LITMIR.BIZ

      Table of Contents

       The Moment: Summer’s Night.

       “The Faery Queen”.

       Congreve’s Comedies.

       Sterne’s Ghost.

       Mrs. Thrale.

       Sir Walter Scott, I. Gas at Abbotsford.

       Sir Walter Scott, II. “The Antiquary”.

       Lockhart’s Criticism.

       “David Copperfield”.

       Lewis Carroll.

       Edmund Gosse.

       Notes on D.H. Lawrence.

       Roger Fry.

       The Art of Fiction.

       American Fiction.

       The Leaning Tower.

       On Re-reading Novels.

       FOOTNOTES.

The Moment: Summer’s Night.

       Table of Contents

      The night was falling so that the table in the garden among the trees grew whiter and whiter; and the people round it more indistinct. An owl, blunt, obsolete looking, heavy weighted, crossed the fading sky with a black spot between its claws. The trees murmured. An aeroplane hummed like a piece of plucked wire. There was also, on the roads, the distant explosion of a motor cycle, shooting further and further away down the road. Yet what composed the present moment? If you are young, the future lies upon the present, like a piece of glass, making it tremble and quiver. If you are old, the past lies upon the present, like a thick glass, making it waver, distorting it. All the same, everybody believes that the present is something, seeks out the different elements in this situation in order to compose the truth of it, the whole of it.

      To begin with: it is largely composed of visual and of sense impressions. The day was very hot. After heat, the surface of the body is opened, as if all the pores were open and everything lay exposed, not sealed and contracted, as in cold weather. The air wafts cold on the skin under one’s clothes. The soles of the feet expand in slippers after walking on hard roads. Then the sense of the light sinking back into darkness seems to be gently putting out with a damp sponge the colour in one’s own eyes. Then the leaves shiver now and again, as if a ripple of irresistible sensation ran through them, as a horse suddenly ripples its skin.

      But this moment is also composed of a sense that the legs of the chair are sinking through the centre of the earth, passing through the rich garden earth; they sink, weighted down. Then the sky loses its colour perceptibly and a star here and there makes a point of light. Then changes, unseen in the day, coming in succession seem to make an order evident. One becomes aware that we are spectators and also passive participants in a pageant. And as nothing can interfere with the order, we have nothing to do but accept, and watch. Now little sparks, which are not steady, but fitful as if somebody were doubtful, come across the field. Is it time to light the lamp, the farmers’ wives are saying: can I see a little longer? The lamp sinks down; then it burns up. All doubt is over. Yes the time has come in all cottages, in all farms, to light the lamps. Thus then the moment is laced about with these weavings to and fro, these inevitable downsinkings, flights, lamp lightings.

      But that is the wider circumference of the moment. Here in the centre is a knot of consciousness; a nucleus divided up into four heads, eight legs, eight arms, and four separate bodies. They are not subject to the law of the sun and the owl and the lamp. They assist it. For sometimes a hand rests on the table; sometimes a leg is thrown over a leg. Now the moment becomes shot with the extraordinary arrow which people let fly from their mouths—when they speak.

      “He’ll do well with his hay.”

      The words let fall this seed, but also, coming from that obscure face, and the mouth, and the hand so characteristically holding the cigarette, now hit the mind with a wad, then explode like a scent suffusing the whole dome of the mind with its incense, flavour; let fall, from their ambiguous envelope, the self-confidence of youth, but also its urgent desire, for praise, and assurance; if they were to say: “But you’re no worse looking than many—you’re no different—people don’t mark you out to laugh at you”: that he should be at once so cock-ahoop and so ungainly makes the moment rock with laughter, and with the malice that comes from overlooking other people’s motives; and seeing what they keep hid; and so that one takes sides; he will succeed; or no he won’t; and then again, this success, will it mean my defeat; or won’t it? All this shoots through the moment, makes it quiver with malice and amusement; and the sense of watching and comparing; and the quiver meets the shore, when the owl flies out, and puts a stop to this judging, this overseeing, and with our wings spread, we too fly, take wing, with the owl, over the earth and survey the quietude of what sleeps, folded, slumbering, arm stretching in the vast dark and sucking its thumb too; the amorous and the innocent; and a sigh goes up. Could we not fly too, with broad wings and with softness; and be all one wing; all embracing, all gathering, and these boundaries, these pryings over hedge into hidden compartments of different colours be all swept into one colour by the brush of the wing; and so visit in splendour, augustly, peaks; and there lie exposed, bare, on the spine, high up, to the cold light of the moon rising, and when the moon rises, single, solitary, behold her, one, eminent over us?

      Ah, yes, if we could fly, fly, fly…Here the body is gripped; and shaken; and the throat stiffens; and the nostrils tingle; and like a rat shaken by a terrier one sneezes; and the whole universe is shaken; mountains, snows, meadows; moon; higgledly, piggledy, upside down, little splinters flying; and the head is jerked up, down. “Hay fever—what a noise!—there’s no cure. Except spending

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