TO THE LIGHTHOUSErooms in the nineteenth century, had lisped socharmingly, had stormed so wildly, and all herwit and her bearing and her temper came fromthem, and not from the sluggish English, or thecold Scotch; but more profoundly, more conse-quently,[%]she ruminated the other problem, of richand poor, and the things she saw with her owneyes, weekly, daily, here or in London, when shevisited this widow, or that struggling wife inperson with a bag on her arm, and HB: Blue pencil mark possibly indicating page break in the American edition. a note-bookand pencil with which she wrote down in columnscarefully ruled for the purpose wages and spend-ings, employment and unemployment, in the hopethat thus she would cease to be a private womanwhose charity was half a sop to her own indigna-tion, half a relief to her own curiosity, andbecome what with her untrained mind she greatlyadmired, an investigator, elucidating the socialproblem.

Insoluble questions they were, it seemed to her,looking out,standingthereholding James by the hand. Hehad followed her into the drawing-room, thatyoung man they laughed at; he was standing bythe table, fidgeting with something, awkwardly,feeling himself out of things, as she knew withoutlooking round. They had all gone—the children;Minta Doyle and Paul Rayley; Augustus Car-michael; her husband—they had all gone. [∧]So/SVW: The slash through the S of "She" reduces it to lower case. —peter.shillingsburgl.c.he 20 VW: The slash through the S of “She” reduces it to lower case. —peter.shillingsburg
Resize Images  

Select Pane

Berg Materials

View Pane