NIGHT AND DAY (The Original 1919 Edition). Вирджиния Вулф

the different heads swung slightly or steadied themselves into a position in which they could gaze straight at the speaker’s face, and the same rather solemn expression was visible on all of them. But, at the same time, even the faces that were most exposed to view, and therefore most tautly under control, disclosed a sudden impulsive tremor which, unless directly checked, would have developed into an outburst of laughter. The first sight of Mr. Rodney was irresistibly ludicrous. He was very red in the face, whether from the cool November night or nervousness, and every movement, from the way he wrung his hands to the way he jerked his head to right and left, as though a vision drew him now to the door, now to the window, bespoke his horrible discomfort under the stare of so many eyes. He was scrupulously well dressed, and a pearl in the center of his tie seemed to give him a touch of aristocratic opulence. But the rather prominent eyes and the impulsive stammering manner, which seemed to indicate a torrent of ideas intermittently pressing for utterance and always checked in their course by a clutch of nervousness, drew no pity, as in the case of a more imposing personage, but a desire to laugh, which was, however, entirely lacking in malice. Mr. Rodney was evidently so painfully conscious of the oddity of his appearance, and his very redness and the starts to which his body was liable gave such proof of his own discomfort, that there was something endearing in this ridiculous susceptibility, although most people would probably have echoed Denham’s private exclamation, “Fancy marrying a creature like that!”

      His paper was carefully written out, but in spite of this precaution Mr. Rodney managed to turn over two sheets instead of one, to choose the wrong sentence where two were written together, and to discover his own handwriting suddenly illegible. When he found himself possessed of a coherent passage, he shook it at his audience almost aggressively, and then fumbled for another. After a distressing search a fresh discovery would be made, and produced in the same way, until, by means of repeated attacks, he had stirred his audience to a degree of animation quite remarkable in these gatherings. Whether they were stirred by his enthusiasm for poetry or by the contortions which a human being was going through for their benefit, it would be hard to say. At length Mr. Rodney sat down impulsively in the middle of a sentence, and, after a pause of bewilderment, the audience expressed its relief at being able to laugh aloud in a decided outburst of applause.

      Mr. Rodney acknowledged this with a wild glance round him, and, instead of waiting to answer questions, he jumped up, thrust himself through the seated bodies into the corner where Katharine was sitting, and exclaimed, very audibly:

      “Well, Katharine, I hope I’ve made a big enough fool of myself even for you! It was terrible! terrible! terrible!”

      “Hush! You must answer their questions,” Katharine whispered, desiring, at all costs, to keep him quiet. Oddly enough, when the speaker was no longer in front of them, there seemed to be much that was suggestive in what he had said. At any rate, a pale-faced young man with sad eyes was already on his feet, delivering an accurately worded speech with perfect composure. William Rodney listened with a curious lifting of his upper lip, although his face was still quivering slightly with emotion.

      “Idiot!” he whispered. “He’s misunderstood every word I said!”

      “Well then, answer him,” Katharine whispered back.

      “No, I shan’t! They’d only laugh at me. Why did I let you persuade me that these sort of people care for literature?” he continued.

      There was much to be said both for and against Mr. Rodney’s paper. It had been crammed with assertions that such-and-such passages, taken liberally from English, French, and Italian, are the supreme pearls of literature. Further, he was fond of using metaphors which, compounded in the study, were apt to sound either cramped or out of place as he delivered them in fragments. Literature was a fresh garland of spring flowers, he said, in which yew-berries and the purple nightshade mingled with the various tints of the anemone; and somehow or other this garland encircled marble brows. He had read very badly some very beautiful quotations. But through his manner and his confusion of language there had emerged some passion of feeling which, as he spoke, formed in the majority of the audience a little picture or an idea which each now was eager to give expression to. Most of the people there proposed to spend their lives in the practice either of writing or painting, and merely by looking at them it could be seen that, as they listened to Mr. Purvis first, and then to Mr. Greenhalgh, they were seeing something done by these gentlemen to a possession which they thought to be their own. One person after another rose, and, as with an ill-balanced axe, attempted to hew out his conception of art a little more clearly, and sat down with the feeling that, for some reason which he could not grasp, his strokes had gone awry. As they sat down they turned almost invariably to the person sitting next them, and rectified and continued what they had just said in public. Before long, therefore, the groups on the mattresses and the groups on the chairs were all in communication with each other, and Mary Datchet, who had begun to darn stockings again, stooped down and remarked to Ralph:

      “That was what I call a first-rate paper.”

      Both of them instinctively turned their eyes in the direction of the reader of the paper. He was lying back against the wall, with his eyes apparently shut, and his chin sunk upon his collar. Katharine was turning over the pages of his manuscript as if she were looking for some passage that had particularly struck her, and had a difficulty in finding it.

      “Let’s go and tell him how much we liked it,” said Mary, thus suggesting an action which Ralph was anxious to take, though without her he would have been too proud to do it, for he suspected that he had more interest in Katharine than she had in him.

      “That was a very interesting paper,” Mary began, without any shyness, seating herself on the floor opposite to Rodney and Katharine. “Will you lend me the manuscript to read in peace?”

      Rodney, who had opened his eyes on their approach, regarded her for a moment in suspicious silence.

      “Do you say that merely to disguise the fact of my ridiculous failure?” he asked.

      Katharine looked up from her reading with a smile.

      “He says he doesn’t mind what we think of him,” she remarked. “He says we don’t care a rap for art of any kind.”

      “I asked her to pity me, and she teases me!” Rodney exclaimed.

      “I don’t intend to pity you, Mr. Rodney,” Mary remarked, kindly, but firmly. “When a paper’s a failure, nobody says anything, whereas now, just listen to them!”

      The sound, which filled the room, with its hurry of short syllables, its sudden pauses, and its sudden attacks, might be compared to some animal hubbub, frantic and inarticulate.

      “D’you think that’s all about my paper?” Rodney inquired, after a moment’s attention, with a distinct brightening of expression.

      “Of course it is,” said Mary. “It was a very suggestive paper.”

      She turned to Denham for confirmation, and he corroborated her.

      “It’s the ten minutes after a paper is read that proves whether it’s been a success or not,” he said. “If I were you, Rodney, I should be very pleased with myself.”

      This commendation seemed to comfort Mr. Rodney completely, and he began to bethink him of all the passages in his paper which deserved to be called “suggestive.”

      “Did you agree at all, Denham, with what I said about Shakespeare’s later use of imagery? I’m afraid I didn’t altogether make my meaning plain.”

      Here he gathered himself together, and by means of a series of frog-like jerks, succeeded in bringing himself close to Denham.

      Denham answered him with the brevity which is the result of having another sentence in the mind to be addressed to another person. He wished to say to Katharine: “Did you remember to get that picture glazed before your aunt came to dinner?” but, besides having to answer Rodney, he was not sure that the remark, with its assertion of intimacy, would not strike Katharine as impertinent. She was listening to what some one in another group was saying. Rodney, meanwhile, was talking about the Elizabethan