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Jacob's Room
Jacob's Room
Jacob's Room
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Jacob's Room

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A Nonconformist Novel with No Central Character

“Either we are men, or we are women. Either we are cold, or we are sentimental. Either we are young, or growing old. In any case life is but a procession of shadows, and God knows why it is that we embrace them so eagerly, and see them depart with such anguish, being shadows.” - Virginia Woolf, Jacob's Room

Jacob’s Room is not your typical Victorian English novel. The fact that there is no real protagonist stands out the most. Jacob is not actually a character, only a collection of memories, feelings and sensations. His life is like a room seen through the eyes of other people.


This Xist Classics edition has been professionally formatted for e-readers with a linked table of contents. This eBook also contains a bonus book club leadership guide and discussion questions. We hope you’ll share this book with your friends, neighbors and colleagues and can’t wait to hear what you have to say about it.
LanguageEnglish
Release dateAug 7, 2015
ISBN9781681951607
Author

Virgina Woolf

Virginia Woolf (1882-1941) was an English novelist. Born in London, she was raised in a family of eight children by Julia Prinsep Jackson, a model and philanthropist, and Leslie Stephen, a writer and critic. Homeschooled alongside her sisters, including famed painter Vanessa Bell, Woolf was introduced to classic literature at an early age. Following the death of her mother in 1895, Woolf suffered her first mental breakdown. Two years later, she enrolled at King’s College London, where she studied history and classics and encountered leaders of the burgeoning women’s rights movement. Another mental breakdown accompanied her father’s death in 1904, after which she moved with her Cambridge-educated brothers to Bloomsbury, a bohemian district on London’s West End. There, she became a member of the influential Bloomsbury Group, a gathering of leading artists and intellectuals including Lytton Strachey, John Maynard Keynes, Vanessa Bell, E.M. Forster, and Leonard Woolf, whom she would marry in 1912. Together they founded the Hogarth Press, which would publish most of Woolf’s work. Recognized as a central figure of literary modernism, Woolf was a gifted practitioner of experimental fiction, employing the stream of consciousness technique and mastering the use of free indirect discourse, a form of third person narration which allows the reader to enter the minds of her characters. Woolf, who produced such masterpieces as Mrs. Dalloway (1925), To the Lighthouse (1927), Orlando (1928), and A Room of One’s Own (1929), continued to suffer from depression throughout her life. Following the German Blitz on her native London, Woolf, a lifelong pacifist, died by suicide in 1941. Her career cut cruelly short, she left a legacy and a body of work unmatched by any English novelist of her day.

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Rating: 3.5181204347826087 out of 5 stars
3.5/5

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  • Rating: 5 out of 5 stars
    5/5
    I read this one in college, but that was over 20 years ago so I didn't retain much beyond a generally positive feeling. Reading it now in the context of my very serious Virginia Woolf bookclub (reading everything she published in chronological order) really highlights how Woolf expands into herself with this novel. It has some of the Britishness and relationship stuff of Night and Day, the experimentation of Kew Gardens, the travelogue nature of the Voyage Out, and the playfulness with authorial perspective that weaves in and out of Monday or Tuesday. Jacob is an unknowable cipher, even though we stick with him till the end. But, in trying to know him, we end up knowing a lot about everything else. Which is kind of the way life works. Which is why I love Virginia Woolf.
  • Rating: 3 out of 5 stars
    3/5
    I suspect that I chose the wrong Virginia Woolf book for my first read. Jacob’s Room was beautifully written, full of descriptive passages, original in both outlook and style but for most of the book I had not clue as to what was happening. The author after giving us glimpses and hints, leaves it up to her reader to put the pieces together. The words “stream of consciousness” come to mind and I admit I was put off by the disjointedness and lack of plot.Jacob’s Room appears to be the life story of a young man and it unfolds in a series of scenes from his childhood, his time at Cambridge, his love affairs, his travels and on to his apparent death in World War I. The author’s intention in showing fragments of his life and leaving the whole picture elusive and incomplete is perhaps her way of making Jacob a symbol for an entire generation. This was a poetic, layered, confusing and intriguing read. For much of the book I felt the author was immersed in her own nostalgia and sadness, but I was never totally drawn in and didn’t feel any sense of connection to the story. I fully intend to read more of Virginia Woolf’s writing and perhaps I can learn to appreciate an author who makes her readers work to understand the whys and wherefores of her writing.
  • Rating: 4 out of 5 stars
    4/5
    This short novel was my first experience of Virginia Woolf's writings. It is quickly read and not difficult at all to enjoy, like a walk through a park on a sunny day with interesting companions and only the weight of a picnic on your shoulders. Though there is not much plot to this, it doesn't seem to matter; it is a literary novel.What we do not learn about the characters is compensated by what we learn about how the world is variously perceived, or can be perceived. This is a novel of impressions of the world, recorded for their aesthetic qualities and largely indifferent to their moral or practical consequences for the characters. Hence it provides relief from the heavy novel. What it did more than anything was inspire me to get up and just experience the world outside, anything, just to receive impressions of things for their own sake. This was perhaps not solely due to aesthetic stimulation, but also due to the ennui that seems contagious among the characters.I would recommend this work and will read more Woolf in the future.
  • Rating: 4 out of 5 stars
    4/5
    The first of Virginia Woolf's novels that sought a new way of writing fiction tells the story of a young man who is to be killed on the battlefields of WWI. This edition includes a forward by her nephew Quentin Bell.
  • Rating: 5 out of 5 stars
    5/5
    Jacob's Room was an experimental book for Woolf in 1922 but it certainly stands the test of time for good literature, and is generally an easy read. I lost my way once or twice about who was speaking or how much time has passed but not as much as I thought I might and quickly picked up the thread again. The story follows a young man through his life in the early part of the twentieth century leading up to the first World War. I enjoyed it and though the ending seemed abrupt, I believe that was the point about life in general. I can certainly recommend it . I have enjoyed Woolf's non fiction, essays, and A Room of One's Own tremendously but never got around to her fiction, except for Orlando, which is very interesting. I will be reading more of Woolf's fiction very soon.
  • Rating: 2 out of 5 stars
    2/5
    Seemed boring to me; maybe it was just a bad chosen moment to read it. Or maybe... I just don't really like VW's books focusing on men ?!Worth reading again, sometime.
  • Rating: 1 out of 5 stars
    1/5
    Although I understand that the style is experimental, I found it too rough. The constant leaps from one POV to another is bewildering and much of the information we receive consists of useless filler material. The true bulk of the content lies in the loosely strung together metaphors, some of which appear almost as half-finished thoughts.
  • Rating: 4 out of 5 stars
    4/5
    This novel, published in 1922, the same year as Joyce's Ulysses and Eliot's The Waste Land, is acknowledged as a landmark Modernist text. Having previously read Woolf’s To the Lighthouse and Mrs Dalloway during my undergraduate years, and having enjoyed those novels, I came to Jacob’s Room with certain expectations. For one, I expected it to be challenging, and challenging it was. But it is also very short (around a 120 pages) and therefore more manageable than Joyce’s magnum opus. It also illustrates some of the problems I have with Modernist fiction in general, and Woolf specifically.More on that later. First, let me expound on the technique of the book. Whereas Woolf’s first two novels were, according to what I have read, fairly straightforward, in this novel, Woolf takes a much more impressionistic approach to novel-writing. Jacob’s Room has barely any plot. Ostensibly being about the life of Jacob Flanders (supposedly based on Woolf's brother, Thoby), the book presents snatches from many different points of view on Jacob, and, sometimes, from Jacob’s point of view. Despite being presented in chronological order, these impressions are disjointed, and it often takes some effort to make sense of what is going on. This creates a collage effect, very different from most novels that one might encounter.I liked Woolf’s attention to detail and her way of turning a phrase. She creates an intense emotional portrait of Jacob, even though he is not really the protagonist of the novel; no-one is. To get an idea of what Woolf is endeavouring to do, here is a short passage from the novel:It is thus that we live, they say, driven by an unseizable force. They say that the novelists never catch it; that it goes hurtling through their nets and leaves them torn to ribbons. This, they say, is what we live by – this unseizable force.Although Woolf displays some scepticism in this extract – all those ‘they say’s – it is still evident throughout the quasi-novel of Jacob’s Room that it is exactly this ‘unseizable force’ that she is trying to grasp. It is the ineffable quality of life that Woolf tries to represent, precisely by going against the supposed realism of the Realist writers, such as Arnold Bennett.Her characterisation is fluid to the point of flowing down the drain, at least at times. That is one problem I had with her writing. Despite beautifully lyrical and elegiac passages, the book sometimes felt insubstantial – ‘flimsy’, maybe. Perhaps this is because of its lack of plot and other anchoring points, such as relatable characters and substantial events. Woolf sacrifices these on purposes, but it sometimes felt like the book was an experiment that either went too far, or did not go far enough. To the Lighthouse and Mrs Dalloway seemed comparably more successful attempts at marrying traditional novelistic techniques to Modernist experiments in narration. Ulysses, which uses similar techniques, also seems more successful, as it goes the whole hog in rejecting Realism. That said, I read Jacob’s Room without any guide, so I might have missed out on some of Woolf’s intentions with the novel.On the whole, an interesting, if flawed, attempt at presenting a life as it is really experienced, and not as it is usually channelised into easily digested fiction.
  • Rating: 3 out of 5 stars
    3/5
    Virginia Woolf is an author I've always felt I should have read so I was thrilled when this novella showed up in the mail as part of the book club I belong too. The synapses didn't sound exactly thrilling but I was certainly game to reading this. The book started out great for me a we got to know Betty Flanders, and through her, her little boy, the middle son, Jacob. Then suddenly we are transported to Jacob at college and the story became very heavy for me as Jacob, his friend and professors rambled through academia. Oh my, I wanted to use my 50-page rule and DNF this book around this point but I decided to persevere because 1) the purpose of my belonging to this book club is to widen my range of "classic" authors and 2) it wouldn't take me that long to read it. So I gave myself 50 pages a day to read and finished in 4 days. As I started each day it was a hard slog but as I got into it about 25 pages I was enjoying the experience and pleased with my read at the end of my daily "section". There really isn't any plot here, I found Woolf's writing very vivid and expressive but sometimes was not sure what the point was. I enjoyed the parts where the women were the main focus and we learned of Jacob through their eyes, though we never really know Jacob at all. The parts where Jacob is the main focus or that are all men were really boring for me; I felt like Jacob needed a woman's touch to be interesting. I've heard Woolf's style of writing, "stream of consciousness" talked about so often that I was rather disappointed that I didn't really see what the big deal was. The narration does flow in a distracted sort of way with themes and topics popping up here and there as they come to mind but that didn't bother me; the only thing that annoyed me with the writing was that the omniscient, unknown narrator of this story would occasionally refer to themselves in the first person (*I* this, *I* that). Who are they and why do I care what they think? This suddenly feels like the author popping in and reminding me that I'm just reading her story. I'm glad I read this; I didn't dislike it; I wasn't entertained but I did find it interesting. I would, and do want to read Woolf's two famous books "To the Lighthouse" and "Mrs. Dalloway", just to say I have, and now at least I know what to expect and am not so daunted in picking them up.
  • Rating: 3 out of 5 stars
    3/5
    I didn't really care for this. Not surprisingly, the writing is good, there were a few lines I especially liked; but the (very loose) story... just not for me. I didn't mind the odd style of telling it, I don't think, though it's hard to say so clearly when you're not very fond of what's being told. But, the kind of vaguely sad, ambling, not much plot... I just didn't care much for it. And for me I think it's less the plotless/ambling aspect than the fact that I'm just really not keen on the kind of, sad look back on life sort of thing. The "feel" (so to speak) of the novel is just not the kind of thing I enjoy. I'd put it in the same kind of class as Age of Innocence or Brideshead Revisited, Crome Yellow perhaps. It's just not my thing. But it was a short quick read, so eh.I am curious to read other Woolf and see what I think of the more hyped titles.
  • Rating: 2 out of 5 stars
    2/5
    Jacob's Room by Virginia Woolf - I approached it with no trepidation at all, because I read Mrs. Dalloway a number of years ago and really enjoyed it, even with the page-long sentences. With that, and the fact that this is really a novella, I settled in for a quick read. How wrong I was on all counts. I had not thought about the fact that Woolf was a member of the Bloomsbury Group and envelope-pusher in literature until I got about 30 pages into this book and I really had no idea what was going on.My impressions of this impressionistic book: There's Jacob, and he's a kid and he's up on a giant rock by the ocean. I think he's going to fall off. Oh, I guess not. Okay now we're at a dinner party and Jacob's in college. He hates dinner parties. In fact, as we find out from the seemingly endless dinner parties we'll have to attend with him, he's like the Holden Caulfield of the 1920s and really doesn't think much of society. Now he's on a boat with a friend and they're talking endlessly about the Greeks and is this friend in love with him or what? Now we're in Italy and Jacob's on his way to Greece and talking philosophy and he doesn't like French women and oh dear god how many more pages of this are left? Oh good, I'm done.Then I went and read up a bit on the book to see if I missed something grand (it's been known to happen) and the answer is: well, if you like experimental literature and important milestones in postmodernism and books without a real protagonist or any plot to speak of, this book's for you. Otherwise, read Mrs. Dalloway.
  • Rating: 5 out of 5 stars
    5/5
    How have I missed this before? Could it have been something as trivial as not liking the previous copies I've started, which were scruffy hardbacks? I mean, I've read The years and The waves, for goodness sake!Anyway this is superb. Woolf at her finest. Great descriptions of London and nature and scenery. Hinting at characters, capturing the sense of life as I experience it, puzzling me and then revealing more to satisfy and keep me alert. I want to re-read it at once - but of course I won't as there is too much else waiting to be read. But I will come back to this. The personal associations (connections with her brother Thoby), her femininism, her revelations of what life was like at that time are all fascinating.

Book preview

Jacob's Room - Virgina Woolf

again.

CHAPTER TWO

MRS. FLANDERSPoor Betty FlandersDear BettyShe's very attractive stillOdd she don't marry again! There's Captain Barfoot to be sure—calls every Wednesday as regular as clockwork, and never brings his wife.

But that's Ellen Barfoot's fault, the ladies of Scarborough said. She don't put herself out for no one.

A man likes to have a son—that we know.

Some tumours have to be cut; but the sort my mother had you bear with for years and years, and never even have a cup of tea brought up to you in bed.

(Mrs. Barfoot was an invalid.)

Elizabeth Flanders, of whom this and much more than this had been said and would be said, was, of course, a widow in her prime. She was half-way between forty and fifty. Years and sorrow between them; the death of Seabrook, her husband; three boys; poverty; a house on the outskirts of Scarborough; her brother, poor Morty's, downfall and possible demise—for where was he? what was he? Shading her eyes, she looked along the road for Captain Barfoot—yes, there he was, punctual as ever; the attentions of the Captain—all ripened Betty Flanders, enlarged her figure, tinged her face with jollity, and flooded her eyes for no reason that any one could see perhaps three times a day.

True, there's no harm in crying for one's husband, and the tombstone, though plain, was a solid piece of work, and on summer's days when the widow brought her boys to stand there one felt kindly towards her. Hats were raised higher than usual; wives tugged their husbands' arms. Seabrook lay six foot beneath, dead these many years; enclosed in three shells; the crevices sealed with lead, so that, had earth and wood been glass, doubtless his very face lay visible beneath, the face of a young man whiskered, shapely, who had gone out duck-shooting and refused to change his boots.

Merchant of this city, the tombstone said; though why Betty Flanders had chosen so to call him when, as many still remembered, he had only sat behind an office window for three months, and before that had broken horses, ridden to hounds, farmed a few fields, and run a little wild—well, she had to call him something. An example for the boys.

Had he, then, been nothing? An unanswerable question, since even if it weren't the habit of the undertaker to close the eyes, the light so soon goes out of them. At first, part of herself; now one of a company, he had merged in the grass, the sloping hillside, the thousand white stones, some slanting, others upright, the decayed wreaths, the crosses of green tin, the narrow yellow paths, and the lilacs that drooped in April, with a scent like that of an invalid's bedroom, over the churchyard wall. Seabrook was now all that; and when, with her skirt hitched up, feeding the chickens, she heard the bell for service or funeral, that was Seabrook's voice—the voice of the dead.

The rooster had been known to fly on her shoulder and peck her neck, so that now she carried a stick or took one of the children with her when she went to feed the fowls.

Wouldn't you like my knife, mother? said Archer.

Sounding at the same moment as the bell, her son's voice mixed life and death inextricably, exhilaratingly.

What a big knife for a small boy! she said. She took it to please him. Then the rooster flew out of the hen-house, and, shouting to Archer to shut the door into the kitchen garden, Mrs. Flanders set her meal down, clucked for the hens, went bustling about the orchard, and was seen from over the way by Mrs. Cranch, who, beating her mat against the wall, held it for a moment suspended while she observed to Mrs. Page next door that Mrs. Flanders was in the orchard with the chickens.

Mrs. Page, Mrs. Cranch, and Mrs. Garfit could see Mrs. Flanders in the orchard because the orchard was a piece of Dods Hill enclosed; and Dods Hill dominated the village. No words can exaggerate the importance of Dods Hill. It was the earth; the world against the sky; the horizon of how many glances can best be computed by those who have lived all their lives in the same village, only leaving it once to fight in the Crimea, like old George Garfit, leaning over his garden gate smoking his pipe. The progress of the sun was measured by it; the tint of the day laid against it to be judged.

Now she's going up the hill with little John, said Mrs. Cranch to Mrs. Garfit, shaking her mat for the last time, and bustling indoors. Opening the orchard gate, Mrs. Flanders walked to the top of Dods Hill, holding John by the hand. Archer and Jacob ran in front or lagged behind; but they were in the Roman fortress when she came there, and shouting out what ships were to be seen in the bay. For there was a magnificent view —moors behind, sea in front, and the whole of Scarborough from one end to the other laid out flat like a puzzle. Mrs. Flanders, who was growing stout, sat down in the fortress and looked about her.

The entire gamut of the view's changes should have been known to her; its winter aspect, spring, summer and autumn; how storms came up from the sea; how the moors shuddered and brightened as the clouds went over; she should have noted the red spot where the villas were building; and the criss-cross of lines where the allotments were cut; and the diamond flash of little glass houses in the sun. Or, if details like these escaped her, she might have let her fancy play upon the gold tint of the sea at sunset, and thought how it lapped in coins of gold upon the shingle. Little pleasure boats shoved out into it; the black arm of the pier hoarded it up. The whole city was pink and gold; domed; mist-wreathed; resonant; strident. Banjoes strummed; the parade smelt of tar which stuck to the heels; goats suddenly cantered their carriages through crowds. It was observed how well the Corporation had laid out the flower-beds. Sometimes a straw hat was blown away. Tulips burnt in the sun. Numbers of sponge-bag trousers were stretched in rows. Purple bonnets fringed soft, pink, querulous faces on pillows in bath chairs. Triangular hoardings were wheeled along by men in white coats. Captain George Boase had caught a monster shark. One side of the triangular hoarding said so in red, blue, and yellow letters; and each line ended with three differently coloured notes of exclamation.

So that was a reason for going down into the Aquarium, where the sallow blinds, the stale smell of spirits of salt, the bamboo chairs, the tables with ash-trays, the revolving fish, the attendant knitting behind six or seven chocolate boxes (often she was quite alone with the fish for hours at a time) remained in the mind as part of the monster shark, he himself being only a flabby yellow receptacle, like an empty Gladstone bag in a tank. No one had ever been cheered by the Aquarium; but the faces of those emerging quickly lost their dim, chilled expression when they perceived that it was only by standing in a queue that one could be admitted to the pier. Once through the turnstiles, every one walked for a yard or two very briskly; some flagged at this stall; others at that.

But it was the band that drew them all to it finally; even the fishermen on the lower pier taking up their pitch within its range.

The band played in the Moorish kiosk. Number nine went up on the board. It was a waltz tune. The pale girls, the old widow lady, the three Jews lodging in the same boarding-house, the dandy, the major, the horse-dealer, and the gentleman of independent means, all wore the same blurred, drugged expression, and through the chinks in the planks at their feet they could see the green summer waves, peacefully, amiably, swaying round the iron pillars of the pier.

But there was a time when none of this had any existence (thought the young man leaning against the railings). Fix your eyes upon the lady's skirt; the grey one will do—above the pink silk stockings. It changes; drapes her ankles—the nineties; then it amplifies—the seventies; now it's burnished red and stretched above a crinoline—the sixties; a tiny black foot wearing a white cotton stocking peeps out. Still sitting there? Yes—she's still on the pier. The silk now is sprigged with roses, but somehow one no longer sees so clearly. There's no pier beneath us. The heavy chariot may swing along the turnpike road, but there's no pier for it to stop at, and how grey and turbulent the sea is in the seventeenth century! Let's to the museum. Cannon-balls; arrow-heads; Roman glass and a forceps green with verdigris. The Rev. Jaspar Floyd dug them up at his own expense early in the forties in the Roman camp on Dods Hill—see the little ticket with the faded writing on it.

And now, what's the next thing to see in Scarborough?

Mrs. Flanders sat on the raised circle of the Roman camp, patching Jacob's breeches; only looking up as she sucked the end of her cotton, or when some insect dashed at her, boomed in her ear, and was gone.

John kept trotting up and slapping down in her lap grass or dead leaves which he called tea, and she arranged them methodically but absent-mindedly, laying the flowery heads of the grasses together, thinking how Archer had been awake again last night; the church clock was ten or thirteen minutes fast; she wished she could buy Garfit's acre.

That's an orchid leaf, Johnny. Look at the little brown spots. Come, my dear. We must go home. Ar-cher! Ja-cob!

Ar-cher! Ja-cob! Johnny piped after her, pivoting round on his heel, and strewing the grass and leaves in his hands as if he were sowing seed. Archer and Jacob jumped up from behind the mound where they had been crouching with the intention of springing upon their mother unexpectedly, and they all began to walk slowly home.

Who is that? said Mrs. Flanders, shading her eyes.

That old man in the road? said Archer, looking below.

He's not an old man, said Mrs. Flanders. He's—no, he's not—I thought it was the Captain, but it's Mr. Floyd. Come along, boys.

Oh, bother Mr. Floyd! said Jacob, switching off a thistle's head, for he knew already that Mr. Floyd was going to teach them Latin, as indeed he did for three years in his spare time, out of kindness, for there was no other gentleman in the neighbourhood whom Mrs. Flanders could have asked to do such a thing, and the elder boys were getting beyond her, and must be got ready for school, and it was more than most clergymen would have done, coming round after tea, or having them in his own room —as he could fit it in—for the parish was a very large one, and Mr. Floyd, like his father before him, visited cottages miles away on the moors, and, like old Mr. Floyd, was a great scholar, which made it so unlikely—she had never dreamt of such a thing. Ought she to have guessed? But let alone being a scholar he was eight years younger than she was. She knew his mother—old Mrs. Floyd. She had tea there. And it was that very evening when she came back from having tea with old Mrs. Floyd that she found the note in the hall and took it into the kitchen with her when she went to give Rebecca the fish, thinking it must be something about the boys.

Mr. Floyd brought it himself, did he?—I think the cheese must be in the parcel in the hall—oh, in the hall— for she was reading. No, it was not about the boys.

Yes, enough for fish-cakes to-morrow certainly—Perhaps Captain Barfoot— she had come to the word love. She went into the garden and read, leaning against the walnut tree to steady herself. Up and down went her breast. Seabrook came so vividly before her. She shook her head and was looking through her tears at the little shifting leaves against the yellow sky when three geese, half-running, half-flying, scuttled across the lawn with Johnny behind them, brandishing a stick.

Mrs. Flanders flushed with anger.

How many times have I told you? she cried, and seized him and snatched his stick away from him.

But they'd escaped! he cried, struggling to get free.

You're a very naughty boy. If I've told you once, I've told you a thousand times. I won't have you chasing the geese! she said, and crumpling Mr. Floyd's letter in her hand, she held Johnny fast and herded the geese back into the orchard.

How could I think of marriage! she said to herself bitterly, as she fastened the gate with a piece of wire. She had always disliked red hair in men, she thought, thinking of Mr. Floyd's appearance, that night when the boys had gone to bed. And pushing her work-box away, she drew the blotting-paper towards her, and read Mr. Floyd's letter again, and her breast went up and down when she came to the word love, but not so fast this time, for she saw Johnny chasing the geese, and knew that it was impossible for her to marry any one—let alone Mr. Floyd, who was so much younger than she was, but what a nice man—and such a scholar too.

Dear Mr. Floyd, she wrote.—Did I forget about the cheese? she wondered, laying down her pen. No, she had told Rebecca that the cheese was in the hall. I am much surprised… she wrote.

But the letter which Mr. Floyd found on the table when he got up early next morning did not begin I am much surprised, and it was such a motherly, respectful, inconsequent, regretful letter that he kept it for many years; long after his marriage with Miss Wimbush, of Andover; long after he had left the village. For he asked for a parish in Sheffield, which was given him; and, sending for Archer, Jacob, and John to say good-bye, he told them to choose whatever they liked in his study to remember him by. Archer chose a paper-knife, because he did not like to choose anything too good; Jacob chose the works of Byron in one volume; John, who was still too young to make a proper choice, chose Mr. Floyd's kitten, which his brothers thought an absurd choice, but Mr. Floyd upheld him when he said: It has fur like you. Then Mr. Floyd spoke about the King's Navy (to which Archer was going); and about Rugby (to which Jacob was going); and next day he received a silver salver and went—first to Sheffield, where he met Miss Wimbush, who was on a visit to her uncle, then to Hackney—then to Maresfield House, of which he became the principal, and finally, becoming editor of a well-known series of Ecclesiastical Biographies, he retired to Hampstead with his wife and daughter, and is often to be seen feeding the ducks on Leg of Mutton Pond. As for Mrs. Flanders's letter—when he looked for it the other day he could not find it, and did not like to ask his wife whether she had put it away. Meeting Jacob in Piccadilly lately, he recognized him after three seconds. But Jacob had grown such a fine young man that Mr. Floyd did not like to stop him in the street.

Dear me, said Mrs. Flanders, when she read in the Scarborough and Harrogate Courier that the Rev. Andrew Floyd, etc., etc., had been made Principal of Maresfield House, that must be our Mr. Floyd.

A slight gloom fell upon the table. Jacob was helping himself to jam; the postman was talking to Rebecca in the kitchen; there was a bee humming at the yellow flower which nodded at the open window. They were all alive, that is to say, while poor Mr. Floyd was becoming Principal of Maresfield House.

Mrs. Flanders got up and went over to the fender and stroked Topaz on the neck behind the ears.

Poor Topaz, she said (for Mr. Floyd's kitten was now a very old cat, a little mangy behind the ears, and one of these days would have to be killed).

Poor old Topaz, said Mrs. Flanders, as he stretched himself out in the sun, and she smiled, thinking how she had had him gelded, and how she did not like red hair in men. Smiling, she went into the kitchen.

Jacob drew rather a dirty pocket-handkerchief across his face. He went upstairs to his room.

The stag-beetle dies slowly (it was John who collected the beetles). Even on the second day its legs were supple. But the butterflies were dead. A whiff of rotten eggs had vanquished the pale clouded yellows which came pelting across the orchard and up Dods Hill and away on to the moor, now lost behind a furze bush, then off again helter-skelter in a broiling sun. A fritillary basked on a white stone in the Roman camp. From the valley came the sound of church bells. They were all eating roast beef in Scarborough; for it was Sunday when Jacob caught the pale clouded yellows in the clover field, eight miles from home.

Rebecca had caught the death's-head moth in the kitchen.

A strong smell of camphor came from the butterfly boxes.

Mixed with the smell of camphor was

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