TO THE LIGHTHOUSEexamination of her canvas. The question beingone of the relations of masses, of lights andshadows, which, to be honest, he had never con-sidered before, he would like to have it explained—what then did she wish to make of it? And heindicated the scene before them. She looked.She could not show him what she[∧]wishedtoVW: Line indicates insertion point. —peter.shillingsburgmadkVW: Line indicates insertion point. —peter.shillingsburge of it, couldnot see it even herself without a brush in her hand.She took up once more her old painting positionwith the dim eyes and the absent-minded manner,subduing all her impressions as a woman tosomething much more general; and[%]becomingonce more under the power of that vision whichshe had seen clearly once and must now grope foramong hedges and houses and mothers andchildren—her picture. It was a question, sheremembered, how to connect this mass on thegal21HB: Pencil indicating galley 21 marker. —peter.shillingsburgright hand with that on the left. She HB: Pencil mark indication galley 21. might do itby bringing the line of the branch across so; orbreak the vacancy in the foreground by an object(James perhaps) so. But HB: Blue pencil mark possibly indicating page break in American edition. the danger was that bydoing that the unity of the whole might bebroken. She stopped; she did not want to borehim; she took the canvas lightly off the easel.

But it had been seen; it had been taken fromher. This man had shared with her somethingprofoundly intimate. And, thanking Mr. Ramsayfor it and Mrs. Ramsay for it and the hour and86
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