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to New Literary History
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Martha C. Nussbaum
" HT - OW, THEN, she had asked herself, did one know one thing or
another thing about people, sealed as they were?"' Sitting
cdose to Mrs. Ramsay, "close as she could get" (78), her arms
around Mrs. Ramsay's knees, loving her intensely, Lily Briscoe wonders
how to get inside her to see the "sacred inscriptions" in her heart,
"which if one could spell them out, would teach one everything, but they
would never be offered openly, never made public" (79). She searches
for a technique by which these internal tablets might be read: "What art
was there, known to love or cunning, by which one pressed through into
those secret chambers?" (79). The art eludes her, and yet she continues
to long for it: "How, then, she had asked herself, did one know one thing
or another thing about people, sealed as they were? Only like a bee,
drawn by some sweetness or sharpness in the air intangible to touch or
taste, one haunted the dome-shaped hive, ranged the wastes of the air
over the countries of the world alone, and then haunted the hives with
their murmurs and their stirrings; the hives, which were people" (79
80).
People are sealed hives full of bees that both attract other bees and
keep them off. In her complex image Lily Briscoe indicates both that
knowledge of the mind of another is a profound human wish-it feels as
if to have that knowledge would be to be finally at home, in one's own
Bloomsbury Group).
course at Brown University for their comments on these ideas, and especially to Cosima
von Bulow, who wrote a senior honors thesis on this topic. I would like to thank Richard
Posner and Cass Sunstein for comments on an earlier version, and Peter Hylton and David
Pears for valuable comments at the Wittgenstein Symposium.
New Litery Histry, 1995, 26: 731-753
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project go.
philosophical in the novel itself, both in what it says about the problem
of other minds and in the way it says it-for I shall argue that the
statement of both problem and "resolution" is made not only by overt
statements inside the text, but also by the form of the text itself, in its
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THE
the
WINDOW
problem
of
733
skepticism
philosophical contribution
contribution, however, th
possible.
one another? I shall then return to the scene in which Lily Briscoe
attempts to know the thoughts and feelings of Mrs. Ramsay, asking how
Lily understands the epistemological project and why, so conceived, the
project is doomed to failure. I shall then turn to Mr. and Mrs. Ramsay,
asking how it comes about that these two people, so deeply dissimilar, so
lacking in first-hand understanding of one another's goals and aims,
II
If one were to stage the overt actions and interactions of To the
Lighthouse as a play, one would have hardly enough action and dialogue
to fill half an hour. Most of the novel is set inside the minds of its various
mind, in and about the branches of the pear tree ... until her thought
which had spun quicker and quicker exploded of its own intensity" (40
41). The crowd of gnats in the net become an explosion of uncountable
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body.
But time, rapidity, and complexity are not the only obstacles to
communication of the inner world. The novel shows us, as well, that
language, the instrument we must use to make ourselves available to one
another, is in some ways a very imperfect instrument of understanding.
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THE
WINDOW
735
thoughts; nevertheless
uniformity" (136).
sp
behalf
of
the
language
of
different
things.
If
we
tr
consciousness by listening to
what meanings these words
frequently
comfortably
go
wrong.
Mr.
self-indulgent
Ramsay
mean
if
means
she
said
by
"poor
li
something
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about themselves.
Suppose that these problems could
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THE
not
WINDOW
the
only
supposing
another.
This
obstacles
that
This,
novel
737
to
people
for
many
contains
no
di
Ia
that
actively
standing.
novel
is
impede
Social
not
form
just
the
is
on
incident
one
his
lower-class
liked"
(136)
friend
without
known.
But there are other more personal motives for this reluctance. Above
all, the novel shows us the strength of shame as a motive for self
concealment. Behind Charles Tansley's anger and his fantasies of
denouncing the Ramsays to the people of his class is a profound feeling
beauty, in the tributes that reached him from Swansea, Cardiff, Exeter,
Southampton, Kidderminster, Oxford, Cambridge-all had to be deprecated
and concealed under the phrase "talking nonsense," because, in effect, he had
not done the thing he might have done. It was a disguise; it was the refuge of a
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738
NEW
LITERARY
HISTORY
man
the
process.
Emotions
don't
sta
so.
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THE
WINDOW
In fact, one
matter about
do
not
plexly
is
render
linked
correctly.
up
frequently
conflicting
739
with
also
the
st
undema
feelings
and
im
Shame
and
power
misrepresentation
is
another.
Mrs.
protects her
real, what is
are
in
not
the
no
Ramsay,
few moments
most herself:
felt
the
being
shrunk,
and
with
darkness,
the
doing,
sense
of
something
exp
solem
invisibl
lost
the
fret,
the
hurry,
exclamation of triumph
rest, this eternity. (91,
Mrs.
Ramsay
same
neatly
protects
shaped
th
over li
95-96)
her
consc
mind.
What
we
usually
part
bound
up
with
th
could
anoth
the
ou
one advanced
consciousness
connection
by Nietzsch
as a relativel
with
communica
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Ramsay.
III
In the light of all these obstacles in the way of knowledge, it is no
accident that the novel is saturated with images of hiddenness and
remoteness: the image of a loved child's mind as a well, whose waters are
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THE
WINDOW
741
hiddenness,
characters,
though
too
at
by
an
the
giving
access
same
strategically
that
time
it
plotted,
language, to constitute in i
(As we notice the novel's w
not to solve so well in life
Woolfs
own
personal
atte
other, to
thoughts
possess, to grab
and feelings. Fo
pressure,
she
imagined
how
made
public.
pressed
waters
What
through
poured
art
into
into
was
those
one
se
jar,
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742
NEW
alone,
LITERARY
and
hives,
then
which
HISTORY
haunted
were
the
people.
hives
wi
(79-80)
inscriptions
that
nobody
else
isn't
deepens
wish
the
to
problem:
know
her
for
as
oth
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THE
WINDOW
743
appears
to
possession
be
to
wisdom
the
in
modest
de
IV
Woolf's image of the window suggests that people are not completely
sealed to one another. There is an opening, one can see through or see
in, even if one cannot enter. Part I of the novel ends with a knowledge
claim: "She had not said it: yet he knew" (186). In not a trivial but a
central matter-a wife's love-Mr. Ramsay is said by his wife to have
gained knowledge. What is the basis for this claim? And to what extent
Ramsay senses a good deal about his academic insecurity and his sense
of incomplete achievement. But she does not try to get at those
insecurities or to show her knowledge of him by dragging them out into
the open. Think what it would be for her to demand that he talk about
his failures; suppose, in the scene we have examined, she had said to
him, "Tell me what's really going on when you say, 'Poor little place'
you aren't worrying about the universe really, are you, you are worrying
about your book." We see that such a claim or demand for "knowledge"
would be a way of belittling him and asserting ascendancy over him. She
shows him respect and love by allowing him his concealment. She
doesn't even try to grasp his failure sharply in her own mind-for it
would be incompatible with her love to see him as a failure. We might
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to speak to her now that James was gone and she was alone at last. But he
resolved, no; he would not interrupt her. She was aloof from him now in her
beauty, in her sadness. He would let her be, and he passed her without a word,
though it hurt him that she should look so distant, and he could not reach her,
Mr. Ramsay knows his wife, we might say, in a way in which he knows no
other character. What does this mean? It means, I think, that he attends
to her more fully as a person separate from himself existing in her own
and as sharing with them certain goals and aims characteristic of human
life as they know it. But analogy of that sort doesn't go very far, especially
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THE
WINDOW
would
mean
imagine
can,
what
and
745
despair.
it
This
would
sometimes
be
they
be him:
Was it not odd, she reflected? Indeed he seemed to her sometimes made
differently from other people, born blind, deaf, and dumb, to the ordinary
things, but to the extraordinary things, with an eye like an eagle's. His
understanding often astonished her. But did he notice the flowers? No. Did he
notice the view? No. Did he even notice his own daughter's beauty, or whether
there was pudding on his plate or roast beef? He would sit at table with them like
a person in a dream ... [T]hen, she thought, stooping down to look, a great
mind like his must be different in every way from ours. (107-8).
Here we see that in one sense Mrs. Ramsay has only the most rudimen
tary knowledge of her husband's mind. She has no idea what he thinks
about, nor has she any inclination for the sort of abstract thinking she
associates with her vague notion of "the great mind." All she can say
about it is what it leaves out; and she herself couldn't think in a way that
leaves out those daily things.
How, then, do they know each other, insofar as they do? We might say,
each loves the other more than anyone else in the world, and it thus
matters tremendously that they should get one another right, as far as
possible. They spend a good part of their solitude thinking about each
other, piecing together what they perceive and think, learning to read
not just statements, but also gestures, facial expressions, silences. Each
learns the idiosyncratic text of the other in the way that one might learn
a foreign language-never having a once-for-all guaranteed translation
manual, but holistically piecing it all together, trying to make the best
sense, over time, of all the words and phrases.
The novel suggests that their love for and need of one another plays
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well met.
We now need to examine the scene with which "The Window" ends, as
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THE
his
WINDOW
expressions
knows
effect
well
of
of
the
747
of
pleasu
persistence
and
[177].)
outspo
him" (
by
any
waiving
extra
the
step
of
gra
skeptical
qu
go
As
They
from
she
peace
had
him
reads
of
nothing
to
her"
sonnet,
mind
(17
she
swept
cl
astonishingly
ignorance
is
in
beautiful"
his
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mind,
748
NEW
LITERARY
HISTORY
together" (183)-another
communication.
remin
ness
and
knowledge:
intimacy,
side,
for
quite
they
dose,
"But
were
she
could
her
mind"
(184).
are
never
removed-but
than
like
between
The
substance,
her
and
image
and
life,
thro
drawing
feel
of
th
someho
she
can
casting
protection.
Now she senses that his look has changed. "He wanted something
wanted the thing she always found it so difficult to give him; wanted her
to tell him that she loved him" (184). She finds it difficult to put her
emotions into words. She recognizes their mental difference here-for
him verbal articulation of emotion is natural and easy, for her it is not.
Instead, she looks for an action through which she can convey the
meaning he wants: "Was there no crumb on his coat? Nothing she could
do for him?" (185). She stands by the window with the stocking in her
hand; he watches her, demanding an expression of love.
Then, knowing that he was watching her, instead of saying anything she turned,
holding her stocking, and looked at him. And as she looked at him she began to
smile, for though she had not said a word, he knew, of course he knew, that she
loved him. And smiling she looked out of the window and said (thinking to
herself, Nothing on earth can equal this happiness)
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THE
WINDOW
749
How
is
knowledge
necessary
nothing
conve
background.
without
moment. In
and looking
the
years
the moment,
at him, only
because
that
is
the
way
Skepticism is an attitude,
least in the context of th
How far, then, have the
them, been answered? As
and actions, the Ramsay
everyday speech as a me
a refined understanding
with which each invests
found
presents
magic
us:
remedy
problems
of
by
his
being
Knowledge,
in
the
sort
short,
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is
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THE
not
WINDOW
difficult,
this
in
751
fact,
direction-if,
to
for
im
exam
these
claims,
and
in
some
marriage,
attain.
and
And
deficiencies,
would
also
has
yield
want
to
excellenc
realized
in
different
partners.'5
the
context
upbringing
But this means that there simply are possibilities for generosity, for the
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of
and
UNIVERSITY OF CHICA
NOTES
1 Virginia Woolf, To the Lighthouse (New York, 1955); hereafter cited in text.
2 Stanley Cavell, The Claim of Reason: Witigenstein, Skepticism, Morality, and Tragedy
(Oxford, 1979), esp. Part IV.
3 Compare Marcel Proust: "Style for the writer, no less than colour for the painter,... is
the revelation ... of the qualitative difference, the uniqueness of the fashion in which the
world appears to each one of us" (Remembrance of Things Past, tr. C. K. Scott Moncrieff,
Terence Kilmartin, and Andreas Mayor [New York, 1982], pp. 931-32). Proust, however,
focuses here on the unconscious expression of individuality by the artist in the creation of
the work as a whole, whereas Woolf draws attention to the power of the artist consciously
to represent individuality in the creation of characters, each with a different texture of
consciousness.
4 Note, however, that novels frequently do this by making meanings more definite and
coherent than they are in real life. To put a meaning into words is already to impose an
interpretation on what may have been an undemarcated buzzing.
5 See also: "But he must have more than that. It was sympathy he wanted, to be assured
of his genius, first of all, and then to be taken within the circle of life, warmed and soothed,
to have his senses restored to him, his barrenness made fertile" (p. 59).
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THE
WINDOW
753
(New
York,
1958),
where
the
but
task
that
nonconscious.
shows
us
Woolf's
85.
Nussbaum,
"Love's
10 See the similar argument in Stanley Cavell, "Knowing and Acknowledging," Must We
Mean What We Say? (NewYork, 1969), 238-66. See also Cavell, The Claim of Reason, Part IV.
On the way in which a desire for knowledge can generate a desire for incorporation, but
then, in turn, the realization that incorporation would precisely not be knowledge, one
might fruitfully compare aspects of Hegel's "Master-Slave" dialectic.
11 What this brings out, among other things, is that the common "analogy" solution to
the problem of other minds is too crude to be really informative: for what makes all the
difference is to say which analogies are helpful and which analogies are not. The novel
suggests that there is no single answer to this question-one just has to learn by
experience.
12 On all this, see Cavell, The Claim of Reason, especially the reading of Othello at the end.
13 Could hate generate knowledge of another? In some respects, it might: for it could
motivate a close intense focusing on the pattern of the other person's sayings and actions
that would make the hater a good reader. On the other hand, if the hatred is mutual and
known to be such, skepticism about the evidence would always be a reasonable response,
and would defeat the epistemological aim. In an asymmetrical hatred-for example, in the
note that its condition is Othello's open-hearted trust in his "friend," and Iago's
consequent trust in the evidence with which Othello presents him.
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Knowle