the delicious skins

"It is a French recipe of my grandmother's," said Mrs Ramsay, speaking with a ring of great pleasure in her voice. Of course it was French. What passes for cookery in England is an abomination (they agreed). It is putting cabbages in water. It is roasting meat till it is like leather. It is cutting off the delicious skins of vegetables. "In which," said Mr Bankes, "all the virtue of the vegetable is contained." And the waste, said Mrs Ramsay. A whole French family could live on what an English cook throws away. Spurred on by her sense that William's affection had come back to her, and that everything was all right again, and that her suspense was over, and that now she was free both to triumph and to mock, she laughed, she gesticulated, till Lily thought, How childlike, how absurd she was, sitting up there with all her beauty opened again in her, talking about the skins of vegetables. There was something frightening about her. She was irresistible. Always she got her own way in the end, Lily thought. Now she had brought this off—Paul and Minta one might suppose, were engaged. Mr Bankes was dining here. She put a spell on them all, by wishing, so simply, so directly, and Lily contrasted that abundance with her own poverty of spirit, and supposed that it was partly that belief (for her face was all lit up—without looking young, she looked radiant) in this strange, this terrifying thing, which made Paul Rayley, the centre of it, all a tremor, yet abstract, absorbed, silent. Mrs Ramsay, Lily felt, as she talked about the skins of vegetables, exalted that, worshiped that; held her hands over it to warm them, to protect it, and yet, having brought it all about, somehow laughed, led her victims, Lily felt, to the altar. It came over her too now—the emotion, the vibration of love. How inconspicuous she felt herself by Paul's side! He, glowing, burning; she, aloof, satirical; he, bound for adventure; she, moored to the shore; he, launched, incautious; she solitary, left out—and ready to implore a share, if it were disaster, in his disaster, she said shyly:
  "When did Minta lose her brooch?"
  He smiled the most exquisite smile, veiled by memory, tinged by dreams. He shook his head. "On the beach," he said.
  "I'm going to find it," he said, "I'm getting up early." This being kept secret from Minta, he lowered his voice, and turned his eyes to where she sat, laughing, beside Mr Ramsay.
  Lily wanted to protest violently and outrageously her desire to help him, envisaging how in the dawn on the beach he would be the one to pounce on the brooch half-hidden by some stone, and thus herself be included among the sailors and adventurers. But what did he reply to her offer? She actually said with an emotion that she seldom let appear, "Let me come with you"; and he laughed. He meant yes or no—either perhaps. But it was not his meaning—it was the odd chuckle he gave, as if he had said, Throw yourself over the cliff if you like, I don't care. He turned on her cheek the heat of love, its horror, its cruelty, its unscrupulosity. It scorched her, and Lily looking at Minta being charming to Mr Ramsay at the other end of the table, flinched for her exposed to those fangs, and was thankful. For at any rate, she said to herself, catching sight of the salt cellar on the pattern, she need not marry, thank Heaven: she need not undergo that degradation. She was saved from that dilution. She would move the tree rather more to the middle.
  Such was the complexity of things. For what happened to her, especially staying with the Ramsays, was to be made to feel violently two opposite things at the same time; that's what you feel, was one; that's what I feel was the other, and then they fought together in her mind, as now. It is so beautiful, so exciting, this love, that I tremble on the verge of it, and offer, quite out of my own habit, to look for a brooch on a beach; also it is the stupidest, the most barbaric of human passions, and turns a nice young man with a profile like a gem (Paul's was exquisite) into a bully with a crowbar (he was swaggering, he was insolent) in the Mile End Road. Yet she said to herself, from the dawn of time odes have been sung of love; wreathes heaped and roses; and if you asked nine people out of ten they would say they wanted nothing but this; while the women, judging from her own experience, would all the time be feeling, This is not what we want; there is nothing more tedious, puerile, and inhumane than love; yet it is also beautiful and necessary. Well then, well then? she asked, somehow expecting the others to go on with the argument, as if in an argument like this one threw one's own little bolt which fell short obviously and left the others to carry it on. So she listened again to what they were saying in case they should throw any light upon the questions of love.
  "Then," said Mr Bankes, "there is that liquid the English call coffee."

Virginia Woolf, To the Lighthouse (1976: 116-19)

such keen pleasure

They had reached the gap between the two clumps of red-hot pokers, and there was the Lighthouse again, but she would not let herself look at it. Had she known that he was looking at her, she thought, she would not have let herself sit there, thinking. She disliked anything that reminded her that she had been sitting thinking. So she looked over her shoulder, at the town. The lights were rippling and running as if they were drops of silver water held firm in a wind. And all the poverty, all the suffering had turned to that, Mrs Ramsay thought. The lights of the town and of the harbour and of the boats seemed like a phantom net floating there to mark something which had sunk. Well, if he could not share her thoughts, Mr Ramsay said to himself, he would be off, then, on his own. He wanted to go on thinking, telling himself the story of how Hume was stuck in a bog; he wanted to laugh. But first it was nonsense to be anxious about Andrew. When he was Andrew's age he used to walk about the country all day long, with nothing but a biscuit in his pocket and nobody bothered about him, or thought that he had fallen over a cliff. He said aloud he thought he would be off for a day's walk if the weather held. He had had enough of Bankes and of Carmichael. He would like a little solitude. Yes, she said. It annoyed him that she did not protest. She knew that he would never do it. He was too old now to walk all day long with a biscuit in his pocket. She worried about the boys, but not about him. Years ago, before he had married, he thought, looking across the bay, as they stood between the clumps of red-hot pokers, he had walked all day. He had made a meal off bread and cheese in a public house. He had worked ten hours at a stretch; an old woman just popped her head in now and again and saw to the fire. That was the country he liked best, over there; those sandhills dwindling away into darkness. One could walk all day without meeting a soul. There was not a house scarcely, not a village for miles on end. One could worry things out alone. There were little sandy beaches where no one had been since the beginning of time. The seals sat up and looked at you. It sometimes seemed to him that in a little house out there, alone—he broke off, sighing. He had no right. The father of eight children—he reminded himself. And he would have been a beast and a cur to wish a single thing altered. Andrew would be a better man than he had been. Prue would be a beauty, her mother said. They would stem the flood a bit. That was a good bit of work on the whole—his eight children. They showed he did not damn the poor little universe entirely, for on an evening like this, he thought, looking at the land dwindling away, the little island seemed pathetically small, half swallowed up in the sea.
  'Poor little place,' he murmured with a sigh.
  She heard him. He said the most melancholy things, but she noticed that directly he had said them he always seemed more cheerful than usual. All this phrase-making was a game, she thought, for if she had said half what he said, she would have blown her brains out by now.
  It annoyed her, this phrase-making, and she said to him, in a matter-of-fact way, that it was a perfectly lovely evening. And what was he groaning about, she asked, half laughing, half complaining, for she guessed what he was thinking—he would have written better books if he had not married.
  He was not complaining, he said. She knew that he did not complain. She knew that he had nothing whatever to complain of. And he seized her hand and raised it to his lips and kissed it with an intensity that brought the tears to her eyes, and quickly he dropped it.
  They turned away from the view and began to walk up the path where the silver-green spear-like plants grew, arm in arm. His arm was almost like a young man's arm, Mrs Ramsay thought, thin and hard, and she thought with delight how strong he still was, though he was over sixty, and how untamed and optimistic, and how strange it was that being convinced, as he was, of all sorts of horrors, seemed not to depress him, but to cheer him. Was it not odd, she reflected? Indeed he seemed to her sometimes made differently from other people, born blind, deaf, and dumb, to the ordinary things, but to the extraordinary things, with an eye like an eagle's. His understanding often astonished her. But did he notice the flowers? No. Did he notice the view? No. Did he even notice his own daughter's beauty, or whether there was pudding on his plate or roast beef? He would sit at table with them like a person in a dream. And his habit of talking aloud, or saying poetry aloud, was growing on him, she was afraid for sometimes it was awkward—

Best and brightest, come away!

poor Miss Giddings, when he shouted that at her, almost jumped out of her skin. But then, Mrs Ramsay, though instantly taking his side against all the silly Giddingses in the world, then, she thought, intimating by a little pressure on his arm that he walked uphill too fast for her, and she must stop for a moment to see whether those were fresh mole-hills on the bank, then, she thought, stooping, down to look, a great mind like his must be different in every way from ours. All the great men she had ever known, she thought, deciding that a rabbit must have got in, were like that, and it was good for young men (though the atmosphere of lecture-rooms was stuffy and depressing to her beyond endurance almost) simply to hear him, simply to look at him. But without shooting rabbits, how was one to keep them down? she wondered. It might be a rabbit; it might be a mole. Some creature anyhow was ruining her Evening Primroses. And looking up, she saw above the thin trees the first pulse of the full-throbbing star, and wanted to make her husband look at it; for the sight gave her such keen pleasure. But she stopped herself. He never looked at things. If he did, all he would say would be, Poor little world, with one of his sighs.
  At that moment, he said, "Very fine," to please her, and pretended to admire the flowers. But she knew quite well that he did not admire them, or even realize that they were there. It was only to please her ...

Virginia Woolf, To the Lighthouse (1973: 79-83)

leaning her head

But into what sanctuary had one penetrated? Lily Briscoe had looked up at last, and there was Mrs Ramsay, unwitting entirely what had caused her laughter, still presiding, but now with every trace of wilfulness abolished, and in its stead, something clear as the space which the clouds at last uncover—the little space of sky which sleeps beside the moon.
  Was it wisdom? Was it knowledge? Was it, once more, the deceptiveness of beauty, so that all one's perceptions, half-way to truth, were tangled up in a golden mesh? or did she lock up within her some secret which certainly Lily Briscoe believed people must have for the world to go on at all? Every one could not be as helter-skelter, hand to mouth as she was. But if they knew, could they tell one what they knew? Sitting on the floor with her arms round Mrs Ramsay's knees, close as she could get, smiling to think that Mrs Ramsay would never know the reason of that pressure, she imagined how in the chambers of the mind and heart of the woman who was, physically, touching her, were stood, like the treasures in the tombs of kings, tablets bearing sacred inscriptions, which if one could spell them out would teach one everything, but they would never be offered openly, never made public. What are was there, known to love or cunning, by which one pressed through into those secret chambers? What device for becoming, like waters poured into one jar, inextricably the same, one with the object one adored? Could the body achieve it, or the mind, subtly mingling in the intricate passages of the brain? or the heart? Could loving, as people called it, make her and Mrs Ramsay one? for it was not knowledge but unity that she desired, not inscriptions on tablets, nothing that could be written in any language known to men, but intimacy itself, which is knowledge, she had thought, leaning her head on Mrs Ramsay's knee.
  Nothing happened. Nothing! Nothing! as she leant her head against Mrs Ramsay's knee. And yet, she knew knowledge and wisdom were stored in Mrs Ramsay's heart. How then, she asked herself, did one know one thing or another thing about people, sealed as they were? Only like a bee, drawn by some sweetness or sharpness in the air intangible to touch or taste, one haunted the dome-shaped hive, ranged the wastes of the air over the countries of the world alone, and then haunted the hives with their murmurs and their stirrings; the hives which were people. Mrs Ramsay rose. Lily rose. Mrs Ramsay went. For days there hung about her, as after a dream some subtle change is felt in the person one has dreamt of, more vividly than anything she said, the sound of murmuring and, as she sat in the wicker arm-chair in the drawing-room window she wore, to Lily's eyes, an august shape; the shape of a dome.

Virginia Woolf, To the Lighthouse (1973: 59-60)

an insufferable bore

But it was not that they minded, the children said. It was not his face; it was not his manners. It was him—his point of view. When they talked about something interesting, people, music, history, anything, even said it was a fine evening so why not sit out of doors, then what they complained of about Charles Tansley was that until he had turned the whole thing round and made it somehow reflect himself and disparage them, put them all on edge somehow with his acid way of peeling the flesh and blood off everything, he was not satisfied. And he would go to picture galleries, they said, and he would ask one, did one like his tie? God knows, said Rose, one did not.
  ... "Lets go," he said, repeating her words, clicking them out, however, with a self-consciousness that made her wince. "Let us go to the Circus." No. He could not say it right. He could not feel it right. But why not? she wondered. What was wrong with him then? She liked him warmly, at the moment. Had they not been taken, she asked, to circuses when they were children? Never, he answered, as if she asked the very thing he wanted to reply to; had been longing all these days to say, how they did not go to circuses. It was a large family, nine brothers and sisters, and his father was a working-man; "My father is a chemist, Mrs Ramsay. He keeps a shop." He himself paid his own way since he was thirteen. He could never "return hospitality" (those were his parched stiff words) at college. He had to make things last twice the time other people did; he smoked the cheapest tobacco; shag; the same the old men did in the quays. He worked hard—seven hours a day; his subject was the influence of something upon somebody—they were walking on and Mrs Ramsay did not quite catch the meaning, only the words, here and there ... dissertation ... fellowship ... readership ... lectureship. She could not follow the ugly academic jargon, that rattled itself off so glibly, but said to herself that she saw now why going to the circus had knocked him off his perch, poor little man, and why he came out, instantly, with all that about his father and mother and brothers and sisters, and she would see to it that they didn't laugh at him any more; she would tell Prue about it. What he would have liked, she supposed, would have been to say how he had been to Ibsen with the Ramsays. He was an awful prig—oh yes, an insufferable bore. 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 warmly) to tell her—but here, the houses falling 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, is 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.

Virginia Woolf, To the Lighthouse (1973: 10-16)

Damn your eyes

Minta, Andrew observed, was rather a good walker. She wore more sensible clothes than most women. She wore very short skirts and black knicker-bockers. She would jump straight into a stream and flounder across. He liked her rashness, but he saw that it would not do - she would kill herself in some idiotic way one of these days. She seemed to be afraid of nothing - except bulls. At the mere sight of a bull in a field she would throw up her arms and fly screaming, which was the very thing to enrage a bull of course. But she did not mind owning up to it in the least; one must admit that. She knew she was an awful coward about bulls, she said. She thought she must have been tossed in her perambulator when she was a baby. She didn't seem to mind what she said or did. Suddenly now she pitched down on the edge of the cliff and began to sing some song about

Damn your eyes, damn your eyes.

They all had to join in and sing the chorus, and shout out together:

Damn your eyes, damn your eyes.

but it would be fatal to let the tide come in and cover up all the good hunting-grounds before they got on to the beach.

Virginia Woolf, To the Lighthouse (1973:86)