So without stopping to choose my way, in the sure and certain knowledge that it will find itself–or if not it will not matter — I begin: the first memory.
This was of red and purple flowers on a black ground–my mother’s dress; and she was sitting either in a train or in an omnibus, and I was on her lap. I therefore saw the flowers she was wearing very close; and can still see purple and red and blue, I think, against the black; they must have been anemones, I suppose. Perhaps we were going to St Ives; more probably, for from the light it must have been evening, we were coming back to London. But it is more convenient artistically to suppose that we were going to St Ives, for that will lead to my other memory, which also seems to be my first memory, and in fact it is the most important of all my memories. If life has a base that it stands upon, if it is a bowl that one fills and fills and fills– then my bowl without a doubt stands upon this memory. It is of lying half asleep, half awake, in bed in the nursery at St Ives. It is of hearing the waves breaking, one, two, one, two, and sending a splash of water over the beach; and then breaking, one, two, one, two, behind a yellow blind. It is of hearing the blind draw its little acorn across the floor as the wind blew the blind out. It is of lying and hearing this splash and seeing this light, and feeling, it is almost impossible that I should be here; of feeling the purest ecstasy I can conceive.
I could spend hours trying to write that as it should be written, in order to give the feeling which is even at this moment very strong in me. But I should fail (unless I had some wonderful luck); I dare say I should only succeed in having the luck if I had begun by describing Virginia herself.
Here I come to one of the memoir writer’s difficulties–one of the reasons why, though I read so many, so many failures. They leave out the person to whom things happened. The reason is that it is so difficult to describe any human being. So they say: “This is what happened”; but they do not say what the person was like to whom it happened. And the events mean very little unless we know first to whom they happened. Who was I then? Adeline Virginia Stephen, the second daughter of Leslie and Julia Prinsep Stephen, born on 25th January 1882, descended from a great many people, some famous, others obscure; born into a large connection, born not of rich parents, but of well-to-do parents, born into a very communicative, literate, letter writing, visiting, articulate, late nineteenth century world; so that I could if I liked to take the trouble, write a great deal here not only about my mother and father but about uncles and aunts, cousins and friends. But I do not know how much of this, or what part of this, made me feel what I felt in the nursery at St Ives. I do not know how far I differ from other people. That is another memoir writer’s difficulty. Yet to describe oneself truly one must have some standard of comparison; was I clever, stupid, good looking, ugly, passionate, cold–? Owing partly to the fact that I was never at school, never competed in any way with children of my own age, I have never been able to compare my gifts and defects with other people’s. But of course there was one external reason for the intensity of this first impression: the impression of the waves and the acorn on the blind; the feeling, as I describe it sometimes to myself, of lying in a grape and seeing through a film of semi-transparent yellow–it was due partly to the many months we spent in London. The change of nursery was a great change. And there was the long train journey; and the excitement. I remember the dark; the lights; the stir of the going up to bed.
But to fix my mind upon the nursery–it had a balcony; there was a partition, but it joined the balcony of my father’s and mother’s bedroom. My mother would come out onto her balcony in a white dressing gown. There were passion flowers growing on the wall; they were great starry blossoms, with purple streaks, and large green buds, part empty, part full.
If I were a painter I should paint these first impressions in pale yellow, silver, and green. There was the pale yellow blind; the green sea; and the silver of the passion flowers. I should make a picture that was globular; semi-transparent. I should make a picture of curved petals; of shells; of things that were semi-transparent; I should make curved shapes, showing the light through, but not giving a clear outline. Everything would be large and dim; and what was seen would at the same time be heard; sounds would come through the petal or leaf–sounds indistinguishable from sights. Sound and sight seem to make equal parts of these first impressions. When I think of the early morning in bed I also hear the caw of rooks falling from a great height. The sound seems to fall through an elastic, gummy air; which holds it up; which prevents it from being sharp and distinct. The quality of the air above Talland House seemed to suspend sound, to let it sink down slowly, as if it were caught in a blue gummy veil. The rooks cawing is part of the waves breaking–one, two, one, two–and the splash as the wave drew back and then it gathered again, and I lay there half awake, half asleep, drawing in such ecstasy as I cannot describe.