The Voyage Out. Virginia Woolf

"Nothing would induce me to take charge of children."

      "Mothers always exaggerate," said Ridley. "A well-bred child is no responsibility. I've travelled all over Europe with mine. You just wrap 'em up warm and put 'em in the rack."

      Helen laughed at that. Mrs. Dalloway exclaimed, looking at Ridley:

      "How like a father! My husband's just the same. And then one talks of the equality of the sexes!"

      "Does one?" said Mr. Pepper.

      "Oh, some do!" cried Clarissa. "My husband had to pass an irate lady every afternoon last session who said nothing else, I imagine."

      "She sat outside the house; it was very awkward," said Dalloway. "At last I plucked up courage and said to her, 'My good creature, you're only in the way where you are. You're hindering me, and you're doing no good to yourself.'"

      "And then she caught him by the coat, and would have scratched his eyes out – " Mrs. Dalloway put in.

      "Pooh – that's been exaggerated," said Richard. "No, I pity them, I confess. The discomfort of sitting on those steps must be awful."

      "Serve them right," said Willoughby curtly.

      "Oh, I'm entirely with you there," said Dalloway. "Nobody can condemn the utter folly and futility of such behaviour more than I do; and as for the whole agitation, well! may I be in my grave before a woman has the right to vote in England! That's all I say."

      The solemnity of her husband's assertion made Clarissa grave.

      "It's unthinkable," she said. "Don't tell me you're a suffragist?" she turned to Ridley.

      "I don't care a fig one way or t'other," said Ambrose. "If any creature is so deluded as to think that a vote does him or her any good, let him have it. He'll soon learn better."

      "You're not a politician, I see," she smiled.

      "Goodness, no," said Ridley.

      "I'm afraid your husband won't approve of me," said Dalloway aside, to Mrs. Ambrose. She suddenly recollected that he had been in Parliament.

      "Don't you ever find it rather dull?" she asked, not knowing exactly what to say.

      Richard spread his hands before him, as if inscriptions were to be read in the palms of them.

      "If you ask me whether I ever find it rather dull," he said, "I am bound to say yes; on the other hand, if you ask me what career do you consider on the whole, taking the good with the bad, the most enjoyable and enviable, not to speak of its more serious side, of all careers, for a man, I am bound to say, 'The Politician's.'"

      "The Bar or politics, I agree," said Willoughby. "You get more run for your money."

      "All one's faculties have their play," said Richard. "I may be treading on dangerous ground; but what I feel about poets and artists in general is this: on your own lines, you can't be beaten – granted; but off your own lines – puff – one has to make allowances. Now, I shouldn't like to think that any one had to make allowances for me."

      "I don't quite agree, Richard," said Mrs. Dalloway. "Think of Shelley. I feel that there's almost everything one wants in 'Adonais.'"

      "Read 'Adonais' by all means," Richard conceded. "But whenever I hear of Shelley I repeat to myself the words of Matthew Arnold, 'What a set! What a set!'"

      This roused Ridley's attention. "Matthew Arnold? A detestable prig!" he snapped.

      "A prig – granted," said Richard; "but, I think a man of the world. That's where my point comes in. We politicians doubtless seem to you" (he grasped somehow that Helen was the representative of the arts) "a gross commonplace set of people; but we see both sides; we may be clumsy, but we do our best to get a grasp of things. Now your artists find things in a mess, shrug their shoulders, turn aside to their visions – which I grant may be very beautiful – and leave things in a mess. Now that seems to me evading one's responsibilities. Besides, we aren't all born with the artistic faculty."

      "It's dreadful," said Mrs. Dalloway, who, while her husband spoke, had been thinking. "When I'm with artists I feel so intensely the delights of shutting oneself up in a little world of one's own, with pictures and music and everything beautiful, and then I go out into the streets and the first child I meet with its poor, hungry, dirty little face makes me turn round and say, 'No, I can't shut myself up – I won't live in a world of my own. I should like to stop all the painting and writing and music until this kind of thing exists no longer.' Don't you feel," she wound up, addressing Helen, "that life's a perpetual conflict?" Helen considered for a moment. "No," she said. "I don't think I do."

      There was a pause, which was decidedly uncomfortable. Mrs. Dalloway then gave a little shiver, and asked whether she might have her fur cloak brought to her. As she adjusted the soft brown fur about her neck a fresh topic struck her.

      "I own," she said, "that I shall never forget the Antigone. I saw it at Cambridge years ago, and it's haunted me ever since. Don't you think it's quite the most modern thing you ever saw?" she asked Ridley. "It seemed to me I'd known twenty Clytemnestras. Old Lady Ditchling for one. I don't know a word of Greek, but I could listen to it for ever – "

      Here Mr. Pepper struck up:

      πολλἀ τἀ δεινά, κοὐδἑν ἀν-

      θρώπου δεινότερον πέλει.

      τοῦτο καί πολιοῦ πέραν

      πόντου χειμερίῳ νότῳ

      χωρεῖ, περιβρυχίοισι

      περῶν ὑπ´ οῐδμασι

      Mrs. Dalloway looked at him with compressed lips.

      "I'd give ten years of my life to know Greek," she said, when he had done.

      "I could teach you the alphabet in half an hour," said Ridley, "and you'd read Homer in a month. I should think it an honour to instruct you."

      Helen, engaged with Mr. Dalloway and the habit, now fallen into decline, of quoting Greek in the House of Commons, noted, in the great commonplace book that lies open beside us as we talk, the fact that all men, even men like Ridley, really prefer women to be fashionable.

      Clarissa exclaimed that she could think of nothing more delightful. For an instant she saw herself in her drawing-room in Browne Street with a Plato open on her knees – Plato in the original Greek. She could not help believing that a real scholar, if specially interested, could slip Greek into her head with scarcely any trouble.

      Ridley engaged her to come to-morrow.

      "If only your ship is going to treat us kindly!" she exclaimed, drawing Willoughby into play. For the sake of guests, and these were distinguished, Willoughby was ready with a bow of his head to vouch for the good behaviour even of the waves.

      "I'm dreadfully bad; and my husband's not very good," sighed Clarissa.

      "I am never sick," Richard explained. "At least, I have only been actually sick once," he corrected himself. "That was crossing the Channel. But a choppy sea, I confess, or still worse, a swell, makes me distinctly uncomfortable. The great thing is never to miss a meal. You look at the food, and you say, 'I can't'; you take a mouthful, and Lord knows how you're going to swallow it; but persevere, and you often settle the attack for good. My wife's a coward."

      They were pushing back their chairs. The ladies were hesitating at the doorway.

      "I'd better show the way," said Helen, advancing.

      Rachel followed. She had taken no part in the talk; no one had spoken to her; but she had listened to every word that was said. She had looked from Mrs. Dalloway to Mr. Dalloway, and from Mr. Dalloway back again. Clarissa, indeed, was a fascinating spectacle. She wore a white dress and a long glittering necklace. What with her clothes, and her arch delicate face, which showed exquisitely pink beneath hair turning grey, she was astonishingly like an eighteenth-century masterpiece – a Reynolds or a Romney. She made Helen and the others look coarse and slovenly beside her. Sitting