"If you ask me how many sons I've got, I say only one, only one. That fellow isn't my son at all. I had a servant girl here working in my house, a Christian serving girl—and he married her behind my back. He asks me to sit down to meat with a girl, a Christian girl, who worked in my house—I can't do it. I'm not proud, but there are some things—If he had come to me and said: "Dad, I want to marry a girl"—a really nice girl—"but she's not one of us: will you give me your permission and blessing?" Well I don't believe in it. Our women are as good, better than Christian women. Aren't they as beautiful, as clever, as good wives? I know my poor mother, God rest her soul, used to say: "My son," she said, "if you come to me and say you want to marry a good girl, a Jewess, I don't care whether she hasn't a chemise to her back, I'll welcome her—but if you marry a Christian, if she's as rich as Solomon, I've done with you—don't you ever dare to come into my house again." Vell, I don't go as far as that, though I understand it. Times change: I might have received his wife, even though she was a Goy. But a servant girl who washed my dishes! I couldn't do it. One must have some dignity."
He stood there upright, stern, noble: a battered scarred old rock, but immovable under his seedy black coat. I couldn't offer him a shilling; I shook his hand, and left him brooding over his son and his graves.
[THE MARK ON THE WALL]
By
VIRGINIA WOOLF
Perhaps it was the middle of January in the present year that I first looked up and saw the mark on the wall. In order to fix a date it is necessary to remember what one saw. So now I think of the fire; the steady film of yellow light upon the page of my book; the three chrysanthemums in the round glass bowl on the mantelpiece. Yes, it must have been the winter time, and we had just finished our tea, for I remember that I was smoking a cigarette when I looked up and saw the mark on the wall for the first time. I looked up through the smoke of my cigarette and my eye lodged for a moment upon the burning coals, and that old fancy of the crimson flag flapping from the castle tower came into my mind, and I thought of the cavalcade of red knights riding up the side of the black rock. Rather to my relief the sight of the mark interrupted the fancy, for it is an old fancy, an automatic fancy, made as a child perhaps. The mark was a small round mark, black upon the white wall, about six or seven inches above the mantelpiece.
How readily our thoughts swarm upon a new object, lifting it a little way, as ants carry a blade of straw so feverishly, and then leave it . . . . . . If that mark was made by a nail, it can't have been for a picture, it must have been for a miniature—the miniature of a lady with white powdered curls, powder-dusted cheeks, and lips like red carnations. A fraud of course, for the people who had this house before us would have chosen pictures in that way—an old picture for an old room. That is the sort of people they were—very interesting people, and I think of them so often, in such queer places, because one will never see them again, never know what happened next. She wore a flannel dog collar round her throat, and he drew posters for an oatmeal company, and they wanted to leave this house because they wanted to change their style of furniture, so he said, and he was in process of saying that in his opinion art should have ideas behind it when we were torn asunder, as one is torn from the old lady about to pour out tea and the young man about to hit the tennis ball in the back garden of the suburban villa as one rushes past in the train.