Here, then, Mary Beton ceases to speak. She has told you how she reached the conclusion — the prosaic conclusion — that it is necessary to have five hundred a year and a room with a lock on the door if you are to write fiction or poetry. She has tried to lay bare the thoughts and impressions that led her to think this. She has asked you to follow her flying into the arms of a Beadle, lunching here, dining there, drawing pictures in the British Museum, taking books from the shelf, looking out of the window. While she has been doing all these things, you no doubt have been observing her failings and foibles and deciding what effect they have had on her opinions. You have been contradicting her and making whatever additions and deductions seem good to you. That is all as it should be, for in a question like this truth is only to be had by laying together many varieties of error. And I will end now in my own person by anticipating two criticisms, so obvious that you can hardly fail to make them.
No opinion has been expressed, you may say, upon the comparative merits of the sexes even as writers. That was done purposely, because, even if the time had come for such a valuation — and it is far more important at the moment to know how much money women had and how many rooms than to theorize about their capacities — even if the time had come I do not believe that gifts, whether of mind or character, can be weighed like sugar and butter, not even in Cambridge, where they are so adept at putting people into classes and fixing caps on their heads and letters after their names. I do not believe that even the Table of Precedency which you will find in Whitaker’s ALMANAC represents a final order of values, or that there is any sound reason to suppose that a Commander of the Bath will ultimately walk in to dinner behind a Master in Lunacy. All this pitting of sex against sex, of quality against quality; all this claiming of superiority and imputing of inferiority, belong to the private-school stage of human existence where there are ‘sides’, and it is necessary for one side to beat another side, and of the utmost importance to walk up to a platform and receive from the hands of the Headmaster himself a highly ornamental pot. As people mature they cease to believe in sides or in Headmasters or in highly ornamental pots. At any rate, where books are concerned, it is notoriously difficult to fix labels of merit in such a way that they do not come off. Are not reviews of current literature a perpetual illustration of the difficulty of judgement? ‘This great book’, ‘this worthless book’, the same book is called by both names. Praise and blame alike mean nothing. No, delightful as the pastime of measuring may be, it is the most futile of all occupations, and to submit to the decrees of the measurers the most servile of attitudes. So long as you write what you wish to write, that is all that matters; and whether it matters for ages or only for hours, nobody can say. But to sacrifice a hair of the head of your vision, a shade of its colour, in deference to some Headmaster with a silver pot in his hand or to some professor with a measuring-rod up his sleeve, is the most abject treachery, and the sacrifice of wealth and chastity which used to be said to be the greatest of human disasters, a mere flea-bite in comparison.
Next I think that you may object that in all this I have made too much of the importance of material things. Even allowing a generous margin for symbolism, that five hundred a year stands for the power to contemplate, that a lock on the door means the power to think for oneself, still you may say that the mind should rise above such things; and that great poets have often been poor men. Let me then quote to you the words of your own Professor of Literature, who knows better than I do what goes to the making of a poet. Sir Arthur Quiller-Couch writes:’ [* THE ART OF WRITING, by Sir Arthur Quiller-Couch.]
‘What are the great poetical names of the last hundred years or so? Coleridge, Wordsworth, Byron, Shelley, Landor, Keats, Tennyson, Browning, Arnold, Morris, Rossetti, Swinburne — we may stop there. Of these, all but Keats, Browning, Rossetti were University men, and of these three, Keats, who died young, cut off in his prime, was the only one not fairly well to do. It may seem a brutal thing to say, and it is a sad thing to say: but, as a matter of hard fact, the theory that poetical genius bloweth where it listeth, and equally in poor and rich, holds little truth. As a matter of hard fact, nine out of those twelve were University men: which means that somehow or other they procured the means to get the best education England can give. As a matter of hard fact, of the remaining three you know that Browning was well to do, and I challenge you that, if he had not been well to do, he would no more have attained to write SAUL or THE RING AND THE BOOK than Ruskin would have attained to writing MODERN PAINTERS if his father had not dealt prosperously in business. Rossetti had a small private income; and, moreover, he painted. There remains but Keats; whom Atropos slew young, as she slew John Clare in a mad-house, and James Thomson by the laudanum he took to drug disappointment. These are dreadful facts, but let us face them. It is — however dishonouring to us as a nation — certain that, by some fault in our commonwealth, the poor poet has not in these days, nor has had for two hundred years, a dog’s chance. Believe me — and I have spent a great part of ten years in watching some three hundred and twenty elementary schools, we may prate of democracy, but actually, a poor child in England has little more hope than had the son of an Athenian slave to be emancipated into that intellectual freedom of which great writings are born.’
Nobody could put the point more plainly. ‘The poor poet has not in these days, nor has had for two hundred years, a dog’s chance...a poor child in England has little more hope than had the son of an Athenian slave to be emancipated into that intellectual freedom of which great writings are born.’ That is it. Intellectual freedom depends upon material things. Poetry depends upon intellectual freedom. And women have always been poor, not for two hundred years merely, but from the beginning of time. Women have had less intellectual freedom than the sons of Athenian slaves. Women, then, have not had a dog’s chance of writing poetry. That is why I have laid so much stress on money and a room of one’s own. However, thanks to the toils of those obscure women in the past, of whom I wish we knew more, thanks, curiously enough to two wars, the Crimean which let Florence Nightingale out of her drawing-room, and the European War which opened the doors to the average woman some sixty years later, these evils are in the way to be bettered. Otherwise you would not be here tonight, and your chance of earning five hundred pounds a year, precarious as I am afraid that it still is, would be minute in the extreme.
Still, you may object, why do you attach so much importance to this writing of books by women when, according to you, it requires so much effort, leads perhaps to the murder of one’s aunts, will make one almost certainly late for luncheon, and may bring one into very grave disputes with certain very good fellows? My motives, let me admit, are partly selfish. Like most uneducated Englishwomen, I like reading — I like reading books in the bulk. Lately my diet has become a trifle monotonous; history is too much about wars; biography too much about great men; poetry has shown, I think, a tendency to sterility, and fiction but I have sufficiently exposed my disabilities as a critic of modern fiction and will say no more about it. Therefore I would ask you to write all kinds of books, hesitating at no subject however trivial or however vast. By hook or by crook, I hope that you will possess yourselves of money enough to travel and to idle, to contemplate the future or the past of the world, to dream over books and loiter at street corners and let the line of thought dip deep into the stream. For I am by no means confining you to fiction. If you would please me — and there are thousands like me — you would write books of travel and adventure, and research and scholarship, and history and biography, and criticism and philosophy and science. By so doing you will certainly profit the art of fiction. For books have a way of influencing each other. Fiction will be much the better for standing cheek by jowl with poetry and philosophy. Moreover, if you consider any great figure of the past, like Sappho, like the Lady Murasaki, like Emily Brontë, you will find that she is an inheritor as well as an originator, and has come into existence because women have come to have the habi
t of writing naturally; so that even as a prelude to poetry such activity on your part would be invaluable.
But when I look back through these notes and criticize my own train of thought as I made them, I find that my motives were not altogether selfish. There runs through these comments and discursions the conviction — or is it the instinct? — that good books are desirable and that good writers, even if they show every variety of human depravity, are still good human beings. Thus when I ask you to write more books I am urging you to do what will be for your good and for the good of the world at large. How to justify this instinct or belief I do not know, for philosophic words, if one has not been educated at a university, are apt to play one false. What is meant by ‘reality’? It would seem to be something very erratic, very undependable — now to be found in a dusty road, now in a scrap of newspaper in the street, now a daffodil in the sun. It lights up a group in a room and stamps some casual saying. It overwhelms one walking home beneath the stars and makes the silent world more real than the world of speech — and then there it is again in an omnibus in the uproar of Piccadilly. Sometimes, too, it seems to dwell in shapes too far away for us to discern what their nature is. But whatever it touches, it fixes and makes permanent. That is what remains over when the skin of the day has been cast into the hedge; that is what is left of past time and of our loves and hates. Now the writer, as I think, has the chance to live more than other people in the presence of this reality. It is his business to find it and collect it and communicate it to the rest of us. So at least I infer from reading LEAR or EMMA or LA RECHERCHE DU TEMPS PERDU. For the reading of these books seems to perform a curious couching operation on the senses; one sees more intensely afterwards; the world seems bared of its covering and given an intenser life. Those are the enviable people who live at enmity with unreality; and those are the pitiable who are knocked on the head by the thing done without knowing or caring. So that when I ask you to earn money and have a room of your own, I am asking you to live in the presence of reality, an invigorating life, it would appear, whether one can impart it or not.
Here I would stop, but the pressure of convention decrees that every speech must end with a peroration. And a peroration addressed to women should have something, you will agree, particularly exalting and ennobling about it. I should implore you to remember your responsibilities, to be higher, more spiritual; I should remind, you how much depends upon you, and what an influence you can exert upon the future. But those exhortations can safely, I think, be left to the other sex, who will put them, and indeed have put them, with far greater eloquence than I can compass. When I rummage in my own mind I find no noble sentiments about being companions and equals and influencing the world to higher ends. I find myself saying briefly and prosaically that it is much more important to be oneself than anything else. Do not dream of influencing other people, I would say, if I knew how to make it sound exalted. Think of things in themselves.
And again I am reminded by dipping into newspapers and novels and biographies that when a woman speaks to women she should have something very unpleasant up her sleeve. Women are hard on women. Women dislike women. Women — but are you not sick to death of the word? I can assure you that I am. Let us agree, then, that a paper read by a woman to women should end with something particularly disagreeable.
But how does it go? What can I think of? The truth is, I often like women. I like their unconventionality. I like their completeness. I like their anonymity. I like — but I must not run on in this way. That cupboard there, — you say it holds clean table-napkins only; but what if Sir Archibald Bodkin were concealed among them? Let me then adopt a sterner tone. Have I, in the preceding words, conveyed to you sufficiently the warnings and reprobation of mankind? I have told you the very low opinion in which you were held by Mr Oscar Browning. I have indicated what Napoleon once thought of you and what Mussolini thinks now. Then, in case any of you aspire to fiction, I have copied out for your benefit the advice of the critic about courageously acknowledging the limitations of your sex. I have referred to Professor X and given prominence to his statement that women are intellectually, morally and physically inferior to men. I have handed on all that has come my way without going in search of it, and here is a final warning — from Mr John Langdon Davies. [* A SHORT HISTORY OF WOMEN, by John Langdon Davies.] Mr John Langdon Davies warns women ‘that when children cease to be altogether desirable, women cease to be altogether necessary’. I hope you will make a note of it.
How can I further encourage you to go about the business of life? Young women, I would say, and please attend, for the peroration is beginning, you are, in my opinion, disgracefully ignorant. You have never made a discovery of any sort of importance. You have never shaken an empire or led an army into battle. The plays of Shakespeare are not by you, and you have never introduced a barbarous race to the blessings of civilization. What is your excuse? It is all very well for you to say, pointing to the streets and squares and forests of the globe swarming with black and white and coffee-coloured inhabitants, all busily engaged in traffic and enterprise and love-making, we have had other work on our hands. Without our doing, those seas would be unsailed and those fertile lands a desert. We have borne and bred and washed and taught, perhaps to the age of six or seven years, the one thousand six hundred and twenty-three million human beings who are, according to statistics, at present in existence, and that, allowing that some had help, takes time.
There is truth in what you say — I will not deny it. But at the same time may I remind you that there have been at least two colleges for women in existence in England since the year 1866; that after the year 1880 a married woman was allowed by law to possess her own property; and that in 1919 — which is a whole nine years ago she was given a vote? May I also remind you that most of the professions have been open to you for close on ten years now? When you reflect upon these immense privileges and the length of time during which they have been enjoyed, and the fact that there must be at this moment some two thousand women capable of earning over five hundred a year in one way or another, you will agree that the excuse of lack of opportunity, training, encouragement, leisure and money no longer holds good. Moreover, the economists are telling us that Mrs Seton has had too many children. You must, of course, go on bearing children, but, so they say, in twos and threes, not in tens and twelves.
Thus, with some time on your hands and with some book learning in your brains — you have had enough of the other kind, and are sent to college partly, I suspect, to be uneducated — surely you should embark upon another stage of your very long, very laborious and highly obscure career. A thousand pens are ready to suggest what you should do and what effect you will have. My own suggestion is a little fantastic, I admit; I prefer, therefore, to put it in the form of fiction.
I told you in the course of this paper that Shakespeare had a sister; but do not look for her in Sir Sidney Lee’s life of the poet. She died young — alas, she never wrote a word. She lies buried where the omnibuses now stop, opposite the Elephant and Castle. Now my belief is that this poet who never wrote a word and was buried at the cross-roads still lives. She lives in you and in me, and in many other women who are not here to-night, for they are washing up the dishes and putting the children to bed. But she lives; for great poets do not die; they are continuing presences; they need only the opportunity to walk among us in the flesh. This opportunity, as I think, it is now coming within your power to give her. For my belief is that if we live another century or so — I am talking of the common life which is the real life and not of the little separate lives which we live as individuals — and have five hundred a year each of us and rooms of our own; if we have the habit of freedom and the courage to write exactly what we think; if we escape a little from the common sitting-room and see human beings not always in their relation to each other but in relation to reality; and the sky, too, and the trees or whatever it may be in themselves; if we look past Milton’s bogey, for no human being should s
hut out the view; if we face the fact, for it is a fact, that there is no arm to cling to, but that we go alone and that our relation is to the world of reality and not only to the world of men and women, then the opportunity will come and the dead poet who was Shakespeare’s sister will put on the body which she has so often laid down. Drawing her life from the lives of the unknown who were her forerunners, as her brother did before her, she will be born. As for her coming without that preparation, without that effort on our part, without that determination that when she is born again she shall find it possible to live and write her poetry, that we cannot expect, for that would he impossible. But I maintain that she would come if we worked for her, and that so to work, even in poverty and obscurity, is worth while.
THE END
LONDON ESSAYS
These six essays were originally published in the Good Housekeeping magazine in the spring of 1931, printed bi-monthly. Woolf was an ‘enthusiastic’ Londoner, who loved to explore its streets, admiring the city’s history while studying modern life through the eyes of ordinary Londoners, as demonstrated in these interesting essays.
Woolf, close to the time of publication
CONTENTS
THE DOCKS OF LONDON
OXFORD STREET TIDE
GREAT MENS HOUSES
ABBEYS AND CATHEDRALS
THIS IS THE HOUSE OF COMMONS
PORTRAIT OF A LONDONER
Woolf’s house at 29 Fitzroy Square, London
THE DOCKS OF LONDON
“WHITHER, O splendid ship” the poet asked as he lay on the shore and watched the great sailing ship pass away on the horizon. Perhaps, as he imagined, it was making for some port in the Pacific; but one day almost certainly it must have heard an irresistible call and come past the North Foreland and the Reculvers, and entered the narrow waters of the Port of London, sailed past the low banks of Gravesend and Northfleet and Tilbury, up Erith Reach and Barking Reach and Gallion’s Reach, past the gas works and the sewage works till it found, for all the world like a car on a parking ground, a space reserved for it in the deep waters of the Docks. There it furled its sails and dropped anchor.
Complete Works of Virginia Woolf Page 351
