For, though they had reached the town now and were in the main street, with carts grinding past on the cobbles, still he went on talking, about settlements, and teaching, and working men, and helping our own class, and lectures, till she gathered that he had got back entire self-confidence, had recovered from the circus, and was about (and now again she liked him away on both sides, they came out on the quay, and the whole bay spread before them and Mrs Ramsay could not help exclaiming, “Oh, how beautiful!” For the great plateful of blue water was before her; the hoary Lighthouse, distant, austere, in the midst; and on the right, as far as the eye could see, fading and falling, in soft low pleats, the green sand dunes with the wild flowing grasses on them, which always seemed to be running away into some moon country, uninhabited of men.
That was the view, she said, stopping, growing greyer-eyed, that her husband loved.
She paused a moment. But now, she said, artists had come here. There indeed, only a few paces off, stood one of them, in Panama hat and yellow boots, seriously, softly, absorbedly, for all that he was watched by ten little boys, with an air of profound contentment on his round red face gazing, and then, when he had gazed, dipping; imbuing the tip of his brush in some soft mound of green or pink. Since Mr Paunceforte had been there, three years before, all the pictures were like that, she said, green and grey, with lemon-coloured sailing-boats, and pink women on the beach.
But her grandmother’s friends, she said, glancing discreetly as they passed, took the greatest pains; first they mixed their own colours, and then they ground them, and then they put damp cloths to keep them moist.
So Mr Tansley supposed she meant him to see that that man’s picture was skimpy, was that what one said? The colours weren’t solid? Was that what one said? Under the influence of that extraordinary emotion which had been growing all the walk, had begun in the garden when he had wanted to take her bag, had increased in the town when he had wanted to tell her everything about himself, he was coming to see himself, and everything he had ever known gone crooked a little. It was awfully strange.
Virginia Woolf. To the Lighthouse. The Window. Chapter 1.
. . . . . . . . . . . ..
This ray passed level with Mr Bankes’s ray straight to Mrs Ramsay sitting reading there with James at her knee. But now while she still looked, Mr Bankes had done. He had put on his spectacles. He had stepped back. He had raised his hand. He had slightly narrowed his clear blue eyes, when Lily, rousing herself, saw what he was at, and winced like a dog who sees a hand raised to strike it. She would have snatched her picture off the easel, but she said to herself, One must. She braced herself to stand the awful trial of some one looking at her picture. One must, she said, one must. And if it must be seen, Mr Bankes was less alarming than another. But that any other eyes should see the residue of her thirty-three years, the deposit of each day’s living mixed with something more secret than she had ever spoken or shown in the course of all those days was an agony. At the same time it was immensely exciting.
Nothing could be cooler and quieter. Taking out a pen-knife, Mr Bankes tapped the canvas with the bone handle. What did she wish to indicate by the triangular purple shape, “just there”? he asked.
It was Mrs Ramsay reading to James, she said. She knew his objection — that no one could tell it for a human shape. But she had made no attempt at likeness, she said. For what reason had she introduced them then? he asked. Why indeed? — except that if there, in that corner, it was bright, here, in this, she felt the need of darkness. Simple, obvious, commonplace, as it was, Mr Bankes was interested. Mother and child then — objects of universal veneration, and in this case the mother was famous for her beauty — might be reduced, he pondered, to a purple shadow without irreverence.
But the picture was not of them, she said. Or, not in his sense. There were other senses too in which one might reverence them. By a shadow here and a light there, for instance. Her tribute took that form if, as she vaguely supposed, a picture must be a tribute. A mother and child might be reduced to a shadow without irreverence. A light here required a shadow there. He considered. He was interested. He took it scientifically in complete good faith. The truth was that all his prejudices were on the other side, he explained. The largest picture in his drawing-room, which painters had praised, and valued at a higher price than he had given for it, was of the cherry trees in blossom on the banks of the Kennet. He had spent his honeymoon on the banks of the Kennet, he said. Lily must come and see that picture, he said. But now — he turned, with his glasses raised to the scientific examination of her canvas. The question being one of the relations of masses, of lights and shadows, which, to be honest, he had never considered before, he would like to have it explained — what then did she wish to make of it? And he indicated the scene before them. She looked. She could not show him what she wished to make of it, could not see it even herself, without a brush in her hand. She took up once more her old painting position with the dim eyes and the absent-minded manner, subduing all her impressions as a woman to something much more general; becoming once more under the power of that vision which she had seen clearly once and must now grope for among hedges and houses and mothers and children — her picture. It was a question, she remembered, how to connect this mass on the right hand with that on the left. She might do it by bringing the line of the branch across so; or break the vacancy in the foreground by an object (James perhaps) so. But the danger was that by doing that the unity of the whole might be broken. She stopped; she did not want to bore him; she took the canvas lightly off the easel.
But it had been seen; it had been taken from her. This man had shared with her something profoundly intimate. And, thanking Mr Ramsay for it and Mrs Ramsay for it and the hour and the place, crediting the world with a power which she had not suspected — that one could walk away down that long gallery not alone any more but arm in arm with somebody — the strangest feeling in the world, and the most exhilarating — she nicked the catch of her paint-box to, more firmly than was necessary, and the nick seemed to surround in a circle forever the paint-box, the lawn, Mr Bankes, and that wild villain, Cam, dashing past.
Virginia Woolf. To the Lighthouse. The Window. Chapter 9
Virginia Woolf, 1882-1941. To the Lighthouse, 1927
The first part of ‘To the Lighthouse’, set in the early 1900s, follows the Ramsey family over one summers day, in their holiday house on the Isle of Skye. Lily Briscoe has been wrestling with compositional problems as she finishes her semi-abstract landscape painting: “It was done; it was finished. Yes, she thought, laying down her brush in extreme fatigue, I have had my vision.”
“Virginia Woolf in ‘Time Passes,’ points to her concern for the fading away of her particular art in time. However, she holds true to her theme throughout the novel. At the end, the modern artist, Lily Briscoe, powerfully exerts her creative energies only after she acknowledges that time will destroy her painting. Therefore, not only must artists dissociate from their feelings regarding the modern world, they must also detach from their artwork. In other words, they must accept its role in modern times and allow it to fade away when its duty to the community has been depleted.”
“Woolf develops the themes of death and the destructiveness of nature and time to stress that people cannot rely on the material world for long-term happiness. She encourages people to become more conscious of the artists, the keepers of the culture, those with supernatural vision and insight. In difficult times, she urges people to rely on the poets, writers, and painters: the true visionaries who can see the light in the darkness, who can discover hope in the midst of despair, who can produce calmness out of the chaos of uncontrolled emotions, and who can still find beauty in the everyday life of an increasingly violent world.”
Image: Vanessa Bell. 1879-1961. Dust jacket design for the 1st edition of To the Lighthouse, Published by the Hogarth Press, 1927.