Jacob’s Room Virginia Woolf (best romance books of all time .txt) 📖

hand Finlay’s Byzantine Empire, which he had bought in Ludgate Hill, looked a little different; for in his hand he carried a book, which book he would at nine-thirty precisely, by his own fireside, open and study, as no one else of all these multitudes would do. They have no houses. The streets belong to them; the shops; the churches; theirs the innumerable desks; the stretched office lights; the vans are theirs, and the railway slung high above the street. If you look closer you will see that three elderly men at a little distance from each other run spiders along the pavement as if the street were their parlour, and here, against the wall, a woman stares at nothing, bootlaces extended, which she does not ask you to buy. The posters are theirs too; and the news on them. A town destroyed; a race won. A homeless people, circling beneath the sky whose blue or white is held off by a ceiling cloth of steel filings and horse dung shredded to dust.

There, under the green shade, with his head bent over white paper, Mr. Sibley transferred figures to folios, and upon each desk you observe, like provender, a bunch of papers, the day’s nutriment, slowly consumed by the industrious pen. Innumerable overcoats of the quality prescribed hung empty all day in the corridors, but as the clock struck six each was exactly filled, and the little figures, split apart into trousers or moulded into a single thickness, jerked rapidly with angular forward motion along the pavement; then dropped into darkness. Beneath the pavement, sunk in the earth, hollow drains lined with yellow light forever conveyed them this way and that, and large letters upon enamel plates represented in the underworld the parks, squares, and circuses of the upper. “Marble Arch⁠—Shepherd’s Bush”⁠—to the majority the Arch and the Bush are eternally white letters upon a blue ground. Only at one point⁠—it may be Acton, Holloway, Kensal Rise, Caledonian Road⁠—does the name mean shops where you buy things, and houses, in one of which, down to the right, where the pollard trees grow out of the paving stones, there is a square curtained window, and a bedroom.

Long past sunset an old blind woman sat on a campstool with her back to the stone wall of the Union of London and Smith’s Bank, clasping a brown mongrel tight in her arms and singing out loud, not for coppers, no, from the depths of her gay wild heart⁠—her sinful, tanned heart⁠—for the child who fetches her is the fruit of sin, and should have been in bed, curtained, asleep, instead of hearing in the lamplight her mother’s wild song, where she sits against the Bank, singing not for coppers, with her dog against her breast.

Home they went. The grey church spires received them; the hoary city, old, sinful, and majestic. One behind another, round or pointed, piercing the sky or massing themselves, like sailing ships, like granite cliffs, spires and offices, wharves and factories crowd the bank; eternally the pilgrims trudge; barges rest in mid stream heavy laden; as some believe, the city loves her prostitutes.

But few, it seems, are admitted to that degree. Of all the carriages that leave the arch of the Opera House, not one turns eastward, and when the little thief is caught in the empty marketplace no one in black-and-white or rose-coloured evening dress blocks the way by pausing with a hand upon the carriage door to help or condemn⁠—though Lady Charles, to do her justice, sighs sadly as she ascends her staircase, takes down Thomas a Kempis, and does not sleep till her mind has lost itself tunnelling into the complexity of things. “Why? Why? Why?” she sighs. On the whole it’s best to walk back from the Opera House. Fatigue is the safest sleeping draught.

The autumn season was in full swing. Tristan was twitching his rug up under his armpits twice a week; Isolde waved her scarf in miraculous sympathy with the conductor’s baton. In all parts of the house were to be found pink faces and glittering breasts. When a Royal hand attached to an invisible body slipped out and withdrew the red and white bouquet reposing on the scarlet ledge, the Queen of England seemed a name worth dying for. Beauty, in its hothouse variety (which is none of the worst), flowered in box after box; and though nothing was said of profound importance, and though it is generally agreed that wit deserted beautiful lips about the time that Walpole died⁠—at any rate when Victoria in her nightgown descended to meet her ministers, the lips (through an opera glass) remained red, adorable. Bald distinguished men with gold-headed canes strolled down the crimson avenues between the stalls, and only broke from intercourse with the boxes when the lights went down, and the conductor, first bowing to the Queen, next to the bald-headed men, swept round on his feet and raised his wand.

Then two thousand hearts in the semidarkness remembered, anticipated, travelled dark labyrinths; and Clara Durrant said farewell to Jacob Flanders, and tasted the sweetness of death in effigy; and Mrs. Durrant, sitting behind her in the dark of the box, sighed her sharp sigh; and Mr. Wortley, shifting his position behind the Italian Ambassador’s wife, thought that Brangaena was a trifle hoarse; and suspended in the gallery many feet above their heads, Edward Whittaker surreptitiously held a torch to his miniature score; and⁠ ⁠… and⁠ ⁠…

In short, the observer is choked with observations. Only to prevent us from being submerged by chaos, nature and society between them have arranged a system of classification which is simplicity itself; stalls, boxes, amphitheatre, gallery. The moulds are filled nightly. There is no need to distinguish details. But the difficulty remains⁠—one has to choose. For though I have no wish to be Queen of England or only for a moment⁠—I would willingly sit beside her; I would hear the Prime Minister’s gossip; the countess whisper, and share her memories of halls and