Complete Works of Virginia Woolf

by Virginia Woolf

  Those were her words, spoken quite distinctly, but we cannot conceal the fact that she was now a very indifferent witness to the truth of what was before her and might easily have mistaken a sheep for a cow, or an old man called Smith for one who was called Jones and was no relation of his whatever. For the shadow of faintness which the thumb without a nail had cast had deepened now, at the back of her brain (which is the part furthest from sight), into a pool where things dwell in darkness so deep that what they are we scarcely know. She now looked down into this pool or sea in which everything is reflected — and, indeed, some say that all our most violent passions, and art and religion, are the reflections which we see in the dark hollow at the back of the head when the visible world is obscured for the time. She looked there now, long, deeply, profoundly, and immediately the ferny path up the hill along which she was walking became not entirely a path, but partly the Serpentine; the hawthorn bushes were partly ladies and gentlemen sitting with card-cases and gold-mounted canes; the sheep were partly tall Mayfair houses; everything was partly something else, as if her mind had become a forest with glades branching here and there; things came nearer, and further, and mingled and separated and made the strangest alliances and combinations in an incessant chequer of light and shade. Except when Canute, the elk-hound, chased a rabbit and so reminded her that it must be about half past four — it was indeed twenty-three minutes to six — she forgot the time.

  The ferny path led, with many turns and windings, higher and higher to the oak tree, which stood on the top. The tree had grown bigger, sturdier, and more knotted since she had known it, somewhere about the year 1588, but it was still in the prime of life. The little sharply frilled leaves were still fluttering thickly on its branches. Flinging herself on the ground, she felt the bones of the tree running out like ribs from a spine this way and that beneath her. She liked to think that she was riding the back of the world. She liked to attach herself to something hard. As she flung herself down a little square book bound in red cloth fell from the breast of her leather jacket — her poem ‘The Oak Tree’. ‘I should have brought a trowel,’ she reflected. The earth was so shallow over the roots that it seemed doubtful if she could do as she meant and bury the book here. Besides, the dogs would dig it up. No luck ever attends these symbolical celebrations, she thought. Perhaps it would be as well then to do without them. She had a little speech on the tip of her tongue which she meant to speak over the book as she buried it. (It was a copy of the first edition, signed by author and artist.) ‘I bury this as a tribute,’ she was going to have said, ‘a return to the land of what the land has given me,’ but Lord! once one began mouthing words aloud, how silly they sounded! She was reminded of old Greene getting upon a platform the other day comparing her with Milton (save for his blindness) and handing her a cheque for two hundred guineas. She had thought then, of the oak tree here on its hill, and what has that got to do with this, she had wondered? What has praise and fame to do with poetry? What has seven editions (the book had already gone into no less) got to do with the value of it? Was not writing poetry a secret transaction, a voice answering a voice? So that all this chatter and praise and blame and meeting people who admired one and meeting people who did not admire one was as ill suited as could be to the thing itself — a voice answering a voice. What could have been more secret, she thought, more slow, and like the intercourse of lovers, than the stammering answer she had made all these years to the old crooning song of the woods, and the farms and the brown horses standing at the gate, neck to neck, and the smithy and the kitchen and the fields, so laboriously bearing wheat, turnips, grass, and the garden blowing irises and fritillaries?

  So she let her book lie unburied and dishevelled on the ground, and watched the vast view, varied like an ocean floor this evening with the sun lightening it and the shadows darkening it. There was a village with a church tower among elm trees; a grey domed manor house in a park; a spark of light burning on some glass-house; a farmyard with yellow corn stacks. The fields were marked with black tree clumps, and beyond the fields stretched long woodlands, and there was the gleam of a river, and then hills again. In the far distance Snowdon’s crags broke white among the clouds; she saw the far Scottish hills and the wild tides that swirl about the Hebrides. She listened for the sound of gun-firing out at sea. No — only the wind blew. There was no war to-day. Drake had gone; Nelson had gone. ‘And there’, she thought, letting her eyes, which had been looking at these far distances, drop once more to the land beneath her, ‘was my land once: that Castle between the downs was mine; and all that moor running almost to the sea was mine.’ Here the landscape (it must have been some trick of the fading light) shook itself, heaped itself, let all this encumbrance of houses, castles, and woods slide off its tent-shaped sides. The bare mountains of Turkey were before her. It was blazing noon. She looked straight at the baked hill-side. Goats cropped the sandy tufts at her feet. An eagle soared above. The raucous voice of old Rustum, the gipsy, croaked in her ears, ‘What is your antiquity and your race, and your possessions compared with this? What do you need with four hundred bedrooms and silver lids on all your dishes, and housemaids dusting?’

  At this moment some church clock chimed in the valley. The tent-like landscape collapsed and fell. The present showered down upon her head once more, but now that the light was fading, gentlier than before, calling into view nothing detailed, nothing small, but only misty fields, cottages with lamps in them, the slumbering bulk of a wood, and a fan-shaped light pushing the darkness before it along some lane. Whether it had struck nine, ten, or eleven, she could not say. Night had come — night that she loved of all times, night in which the reflections in the dark pool of the mind shine more clearly than by day. It was not necessary to faint now in order to look deep into the darkness where things shape themselves and to see in the pool of the mind now Shakespeare, now a girl in Russian trousers, now a toy boat on the Serpentine, and then the Atlantic itself, where it storms in great waves past Cape Horn. She looked into the darkness. There was her husband’s brig, rising to the top of the wave! Up, it went, and up and up. The white arch of a thousand deaths rose before it. Oh rash, oh ridiculous man, always sailing, so uselessly, round Cape Horn in the teeth of a gale! But the brig was through the arch and out on the other side; it was safe at last!

  ‘Ecstasy!’ she cried, ‘ecstasy!’ And then the wind sank, the waters grew calm; and she saw the waves rippling peacefully in the moonlight.

  ‘Marmaduke Bonthrop Shelmerdine!’ she cried, standing by the oak tree.

  The beautiful, glittering name fell out of the sky like a steel-blue feather. She watched it fall, turning and twisting like a slow-falling arrow that cleaves the deep air beautifully. He was coming, as he always came, in moments of dead calm; when the wave rippled and the spotted leaves fell slowly over her foot in the autumn woods; when the leopard was still; the moon was on the waters, and nothing moved in between sky and sea. Then he came.

  All was still now. It was near midnight. The moon rose slowly over the weald. Its light raised a phantom castle upon earth. There stood the great house with all its windows robed in silver. Of wall or substance there was none. All was phantom. All was still. All was lit as for the coming of a dead Queen. Gazing below her, Orlando saw dark plumes tossing in the courtyard, and torches flickering and shadows kneeling. A Queen once more stepped from her chariot.

  ‘The house is at your service, Ma’am,’ she cried, curtseying deeply. ‘Nothing has been changed. The dead Lord, my father, shall lead you in.’

  As she spoke, the first stroke of midnight sounded. The cold breeze of the present brushed her face with its little breath of fear. She looked anxiously into the sky. It was dark with clouds now. The wind roared in her ears. But in the roar of the wind she heard the roar of an aeroplane coming nearer and nearer.

  ‘Here! Shel, here!’ she cried, baring her breast to the moon (which now showed bright) so that her pearls glowed — like the eggs of some vast moon-s
pider. The aeroplane rushed out of the clouds and stood over her head. It hovered above her. Her pearls burnt like a phosphorescent flare in the darkness.

  And as Shelmerdine, now grown a fine sea captain, hale, fresh-coloured, and alert, leapt to the ground, there sprang up over his head a single wild bird.

  ‘It is the goose!’ Orlando cried. ‘The wild goose...’

  And the twelfth stroke of midnight sounded; the twelfth stroke of midnight, Thursday, the eleventh of October, Nineteen hundred and Twenty Eight.

  THE END

  THE WAVES

  The Waves was first published in 1931 by Hogarth Press and featured a Vanessa Bell illustration on the cover. Woolf continued her experimental writing with this text by employing an unusual narrative style. The work is a mixture of prose and poetry and consists of six characters’ interior monologues, which are broken nine times by a third person narrator describing a scene along the coast over the course of a day. Each description symbolises another stage in the characters’ lives, starting with early morning, which corresponds to early childhood, moving through the stages of adolescence, young adulthood, mid-life and then finally ending with Bernard recounting his life and musings on reality and life.

  The six narrators are Bernard, who is outgoing and a great storyteller; Louis, a boy desperate for acceptance; Jinny, a beautiful upper-class woman; Neville, an upper-class man fixated on the notion of beauty; Rhoda, an introvert and sensitive woman and Susan, a passionate woman that feels a deep connection to the land. There is a seventh friend called Percival, who is only known to the reader through remarks and tales told about him by the narrators.

  The Waves addresses individual and multiple consciousnesses and how they interact and come together to form a sense of continuity over the course of a lifetime. Woolf explores the idea of defining the self and the different ways that people attempt to understand their being and existence. Bernard has a belief that individual consciousness flows into something wider and deeper and that people develop and are created in relation to each other. There are only the different selves that never came to be; all those people one could have been, but never were. It is possible to suggest that the six characters exist not necessarily as separate entities, but as different aspects of consciousness that further complicates, but also enhances an innovative and psychologically engaging text.

  Please note: The Waves was originally published with no chapter divisions as one continual text, emphasising the stream of consciousness technique to full effect. The text appears in this edition as the author originally intended, with no table of contents or divisions in the text.

  The first edition

  THE WAVES.

  The sun had not yet risen. The sea was indistinguishable from the sky, except that the sea was slightly creased as if a cloth had wrinkles in it. Gradually as the sky whitened a dark line lay on the horizon dividing the sea from the sky and the grey cloth became barred with thick strokes moving, one after another, beneath the surface, following each other, pursuing each other, perpetually.

  As they neared the shore each bar rose, heaped itself, broke and swept a thin veil of white water across the sand. The wave paused, and then drew out again, sighing like a sleeper whose breath comes and goes unconsciously. Gradually the dark bar on the horizon became clear as if the sediment in an old wine-bottle had sunk and left the glass green. Behind it, too, the sky cleared as if the white sediment there had sunk, or as if the arm of a woman couched beneath the horizon had raised a lamp and flat bars of white, green and yellow spread across the sky like the blades of a fan. Then she raised her lamp higher and the air seemed to become fibrous and to tear away from the green surface flickering and flaming in red and yellow fibres like the smoky fire that roars from a bonfire. Gradually the fibres of the burning bonfire were fused into one haze, one incandescence which lifted the weight of the woollen grey sky on top of it and turned it to a million atoms of soft blue. The surface of the sea slowly became transparent and lay rippling and sparkling until the dark stripes were almost rubbed out. Slowly the arm that held the lamp raised it higher and then higher until a broad flame became visible; an arc of fire burnt on the rim of the horizon, and all round it the sea blazed gold.

  The light struck upon the trees in the garden, making one leaf transparent and then another. One bird chirped high up; there was a pause; another chirped lower down. The sun sharpened the walls of the house, and rested like the tip of a fan upon a white blind and made a blue finger-print of shadow under the leaf by the bedroom window. The blind stirred slightly, but all within was dim and unsubstantial. The birds sang their blank melody outside.

  ‘I see a ring,’ said Bernard, ‘hanging above me. It quivers and hangs in a loop of light.’

  ‘I see a slab of pale yellow,’ said Susan, ‘spreading away until it meets a purple stripe.’

  ‘I hear a sound,’ said Rhoda, ‘cheep, chirp; cheep chirp; going up and down.’

  ‘I see a globe,’ said Neville, ‘hanging down in a drop against the enormous flanks of some hill.’

  ‘I see a crimson tassel,’ said Jinny, ‘twisted with gold threads.’

  ‘I hear something stamping,’ said Louis. ‘A great beast’s foot is chained. It stamps, and stamps, and stamps.’

  ‘Look at the spider’s web on the corner of the balcony,’ said Bernard. ‘It has beads of water on it, drops of white light.’

  ‘The leaves are gathered round the window like pointed ears,’ said Susan.

  ‘A shadow falls on the path,’ said Louis, ‘like an elbow bent.’

  ‘Islands of light are swimming on the grass,’ said Rhoda. ‘They have fallen through the trees.’

  ‘The birds’ eyes are bright in the tunnels between the leaves,’ said Neville.

  ‘The stalks are covered with harsh, short hairs,’ said Jinny, ‘and drops of water have stuck to them.’

  ‘A caterpillar is curled in a green ring,’ said Susan, ‘notched with blunt feet.’

  ‘The grey-shelled snail draws across the path and flattens the blades behind him,’ said Rhoda.

  ‘And burning lights from the window-panes flash in and out on the grasses,’ said Louis.

  ‘Stones are cold to my feet,’ said Neville. ‘I feel each one, round or pointed, separately.’

  ‘The back of my hand burns,’ said Jinny, ‘but the palm is clammy and damp with dew.’

  ‘Now the cock crows like a spurt of hard, red water in the white tide,’ said Bernard.

  ‘Birds are singing up and down and in and out all round us,’ said Susan.

  ‘The beast stamps; the elephant with its foot chained; the great brute on the beach stamps,’ said Louis.

  ‘Look at the house,’ said Jinny, ‘with all its windows white with blinds.’

  ‘Cold water begins to run from the scullery tap,’ said Rhoda, ‘over the mackerel in the bowl.’

  ‘The walls are cracked with gold cracks,’ said Bernard, ‘and there are blue, finger-shaped shadows of leaves beneath the windows.’