Complete Works of Virginia Woolf

by Virginia Woolf

  The Fleeting Portrait

  1. Waxworks at the Abbey

  NOBODY but a very great man could have worn the Duke of Wellington’s top hat. It is as tall as a chimney, as straight as a ramrod, as black as a rock. One could have seen it a mile off advancing indomitably down the street. It must have been to this emblem of incorruptible dignity that the Duke raised his two fingers when passers-by respectfully saluted him. One is almost tempted to salute it now.

  The connexion between the waxworks in the Abbey and the Duke of Wellington’s top hat is one that the reader will discover if he goes to the Abbey when the waxworks are shut. The waxworks have their hours of audience like other potentates. And if that hour is four and it is now a trifle past two, one may spend the intervening moments profitably in the United Services Museum in Whitehall, among cannon and torpedos and gun-carriages and helmets and spurs and faded uniforms and the thousand other objects which piety and curiosity have saved from time and treasured and numbered and stuck in glass cases forever. When the time comes to go, indeed, there is not as much contrast as one would wish, perhaps, between the Museum at one end of Whitehall and the Abbey at the other. Too many monuments solicit attention with outstretched hands; too many placards explain this and forbid that; too many sightseers shuffle and stare for the past and the dead and the mystic nature of the place to have full sway. Solitude is impossible. Do we wish to see the Chapels? We are shepherded in flocks by gentlemen in black gowns who are for ever locking us in or locking us out; round whom we press and gape; from whom drop raucously all kinds of dry unappetizing facts; how much beauty this tomb has; how much age that; when they were destroyed; by whom they were restored and what the cost was — until everybody longs to be let off a tomb or two and is thankful when the lesson hour is over. However, if one is very wicked, and very bored, and lags a little behind; if the key is left in the door and turns quite easily, so that after all it is an open question whether one has broken one’s country’s laws or not, then one can slip aside, run up a little dark staircase and find oneself in a very small chamber alone with Queen Elizabeth.

  The Queen dominates the room as she once dominated England. Leaning a little forward so that she seems to beckon you to come to her, she stands, holding her sceptre in one hand, her orb in the other. It is a drawn, anguished figure, with the pursed look of someone who goes in perpetual dread of poison or of trap; yet forever braces herself to meet the terror unflinchingly. Her eyes are wide and vigilant; her nose thin as the beak of a hawk; her lips shut tight; her eyebrows arched; only the jowl gives the fine drawn face its massiveness. The orb and the sceptre are held in the long thin hands of an artist, as if the fingers thrilled at the touch of them. She is immensely intellectual, suffering, and tyrannical. She will not allow one to look elsewhere.

  Yet in fact the little room is crowded. There are many hands here holding other sceptres and orbs. It is only beside Queen Elizabeth that the rest of the company seems insignificant. Flowing in velvet they fill their glass cases, as they once filled their thrones, with dignity. William and Mary are an amiable pair of monarchs; bazaar-opening, hospital-inspecting, modern; though the King, unfortunately, is a little short in the legs. Queen Anne fondles her orb in her lap with plump womanly hands that should have held a baby there. It is only by accident that they have clapped a great crown on her hair and told her to rule a kingdom, when she would so much rather have flirted discreetly — she was a pretty woman; or run to greet her husband smiling — she was a kindly one. Her type of beauty in its homeliness, its domesticity, comes down to us less impaired by time than the grander style. The Duchess of Richmond, who gave her face to Britannia on the coins, is out of fashion now. Only the carriage of the little head on the long neck, and the * simper and the still look of one who has always stood still to be looked at assure us that she was beautiful once and had lovers beyond belief. The parrot sitting on its perch in the corner of the case seems to make its ironical comment on all that. Once only are we reminded of the fact that these effigies were moulded from the dead and that they were laid upon coffins and carried through the streets. The young Duke of Buckingham who died at Rome of consumption is the only one of them who has resigned himself to death. He lies very still with the ermine on his shoulders and the coronet on his brows, but his eyes are shut; his nose is a great peak between two sunk cheeks; he has succumbed to death and lies steeped in its calm. His aloofness compares strangely with the carnality of Charles the Second round the corner. King Charles still seems quivering with the passions and the greeds of life. The great lips are still pouting and watering and asking for more. The eyes are pouched and creased with all the long nights they have watched out — the torches, the dancing, and the women. In his dirty feathers and lace he is the very symbol of voluptuousness and dissipation, and his great blue-veined nose seems an irreverence on the part of the modeller, as if to set the crowd, as the procession comes by, nudging each other in the ribs and telling merry stories of the monarch.

  And so from this garish bright assembly we run downstairs again into the Abbey, and enter that strange muddle and miscellany of objects both hallowed and ridiculous. Yet now the impression is less tumultuous than before. Two presences seem to control its incoherence, as sometimes a chattering group of people is ordered and quieted by the entry of someone before whom, they know not why, they fall silent. One is Elizabeth, beckoning; the other is an old top-hat.

  2. The Royal Academy ‘The motor-cars of Empire — the bodyguard of Europe — the stainless knight of Belgium’ — such is our English romance that nine out of ten of those passing from the indiscriminate variety of Piccadilly to the courtyard of Burlington House do homage to the embattled tyres and the kingly presence of Albert on his high-minded charger with some nonsense of this sort. They are, of course, only the motor-cars of the rich grouped round a statue; but whether the quadrangle in which they stand radiates back the significance of everything fourfold, so that King Albert and the motor-cars exude the essence of kingliness and the soul of vehicular traffic, or whether the crowd is the cause of it, or the ceremonious steps leading up, the swing-doors admitting and the flunkeys fawning, it is true that, once you are within the precincts, everything appears symbolic, and the state of mind in which you ascend the broad stairs to the picture galleries is both heated and romantic.

  Whatever visions we may have indulged, we find ourselves on entering confronted by a lady in full evening dress. She stands at the top of a staircase, one hand loosely closed round a sheaf of lilies, while the other is about to greet someone of distinction who advances towards her up the stairs. Not a hair is out of place. Her lips are just parted. She is about to say, ‘How nice of you to come!’ But such is the skill of the artist that one does not willingly cross the range of her cordial and yet condescending eye. One prefers to look at her obliquely. She said, ‘How nice of you to come! ‘ so often and so graciously while I stood there that at last my eye wandered off in search of people of sufficient distinction for her to say it to. There was no difficulty in finding them. Here was a nobleman in a kilt, the Duke of R ; here a young officer in khaki, and, to keep him company, the head and shoulders of a young girl, whose upturned eyes and pouting lips appear to be entreating the sky to be bluer, roses to be redder, ices to be sweeter, and men to be manlier for her sake. To do her justice, the gallant youth seemed to respond. As they stepped up the staircase to the lady in foaming white he vowed that come what might — the flag of England — sweet chimes of home — a woman’s honour — an Englishman’s word — only a scrap of paper — for your sake, Alice — God save the King — and all the rest of it. The range of her vocabulary was more limited. She kept her gaze upon the sky or the ice or whatever it might be with a simple sincerity which was enforced by a single row of pearls and a little drapery of white tulle about the shoulders. ‘How nice of you to come!’ said the hostess once more. But immediately behind them stumped the Duke, a bluff nobleman, ‘more at home on the brae-side than among these ki
ckshaws and knick-knacks, my lady. Splendid sport. Twenty antlers and Buck Royal. Clean between the eyes, eh what? Out all day. Never know when I’m done. Cold bath, hard bed, glass of whiskey. A mere nothing. Damned foreigners. Post of duty. The Guard dies, but never surrenders. The ladies of our family — Up, Guards, and at them! Gentlemen—’ and, as he utters the last words in a voice choked with emotion, the entire company swing round upon their heels, displaying only a hind view of their perfectly fitting mess-jackets, since there are some sights that it is not good for man to look upon.

  The scene, though not all the phrases, comes from a story by Rudyard Kipling. But scenes from Rudyard Kipling must take place with astonishing frequency at these parties in order that the English maidens and gallant officers may have occasion to insist upon their chastity on the one hand and protect it on the other, without which, so far as one can see, there would be no reason for their existence. Therefore it was natural to look about me, a little shyly, for the sinister person of the seducer. There is, I can truthfully say, no such cur in the whole of the Royal Academy; and it was only when I had gone through the rooms twice and was about to inform the maiden that her apprehensions, though highly creditable, were in no way necessary that my eye was caught by the white underside of an excessively fine fish. ‘ The Duke caught that! ‘ I exclaimed, being still within the radius of the ducal glory. But I was wrong. Though fine enough, the fish, as a second glance put it beyond a doubt, was not ducal; its triangular shape, let alone the fact that a small urchin in corduroys held it suspended by the tail, was enough to start me in the right direction. Ah, yes — the harvest of the sea, toilers of the deep, a fisherman’s home, nature’s bounty — such phrases formed themselves with alarming rapidity — but to descend to details. The picture, No. 306, represents a young woman holding a baby on her knee. The child is playing with the rough model of a ship; the large fish is being dangled before his eyes by a brother a year or two older in a pair of corduroys which have been cut down from those worn by the fisherman engaged in cleaning cod on the edge of the waves. Judging from the superb rosiness, fatness, and blueness of every object depicted, even the sea itself wearing the look of a prize animal tricked out for a fair, it seemed certain that the artist intended a compliment in a general way to the island race. But something in the woman’s eye arrested me. A veil of white dimmed the straightforward lustre. It is thus that painters represent the tears that do not fall. But what, we asked, had this great hulk of a matron surrounded by fish, any one of which was worth eighteenpence the pound, to cry for? Look at the little boy’s breeches. They are not, if you look closely, of the same pattern as the fisherman’s. Once that fact is grasped, the story reels itself out like a line with a salmon on the end of it. Don’t the waves break with a sound of mockery on the beach? Don’t her eyes cloud with memories at the sight of a toy boat? It is not always summer. The sea has another voice than this; and, since her husband will never want his breeches any more — but the story when written out is painful, and rather obvious into the bargain.

  The point of a good Academy picture is that you can search the canvas for ten minutes or so and still be doubtful whether you have extracted the whole meaning. There is, for example, No. 248, ‘Cocaine’. A young man in evening dress lies, drugged, with his head upon the pink satin of a woman’s knee. The ornamental clock assures us that it is exactly eleven minutes to five. The burning lamp proves that it is dawn. He, then, has come home to find her waiting? She has interrupted his debauch? For my part, I prefer to imagine what in painters’ language (a tongue well worth separate study) would be called ‘a dreary vigil’. There she has sat since eight-thirty, alone, in pink satin. Once she rose and pressed the photograph in the silver frame to her lips. She might have married that man (unless it is her father, of which one cannot be sure). She was a thoughtless girl, and he left her to meet his death on the field of battle. Through her tears she gazes at the next photograph — presumably that of a baby (again the painter has been content with a suggestion). As she looks a hand fumbles at the door. ‘Thank God!’ she cries as her husband staggers in and falls helpless across her knees, ‘thank God our Teddy died!’ So there she sits, staring disillusionment in the eyes, and whether she gives way to temptation, or breathes a vow to the photographs, or gets him to bed before the maid comes down, or sits there for ever, must be left to the imagination of the onlooker.

  But the queer thing is that one wants to be her. For a moment one pretends that one sits alone, disillusioned, in pink satin. And then people in the little group of gazers begin to boast that they have known sadder cases themselves. Friends of theirs took cocaine. ‘ I myself as a boy for a joke— “No, George — but how fearfully rash!’ Everyone wished to cap that story with a better, save for one lady who, from her expression, was acting the part of consoler, had got the poor thing to bed, undressed her, soothed her, and even spoken with considerable sharpness to that unworthy brute, unfit to be a husband, before she moved on in a pleasant glow of self-satisfaction. Every picture before which one of these little groups had gathered seemed to radiate the strange power to make the beholder more heroic and more romantic; memories of childhood, visions of possibilities, illusions of all kinds poured down upon us from the walls. In a cooler mood one might accuse the painters of some exaggeration. There must be well over ten thousand delphiniums in the Royal Academy, and not one is other than a perfect specimen. The condition of the turf is beyond praise. The sun is exquisitely adapted to the needs of the sundials. The yew hedges are irreproachable; the manor house a miracle of timeworn dignity; and as for the old man with a scythe, the girl at the well, the village donkey, the widow lady, the gipsies’ caravan, the boy with a rod, each is not only the saddest, sweetest, quaintest, most picturesque, tenderest, jolliest of its kind, but has a symbolical meaning much to the credit of England. The geese are English geese, and even the polar bears, though they have not that advantage, seem, such is the persuasion of the atmosphere, to be turning to carriage rugs as we look at them.

  It is indeed a very powerful atmosphere; so charged with manliness and womanliness, pathos and purity, sunsets and Union Jacks, that the shabbiest and most suburban catch a reflection of the rosy glow. ‘This is England! these are the English!’ one might exclaim if a foreigner were at hand. But one need not say that to one’s compatriots. They are, perhaps, not quite up to the level of the pictures. Some are meagre; others obese; many have put on what is too obviously the only complete outfit that they possess. But the legend on the catalogue explains any such discrepancy in a convincing manner. ‘To give unto them beauty for ashes. Isaiah lxi. 3’ — that is the office of this exhibition. Our ashes will be transformed if only we expose them openly enough to the benignant influence of the canvas. So we look again at the Lord Chancellor and Mr. Balfour, at the Lady B., at the Duke of R., at Mr. Ennever of the Pelman Institute, at officers of all descriptions, architects, surgeons, peers, dentists, doctors, lawyers, archbishops, roses, sundials, battlefields, fish, and Skye terriers. From wall to wall, glowing with colour, glistening with oil, framed in gilt, and protected by glass, they ogle and elevate, inspire and command. But they overdo it. One is not altogether such a bundle of ashes as they suppose, or sometimes the magic fails to work.

  A large picture by Mr. Sargent called ‘Gassed’ at last pricked some nerve of protest, or perhaps of humanity. In order to emphasize his point that the soldiers wearing bandages round their eyes cannot see, and therefore claim our compassion, he makes one of them raise his leg to the level of his elbow in order to mount a step an inch or two above the ground. This little piece of over-emphasis was the final scratch of the surgeon’s knife which is said to hurt more than the whole operation. After all, one had been jabbed and stabbed, slashed and sliced for close on two hours. The lady began it, the Duke continued it; little children had wrung tears; great men extorted veneration. From first to last each canvas had rubbed in some emotion, and what the paint failed to say the catalogue had enforced in words.
But Mr. Sargent was the last straw. Suddenly the great rooms rang like a parrot-house with the intolerable vociferations of gaudy and brainless birds. How they shrieked and gibbered! How they danced and sidled! Honour, patriotism, chastity, wealth, success, importance, position, patronage, power — their cries rang and echoed from all quarters. ‘Anywhere, anywhere, out of this world!’ was the only exclamation with which one could stave off the brazen din as one fled downstairs, out of doors, round the motor-cars, beneath the disdain of the horse and its rider, and so out into the comparative sobriety of Piccadilly. No doubt the reaction was excessive; and I must leave it to Mr. Roger Fry to decide whether the emotions here recorded are the proper result of one thousand six hundred and seventy-four works of art.

  Poe’s Helen

  THE real interest of Miss Ticknor’s volume lies in the figure of Mrs. Whitman, and not in the love letters from Poe, which have already been published. It is true that if it had not been for her connexion with Poe we should never have heard of Helen Whitman; but it is also true that Poe’s connexion with Mrs. Whitman was neither much to his credit nor a matter of moment to the world at large. If it were our object to enhance the charm of ‘the only true romantic figure in our literature’, as Miss Ticknor calls him, we should have suppressed his love letters altogether. Mrs. Whitman, on the other hand, comes very well out of the ordeal, and was evidently, apart from Poe, a curious and interesting person.