‘Hampton Court,’ said Bernard. ‘Hampton Court. This is our meeting-place. Behold the red chimneys, the square battlements of Hampton Court. The tone of my voice as I say “Hampton Court” proves that I am middle-aged. Ten years, fifteen years ago, I should have said “Hampton Court?” with interrogation — what will it be like? Will there be lakes, mazes? Or with anticipation, What is going to happen to me here? Whom shall I meet? Now, Hampton Court — Hampton Court — the words beat a gong in the space which I have so laboriously cleared with half a dozen telephone messages and post cards, give off ring after ring of sound, booming, sonorous: and pictures rise — summer afternoons, boats, old ladies holding their skirts up, one urn in winter, some daffodils in March — these all float to the top of the waters that now lie deep on every scene.
There at the door by the Inn, our meeting-place, they are already standing — Susan, Louis, Rhoda, Jinny and Neville. They have come together already. In a moment, when I have joined them, another arrangement will form, another pattern. What now runs to waste, forming scenes profusely, will be checked, stated. I am reluctant to suffer that compulsion. Already at fifty yards distance I feel the order of my being changed. The tug of the magnet of their society tells upon me. I come nearer. They do not see me. Now Rhoda sees me, but she pretends, with her horror of the shock of meeting, that I am a stranger. Now Neville turns. Suddenly, raising my hand, saluting Neville I cry, “I too have pressed flowers between the pages of Shakespeare’s sonnets,” and am churned up. My little boat bobs unsteadily upon the chopped and tossing waves. There is no panacea (let me note) against the shock of meeting.
‘It is uncomfortable too, joining ragged edges, raw edges; only gradually, as we shuffle and trample into the Inn, taking coats and hats off, does meeting become agreeable. Now we assemble in the long, bare dining-room that overlooks some park, some green space still fantastically lit by the setting sun so that there is a gold bar between the trees, and sit ourselves down.’
‘Now sitting side by side,’ said Neville, ‘at this narrow table, now before the first emotion is worn smooth, what do we feel? Honestly now, openly and directly as befits old friends meeting with difficulty, what do we feel on meeting? Sorrow. The door will not open; he will not come. And we are laden. Being now all of us middle-aged, loads are on us. Let us put down our loads. What have you made of life, we ask, and I? You, Bernard; you, Susan; you, Jinny; and Rhoda and Louis? The lists have been posted on the doors. Before we break these rolls, and help ourselves to fish and salad, I feel in my private pocket and find my credentials — what I carry to prove my superiority. I have passed. I have papers in my private pocket that prove it. But your eyes, Susan, full of turnips and cornfields, disturb me. These papers in my private pocket — the clamour that proves that I have passed — make a faint sound like that of a man clapping in an empty field to scare away rooks. Now it has died down altogether, under Susan’s stare (the clapping, the reverberation that I have made), and I hear only the wind sweeping over the ploughed land and some bird singing — perhaps some intoxicated lark. Has the waiter heard of me, or those furtive everlasting couples, now loitering, now holding back and looking at the trees which are not yet dark enough to shelter their prostrate bodies? No; the sound of clapping has failed.
‘What then remains, when I cannot pull out my papers and make you believe by reading aloud my credentials that I have passed? What remains is what Susan brings to light under the acid of her green eyes, her crystal, pear-shaped eyes. There is always somebody, when we come together, and the edges of meeting are still sharp, who refuses to be submerged; whose identity therefore one wishes to make crouch beneath one’s own. For me now, it is Susan. I talk to impress Susan. Listen to me, Susan.
‘When someone comes in at breakfast, even the embroidered fruit on my curtain swells so that parrots can peck it; one can break it off between one’s thumb and finger. The thin, skimmed milk of early morning turns opal, blue, rose. At that hour your husband — the man who slapped his gaiters, pointing with his whip at the barren cow — grumbles. You say nothing. You see nothing. Custom blinds your eyes. At that hour your relationship is mute, null, dun-coloured. Mine at that hour is warm and various. There are no repetitions for me. Each day is dangerous. Smooth on the surface, we are all bone beneath like snakes coiling. Suppose we read The Times; suppose we argue. It is an experience. Suppose it is winter. The snow falling loads down the roof and seals us together in a red cave. The pipes have burst. We stand a yellow tin bath in the middle of the room. We rush helter-skelter for basins. Look there — it has burst again over the bookcase. We shout with laughter at the sight of ruin. Let solidity be destroyed. Let us have no possessions. Or is it summer? We may wander to a lake and watch Chinese geese waddling flat-footed to the water’s edge or see a bone-like city church with young green trembling before it. (I choose at random; I choose the obvious.) Each sight is an arabesque scrawled suddenly to illustrate some hazard and marvel of intimacy. The snow, the burst pipe, the tin bath, the Chinese goose — these are signs swung high aloft upon which, looking back, I read the character of each love; how each was different.
‘You meanwhile — for I want to diminish your hostility, your green eyes fixed on mine, and your shabby dress, your rough hands, and all the other emblems of your maternal splendour — have stuck like a limpet to the same rock. Yet it is true, I do not want to hurt you; only to refresh and furbish up my own belief in myself that failed at your entry. Change is no longer possible. We are committed. Before, when we met in a restaurant in London with Percival, all simmered and shook; we could have been anything. We have chosen now, or sometimes it seems the choice was made for us — a pair of tongs pinched us between the shoulders. I chose. I took the print of life not outwardly, but inwardly upon the raw, the white, the unprotected fibre. I am clouded and bruised with the print of minds and faces and things so subtle that they have smell, colour, texture, substance, but no name. I am merely “Neville” to you, who see the narrow limits of my life and the line it cannot pass. But to myself I am immeasurable; a net whose fibres pass imperceptibly beneath the world. My net is almost indistinguishable from that which it surrounds. It lifts whales — huge leviathans and white jellies, what is amorphous and wandering; I detect, I perceive. Beneath my eyes opens — a book; I see to the bottom; the heart — I see to the depths. I know what loves are trembling into fire; how jealousy shoots its green flashes hither and thither; how intricately love crosses love; love makes knots; love brutally tears them apart. I have been knotted; I have been torn apart.
‘But there was another glory once, when we watched for the door to open, and Percival came; when we flung ourselves unattached on the edge of a hard bench in a public room.’
‘There was the beech wood,’ said Susan, ‘Elvedon, and the gilt hands of the clock sparkling among the trees. The pigeons broke the leaves. The changing travelling lights wandered over me. They escaped me. Yet look, Neville, whom I discredit in order to be myself, at my hand on the table. Look at the gradations of healthy colour here on the knuckles, here on the palm. My body has been used daily, rightly, like a tool by a good workman, all over. The blade is clean, sharp, worn in the centre. (We battle together like beasts fighting in a field, like stags making their horns clash.) Seen through your pale and yielding flesh, even apples and bunches of fruit must have a filmed look as if they stood under glass. Lying deep in a chair with one person, one person only, but one person who changes, you see one inch of flesh only; its nerves, fibres, the sullen or quick flow of blood on it; but nothing entire. You do not see a house in a garden; a horse in a field; a town laid out, as you bend like an old woman straining her eyes over her darning. But I have seen life in blocks, substantial, huge; its battlements and towers, factories and gasometers; a dwelling-place made from time immemorial after an hereditary pattern. These things remain square, prominent, undissolved in my mind. I am not sinuous or suave; I sit among you abrading your softness with my hardness, quenching the silver-grey flickering moth-wing quiver of words with the green spurt of my clear eyes.
‘Now we have clashed our antlers. This is the necessary prelude; the salute of old friends.’
‘The gold has faded between the trees,’ said Rhoda, ‘and a slice of green lies behind them, elongated like the blade of a knife seen in dreams, or some tapering island on which nobody sets foot. Now the cars begin to wink and flicker, coming down the avenue. Lovers can draw into the darkness now; the boles of the trees are swollen, are obscene with lovers.’
‘It was different once,’ said Bernard. ‘Once we could break the current as we chose. How many telephone calls, how many post cards, are now needed to cut this hole through which we come together, united, at Hampton Court? How swift life runs from January to December! We are all swept on by the torrent of things grown so familiar that they cast no shade; we make no comparisons; think scarcely ever of I or of you; and in this unconsciousness attain the utmost freedom from friction and part the weeds that grow over the mouths of sunken channels. We have to leap like fish, high in the air, in order to catch the train from Waterloo. And however high we leap we fall back again into the stream. I shall never now take ship for the South Sea Islands. A journey to Rome is the limit of my travelling. I have sons and daughters. I am wedged into my place in the puzzle.
‘But it is only my body — this elderly man here whom you call Bernard — that is fixed irrevocably — so I desire to believe. I think more disinterestedly than I could when I was young and must dig furiously like a child rummaging in a bran-pie to discover my self. “Look, what is this? And this? Is this going to be a fine present? Is that all?” and so on. Now I know what the parcels hold; and do not care much. I throw my mind out in the air as a man throws seeds in great fan-flights, falling through the purple sunset, falling on the pressed and shining ploughland which is bare.
‘A phrase. An imperfect phrase. And what are phrases? They have left me very little to lay on the table, beside Susan’s hand; to take from my pocket, with Neville’s credentials. I am not an authority on law, or medicine, or finance. I am wrapped round with phrases, like damp straw; I glow, phosphorescent. And each of you feels when I speak, “I am lit up. I am glowing.” The little boys used to feel “That’s a good one, that’s a good one”, as the phrases bubbled up from my lips under the elm trees in the playing-fields. They too bubbled up; they also escaped with my phrases. But I pine in solitude. Solitude is my undoing.
‘I pass from house to house like the friars in the Middle Ages who cozened the wives and girls with beads and ballads. I am a traveller, a pedlar, paying for my lodging with a ballad; I am an indiscriminate, an easily pleased guest; often putting up in the best room in a four-poster; then lying in a barn on a haystack. I don’t mind the fleas and find no fault with silk either. I am very tolerant. I am not a moralist. I have too great a sense of the shortness of life and its temptations to rule red lines. Yet I am not so indiscriminate as you think, judging me — as you judge me — from my fluency. I have a little dagger of contempt and severity hidden up my sleeve. But I am apt to be deflected. I make stories. I twist up toys out of anything. A girl sits at a cottage door; she is waiting; for whom? Seduced, or not seduced? The headmaster sees the hole in the carpet. He sighs. His wife, drawing her fingers through the waves of her still abundant hair, reflects — et cetera. Waves of hands, hesitations at street corners, someone dropping a cigarette into the gutter — all are stories. But which is the true story? That I do not know. Hence I keep my phrases hung like clothes in a cupboard, waiting for someone to wear them. Thus waiting, thus speculating, making this note and then another, I do not cling to life. I shall be brushed like a bee from a sunflower. My philosophy, always accumulating, welling up moment by moment, runs like quicksilver a dozen ways at once. But Louis, wild-eyed but severe, in his attic, in his office, has formed unalterable conclusions upon the true nature of what is to be known.’
‘It breaks,’ said Louis, ‘the thread I try to spin; your laughter breaks it, your indifference, also your beauty. Jinny broke the thread when she kissed me in the garden years ago. The boasting boys mocked me at school for my Australian accent and broke it. “This is the meaning,” I say; and then start with a pang — vanity. “Listen,” I say, “to the nightingale, who sings among the trampling feet; the conquests and migrations. Believe —” and then am twitched asunder. Over broken tiles and splinters of glass I pick my way. Different lights fall, making the ordinary leopard spotted and strange. This moment of reconciliation, when we meet together united, this evening moment, with its wine and shaking leaves, and youth coming up from the river in white flannels, carrying cushions, is to me black with the shadows of dungeons and the tortures and infamies practised by man upon man. So imperfect are my senses that they never blot out with one purple the serious charge that my reason adds and adds against us, even as we sit here. What is the solution, I ask myself, and the bridge? How can I reduce these dazzling, these dancing apparitions to one line capable of linking all in one? So I ponder; and you meanwhile observe maliciously my pursed lips, my sallow cheeks and my invariable frown.
‘But I beg you also to notice my cane and my waistcoat. I have inherited a desk of solid mahogany in a room hung with maps. Our steamers have won an enviable reputation for their cabins replete with luxury. We supply swimming-baths and gymnasiums. I wear a white waistcoat now and consult a little book before I make an engagement.
‘This is the arch and ironical manner in which I hope to distract you from my shivering, my tender, and infinitely young and unprotected soul. For I am always the youngest; the most naďvely surprised; the one who runs in advance in apprehension and sympathy with discomfort or ridicule — should there be a smut on a nose, or a button undone. I suffer for all humiliations. Yet I am also ruthless, marmoreal. I do not see how you can say that it is fortunate to have lived. Your little excitements, your childish transports, when a kettle boils, when the soft air lifts Jinny’s spotted scarf and it floats web-like, are to me like silk streamers thrown in the eyes of the charging bull. I condemn you. Yet my heart yearns towards you. I would go with you through the fires of death. Yet am happiest alone. I luxuriate in gold and purple vestments. Yet I prefer a view over chimneypots; cats scraping their mangy sides upon blistered chimney-stacks; broken windows; and the hoarse clangour of bells from the steeple of some brick chapel.’
‘I see what is before me,’ said Jinny. ‘This scarf, these wine- coloured spots. This glass. This mustard pot. This flower. I like what one touches, what one tastes. I like rain when it has turned to snow and become palatable. And being rash, and much more courageous than you are, I do not temper my beauty with meanness lest it should scorch me. I gulp it down entire. It is made of flesh; it is made of stuff. My imagination is the body’s. Its visions are not fine-spun and white with purity like Louis’. I do not like your lean cats and your blistered chimney-pots. The scrannel beauties of your roof-tops repel me. Men and women, in uniforms, wigs and gowns, bowler hats and tennis shirts beautifully open at the neck, the infinite variety of women’s dresses (I note all clothes always) delight me. I eddy with them, in and out, in and out, into rooms, into halls, here, there, everywhere, wherever they go. This man lifts the hoof of a horse. This man shoves in and out the drawers of his private collection. I am never alone. I am attended by a regiment of my fellows. My mother must have followed the drum, my father the sea. I am like a little dog that trots down the road after the regimental band, but stops to snuff a tree-trunk, to sniff some brown stain, and suddenly careers across the street after some mongrel cur and then holds one paw up while it sniffs an entrancing whiff of meat from the butcher’s shop. My traffics have led me into strange places. Men, how many, have broken from the wall and come to me. I have only to hold my hand up. Straight as a dart they have come to the place of assignation — perhaps a chair on a balcony, perhaps a shop at a street corner. The torments, the divisions of your lives have been solved for me night after night, sometimes only by the touch of a finger under the table-cloth as we sat dining — so fluid has my body become, forming even at the touch of a finger into one full drop, which fills itself, which quivers, which flashes, which falls in ecstasy.
‘I have sat before a looking-glass as you sit writing, adding up figures at desks. So, before the looking-glass in the temple of my bedroom, I have judged my nose and my chin; my lips that open too wide and show too much gum. I have looked. I have noted. I have chosen what yellow or white, what shine or dullness, what loop or straightness suits. I am volatile for one, rigid for another, angular as an icicle in silver, or voluptuous as a candle flame in gold. I have run violently like a whip flung out to the extreme end of my tether. His shirt front, there in the corner, has been white; then purple; smoke and flame have wrapped us about; after a furious conflagration — yet we scarcely raised our voices, sitting on the hearth-rug, as we murmured all the secrets of our hearts as into shells so that nobody might hear in the sleeping-house, but I heard the cook stir once, and once we thought the ticking of the clock was a footfall — we have sunk to ashes, leaving no relics, no unburnt bones, no wisps of hair to be kept in lockets such as your intimacies leave behind them. Now I turn grey; now I turn gaunt; but I look at my face at midday sitting in front of the looking- glass in broad daylight, and note precisely my nose, my chin, my lips that open too wide and show too much gum. But I am not afraid.’
‘There were lamp-posts,’ said Rhoda, ‘and trees that had not yet shed their leaves on the way from the station. The leaves might have hidden me still. But I did not hide behind them. I walked straight up to you instead of circling round to avoid the shock of sensation as I used. But it is only that I have taught my body to do a certain trick. Inwardly I am not taught; I fear, I hate, I love, I envy and despise you, but I never join you happily. Coming up from the station, refusing to accept the shadow of the trees and the pillar-boxes, I perceived, from your coats and umbrellas, even at a distance, how you stand embedded in a substance made of repeated moments run together; are committed, have an attitude, with children, authority, fame, love, society; where I have nothing. I have no face.
‘Here in this dining-room you see the antlers and the tumblers; the salt-cellars; the yellow stains on the tablecloth. “Waiter!” says Bernard. “Bread!” says Susan. And the waiter comes; he brings bread. But I see the side of a cup like a mountain and only parts of antlers, and the brightness on the side of that jug like a crack in darkness with wonder and terror. Your voices sound like trees creaking in a forest. So with your faces and their prominences and hollows. How beautiful, standing at a distance immobile at midnight against the railings of some square! Behind you is a white crescent of foam, and fishermen on the verge of the world are drawing in nets and casting them. A wind ruffles the topmost leaves of primeval trees. (Yet here we sit at Hampton Court.) Parrots shrieking break the intense stillness of the jungle. (Here the trams start.) The swallow dips her wings in midnight pools. (Here we talk.) That is the circumference that I try to grasp as we sit together. Thus I must undergo the penance of Hampton Court at seven thirty precisely.
‘But since these rolls of bread and wine bottles are needed by me, and your faces with their hollows and prominences are beautiful, and the table-cloth and its yellow stain, far from being allowed to spread in wider and wider circles of understanding that may at last (so I dream, falling off the edge of the earth at night when my bed floats suspended) embrace the entire world, I must go through the antics of the individual. I must start when you pluck at me with your children, your poems, your chilblains or whatever it is that you do and suffer. But I am not deluded. After all these callings hither and thither, these pluckings and searchings, I shall fall alone through this thin sheet into gulfs of fire. And you will not help me. More cruel than the old torturers, you will let me fall, and will tear me to pieces when I am fallen. Yet there are moments when the walls of the mind grow thin; when nothing is unabsorbed, and I could fancy that we might blow so vast a bubble that the sun might set and rise in it and we might take the blue of midday and the black of midnight and be cast off and escape from here and now.’
‘Drop upon drop,’ said Bernard, ‘silence falls. It forms on the roof of the mind and falls into pools beneath. For ever alone, alone, alone — hear silence fall and sweep its rings to the farthest edges. Gorged and replete, solid with middle-aged content, I, whom loneliness destroys, let silence fall, drop by drop.
‘But now silence falling pits my face, wastes my nose like a snowman stood out in a yard in the rain. As silence falls I am dissolved utterly and become featureless and scarcely to be distinguished from another. It does not matter. What matters? We have dined well. The fish, the veal cutlets, the wine have blunted the sharp tooth of egotism. Anxiety is at rest. The vainest of us, Louis perhaps, does not care what people think. Neville’s tortures are at rest. Let others prosper — that is what he thinks. Susan hears the breathing of all her children safe asleep. Sleep, sleep, she murmurs. Rhoda has rocked her ships to shore. Whether they have foundered, whether they have anchored, she cares no longer. We are ready to consider any suggestion that the world may offer quite impartially. I reflect now that the earth is only a pebble flicked off accidentally from the face of the sun and that there is no life anywhere in the abysses of space.’
‘In this silence,’ said Susan, ‘it seems as if no leaf would ever fall, or bird fly.’
‘As if the miracle had happened,’ said Jinny, ‘and life were stayed here and now.’
‘And,’ said Rhoda, ‘we had no more to live.’
‘But listen,’ said Louis, ‘to the world moving through abysses of infinite space. It roars; the lighted strip of history is past and our Kings and Queens; we are gone; our civilization; the Nile; and all life. Our separate drops are dissolved; we are extinct, lost in the abysses of time, in the darkness.’
‘Silence falls; silence falls,’ said Bernard. ‘But now listen; tick, tick; hoot, hoot; the world has hailed us back to it. I heard for one moment the howling winds of darkness as we passed beyond life. Then tick, tick (the clock); then hoot, hoot (the cars). We are landed; we are on shore; we are sitting, six of us, at a table. It is the memory of my nose that recalls me. I rise; “Fight,” I cry, “fight!” remembering the shape of my own nose, and strike with this spoon upon this table pugnaciously.’
‘Oppose ourselves to this illimitable chaos,’ said Neville, ‘this formless imbecility. Making love to a nursemaid behind a tree, that soldier is more admirable than all the stars. Yet sometimes one trembling star comes in the clear sky and makes me think the world beautiful and we maggots deforming even the trees with our lust.’
(‘Yet, Louis,’ said Rhoda, ‘how short a time silence lasts. Already they are beginning to smooth their napkins by the side of their plates. “Who comes?” says Jinny; and Neville sighs, remembering that Percival comes no more. Jinny has taken out her looking-glass. Surveying her face like an artist, she draws a powder-puff down her nose, and after one moment of deliberation has given precisely that red to the lips that the lips need. Susan, who feels scorn and fear at the sight of these preparations, fastens the top button of her coat, and unfastens it. What is she making ready for? For something, but something different.’
‘They are saying to themselves,’ said Louis, ‘“It is time. I am still vigorous,” they are saying. “My face shall be cut against the black of infinite space.” They do not finish their sentences. “It is time,” they keep saying. “The gardens will be shut.” And going with them, Rhoda, swept into their current, we shall perhaps drop a little behind.’
‘Like conspirators who have something to whisper,’ said Rhoda.)
‘It is true, and I know for a fact,’ said Bernard, ‘as we walk down this avenue, that a King, riding, fell over a molehill here. But how strange it seems to set against the whirling abysses of infinite space a little figure with a golden teapot on his head. Soon one recovers belief in figures: but not at once in what they put on their heads. Our English past — one inch of light. Then people put teapots on their heads and say, “I am a King!” No, I try to recover, as we walk, the sense of time, but with that streaming darkness in my eyes I have lost my grip. This Palace seems light as a cloud set for a moment on the sky. It is a trick of the mind — to put Kings on their thrones, one following another, with crowns on their heads. And we ourselves, walking six abreast, what do we oppose, with this random flicker of light in us that we call brain and feeling, how can we do battle against this flood; what has permanence? Our lives too stream away, down the unlighted avenues, past the strip of time, unidentified. Once Neville threw a poem at my head. Feeling a sudden conviction of immortality, I said, “I too know what Shakespeare knew.” But that has gone.’
‘Unreasonably, ridiculously,’ said Neville, ‘as we walk, time comes back. A dog does it, prancing. The machine works. Age makes hoary that gateway. Three hundred years now seem no more than a moment vanished against that dog. King William mounts his horse wearing a wig, and the court ladies sweep the turf with their embroidered panniers. I am beginning to be convinced, as we walk, that the fate of Europe is of immense importance, and, ridiculous as it still seems, that all depends upon the battle of Blenheim. Yes; I declare, as we pass through this gateway, it is the present moment; I am become a subject of King George.’
‘While we advance down this avenue,’ said Louis, ‘I leaning slightly upon Jinny, Bernard arm-in-arm with Neville, and Susan with her hand in mine, it is difficult not to weep, calling ourselves little children, praying that God may keep us safe while we sleep. It is sweet to sing together, clasping hands, afraid of the dark, while Miss Curry plays the harmonium.’
‘The iron gates have rolled back,’ said Jinny. ‘Time’s fangs have ceased their devouring. We have triumphed over the abysses of space, with rouge, with powder, with flimsy pocket-handkerchiefs.’
‘I grasp, I hold fast,’ said Susan. ‘I hold firmly to this hand, anyone’s, with love, with hatred; it does not matter which.’
‘The still mood, the disembodied mood is on us,’ said Rhoda, ‘and we enjoy this momentary alleviation (it is not often that one has no anxiety) when the walls of the mind become transparent. Wren’s palace, like the quartet played to the dry and stranded people in the stalls, makes an oblong. A square is stood upon the oblong and we say, “This is our dwelling-place. The structure is now visible. Very little is left outside.”’
‘The flower,’ said Bernard, ‘the red carnation that stood in the vase on the table of the restaurant when we dined together with Percival, is become a six-sided flower; made of six lives.’
‘A mysterious illumination,’ said Louis, ‘visible against those yew trees.’
‘Built up with much pain, many strokes,’ said Jinny.
‘Marriage, death, travel, friendship,’ said Bernard; ‘town and country; children and all that; a many-sided substance cut out of this dark; a many-faceted flower. Let us stop for a moment; let us behold what we have made. Let it blaze against the yew trees. One life. There. It is over. Gone out.’
‘Now they vanish,’ said Louis. ‘Susan with Bernard. Neville with Jinny. You and I, Rhoda, stop for a moment by this stone urn. What song shall we hear now that these couples have sought the groves, and Jinny, pointing with her gloved hand, pretends to notice the water-lilies, and Susan, who has always loved Bernard, says to him, “My ruined life, my wasted life.” And Neville, taking Jinny’s little hand, with the cherry-coloured finger-nails, by the lake, by the moonlit water, cries, “Love, love,” and she answers, imitating the bird, “Love, love?” What song do we hear?’
‘They vanish, towards the lake,’ said Rhoda. ‘They slink away over the grass furtively, yet with assurance as if they asked of our pity their ancient privilege — not to be disturbed. The tide in the soul, tipped, flows that way; they cannot help deserting us. The dark has closed over their bodies. What song do we hear — the owl’s, the nightingale’s, the wren’s? The steamer hoots; the light on the electric rails flashes; the trees gravely bow and bend. The flare hangs over London. Here is an old woman, quietly returning, and a man, a late fisherman, comes down the terrace with his rod. Not a sound, not a movement must escape us.’
‘A bird flies homeward,’ said Louis. ‘Evening opens her eyes and gives one quick glance among the bushes before she sleeps. How shall we put it together, the confused and composite message that they send back to us, and not they only, but many dead, boys and girls, grown men and women, who have wandered here, under one king or another?’
‘A weight has dropped into the night,’ said Rhoda, ‘dragging it down. Every tree is big with a shadow that is not the shadow of the tree behind it. We hear a drumming on the roofs of a fasting city when the Turks are hungry and uncertain tempered. We hear them crying with sharp, stag-like barks, “Open, open.” Listen to the trams squealing and to the flashes from the electric rails. We hear the beech trees and the birch trees raise their branches as if the bride had let her silken nightdress fall and come to the doorway saying “Open, open”.’
‘All seems alive,’ said Louis. ‘I cannot hear death anywhere tonight. Stupidity, on that man’s face, age, on that woman’s, would be strong enough, one would think, to resist the incantation, and bring in death. But where is death tonight? All the crudity, odds and ends, this and that, have been crushed like glass splinters into the blue, the red-fringed tide, which, drawing into the shore, fertile with innumerable fish, breaks at our feet.’
‘If we could mount together, if we could perceive from a sufficient height,’ said Rhoda, ‘if we could remain untouched without any support — but you, disturbed by faint clapping sounds of praise and laughter, and I, resenting compromise and right and wrong on human lips, trust only in solitude and the violence of death and thus are divided.’
‘For ever,’ said Louis, ‘divided. We have sacrificed the embrace among the ferns, and love, love, love by the lake, standing, like conspirators who have drawn apart to share some secret, by the urn. But now look, as we stand here, a ripple breaks on the horizon. The net is raised higher and higher. It comes to the top of the water. The water is broken by silver, by quivering little fish. Now leaping, now lashing, they are laid on shore. Life tumbles its catch upon the grass. There are figures coming towards us. Are they men or are they women? They still wear the ambiguous draperies of the flowing tide in which they have been immersed.’
‘Now,’ said Rhoda, ‘as they pass that tree, they regain their natural size. They are only men, only women. Wonder and awe change as they put off the draperies of the flowing tide. Pity returns, as they emerge into the moonlight, like the relics of an army, our representatives, going every night (here or in Greece) to battle, and coming back every night with their wounds, their ravaged faces. Now light falls on them again. They have faces. They become Susan and Bernard, Jinny and Neville, people we know. Now what a shrinkage takes place! Now what a shrivelling, what an humiliation! The old shivers run through me, hatred and terror, as I feel myself grappled to one spot by these hooks they cast on us; these greetings, recognitions, pluckings of the finger and searchings of the eyes. Yet they have only to speak, and their first words, with the remembered tone and the perpetual deviation from what one expects, and their hands moving and making a thousand past days rise again in the darkness, shake my purpose.’
‘Something flickers and dances,’ said Louis. ‘Illusion returns as they approach down the avenue. Rippling and questioning begin. What do I think of you — what do you think of me? Who are you? Who am I? — that quivers again its uneasy air over us, and the pulse quickens and the eye brightens and all the insanity of personal existence without which life would fall flat and die, begins again. They are on us. The southern sun flickers over this urn; we push off in to the tide of the violent and cruel sea. Lord help us to act our parts as we greet them returning — Susan and Bernard, Neville and Jinny.’
‘We have destroyed something by our presence,’ said Bernard, ‘a world perhaps.’
‘Yet we scarcely breathe,’ said Neville, ‘spent as we are. We are in that passive and exhausted frame of mind when we only wish to rejoin the body of our mother from whom we have been severed. All else is distasteful, forced and fatiguing. Jinny’s yellow scarf is moth-coloured in this light; Susan’s eyes are quenched. We are scarcely to be distinguished from the river. One cigarette end is the only point of emphasis among us. And sadness tinges our content, that we should have left you, torn the fabric; yielded to the desire to press out, alone, some bitterer, some blacker juice, which was sweet too. But now we are worn out.’
‘After our fire,’ said Jinny, ‘there is nothing left to put in lockets.’
‘Still I gape,’ said Susan, ‘like a young bird, unsatisfied, for something that has escaped me.’
‘Let us stay for a moment,’ said Bernard, ‘before we go. Let us pace the terrace by the river almost alone. It is nearly bed-time. People have gone home. Now how comforting it is to watch the lights coming out in the bedrooms of small shopkeepers on the other side of the river. There is one — there is another. What do you think their takings have been today? Only just enough to pay for the rent, for light and food and the children’s clothing. But just enough. What a sense of the tolerableness of life the lights in the bedrooms of small shopkeepers give us! Saturday comes, and there is just enough to pay perhaps for seats at the Pictures. Perhaps before they put out the light they go into the little garden and look at the giant rabbit couched in its wooden hut. That is the rabbit they will have for Sunday dinner. Then they put out the light. Then they sleep. And for thousands of people sleep is nothing but warmth and silence and one moment’s sport with some fantastic dream. “I have posted my letter,” the greengrocer thinks, “to the Sunday newspaper. Suppose I win five hundred pounds in the football competition? And we shall kill the rabbit. Life is pleasant. Life is good. I have posted the letter. We shall kill the rabbit.” And he sleeps.
‘That goes on. Listen. There is a sound like the knocking of railway trucks in a siding. That is the happy concatenation of one event following another in our lives. Knock, knock, knock. Must, must, must. Must go, must sleep, must wake, must get up — sober, merciful word which we pretend to revile, which we press tight to our hearts, without which we should be undone. How we worship that sound like the knocking together of trucks in a siding!
‘Now far off down the river I hear the chorus; the song of the boasting boys, who are coming back in large charabancs from a day’s outing on the decks of crowded steamers. Still they are singing as they used to sing, across the court, on winters’ nights, or with the windows open in summer, getting drunk, breaking the furniture, wearing little striped caps, all turning their heads the same way as the brake rounded the corner; and I wished to be with them.
‘What with the chorus, and the spinning water and the just perceptible murmur of the breeze we are slipping away. Little bits of ourselves are crumbling. There! Something very important fell then. I cannot keep myself together. I shall sleep. But we must go; must catch our train; must walk back to the station — must, must, must. We are only bodies jogging along side by side. I exist only in the soles of my feet and in the tired muscles of my thighs. We have been walking for hours it seems. But where? I cannot remember. I am like a log slipping smoothly over some waterfall. I am not a judge. I am not called upon to give my opinion. Houses and trees are all the same in this grey light. Is that a post? Is that a woman walking? Here is the station, and if the train were to cut me in two, I should come together on the further side, being one, being indivisible. But what is odd is that I still clasp the return half of my ticket to Waterloo firmly between the fingers of my right hand, even now, even sleeping.’