Virginia Woolf - To the Lighthouse ("The Lighthouse" 5) lyrics

Yes, that is their boat, Lily Briscoe decided, standing on the edge of the lawn. It was the boat with greyish-brown sails, which she saw now flatten itself upon the water and shoot off across the bay. There he sits, she thought, and the children are quite silent still. And she could not reach him either. The sympathy she had not given him weighed her down. It made it difficult for her to paint. She had always found him difficult. She never had been able to praise him to his face, she remembered. And that reduced their relationship to something neutral, without that element of s** in it which made his manner to Minta so gallant, almost gay. He would pick a flower for her, lend her his books. But could he believe that Minta read them? She dragged them about the garden, sticking in leaves to mark the place. “D'you remember, Mr. Carmichael?” she was inclined to ask, looking at the old man. But he had pulled his hat half over his forehead; he was asleep, or he was dreaming, or he was lying there catching words, she supposed. “D'you remember?” she felt inclined to ask him as she pa**ed him, thinking again of Mrs. Ramsay on the beach; the cask bobbing up and down; and the pages flying. Why, after all these years had that survived, ringed round, lit up, visible to the last detail, with all before it blank and all after it blank, for miles and miles? “Is it a boat? Is it a cork?” she would say, Lily repeated, turning back, reluctantly again, to her canvas. Heaven be praised for it, the problem of space remained, she thought, taking up her brush again. It glared at her. The whole ma** of the picture was poised upon that weight. Beautiful and bright it should be on the surface, feathery and evanescent, one colour melting into another like the colours on a bu*terfly's wing; but beneath the fabric must be clamped together with bolts of iron. It was to be a thing you could ruffle with your breath; and a thing you could not dislodge with a team of horses. And she began to lay on a red, a grey, and she began to model her way into the hollow there. At the same time, she seemed to be sitting beside Mrs. Ramsay on the beach. “Is it a boat? Is it a cask?” Mrs. Ramsay said. And she began hunting round for her spectacles. And she sat, having found them, silent, looking out to sea. And Lily, painting steadily, felt as if a door had opened, and one went in and stood gazing silently about in a high cathedral-like place, very dark, very solemn. Shouts came from a world far away. Steamers vanished in stalks of smoke on the horizon. Charles threw stones and sent them skipping. Mrs. Ramsay sat silent. She was glad, Lily thought, to rest in silence, uncommunicative; to rest in the extreme obscurity of human relationships. Who knows what we are, what we feel? Who knows even at the moment of intimacy, This is knowledge? Aren't things spoilt then, Mrs. Ramsay may have asked (it seemed to have happened so often, this silence by her side) by saying them? Aren't we more expressive thus? The moment at least seemed extraordinarily fertile. She rammed a little hole in the sand and covered it up, by way of burying in it the perfection of the moment. It was like a drop of silver in which one dipped and illumined the darkness of the past. Lily stepped back to get her canvas—so—into perspective. It was an odd road to be walking, this of painting. Out and out one went, further, until at last one seemed to be on a narrow plank, perfectly alone, over the sea. And as she dipped into the blue paint, she dipped too into the past there. Now Mrs. Ramsay got up, she remembered. It was time to go back to the house—time for luncheon. And they all walked up from the beach together, she walking behind with William Bankes, and there was Minta in front of them with a hole in her stocking. How that little round hole of pink heel seemed to flaunt itself before them! How William Bankes deplored it, without, so far as she could remember, saying anything about it! It meant to him the annihilation of womanhood, and dirt and disorder, and servants leaving and beds not made at mid-day—all the things he most abhorred. He had a way of shuddering and spreading his fingers out as if to cover an unsightly object which he did now—holding his hand in front of him. And Minta walked on ahead, and presumably Paul met her and she went off with Paul in the garden. The Rayleys, thought Lily Briscoe, squeezing her tube of green paint. She collected her impressions of the Rayleys. Their lives appeared to her in a series of scenes; one, on the staircase at dawn. Paul had come in and gone to bed early; Minta was late. There was Minta, wreathed, tinted, garish on the stairs about three o'clock in the morning. Paul came out in his pyjamas carrying a poker in case of burglars. Minta was eating a sandwich, standing half-way up by a window, in the cadaverous early morning light, and the carpet had a hole in it. But what did they say? Lily asked herself, as if by looking she could hear them. Minta went on eating her sandwich, annoyingly, while he spoke something violent, abusing her, in a mutter so as not to wake the children, the two little boys. He was withered, drawn; she flamboyant, careless. For things had worked loose after the first year or so; the marriage had turned out rather badly. And this, Lily thought, taking the green paint on her brush, this making up scenes about them, is what we call “knowing” people, “thinking” of them, “being fond” of them! Not a word of it was true; she had made it up; but it was what she knew them by all the same. She went on tunnelling her way into her picture, into the past. Another time, Paul said he “played chess in coffee-houses.” She had built up a whole structure of imagination on that saying too. She remembered how, as he said it, she thought how he rang up the servant, and she said, “Mrs. Rayley's out, sir,” and he decided that he would not come home either. She saw him sitting in the corner of some lugubrious place where the smoke attached itself to the red plush seats, and the waitresses got to know you, and he played chess with a little man who was in the tea trade and lived at Surbiton, but that was all Paul knew about him. And then Minta was out when he came home and then there was that scene on the stairs, when he got the poker in case of burglars (no doubt to frighten her too) and spoke so bitterly, saying she had ruined his life. At any rate when she went down to see them at a cottage near Rickmansworth, things were horribly strained. Paul took her down the garden to look at the Belgian hares which he bred, and Minta followed them, singing, and put her bare arm on his shoulder, lest he should tell her anything. Minta was bored by hares, Lily thought. But Minta never gave herself away. She never said things like that about playing chess in coffee-houses. She was far too conscious, far too wary. But to go on with their story—they had got through the dangerous stage by now. She had been staying with them last summer some time and the car broke down and Minta had to hand him his tools. He sat on the road mending the car, and it was the way she gave him the tools—business-like, straightforward, friendly—that proved it was all right now. They were “in love” no longer; no, he had taken up with another woman, a serious woman, with her hair in a plait and a case in her hand (Minta had described her gratefully, almost admiringly), who went to meetings and shared Paul's views (they had got more and more pronounced) about the taxation of land values and a capital levy. Far from breaking up the marriage, that alliance had righted it. They were excellent friends, obviously, as he sat on the road and she handed him his tools. So that was the story of the Rayleys, Lily thought. She imagined herself telling it to Mrs. Ramsay, who would be full of curiosity to know what had become of the Rayleys. She would feel a little triumphant, telling Mrs. Ramsay that the marriage had not been a success. But the dead, thought Lily, encountering some obstacle in her design which made her pause and ponder, stepping back a foot or so, oh, the dead! she murmured, one pitied them, one brushed them aside, one had even a little contempt for them. They are at our mercy. Mrs. Ramsay has faded and gone, she thought. We can over-ride her wishes, improve away her limited, old-fashioned ideas. She recedes further and further from us. Mockingly she seemed to see her there at the end of the corridor of years saying, of all incongruous things, “Marry, marry!” (sitting very upright early in the morning with the birds beginning to cheep in the garden outside). And one would have to say to her, It has all gone against your wishes. They're happy like that; I'm happy like this. Life has changed completely. At that all her being, even her beauty, became for a moment, dusty and out of date. For a moment Lily, standing there, with the sun hot on her back, summing up the Rayleys, triumphed over Mrs. Ramsay, who would never know how Paul went to coffee-houses and had a mistress; how he sat on the ground and Minta handed him his tools; how she stood here painting, had never married, not even William Bankes. Mrs. Ramsay had planned it. Perhaps, had she lived, she would have compelled it. Already that summer he was “the kindest of men.” He was “the first scientist of his age, my husband says.” He was also “poor William—it makes me so unhappy, when I go to see him, to find nothing nice in his house—no one to arrange the flowers.” So they were sent for walks together, and she was told, with that faint touch of irony that made Mrs. Ramsay slip through one's fingers, that she had a scientific mind; she liked flowers; she was so exact. What was this mania of hers for marriage? Lily wondered, stepping to and fro from her easel. (Suddenly, as suddenly as a star slides in the sky, a reddish light seemed to burn in her mind, covering Paul Rayley, issuing from him. It rose like a fire sent up in token of some celebration by savages on a distant beach. She heard the roar and the crackle. The whole sea for miles round ran red and gold. Some winey smell mixed with it and intoxicated her, for she felt again her own headlong desire to throw herself off the cliff and be drowned looking for a pearl brooch on a beach. And the roar and the crackle repelled her with fear and disgust, as if while she saw its splendour and power she saw too how it fed on the treasure of the house, greedily, disgustingly, and she loathed it. But for a sight, for a glory it surpa**ed everything in her experience, and burnt year after year like a signal fire on a desert island at the edge of the sea, and one had only to say “in love” and instantly, as happened now, up rose Paul's fire again. And it sank and she said to herself, laughing, “The Rayleys”; how Paul went to coffee-houses and played chess.) She had only escaped by the skin of her teeth though, she thought. She had been looking at the table-cloth, and it had flashed upon her that she would move the tree to the middle, and need never marry anybody, and she had felt an enormous exultation. She had felt, now she could stand up to Mrs. Ramsay—a tribute to the astonishing power that Mrs. Ramsay had over one. Do this, she said, and one did it. Even her shadow at the window with James was full of authority. She remembered how William Bankes had been shocked by her neglect of the significance of mother and son. Did she not admire their beauty? he said. But William, she remembered, had listened to her with his wise child's eyes when she explained how it was not irreverence: how a light there needed a shadow there and so on. She did not intend to disparage a subject which, they agreed, Raphael had treated divinely. She was not cynical. Quite the contrary. Thanks to his scientific mind he understood—a proof of disinterested intelligence which had pleased her and comforted her enormously. One could talk of painting then seriously to a man. Indeed, his friendship had been one of the pleasures of her life. She loved William Bankes. They went to Hampton Court and he always left her, like the perfect gentleman he was, plenty of time to wash her hands, while he strolled by the river. That was typical of their relationship. Many things were left unsaid. Then they strolled through the courtyards, and admired, summer after summer, the proportions and the flowers, and he would tell her things, about perspective, about architecture, as they walked, and he would stop to look at a tree, or the view over the lake, and admire a child—(it was his great grief—he had no daughter) in the vague aloof way that was natural to a man who spent so much time in laboratories that the world when he came out seemed to dazzle him, so that he walked slowly, lifted his hand to screen his eyes and paused, with his head thrown back, merely to breathe the air. Then he would tell her how his housekeeper was on her holiday; he must buy a new carpet for the staircase. Perhaps she would go with him to buy a new carpet for the staircase. And once something led him to talk about the Ramsays and he had said how when he first saw her she had been wearing a grey hat; she was not more than nineteen or twenty. She was astonishingly beautiful. There he stood looking down the avenue at Hampton Court as if he could see her there among the fountains. She looked now at the drawing-room step. She saw, through William's eyes, the shape of a woman, peaceful and silent, with downcast eyes. She sat musing, pondering (she was in grey that day, Lily thought). Her eyes were bent. She would never lift them. Yes, thought Lily, looking intently, I must have seen her look like that, but not in grey; nor so still, nor so young, nor so peaceful. The figure came readily enough. She was astonishingly beautiful, as William said. But beauty was not everything. Beauty had this penalty—it came too readily, came too completely. It stilled life—froze it. One forgot the little agitations; the flush, the pallor, some queer distortion, some light or shadow, which made the face unrecognisable for a moment and yet added a quality one saw for ever after. It was simpler to smooth that all out under the cover of beauty. But what was the look she had, Lily wondered, when she clapped her deer-stalker's hat on her head, or ran across the gra**, or scolded Kennedy, the gardener? Who could tell her? Who could help her? Against her will she had come to the surface, and found herself half out of the picture, looking, little dazedly, as if at unreal things, at Mr. Carmichael. He lay on his chair with his hands clasped above his paunch not reading, or sleeping, but basking like a creature gorged with existence. His book had fallen on to the gra**. She wanted to go straight up to him and say, “Mr. Carmichael!” Then he would look up benevolently as always, from his smoky vague green eyes. But one only woke people if one knew what one wanted to say to them. And she wanted to say not one thing, but everything. Little words that broke up the thought and dismembered it said nothing. “About life, about d**h; about Mrs. Ramsay”—no, she thought, one could say nothing to nobody. The urgency of the moment always missed its mark. Words fluttered sideways and struck the object inches too low. Then one gave it up; then the idea sunk back again; then one became like most middle-aged people, cautious, furtive, with wrinkles between the eyes and a look of perpetual apprehension. For how could one express in words these emotions of the body? express that emptiness there? (She was looking at the drawing-room steps; they looked extraordinarily empty.) It was one's body feeling, not one's mind. The physical sensations that went with the bare look of the steps had become suddenly extremely unpleasant. To want and not to have, sent all up her body a hardness, a hollowness, a strain. And then to want and not to have—to want and want—how that wrung the heart, and wrung it again and again! Oh, Mrs. Ramsay! she called out silently, to that essence which sat by the boat, that abstract one made of her, that woman in grey, as if to abuse her for having gone, and then having gone, come back again. It had seemed so safe, thinking of her. Ghost, air, nothingness, a thing you could play with easily and safely at any time of day or night, she had been that, and then suddenly she put her hand out and wrung the heart thus. Suddenly, the empty drawing-room steps, the frill of the chair inside, the puppy tumbling on the terrace, the whole wave and whisper of the garden became like curves and arabesques flourishing round a centre of complete emptiness. “What does it mean? How do you explain it all?” she wanted to say, turning to Mr. Carmichael again. For the whole world seemed to have dissolved in this early morning hour into a pool of thought, a deep basin of reality, and one could almost fancy that had Mr. Carmichael spoken, for instance, a little tear would have rent the surface pool. And then? Something would emerge. A hand would be shoved up, a blade would be flashed. It was nonsense of course. A curious notion came to her that he did after all hear the things she could not say. He was an inscrutable old man, with the yellow stain on his beard, and his poetry, and his puzzles, sailing serenely through a world which satisfied all his wants, so that she thought he had only to put down his hand where he lay on the lawn to fish up anything he wanted. She looked at her picture. That would have been his answer, presumably—how “you” and “I” and “she” pa** and vanish; nothing stays; all changes; but not words, not paint. Yet it would be hung in the attics, she thought; it would be rolled up and flung under a sofa; yet even so, even of a picture like that, it was true. One might say, even of this scrawl, not of that actual picture, perhaps, but of what it attempted, that it “remained for ever,” she was going to say, or, for the words spoken sounded even to herself, too boastful, to hint, wordlessly; when, looking at the picture, she was surprised to find that she could not see it. Her eyes were full of a hot liquid (she did not think of tears at first) which, without disturbing the firmness of her lips, made the air thick, rolled down her cheeks. She had perfect control of herself—Oh, yes!—in every other way. Was she crying then for Mrs. Ramsay, without being aware of any unhappiness? She addressed old Mr. Carmichael again. What was it then? What did it mean? Could things thrust their hands up and grip one; could the blade cut; the fist grasp? Was there no safety? No learning by heart of the ways of the world? No guide, no shelter, but all was miracle, and leaping from the pinnacle of a tower into the air? Could it be, even for elderly people, that this was life?—startling, unexpected, unknown? For one moment she felt that if they both got up, here, now on the lawn, and demanded an explanation, why was it so short, why was it so inexplicable, said it with violence, as two fully equipped human beings from whom nothing should be hid might speak, then, beauty would roll itself up; the space would fill; those empty flourishes would form into shape; if they shouted loud enough Mrs. Ramsay would return. “Mrs. Ramsay!” she said aloud, “Mrs. Ramsay!” The tears ran down her face.