A Room of One’s Own (Wisehouse Classics Edition). Virginia Woolf

The sight of that abrupt and truncated animal padding softly across the quadrangle changed by some fluke of the subconscious intelligence the emotional light for me. It was as if someone had let fall a shade. Perhaps the excellent hock was relinquishing its hold. Certainly, as I watched the Manx cat pause in the middle of the lawn as if it too questioned the universe, something seemed lacking, something seemed different. But what was lacking, what was different, I asked myself, listening to the talk? And to answer that question I had to think myself out of the room, back into the past, before the war indeed, and to set before my eyes the model of another luncheon party held in rooms not very far distant from these; but different. Everything was different. Meanwhile the talk went on among the guests, who were many and young, some of this sex, some of that; it went on swimmingly, it went on agreeably, freely, amusingly. And as it went on I set it against the background of that other talk, and as I matched the two together I had no doubt that one was the descendant, the legitimate heir of the other. Nothing was changed; nothing was different save only here I listened with all my ears not entirely to what was being said, but to the murmur or current behind it. Yes, that was it—the change was there. Before the war at a luncheon party like this people would have said precisely the same things but they would have sounded different, because in those days they were accompanied by a sort of humming noise, not articulate, but musical, exciting, which changed the value of the words themselves. Could one set that humming noise to words? Perhaps with the help of the poets one could. A book lay beside me and, opening it, I turned casually enough to Tennyson. And here I found Tennyson was singing:

       There has fallen a splendid tear

       From the passion-flower at the gate.

       She is coming, my dove, my dear;

       She is coming, my life, my fate;

       The red rose cries, ‘She is near, she is near’;

       And the white rose weeps, ‘She is late’;

       The larkspur listens, ‘I hear, I hear’;

       And the lily whispers, ‘I wait.’

      Was that what men hummed at luncheon parties before the war? And the women?

       My heart is like a singing bird

       Whose nest is in a water’d shoot;

       My heart is like an apple tree

       Whose boughs are bent with thick-set fruit,

       My heart is like a rainbow shell

       That paddles in a halcyon sea;

       My heart is gladder than all these

       Because my love is come to me.

      Was that what women hummed at luncheon parties before the war?

      There was something so ludicrous in thinking of people humming such things even under their breath at luncheon parties before the war that I burst out laughing, and had to explain my laughter by pointing at the Manx cat, who did look a little absurd, poor beast, without a tail, in the middle of the lawn. Was he really born so, or had he lost his tail in an accident? The tailless cat, though some are said to exist in the Isle of Man, is rarer than one thinks. It is a queer animal, quaint rather than beautiful. It is strange what a difference a tail makes—you know the sort of things one says as a lunch party breaks up and people are finding their coats and hats.

      This one, thanks to the hospitality of the host, had lasted far into the afternoon. The beautiful October day was fading and the leaves were falling from the trees in the avenue as I walked through it. Gate after gate seemed to close with gentle finality behind me. Innumerable beadles were fitting innumerable keys into well-oiled locks; the treasure- house was being made secure for another night. After the avenue one comes out upon a road—I forget its name—which leads you, if you take the right turning, along to Fernham. But there was plenty of time. Dinner was not till half-past seven. One could almost do without dinner after such a luncheon. It is strange how a scrap of poetry works in the mind and makes the legs move in time to it along the road. Those words——

       There has fallen a splendid tear

       From the passion-flower at the gate.

       She is coming, my dove, my dear——

      sang in my blood as I stepped quickly along towards Headingley. And then, switching off into the other measure, I sang, where the waters are churned up by the weir:

       My heart is like a singing bird

       Whose nest is in a water’d shoot;

       My heart is like an apple tree . . .

      What poets, I cried aloud, as one does in the dusk, what poets they were!

      In a sort of jealousy, I suppose, for our own age, silly and absurd though these comparisons are, I went on to wonder if honestly one could name two living poets now as great as Tennyson and Christina Rossetti were then. Obviously it is impossible, I thought, looking into those foaming waters, to compare them. The very reason why that poetry excites one to such abandonment, such rapture, is that it celebrates some feeling that one used to have (at luncheon parties before the war perhaps), so that one responds easily, familiarly, without troubling to check the feeling, or to compare it with any that one has now. But the living poets express a feeling that is actually being made and torn out of us at the moment. One does not recognize it in the first place; often for some reason one fears it; one watches it with keenness and compares it jealously and suspiciously with the old feeling that one knew. Hence the difficulty of modern poetry; and it is because of this difficulty that one cannot remember more than two consecutive lines of any good modern poet. For this reason—that my memory failed me—the argument flagged for want of material. But why, I continued, moving on towards Headingley, have we stopped humming under our breath at luncheon parties? Why has Alfred ceased to sing

       She is coming, my dove, my dear.

       Why has Christina ceased to respond

       My heart is gladder than all these

       Because my love is come to me?

      Shall we lay the blame on the war? When the guns fired in August 1914, did the faces of men and women show so plain in each other’s eyes that romance was killed? Certainly it was a shock (to women in particular with their illusions about education, and so on) to see the faces of our rulers in the light of the shell-fire. So ugly they looked—German, English, French—so stupid. But lay the blame where one will, on whom one will, the illusion which inspired Tennyson and Christina Rossetti to sing so passionately about the coming of their loves is far rarer now than then. One has only to read, to look, to listen, to remember. But why say ‘blame’? Why, if it was an illusion, not praise the catastrophe, whatever it was, that destroyed illusion and put truth in its place? For truth . . . those dots mark the spot where, in search of truth, I missed the turning up to Fernham. Yes indeed, which was truth and which was illusion? I asked myself. What was the truth about these houses, for example, dim and festive now with their red windows in the dusk, but raw and red and squalid, with their sweets and their bootlaces, at nine o’clock in the morning? And the willows and the river and the gardens that run down to the river, vague now with the mist stealing over them, but gold and red in the sunlight— which was the truth, which was the illusion about them? I spare you the twists and turns of my cogitations, for no conclusion was found on the road to Headingley, and I ask You to suppose that I soon found out my mistake about the turning and retraced my steps to Fernham.

      As I have said already that it was an October day, I dare not forfeit your respect and imperil the fair name of fiction by changing the season and describing lilacs hanging over garden walls, crocuses, tulips and other flowers of spring. Fiction must stick to facts, and the truer the facts the better the fiction—so