Chapter III: Part 3

The grey nurse resumed her knitting as Peter Walsh, on the hot seat beside her, began snoring. In her grey dress, moving her hands indefatigably yet quietly, she seemed like the champion of the rights of sleepers, like one of those spectral presences which rise in twilight in woods made of sky and branches. The solitary traveller, haunter of lanes, disturber of ferns, and devastator of great hemlock plants, looking up, suddenly sees the giant figure at the end of the ride.

By conviction an atheist perhaps, he is taken by surprise with moments of extraordinary exaltation. Nothing exists outside us except a state of mind, he thinks; a desire for solace, for relief, for something outside these miserable pigmies, these feeble, these ugly, these craven men and women. But if he can conceive of her, then in some sort she exists, he thinks, and advancing down the path with his eyes upon sky and branches he rapidly endows them with womanhood; sees with amazement how grave they become; how majestically, as the breeze stirs them, they dispense with a dark flutter of the leaves charity, comprehension, absolution, and then, flinging themselves suddenly aloft, confound the piety of their aspect with a wild carouse.

Such are the visions which proffer great cornucopias full of fruit to the solitary traveller, or murmur in his ear like sirens lolloping away on the green sea waves, or are dashed in his face like bunches of roses, or rise to the surface like pale faces which fishermen flounder through floods to embrace.

Such are the visions which ceaselessly float up, pace beside, put their faces in front of, the actual thing; often overpowering the solitary traveller and taking away from him the sense of the earth, the wish to return, and giving him for substitute a general peace, as if (so he thinks as he advances down the forest ride) all this fever of living were simplicity itself; and myriads of things merged in one thing; and this figure, made of sky and branches as it is, had risen from the troubled sea (he is elderly, past fifty now) as a shape might be sucked up out of the waves to shower down from her magnificent hands compassion, comprehension, absolution. So, he thinks, may I never go back to the lamplight; to the sitting-room; never finish my book; never knock out my pipe; never ring for Mrs. Turner to clear away; rather let me walk straight on to this great figure, who will, with a toss of her head, mount me on her streamers and let me blow to nothingness with the rest.

Such are the visions. The solitary traveller is soon beyond the wood; and there, coming to the door with shaded eyes, possibly to look for his return, with hands raised, with white apron blowing, is an elderly woman who seems (so powerful is this infirmity) to seek, over a desert, a lost son; to search for a rider destroyed; to be the figure of the mother whose sons have been killed in the battles of the world. So, as the solitary traveller advances down the village street where the women stand knitting and the men dig in the garden, the evening seems ominous; the figures still; as if some august fate, known to them, awaited without fear, were about to sweep them into complete annihilation.

Indoors among ordinary things, the cupboard, the table, the window-sill with its geraniums, suddenly the outline of the landlady, bending to remove the cloth, becomes soft with light, an adorable emblem which only the recollection of cold human contacts forbids us to embrace. She takes the marmalade; she shuts it in the cupboard.

“There is nothing more to-night, sir?”

But to whom does the solitary traveller make reply?

* * * * *

So the elderly nurse knitted over the sleeping baby in Regent’s Park. So Peter Walsh snored.

He woke with extreme suddenness, saying to himself, “The death of the soul.”

“Lord, Lord!” he said to himself out loud, stretching and opening his eyes. “The death of the soul.” The words attached themselves to some scene, to some room, to some past he had been dreaming of. It became clearer; the scene, the room, the past he had been dreaming of.

It was at Bourton that summer, early in the ’nineties, when he was so passionately in love with Clarissa. There were a great many people there, laughing and talking, sitting round a table after tea and the room was bathed in yellow light and full of cigarette smoke. They were talking about a man who had married his housemaid, one of the neighbouring squires, he had forgotten his name. He had married his housemaid, and she had been brought to Bourton to call--an awful visit it had been. She was absurdly over-dressed, “like a cockatoo,” Clarissa had said, imitating her, and she never stopped talking. On and on she went, on and on. Clarissa imitated her. Then somebody said--Sally Seton it was--did it make any real difference to one’s feelings to know that before they’d married she had had a baby? (In those days, in mixed company, it was a bold thing to say.) He could see Clarissa now, turning bright pink; somehow contracting; and saying, “Oh, I shall never be able to speak to her again!” Whereupon the whole party sitting round the tea-table seemed to wobble. It was very uncomfortable.

He hadn’t blamed her for minding the fact, since in those days a girl brought up as she was, knew nothing, but it was her manner that annoyed him; timid; hard; something arrogant; unimaginative; prudish. “The death of the soul.” He had said that instinctively, ticketing the moment as he used to do--the death of her soul.

Every one wobbled; every one seemed to bow, as she spoke, and then to stand up different. He could see Sally Seton, like a child who has been in mischief, leaning forward, rather flushed, wanting to talk, but afraid, and Clarissa did frighten people. (She was Clarissa’s greatest friend, always about the place, totally unlike her, an attractive creature, handsome, dark, with the reputation in those days of great daring and he used to give her cigars, which she smoked in her bedroom. She had either been engaged to somebody or quarrelled with her family and old Parry disliked them both equally, which was a great bond.) Then Clarissa, still with an air of being offended with them all, got up, made some excuse, and went off, alone. As she opened the door, in came that great shaggy dog which ran after sheep. She flung herself upon him, went into raptures. It was as if she said to Peter--it was all aimed at him, he knew--“I know you thought me absurd about that woman just now; but see how extraordinarily sympathetic I am; see how I love my Rob!”

They had always this queer power of communicating without words. She knew directly he criticised her. Then she would do something quite obvious to defend herself, like this fuss with the dog--but it never took him in, he always saw through Clarissa. Not that he said anything, of course; just sat looking glum. It was the way their quarrels often began.

She shut the door. At once he became extremely depressed. It all seemed useless--going on being in love; going on quarrelling; going on making it up, and he wandered off alone, among outhouses, stables, looking at the horses. (The place was quite a humble one; the Parrys were never very well off; but there were always grooms and stable-boys about--Clarissa loved riding--and an old coachman--what was his name?--an old nurse, old Moody, old Goody, some such name they called her, whom one was taken to visit in a little room with lots of photographs, lots of bird-cages.)

It was an awful evening! He grew more and more gloomy, not about that only; about everything. And he couldn’t see her; couldn’t explain to her; couldn’t have it out. There were always people about--she’d go on as if nothing had happened. That was the devilish part of her--this coldness, this woodenness, something very profound in her, which he had felt again this morning talking to her; an impenetrability. Yet Heaven knows he loved her. She had some queer power of fiddling on one’s nerves, turning one’s nerves to fiddle-strings, yes.

He had gone in to dinner rather late, from some idiotic idea of making himself felt, and had sat down by old Miss Parry--Aunt Helena--Mr. Parry’s sister, who was supposed to preside. There she sat in her white Cashmere shawl, with her head against the window--a formidable old lady, but kind to him, for he had found her some rare flower, and she was a great botanist, marching off in thick boots with a black collecting-box slung between her shoulders. He sat down beside her, and couldn’t speak. Everything seemed to race past him; he just sat there, eating. And then half-way through dinner he made himself look across at Clarissa for the first time. She was talking to a young man on her right. He had a sudden revelation. “She will marry that man,” he said to himself. He didn’t even know his name.

For of course it was that afternoon, that very afternoon, that Dalloway had come over; and Clarissa called him “Wickham”; that was the beginning of it all. Somebody had brought him over; and Clarissa got his name wrong. She introduced him to everybody as Wickham. At last he said “My name is Dalloway!”--that was his first view of Richard--a fair young man, rather awkward, sitting on a deck-chair, and blurting out “My name is Dalloway!” Sally got hold of it; always after that she called him “My name is Dalloway!”

He was a prey to revelations at that time. This one--that she would marry Dalloway--was blinding--overwhelming at the moment. There was a sort of--how could he put it?--a sort of ease in her manner to him; something maternal; something gentle. They were talking about politics. All through dinner he tried to hear what they were saying.

Afterwards he could remember standing by old Miss Parry’s chair in the drawing-room. Clarissa came up, with her perfect manners, like a real hostess, and wanted to introduce him to some one--spoke as if they had never met before, which enraged him. Yet even then he admired her for it. He admired her courage; her social instinct; he admired her power of carrying things through. “The perfect hostess,” he said to her, whereupon she winced all over. But he meant her to feel it. He would have done anything to hurt her after seeing her with Dalloway. So she left him. And he had a feeling that they were all gathered together in a conspiracy against him--laughing and talking--behind his back. There he stood by Miss Parry’s chair as though he had been cut out of wood, he talking about wild flowers. Never, never had he suffered so infernally! He must have forgotten even to pretend to listen; at last he woke up; he saw Miss Parry looking rather disturbed, rather indignant, with her prominent eyes fixed. He almost cried out that he couldn’t attend because he was in Hell! People began going out of the room. He heard them talking about fetching cloaks; about its being cold on the water, and so on. They were going boating on the lake by moonlight--one of Sally’s mad ideas. He could hear her describing the moon. And they all went out. He was left quite alone.

“Don’t you want to go with them?” said Aunt Helena--old Miss Parry!--she had guessed. And he turned round and there was Clarissa again. She had come back to fetch him. He was overcome by her generosity--her goodness.

“Come along,” she said. “They’re waiting.”

He had never felt so happy in the whole of his life! Without a word they made it up. They walked down to the lake. He had twenty minutes of perfect happiness. Her voice, her laugh, her dress (something floating, white, crimson), her spirit, her adventurousness; she made them all disembark and explore the island; she startled a hen; she laughed; she sang. And all the time, he knew perfectly well, Dalloway was falling in love with her; she was falling in love with Dalloway; but it didn’t seem to matter. Nothing mattered. They sat on the ground and talked--he and Clarissa. They went in and out of each other’s minds without any effort. And then in a second it was over. He said to himself as they were getting into the boat, “She will marry that man,” dully, without any resentment; but it was an obvious thing. Dalloway would marry Clarissa.

Dalloway rowed them in. He said nothing. But somehow as they watched him start, jumping on to his bicycle to ride twenty miles through the woods, wobbling off down the drive, waving his hand and disappearing, he obviously did feel, instinctively, tremendously, strongly, all that; the night; the romance; Clarissa. He deserved to have her.

For himself, he was absurd. His demands upon Clarissa (he could see it now) were absurd. He asked impossible things. He made terrible scenes. She would have accepted him still, perhaps, if he had been less absurd. Sally thought so. She wrote him all that summer long letters; how they had talked of him; how she had praised him, how Clarissa burst into tears! It was an extraordinary summer--all letters, scenes, telegrams--arriving at Bourton early in the morning, hanging about till the servants were up; appalling _tête-à-têtes_ with old Mr. Parry at breakfast; Aunt Helena formidable but kind; Sally sweeping him off for talks in the vegetable garden; Clarissa in bed with headaches.

The final scene, the terrible scene which he believed had mattered more than anything in the whole of his life (it might be an exaggeration--but still so it did seem now) happened at three o’clock in the afternoon of a very hot day. It was a trifle that led up to it--Sally at lunch saying something about Dalloway, and calling him “My name is Dalloway”; whereupon Clarissa suddenly stiffened, coloured, in a way she had, and rapped out sharply, “We’ve had enough of that feeble joke.” That was all; but for him it was precisely as if she had said, “I’m only amusing myself with you; I’ve an understanding with Richard Dalloway.” So he took it. He had not slept for nights. “It’s got to be finished one way or the other,” he said to himself. He sent a note to her by Sally asking her to meet him by the fountain at three. “Something very important has happened,” he scribbled at the end of it.

The fountain was in the middle of a little shrubbery, far from the house, with shrubs and trees all round it. There she came, even before the time, and they stood with the fountain between them, the spout (it was broken) dribbling water incessantly. How sights fix themselves upon the mind! For example, the vivid green moss.

She did not move. “Tell me the truth, tell me the truth,” he kept on saying. He felt as if his forehead would burst. She seemed contracted, petrified. She did not move. “Tell me the truth,” he repeated, when suddenly that old man Breitkopf popped his head in carrying the _Times_; stared at them; gaped; and went away. They neither of them moved. “Tell me the truth,” he repeated. He felt that he was grinding against something physically hard; she was unyielding. She was like iron, like flint, rigid up the backbone. And when she said, “It’s no use. It’s no use. This is the end”--after he had spoken for hours, it seemed, with the tears running down his cheeks--it was as if she had hit him in the face. She turned, she left him, went away.

“Clarissa!” he cried. “Clarissa!” But she never came back. It was over. He went away that night. He never saw her again.

* * * * *

It was awful, he cried, awful, awful!

Still, the sun was hot. Still, one got over things. Still, life had a way of adding day to day. Still, he thought, yawning and beginning to take notice--Regent’s Park had changed very little since he was a boy, except for the squirrels--still, presumably there were compensations--when little Elise Mitchell, who had been picking up pebbles to add to the pebble collection which she and her brother were making on the nursery mantelpiece, plumped her handful down on the nurse’s knee and scudded off again full tilt into a lady’s legs. Peter Walsh laughed out.

But Lucrezia Warren Smith was saying to herself, It’s wicked; why should I suffer? she was asking, as she walked down the broad path. No; I can’t stand it any longer, she was saying, having left Septimus, who wasn’t Septimus any longer, to say hard, cruel, wicked things, to talk to himself, to talk to a dead man, on the seat over there; when the child ran full tilt into her, fell flat, and burst out crying.

That was comforting rather. She stood her upright, dusted her frock, kissed her.

But for herself she had done nothing wrong; she had loved Septimus; she had been happy; she had had a beautiful home, and there her sisters lived still, making hats. Why should _she_ suffer?

The child ran straight back to its nurse, and Rezia saw her scolded, comforted, taken up by the nurse who put down her knitting, and the kind-looking man gave her his watch to blow open to comfort her--but why should _she_ be exposed? Why not left in Milan? Why tortured? Why?

Slightly waved by tears the broad path, the nurse, the man in grey, the perambulator, rose and fell before her eyes. To be rocked by this malignant torturer was her lot. But why? She was like a bird sheltering under the thin hollow of a leaf, who blinks at the sun when the leaf moves; starts at the crack of a dry twig. She was exposed; she was surrounded by the enormous trees, vast clouds of an indifferent world, exposed; tortured; and why should she suffer? Why?

She frowned; she stamped her foot. She must go back again to Septimus since it was almost time for them to be going to Sir William Bradshaw. She must go back and tell him, go back to him sitting there on the green chair under the tree, talking to himself, or to that dead man Evans, whom she had only seen once for a moment in the shop. He had seemed a nice quiet man; a great friend of Septimus’s, and he had been killed in the War. But such things happen to every one. Every one has friends who were killed in the War. Every one gives up something when they marry. She had given up her home. She had come to live here, in this awful city. But Septimus let himself think about horrible things, as she could too, if she tried. He had grown stranger and stranger. He said people were talking behind the bedroom walls. Mrs. Filmer thought it odd. He saw things too--he had seen an old woman’s head in the middle of a fern. Yet he could be happy when he chose. They went to Hampton Court on top of a bus, and they were perfectly happy. All the little red and yellow flowers were out on the grass, like floating lamps he said, and talked and chattered and laughed, making up stories. Suddenly he said, “Now we will kill ourselves,” when they were standing by the river, and he looked at it with a look which she had seen in his eyes when a train went by, or an omnibus--a look as if something fascinated him; and she felt he was going from her and she caught him by the arm. But going home he was perfectly quiet--perfectly reasonable. He would argue with her about killing themselves; and explain how wicked people were; how he could see them making up lies as they passed in the street. He knew all their thoughts, he said; he knew everything. He knew the meaning of the world, he said.

Then when they got back he could hardly walk. He lay on the sofa and made her hold his hand to prevent him from falling down, down, he cried, into the flames! and saw faces laughing at him, calling him horrible disgusting names, from the walls, and hands pointing round the screen. Yet they were quite alone. But he began to talk aloud, answering people, arguing, laughing, crying, getting very excited and making her write things down. Perfect nonsense it was; about death; about Miss Isabel Pole. She could stand it no longer. She would go back.

She was close to him now, could see him staring at the sky, muttering, clasping his hands. Yet Dr. Holmes said there was nothing the matter with him. What then had happened--why had he gone, then, why, when she sat by him, did he start, frown at her, move away, and point at her hand, take her hand, look at it terrified?

Was it that she had taken off her wedding ring? “My hand has grown so thin,” she said. “I have put it in my purse,” she told him.

He dropped her hand. Their marriage was over, he thought, with agony, with relief. The rope was cut; he mounted; he was free, as it was decreed that he, Septimus, the lord of men, should be free; alone (since his wife had thrown away her wedding ring; since she had left him), he, Septimus, was alone, called forth in advance of the mass of men to hear the truth, to learn the meaning, which now at last, after all the toils of civilisation--Greeks, Romans, Shakespeare, Darwin, and now himself--was to be given whole to.... “To whom?” he asked aloud. “To the Prime Minister,” the voices which rustled above his head replied. The supreme secret must be told to the Cabinet; first that trees are alive; next there is no crime; next love, universal love, he muttered, gasping, trembling, painfully drawing out these profound truths which needed, so deep were they, so difficult, an immense effort to speak out, but the world was entirely changed by them for ever.

No crime; love; he repeated, fumbling for his card and pencil, when a Skye terrier snuffed his trousers and he started in an agony of fear. It was turning into a man! He could not watch it happen! It was horrible, terrible to see a dog become a man! At once the dog trotted away.

Heaven was divinely merciful, infinitely benignant. It spared him, pardoned his weakness. But what was the scientific explanation (for one must be scientific above all things)? Why could he see through bodies, see into the future, when dogs will become men? It was the heat wave presumably, operating upon a brain made sensitive by eons of evolution. Scientifically speaking, the flesh was melted off the world. His body was macerated until only the nerve fibres were left. It was spread like a veil upon a rock.

He lay back in his chair, exhausted but upheld. He lay resting, waiting, before he again interpreted, with effort, with agony, to mankind. He lay very high, on the back of the world. The earth thrilled beneath him. Red flowers grew through his flesh; their stiff leaves rustled by his head. Music began clanging against the rocks up here. It is a motor horn down in the street, he muttered; but up here it cannoned from rock to rock, divided, met in shocks of sound which rose in smooth columns (that music should be visible was a discovery) and became an anthem, an anthem twined round now by a shepherd boy’s piping (That’s an old man playing a penny whistle by the public-house, he muttered) which, as the boy stood still came bubbling from his pipe, and then, as he climbed higher, made its exquisite plaint while the traffic passed beneath. This boy’s elegy is played among the traffic, thought Septimus. Now he withdraws up into the snows, and roses hang about him--the thick red roses which grow on my bedroom wall, he reminded himself. The music stopped. He has his penny, he reasoned it out, and has gone on to the next public-house.

But he himself remained high on his rock, like a drowned sailor on a rock. I leant over the edge of the boat and fell down, he thought. I went under the sea. I have been dead, and yet am now alive, but let me rest still; he begged (he was talking to himself again--it was awful, awful!); and as, before waking, the voices of birds and the sound of wheels chime and chatter in a queer harmony, grow louder and louder and the sleeper feels himself drawing to the shores of life, so he felt himself drawing towards life, the sun growing hotter, cries sounding louder, something tremendous about to happen.

He had only to open his eyes; but a weight was on them; a fear. He strained; he pushed; he looked; he saw Regent’s Park before him. Long streamers of sunlight fawned at his feet. The trees waved, brandished. We welcome, the world seemed to say; we accept; we create. Beauty, the world seemed to say. And as if to prove it (scientifically) wherever he looked at the houses, at the railings, at the antelopes stretching over the palings, beauty sprang instantly. To watch a leaf quivering in the rush of air was an exquisite joy. Up in the sky swallows swooping, swerving, flinging themselves in and out, round and round, yet always with perfect control as if elastics held them; and the flies rising and falling; and the sun spotting now this leaf, now that, in mockery, dazzling it with soft gold in pure good temper; and now and again some chime (it might be a motor horn) tinkling divinely 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 every one. 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 Royal Princesses. And of course Hugh had the most extraordinary, the most natural, the most sublime respect for the British aristocracy of any human being he had ever come across. Even Clarissa had to own that. Oh, but he was such a dear, so unselfish, gave up shooting to please his old mother--remembered his aunts’ birthdays, and so on.

Sally, to do her justice, saw through all that. One of the things he remembered best was an argument one Sunday morning at Bourton about women’s rights (that antediluvian topic), when Sally suddenly lost her temper, flared up, and told Hugh that he represented all that was most detestable in British middle-class life. She told him that she considered him responsible for the state of “those poor girls in Piccadilly”--Hugh, the perfect gentleman, poor Hugh!--never did a man look more horrified! She did it on purpose she said afterwards (for they used to get together in the vegetable garden and compare notes). “He’s read nothing, thought nothing, felt nothing,” he could hear her saying in that very emphatic voice which carried so much farther than she knew. The stable boys had more life in them than Hugh, she said. He was a perfect specimen of the public school type, she said. No country but England could have produced him. She was really spiteful, for some reason; had some grudge against him. Something had happened--he forgot what--in the smoking-room. He had insulted her--kissed her? Incredible! Nobody believed a word against Hugh of course. Who could? Kissing Sally in the smoking-room! If it had been some Honourable Edith or Lady Violet, perhaps; but not that ragamuffin Sally without a penny to her name, and a father or a mother gambling at Monte Carlo. For of all the people he had ever met Hugh was the greatest snob--the most obsequious--no, he didn’t cringe exactly. He was too much of a prig for that. A first-rate valet was the obvious comparison--somebody who walked behind carrying suit cases; could be trusted to send telegrams--indispensable to hostesses. And he’d found his job--married his Honourable Evelyn; got some little post at Court, looked after the King’s cellars, polished the Imperial shoe-buckles, went about in knee-breeches and lace ruffles. How remorseless life is! A little job at Court!

He had married this lady, the Honourable Evelyn, and they lived hereabouts, so he thought (looking at the pompous houses overlooking the Park), for he had lunched there once in a house which had, like all Hugh’s possessions, something that no other house could possibly have--linen cupboards it might have been. You had to go and look at them--you had to spend a great deal of time always admiring whatever it was--linen cupboards, pillow-cases, old oak furniture, pictures, which Hugh had picked up for an old song. But Mrs. Hugh sometimes gave the show away. She was one of those obscure mouse-like little women who admire big men. She was almost negligible. Then suddenly she would say something quite unexpected--something sharp. She had the relics of the grand manner perhaps. The steam coal was a little too strong for her--it made the atmosphere thick. And so there they lived, with their linen cupboards and their old masters and their pillow-cases fringed with real lace at the rate of five or ten thousand a year presumably, while he, who was two years older than Hugh, cadged for a job.

At fifty-three he had to come and ask them to put him into some secretary’s office, to find him some usher’s job teaching little boys Latin, at the beck and call of some mandarin in an office, something that brought in five hundred a year; for if he married Daisy, even with his pension, they could never do on less. Whitbread could do it presumably; or Dalloway. He didn’t mind what he asked Dalloway. He was a thorough good sort; a bit limited; a bit thick in the head; yes; but a thorough good sort. Whatever he took up he did in the same matter-of-fact sensible way; without a touch of imagination, without a spark of brilliancy, but with the inexplicable niceness of his type. He ought to have been a country gentleman--he was wasted on politics. He was at his best out of doors, with horses and dogs--how good he was, for instance, when that great shaggy dog of Clarissa’s got caught in a trap and had its paw half torn off, and Clarissa turned faint and Dalloway did the whole thing; bandaged, made splints; told Clarissa not to be a fool. That was what she liked him for perhaps--that was what she needed. “Now, my dear, don’t be a fool. Hold this--fetch that,” all the time talking to the dog as if it were a human being.

But how could she swallow all that stuff about poetry? How could she let him hold forth about Shakespeare? Seriously and solemnly Richard Dalloway got on his hind legs and said that no decent man ought to read Shakespeare’s sonnets because it was like listening at keyholes (besides the relationship was not one that he approved). No decent man ought to let his wife visit a deceased wife’s sister. Incredible! The only thing to do was to pelt him with sugared almonds--it was at dinner. But Clarissa sucked it all in; thought it so honest of him; so independent of him; Heaven knows if she didn’t think him the most original mind she’d ever met!

That was one of the bonds between Sally and himself. There was a garden where they used to walk, a walled-in place, with rose-bushes and giant cauliflowers--he could remember Sally tearing off a rose, stopping to exclaim at the beauty of the cabbage leaves in the moonlight (it was extraordinary how vividly it all came back to him, things he hadn’t thought of for years,) while she implored him, half laughing of course, to carry off Clarissa, to save her from the Hughs and the Dalloways and all the other “perfect gentlemen” who would “stifle her soul” (she wrote reams of poetry in those days), make a mere hostess of her, encourage her worldliness. But one must do Clarissa justice. She wasn’t going to marry Hugh anyhow. She had a perfectly clear notion of what she wanted. Her emotions were all on the surface. Beneath, she was very shrewd--a far better judge of character than Sally, for instance, and with it all, purely feminine; with that extraordinary gift, that woman’s gift, of making a world of her own wherever she happened to be. She came into a room; she stood, as he had often seen her, in a doorway with lots of people round her. But it was Clarissa one remembered. Not that she was striking; not beautiful at all; there was nothing picturesque about her; she never said anything specially clever; there she was, however; there she was.

No, no, no! He was not in love with her any more! He only felt, after seeing her that morning, among her scissors and silks, making ready for the party, unable to get away from the thought of her; she kept coming back and back like a sleeper jolting against him in a railway carriage; which was not being in love, of course; it was thinking of her, criticising her, starting again, after thirty years, trying to explain her. The obvious thing to say of her was that she was worldly; cared too much for rank and society and getting on in the world--which was true in a sense; she had admitted it to him. (You could always get her to own up if you took the trouble; she was honest.) What she would say was that she hated frumps, fogies, failures, like himself presumably; thought people had no right to slouch about with their hands in their pockets; must do something, be something; and these great swells, these Duchesses, these hoary old Countesses one met in her drawing-room, unspeakably remote as he felt them to be from anything that mattered a straw, stood for something real to her. Lady Bexborough, she said once, held herself upright (so did Clarissa herself; she never lounged in any sense of the word; she was straight as a dart, a little rigid in fact). She said they had a kind of courage which the older she grew the more she respected. In all this there was a great deal of Dalloway, of course; a great deal of the public-spirited, British Empire, tariff-reform, governing-class spirit, which had grown on her, as it tends to do. With twice his wits, she had to see things through his eyes--one of the tragedies of married life. With a mind of her own, she must always be quoting Richard--as if one couldn’t know to a tittle what Richard thought by reading the _Morning Post_ of a morning! These parties for example were all for him, or for her idea of him (to do Richard justice he would have been happier farming in Norfolk). She made her drawing-room a sort of meeting-place; she had a genius for it. Over and over again he had seen her take some raw youth, twist him, turn him, wake him up; set him going. Infinite numbers of dull people conglomerated round her of course. But odd unexpected people turned up; an artist sometimes; sometimes a writer; queer fish in that atmosphere. And behind it all was that network of visiting, leaving cards, being kind to people; running about with bunches of flowers, little presents; So-and-so was going to France--must have an air-cushion; a real drain on her strength; all that interminable traffic that women of her sort keep up; but she did it genuinely, from a natural instinct.

Oddly enough, she was one of the most thoroughgoing sceptics he had ever met, and possibly (this was a theory he used to make up to account for her, so transparent in some ways, so inscrutable in others), possibly she said to herself, As we are a doomed race, chained to a sinking ship (her favourite reading as a girl was Huxley and Tyndall, and they were fond of these nautical metaphors), as the whole thing is a bad joke, let us, at any rate, do our part; mitigate the sufferings of our fellow-prisoners (Huxley again); decorate the dungeon with flowers and air-cushions; be as decent as we possibly can. Those ruffians, the Gods, shan’t have it all their own way,--her notion being that the Gods, who never lost a chance of hurting, thwarting and spoiling human lives were seriously put out if, all the same, you behaved like a lady. That phase came directly after Sylvia’s death--that horrible affair. To see your own sister killed by a falling tree (all Justin Parry’s fault--all his carelessness) before your very eyes, a girl too on the verge of life, the most gifted of them, Clarissa always said, was enough to turn one bitter. Later she wasn’t so positive perhaps; she thought there were no Gods; no one was to blame; and so she evolved this atheist’s religion of doing good for the sake of goodness.

And of course she enjoyed life immensely. It was her nature to enjoy (though goodness only knows, she had her reserves; it was a mere sketch, he often felt, that even he, after all these years, could make of Clarissa). Anyhow there was no bitterness in her; none of that sense of moral virtue which is so repulsive in good women. She enjoyed practically everything. If you walked with her in Hyde Park now it was a bed of tulips, now a child in a perambulator, now some absurd little drama she made up on the spur of the moment. (Very likely, she would have talked to those lovers, if she had thought them unhappy.) She had a sense of comedy that was really exquisite, but she needed people, always people, to bring it out, with the inevitable result that she frittered her time away, lunching, dining, giving these incessant parties of hers, talking nonsense, saying things she didn’t mean, blunting the edge of her mind, losing her discrimination. There she would sit at the head of the table taking infinite pains with some old buffer who might be useful to Dalloway--they knew the most appalling bores in Europe--or in came Elizabeth and everything must give way to _her_. She was at a High School, at the inarticulate stage last time he was over, a round-eyed, pale-faced girl, with nothing of her mother in her, a silent stolid creature, who took it all as a matter of course, let her mother make a fuss of her, and then said “May I go now?” like a child of four; going off, Clarissa explained, with that mixture of amusement and pride which Dalloway himself seemed to rouse in her, to play hockey. And now Elizabeth was “out,” presumably; thought him an old fogy, laughed at her mother’s friends. Ah well, so be it. The compensation of growing old, Peter Walsh thought, coming out of Regent’s Park, and holding his hat in hand, was simply this; that the passions remain as strong as ever, but one has gained--at last!--the power which adds the supreme flavour to existence,--the power of taking hold of experience, of turning it round, slowly, in the light.

A terrible confession it was (he put his hat on again), but now, at the age of fifty-three one scarcely needed people any more. Life itself, every moment of it, every drop of it, here, this instant, now, in the sun, in Regent’s Park, was enough. Too much indeed. A whole lifetime was too short to bring out, now that one had acquired the power, the full flavour; to extract every ounce of pleasure, every shade of meaning; which both were so much more solid than they used to be, so much less personal. It was impossible that he should ever suffer again as Clarissa had made him suffer. For hours at a time (pray God that one might say these things without being overheard!), for hours and days he never thought of Daisy.

Could it be that he was in love with her then, remembering the misery, the torture, the extraordinary passion of those days? It was a different thing altogether--a much pleasanter thing--the truth being, of course, that now _she_ was in love with _him_. And that perhaps was the reason why, when the ship actually sailed, he felt an extraordinary relief, wanted nothing so much as to be alone; was annoyed to find all her little attentions--cigars, notes, a rug for the voyage--in his cabin. Every one if they were honest would say the same; one doesn’t want people after fifty; one doesn’t want to go on telling women they are pretty; that’s what most men of fifty would say, Peter Walsh thought, if they were honest.

But then these astonishing accesses of emotion--bursting into tears this morning, what was all that about? What could Clarissa have thought of him? thought him a fool presumably, not for the first time. It was jealousy that was at the bottom of it--jealousy which survives every other passion of mankind, Peter Walsh thought, holding his pocket-knife at arm’s length. She had been meeting Major Orde, Daisy said in her last letter; said it on purpose he knew; said it to make him jealous; he could see her wrinkling her forehead as she wrote, wondering what she could say to hurt him; and yet it made no difference; he was furious! All this pother of coming to England and seeing lawyers wasn’t to marry her, but to prevent her from marrying anybody else. That was what tortured him, that was what came over him when he saw Clarissa so calm, so cold, so intent on her dress or whatever it was; realising what she might have spared him, what she had reduced him to--a whimpering, snivelling old ass. But women, he thought, shutting his pocket-knife, don’t know what passion is. They don’t know the meaning of it to men. Clarissa was as cold as an icicle. There she would sit on the sofa by his side, let him take her hand, give him one kiss--Here he was at the crossing.

A sound interrupted him; a frail quivering sound, a voice bubbling up without direction, vigour, beginning or end, running weakly and shrilly and with an absence of all human meaning into

ee um fah um so
foo swee too eem oo--

the voice of no age or sex, the voice of an ancient spring spouting from the earth; which issued, just opposite Regent’s Park Tube station from a tall quivering shape, like a funnel, like a rusty pump, like a wind-beaten tree for ever barren of leaves which lets the wind run up and down its branches singing

ee um fah um so
foo swee too eem oo

and rocks and creaks and moans in the eternal breeze.

Through all ages--when the pavement was grass, when it was swamp, through the age of tusk and mammoth, through the age of silent sunrise, the battered woman--for she wore a skirt--with her right hand exposed, her left clutching at her side, stood singing of love--love which has lasted a million years, she sang, love which prevails, and millions of years ago, her lover, who had been dead these centuries, had walked, she crooned, with her in May; but in the course of ages, long as summer days, and flaming, she remembered, with nothing but red asters, he had gone; death’s enormous sickle had swept those tremendous hills, and when at last she laid her hoary and immensely aged head on the earth, now become a mere cinder of ice, she implored the Gods to lay by her side a bunch of purple heather, there on her high burial place which the last rays of the last sun caressed; for then the pageant of the universe would be over.

As the ancient song bubbled up opposite Regent’s Park Tube station still the earth seemed green and flowery; still, though it issued from so rude a mouth, a mere hole in the earth, muddy too, matted with root fibres and tangled grasses, still the old bubbling burbling song, soaking through the knotted roots of infinite ages, and skeletons and treasure, streamed away in rivulets over the pavement and all along the Marylebone Road, and down towards Euston, fertilising, leaving a damp stain.

Still remembering how once in some primeval May she had walked with her lover, this rusty pump, this battered old woman with one hand exposed for coppers the other clutching her side, would still be there in ten million years, remembering how once she had walked in May, where the sea flows now, with whom it did not matter--he was a man, oh yes, a man who had loved her. But the passage of ages had blurred the clarity of that ancient May day; the bright petalled flowers were hoar and silver frosted; and she no longer saw, when she implored him (as she did now quite clearly) “look in my eyes with thy sweet eyes intently,” she no longer saw brown eyes, black whiskers or sunburnt face but only a looming shape, a shadow shape, to which, with the bird-like freshness of the very aged she still twittered “give me your hand and let me press it gently” (Peter Walsh couldn’t help giving the poor creature a coin as he stepped into his taxi), “and if some one should see, what matter they?” she demanded; and her fist clutched at her side, and she smiled, pocketing her shilling, and all peering inquisitive eyes seemed blotted out, and the passing generations--the pavement was crowded with bustling middle-class people--vanished, like leaves, to be trodden under, to be soaked and steeped and made mould of by that eternal spring--

ee um fah um so
foo swee too eem oo

“Poor old woman,” said Rezia Warren Smith, waiting to cross.

Oh poor old wretch!

Suppose it was a wet night? Suppose one’s father, or somebody who had known one in better days had happened to pass, and saw one standing there in the gutter? And where did she sleep at night?

Cheerfully, almost gaily, the invincible thread of sound wound up into the air like the smoke from a cottage chimney, winding up clean beech trees and issuing in a tuft of blue smoke among the topmost leaves. “And if some one should see, what matter they?”

Since she was so unhappy, for weeks and weeks now, Rezia had given meanings to things that happened, almost felt sometimes that she must stop people in the street, if they looked good, kind people, just to say to them “I am unhappy”; and this old woman singing in the street “if some one should see, what matter they?” made her suddenly quite sure that everything was going to be right. They were going to Sir William Bradshaw; she thought his name sounded nice; he would cure Septimus at once. And then there was a brewer’s cart, and the grey horses had upright bristles of straw in their tails; there were newspaper placards. It was a silly, silly dream, being unhappy.