"After all, we are not responsible. We are not judges. We are not called upon to torture our fellows with thumbscrews and irons; we are not called upon to mount pulpits and lecture them on pale Sunday afternoons. It is better to look at a rose, or to read Shakespeare as I read him here in Shaftesbury Avenue. Here's the fool, here's the villain, here in a car comes Cleopatra, burning on her barge. Here are figures of the damned too, noseless men by the police-court wall, standing with their feet in fire, howling. This is poetry if we do not write it. They act their parts infallibly, and almost before they open their lips I know what they are going to say, and wait the divine moment when they speak the word that must have been written. If it were only for the sake of the play, I could walk Shaftesbury Avenue for ever.
"Then coming from the street, entering some room, there are people talking, or hardly troubling to talk. He says, she says, somebody else says things have been said so often that one word is now enough to lift a whole weight. Argument, laughter, old grievances they fall through the air, thickening it. I take a book and read half a page of anything. They have not mended the spout of the teapot yet. The child dances, dressed in her mother's clothes.
"But then Rhoda, or it may be Louis, some fasting and anguished spirit, passes through and out again. They want a plot, do they? They want a reason? It is not enough for them, this ordinary scene. It is not enough to wait for the thing to be said as if it were written; to see the sentence lay its dab of clay precisely on the right place, making character; to perceive, suddenly some group in outline against the sky. Yet if they want violence, I have seen death and murder and suicide all in one room. One comes in, one goes out. There are sobs on the staircase. I have heard threads broken and knots tied and the quiet stitching of white cambric going on and on on the knees of a woman. Why ask, like Louis, for a reason, or fly like Rhoda to some far grove and part the leaves of the laurels and look for statues? They say that one must beat one's wings against the storm in the belief that beyond this welter the sun shines; the sun falls sheer into pools that are fledged with willows. (Here it is November; the poor hold out matchboxes in wind-bitten fingers.) They say truth is to be found there entire, and virtue, that shuffles along here, down blind alleys, is to be had there perfect. Rhoda flies with her neck outstretched and blind fanatic eyes, past us. Louis, now so opulent, goes to his attic window among the blistered roofs and gazes where she has vanished, but must sit down in his office among the typewriters and the telephone and work it all out for our instruction, for our regeneration, and the reform of an unborn world.
"But now in this room, which I enter without knocking, things are said as if they had been written. I go to the book-case. If I choose, I read half a page of anything. I need not speak. But I listen. I am marvellously on the alert. Certainly, one cannot read this poem without effort. The page is often corrupt and mud-stained, and torn and stuck together with faded leaves, with scraps of verbena or geranium. To read this poem one must have myriad eyes, like one of those lamps that turn on slabs of racing water at midnight in the Atlantic, when perhaps only a spray of seaweed pricks the surface, or suddenly the waves gape and up shoulders a monster. One must put aside antipathies and jealousies and not interrupt. One must have patience and infinite care and let the light sound, whether of spiders' delicate feet on a leaf or the chuckle of water in some irrelevant drainpipe, unfold too. Nothing is to be rejected in fear or horror. The poet who has written this page (what I read with people talking) has withdrawn. There are no commas or semicolons. The lines do not run in convenient lengths. Much is sheer nonsense. One must be sceptical, but throw caution to the winds and when the door opens accept absolutely. Also sometimes weep; also cut away ruthlessly with a slice of the blade soot, bark, hard accretions of all sorts. And so (while they talk) let down one's net deeper and deeper and gently draw in and bring to the surface what he said and she said and make poetry.
"Now I have listened to them talking. They have gone now. I am alone. I could be content to watch the fire burn for ever, like a dome, like a furnace; now some spike of wood takes the look of a scaffold, or pit, or happy valley; now it is a serpent curled crimson with white scales. The fruit on the curtain swells beneath the parrot's beak. Cheep, cheep, creaks the fire, like the cheep of insects in the middle of a forest. Cheep, cheep, it clicks while out there the branches thrash the air, and now, like a volley of shot, a tree falls. These are the sounds of a London night. Then I hear the one sound I wait for. Up and up it comes, approaches, hesitates, stops at my door. I cry, 'Come in. Sit by me. Sit on the edge of the chair.' Swept away by the old hallucination, I cry, 'Come closer, closer.'"
"I come back from the office," said Louis. "I hang my coat here, place my stick there I like to fancy that Richelieu walked with such a cane. Thus I divest myself of my authority, I have been sitting at the right hand of a director at a varnished table. The maps of our successful undertakings confront us on the wall. We have laced the world together with our ships. The globe is strung with our lines. I am immensely respectable. All the young ladies in the office acknowledge my entrance. I can dine where I like now, and without vanity may suppose that I shall soon acquire a house in Surrey, two cars, a conservatory and some rare species of melon. But I still return, I still come back to my attic, hang up my hat and resume in solitude that curious attempt which I have made since I brought down my fist on my master's grained oak door. I open a little book. I read one poem. One poem is enough.
O western wind . . .
O western wind, you are at enmity with my mahogany table and spats, and also, alas, with the vulgarity of my mistress, the little actress, who has never been able to speak English correctly
O western wind, when wilt thou blow . . .
Rhoda, with her intense abstraction, with her unseeing eyes the colour of snail's flesh, does not destroy you, western wind, whether she comes at midnight when the stars blaze or at the most prosaic hour of midday. She stands at the window and looks at the chimney pots and the broken windows in the houses of poor people
O western wind, when wilt thou blow . . .
"My task, my burden, has always been greater than other people's. A pyramid has been set on my shoulders. I have tried to do a colossal labour. I have driven a violent, an unruly, a vicious team. With my Australian accent I have sat in eating shops and tried to make the clerks accept me, yet never forgotten my solemn and severe convictions and the discrepancies and incoherences that must be resolved. As a boy I dreamt of the Nile, was reluctant to awake, yet brought down my fist on the grained oak door. It would have been happier to have been born without a destiny, like Susan, like Percival, whom I most admire.
O western wind, when wilt thou blow, That the small rain down can rain?
"Life has been a terrible affair for me. I am like some vast sucker, some glutinous, some adhesive, some insatiable mouth. I have tried to draw from the living flesh the stone lodged at the centre. I have known little natural happiness, though I chose my mistress in order that, with her cockney accent, she might make me feel at my ease. But she only tumbled the floor with dirty under linen, and the charwoman and the shop boys called after me a dozen times a day, mocking my prim and supercilious gait.
O western wind, when wilt thou blow, That the small rain down can rain?
"What has my destiny been, the sharp-pointed pyramid that has pressed on my ribs all these years ? That I remember the Nile and the women carrying pitchers on their heads; that I feel myself woven in and out of the long summers and winters that have made the corn flow and have frozen the streams. I am not a single and passing being. My life is not a moment's bright spark like that on the surface of a diamond. I go beneath ground tor-turously, as if a warder carried a lamp from cell to cell. My destiny has been that I remember and must weave together, must plait into one cable the many threads, the thin, the thick, the broken, the enduring of our long history, of our tumultuous and varied day. There is always more to be understood; a discord to be listened for; a falsity to be reprimanded.
Broken and soot-stained are these roofs with their chimney cowls, their loose slates, their slinking cats and attic windows. I pick my way over broken glass, among blistered tiles, and see only vile and famished faces.
"Let us suppose that I make reason of it all one poem on a page, and then die. I can assure you it will not be unwillingly. Percival died. Rhoda left me. But I shall live to be gaunt and sere, to tap my way, much respected, with my gold-headed cane along the pavements of the city. Perhaps I shall never die, shall never attain even that continuity and permanence
O western wind, when wilt thou blow, That the small rain down can rain ?
"Percival was flowering with green leaves and was laid in the earth with all his branches still sighing in the summer wind. Rhoda, with whom I shared silence when the others spoke, she who hung back and turned aside when the herd assembled and galloped with orderly, sleek backs over the rich pastures, has gone now like the desert heat. When the sun blisters the roofs of the city I think of her; when the dry leaves patter to the ground; when the old men come with pointed sticks and pierce little bits of paper as we pierced her
O western wind, when wilt thou blow,
That the small rain down can rain ? Christ! that my love were in my arms, And I in my bed again.
I return now to my book; I return now to my attempt."
"Life, how I have dreaded you," said Rhoda, "oh, human beings, how I have hated you! How you have nudged, how you have interrupted, how hideous you have looked in Oxford Street, how squalid sitting opposite each other staring in the Tube! Now as I climb this mountain, from the top of which I shall see Africa, my mind is printed with brown-paper parcels and your faces. I have been stained by you and corrupted. You smelt so unpleasant, too, lining up outside doors to buy tickets. All were dressed in indeterminate shades of grey and brown, never even a blue feather pinned to a hat. None had the courage to be one thing rather than another. What dissolution of the soul you demanded in order to get through one day, what lies, bowings, scrapings, fluency and servility! How you chained me to one spot, one hour, one chair, and sat yourselves down opposite! How you snatched from me the white spaces that lie between hour and hour and rolled them into dirty pellets and tossed them into the wastepaper basket with your greasy paws. Yet those were my life.
"But I yielded. Sneers and yawns were covered with my hand. I did not go out into the street and break a bottle in the gutter as a sign of rage. Trembling with ardour, I pretended that I was not surprised. What you did, I did. If Susan and Jinny pulled up their stockings like that, I pulled mine up like that also. So terrible was life that I held up shade after shade. Look at life through this, look at life through that; let there be rose leaves, let there be vine leaves I covered the whole street, Oxford Street, Piccadilly Circus, with the blaze and ripple of my mind, with vine leaves and rose leaves. There were boxes, too, standing in the passage when the school broke up. I stole secretly to read the labels and dream of names and faces. Harrogate, perhaps, Edinburgh, perhaps, was ruffled with golden glory where some girl whose name I forgot stood on the pavement. But it was the name only. I left Louis; I feared embraces. With fleeces, with vestments I have tried to cover the blue-black blade. I implored day to break into night. I have longed to see the cupboard dwindle, to feel the bed soften, to float suspended, to perceive lengthened trees, lengthened faces, a green bank on a moor and two figures in distress saying good-bye. I flung words in fans like those the sower throws over the ploughed fields when the earth is bare. I desired always to stretch the night and fill it fuller and fuller with dreams.
"Then in some hall I parted the boughs of music and saw the house we have made; the square stood upon the oblong. 'The house which contains us all,' I said, lurching against people's shoulders in an omnibus after Percival died; yet I went to Greenwich. Walking on the embankment, I prayed that I might thunder for ever on the verge of the world where there is no vegetation, but here and there a marble pillar. I threw my bunch into the spreading wave. I said, 'Consume me, carry me to the furthest limit.' The wave has broken; the bunch is withered. I seldom think of Percival now.
"Now I climb this Spanish hill; and I will suppose that this mule back is my bed and that I lie dying. There is only a thin sheet between me now and the infinite depths. The lumps in the mattress soften beneath me. We stumble up we stumble on. My path has been up and up, towards some solitary tree with a pool beside it on the very top. I have sliced the waters of beauty in the evening when the hills close themselves like birds' wings folded. I have picked sometimes a red carnation, and wisps of hay. I have sunk alone on the turf and fingered some old bone and thought: When the wind stoops to brush this height, may there be nothing found but a pinch of dust.
"The mule stumbles up and on. The ridge of the hill rises like mist, but from the top I shall see Africa. Now the bed gives under me. The sheets spotted with yellow holes let me fall through. The good woman with a face like a white horse at the end of the bed makes a valedictory movement and turns to go. Who then comes with me ? Flowers only, the cowbind and the moonlight coloured may. Gathering them loosely in a sheaf I made of them a garland and gave them Oh, to whom? We launch out now over the precipice. Beneath us lie the lights of the herring fleet. The cliffs vanish. Rippling small, rippling grey, innumerable waves spread beneath us. I touch nothing. I see nothing. We may sink and settle on the waves. The sea will drum in my ears. The white petals will be darkened with sea water. They will float for a moment and then sink. Rolling me over the waves will shoulder me under. Everything falls in a tremendous shower, dissolving me.
"Yet that tree has bristling branches; that is the hard line of a cottage roof. Those bladder shapes painted red and yellow are faces. Putting my foot to the ground I step gingerly and press my hand against the hard door of a Spanish inn."
The sun was sinking. The hard stone of the day was cracked and light poured through its splinters. Red and gold shot through the waves, in rapid running arrows, feathered with darkness. Erratically rays of light flashed and wandered, like signals from sunken islands, or darts shot through laurel groves by shameless, laughing boys. But the waves, as they neared the shore, were robbed of light, and fell in one long concussion, like a wall falling, a wall of grey stone, un-pierced by any chink of light.
A breeze rose; a shiver ran through the leaves; and thus stirred they lost their brown density and became grey or white as the tree shifted its mass, winded and lost its domed uniformity. The hawk, poised on the topmost branch flicked its eyelids and rose and sailed and soared far away. The wild plover cried in the marshes, evading circling, and crying further off in loneliness. The smoke of trains and chimneys was stretched and torn and became part of the fleecy canopy that hung over the sea and
the fields.
Now the corn was cut. Now only a brisk, stubble was left of all its flowing and waving. Slowly a great owl launched itself from the elm tree and swung and rose, as if on a line that dipped, to the height of the cedar. On the hills the slow shadows now broadened, now shrank, as they passed over. The pool on the top of the moor lay blank.. No furry face looked there, or hoof splashed, or hot muzzle seethed in the water. A bird, perched on an ash-coloured twig, sipped a beakful of cold water. There was no sound of cropping, and no sound of wheels, but only the sudden roar of the wind letting its sails fill and brushing the tops of the grasses. One bone lay rain-pocked and sun-bleached till it shone like a twig that the sea has polished. The tree, that had burnt foxy red in spring and in midsummer, bent pliant leaves to the south wind, was now black as iron, and as bare.
The land was so distant that no shining roof or glittering window could be any longer seen. The tremendous weight of the shadowed earth had engulfed such frail fetters, such snail-shell encumbrances. Now there was only the liquid shadow of the cloud, the buffeting of the rain, a single darting spear of sunshine, or the sudden bruise of the rainstorm. Solitary trees marked distant hills like obelisks.
The evening sun, whose heat had gone out of it and
whose burning spot of intensity had been diffused, made chairs and tables mellower and inlaid them with lozenges of brown and yellow. Lined with shadows their weight seemed more ponderous as if colour, tilted, had run to one side. Here lay knife, fork, and glass, but lengthened, swollen, and made portentous. Rimmed in a gold circle the looking-glass held the scene immobile as if everlasting in its eye.
Meanwhile the shadows lengthened on the beach; the black,-ness deepened. The iron black, boot became a pool of deep blue. The rocks lost their hardness. The water that stood round the old boat was dark, as if mussels had been steeped in it. The foam had turned livid and left here and there a white gleam of pearl on the misty sand.
"Hampton Court," said Bernard. "Hampton Court. This is our meeting-place. Behold the red chimneys, the square battlements of Hampton Court. The tone of my voice as I say 'Hampton Court' proves that I am middle-aged. Ten years, fifteen years ago, I should have said 'Hampton Court?' with interrogation--what will it be like? Will there be lakes, mazes? Or with anticipation, What is going to happen to me here? Whom shall I meet? Now, Hampton Court Hampton Court the words beat a gong in the space which I have so laboriously cleared with half a dozen telephone messages and post cards, give off ring after ring of sound, booming, sonorous: and pictures rise summer afternoons, boats, old ladies holding their skirts up, one urn in winter, some daffodils in March these all float to the top of the waters that now lie deep on every scene.
"There at the door by the Inn, our meeting-place, they are already standing Susan, Louis, Rhoda, Jinny and Neville. They have come together already. In a moment, when I have joined them, another arrangement will form, another pattern. What now runs to waste, forming scenes profusely, will be checked, stated. I am reluctant to suffer that compulsion. Already at fifty yards' distance I feel the order of my being changed. The tug of the magnet of their society tells upon me. I come nearer. They do not see me. Now Rhoda sees me, but she pretends, with her horror of the shock of meeting, that I am a stranger. Now Neville turns. Suddenly, raising my hand, saluting Neville I cry, 'I too have pressed flowers between the pages of Shakespeare's sonnets,' and am churned up. My little boat bobs unsteadily upon the chopped and tossing waves. There is no panacea (let me note) against the shock of meeting.