “The fellow has no manners,” he
explained to Mallinson very politely. “Wants to cut people off their
drink. Look here. I want grilled bone. What’s the French for grilled
bone? Grilled bone, Adolphe. Now you juggins, don’t you understand?”
“And I’ll tell you, Flanders, the second most beautiful thing in the
whole of literature,” said Cruttendon, bringing his feet down on to the
floor, and leaning right across the table, so that his face almost
touched Jacob’s face.
“‘Hey diddle diddle, the cat and the fiddle,’” Mallinson interrupted,
strumming his fingers on the table. “The most ex-qui-sitely beautiful
thing in the whole of literature. … Cruttendon is a very good fellow,”
he remarked confidentially. “But he’s a bit of a fool.” And he jerked
his head forward.
Well, not a word of this was ever told to Mrs. Flanders; nor what
happened when they paid the bill and left the restaurant, and walked
along the Boulevard Raspaille.
Then here is another scrap of conversation; the time about eleven in the
morning; the scene a studio; and the day Sunday.
“I tell you, Flanders,” said Cruttendon, “I’d as soon have one of
Mallinson’s little pictures as a Chardin. And when I say that …” he
squeezed the tail of an emaciated tube … “Chardin was a great swell.
… He sells ‘em to pay his dinner now. But wait till the dealers get
hold of him. A great swell—oh, a very great swell.”
“It’s an awfully pleasant life,” said Jacob, “messing away up here.
Still, it’s a stupid art, Cruttendon.” He wandered off across the room.
“There’s this man, Pierre Louys now.” He took up a book.
“Now my good sir, are you going to settle down?” said Cruttendon.
“That’s a solid piece of work,” said Jacob, standing a canvas on a
chair.
“Oh, that I did ages ago,” said Cruttendon, looking over his shoulder.
“You’re a pretty competent painter in my opinion,” said Jacob after a
time.
“Now if you’d like to see what I’m after at the present moment,” said
Cruttendon, putting a canvas before Jacob. “There. That’s it. That’s
more like it. That’s …” he squirmed his thumb in a circle round a lamp
globe painted white.
“A pretty solid piece
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