Jacob’s Room - Virginia Woolf (smart ebook reader .TXT) 📗

drove along up hill and down hill (for Greece is in a state of effervescence, yet astonishingly clean-cut, a treeless land, where you see the ground between the blades, each hill cut and shaped and outlined as often as not against sparkling deep blue waters, islands white as sand floating on the horizon, occasional groves of palm trees standing in the valleys, which are scattered with black goats, spotted with little olive trees and sometimes have white hollows, rayed and crisscrossed, in their flanks), as they drove up hill and down he scowled in the corner of the carriage, with his paw so tightly closed that the skin was stretched between the knuckles and the little hairs stood upright. Sandra rode opposite, dominant, like a Victory prepared to fling into the air.

“Heartless!” thought Evan (which was untrue).

“Brainless!” he suspected (and that was not true either). “Still⁠ ⁠… !” He envied her.

When bedtime came the difficulty was to write to Bonamy, Jacob found. Yet he had seen Salamis, and Marathon in the distance. Poor old Bonamy! No; there was something queer about it. He could not write to Bonamy.

“I shall go to Athens all the same,” he resolved, looking very set, with this hook dragging in his side.

The Williamses had already been to Athens.

Athens is still quite capable of striking a young man as the oddest combination, the most incongruous assortment. Now it is suburban; now immortal. Now cheap continental jewellery is laid upon plush trays. Now the stately woman stands naked, save for a wave of drapery above the knee. No form can he set on his sensations as he strolls, one blazing afternoon, along the Parisian boulevard and skips out of the way of the royal landau which, looking indescribably ramshackle, rattles along the pitted roadway, saluted by citizens of both sexes cheaply dressed in bowler hats and continental costumes; though a shepherd in kilt, cap, and gaiters very nearly drives his herd of goats between the royal wheels; and all the time the Acropolis surges into the air, raises itself above the town, like a large immobile wave with the yellow columns of the Parthenon firmly planted upon it.

The yellow columns of the Parthenon are to be seen at all hours of the day firmly planted upon the Acropolis; though at sunset, when the ships in the Piraeus fire their guns, a bell rings, a man in uniform (the waistcoat unbuttoned) appears; and the women roll up the black stockings which they are knitting in the shadow of the columns, call to the children, and troop off down the hill back to their houses.

There they are again, the pillars, the pediment, the Temple of Victory and the Erechtheum, set on a tawny rock cleft with shadows, directly you unlatch your shutters in the morning and, leaning out, hear the clatter, the clamour, the whip cracking in the street below. There they are.

The extreme definiteness with which they stand, now a brilliant white, again yellow, and in some lights red, imposes ideas of durability, of the emergence through the earth of some spiritual energy elsewhere dissipated in elegant trifles. But this durability exists quite independently of our admiration. Although the beauty is sufficiently humane to weaken us, to stir the deep deposit of mud⁠—memories, abandonments, regrets, sentimental devotions⁠—the Parthenon is separate from all that; and if you consider how it has stood out all night, for centuries, you begin to connect the blaze (at midday the glare is dazzling and the frieze almost invisible) with the idea that perhaps it is beauty alone that is immortal.

Added to this, compared with the blistered stucco, the new love songs rasped out to the strum of guitar and gramophone, and the mobile yet insignificant faces of the street, the Parthenon is really astonishing in its silent composure; which is so vigorous that, far from being decayed, the Parthenon appears, on the contrary, likely to outlast the entire world.

“And the Greeks, like sensible men, never bothered to finish the backs of their statues,” said Jacob, shading his eyes and observing that the side of the figure which is turned away from view is left in the rough.

He noted the slight irregularity in the line of the steps which “the artistic sense of the Greeks preferred to mathematical accuracy,” he read in his guidebook.

He stood on the exact spot where the great statue of Athena used to stand, and identified the more famous landmarks of the scene beneath.

In short he was accurate and diligent; but profoundly morose. Moreover he was pestered by guides. This was on Monday.

But on Wednesday he wrote a telegram to Bonamy, telling him to come at once. And then he crumpled it in his hand and threw it in the gutter.

“For one thing he wouldn’t come,” he thought. “And then I daresay this sort of thing wears off.” “This sort of thing” being that uneasy, painful feeling, something like selfishness⁠—one wishes almost that the thing would stop⁠—it is getting more and more beyond what is possible⁠—“If it goes on much longer I shan’t be able to cope with it⁠—but if someone else were seeing it at the same time⁠—Bonamy is stuffed in his room in Lincoln’s Inn⁠—oh, I say, damn it all, I say,”⁠—the sight of Hymettus, Pentelicus, Lycabettus on one side, and the sea on the other, as one stands in the Parthenon at sunset, the sky pink feathered, the plain all colours, the marble tawny in one’s eyes, is thus oppressive. Luckily Jacob had little sense of personal association; he seldom thought of Plato or Socrates in the flesh; on the other hand his feeling for architecture was very strong; he preferred statues to pictures; and he was beginning to think a great deal about the problems of civilization, which were solved, of course, so very remarkably by the ancient Greeks, though their solution is no help to us. Then the hook gave a great tug in his side as he lay in bed on Wednesday night; and he turned