Ludwig Wittgenstein: The Duty of Genius by Ray Monk (1991)

‘I often feel miserable.’
(Heroic understatement from 30-year-old Ludwig Wittgenstein, who in fact often felt stupid, futile, wretched, ashamed and suicidal)

This is a huge book (580 pages of text, 70 of notes and index etc, making 654 pages in all) and a hugely enjoyable biography of Ludwig Wittgenstein, the man many take to be the greatest philosopher of the twentieth century (‘By 1939 he was recognised as the foremost philosophical genius of his time,’ p.415).

Executive summary

The Austrian Ludwig Wittgenstein (1889 to 1951) is widely considered among the greatest philosophers of the twentieth century for many reasons. The easiest one to grasp is that he produced not one but two entirely distinct systems of thought, the first expressed in the Tractatus Logico-Philosophicus, completed by 1918 but only published in 1922; and the second expressed in a series of notebooks, sketches, remarks and mental exercises on various subjects published posthumously, the closest thing to a finished work being the Philosophical Investigations (1953) – and that both these philosophies were hugely influential, but in different ways.

1. Tractatus Logico-Philosophicus

The Tractatus is notorious because:

  1. It’s relatively short and consists of just 7 numbered propositions, numbers 2 to 6 going on to have sub-propositions (2.1), sub-sub-propositions (2.1.1) and so on. There’s a nifty visual summary online.
  2. Following on from the work of his mentor, Bertrand Russell, Wittgenstein set out to establish a watertight logical basis for mathematical philosophy. With the completion of the work and convinced that he had achieved his goal, Wittgenstein quit philosophy for most of the 1920s and went off to do other things.
  3. In the Tractatus Wittgenstein doesn’t show his working-out, he doesn’t take us through the stages of his reasoning as academic philosophers are supposed to; instead the propositions are assertions which the tone demands you assent to, exemplified in the hieratic opening, proposition 1. ‘The world is everything that is the case’. This creates a quasi-religious effect.
  4. This effect is reinforced by the preface which claims that only those who see the world his way, will understand what he’s on about i.e. the book is for an intellectual elite. And proposition 6.54:

‘My propositions serve as elucidations in the following way: anyone who understands me eventually recognises them as nonsensical, when he has used them — as steps — to climb beyond them. (He must, so to speak, throw away the ladder after he has climbed up it.) He must transcend these propositions, and then he will see the world aright.

  1. His aim was to define completely what may, and may not, be meaningfully stated. If propositions could be analysed using his system, they meant something. Everything else – morality, metaphysics and so on – people will obviously continue to talk about but has no logical meaning in his system. This is the meaning of the famous last sentence, proposition 7. ‘Whereof one cannot speak, thereof one must be silent.’ Of course absolutely nobody has followed this injunction and the world is more full of meaningless chatter than ever before but you understand what he was getting at.

2. Philosophical Investigations

For a decade or so after the Tractatus‘s publication, Wittgenstein thought he had solved philosophy – but then, from the early 1930s until about 1948, Wittgenstein slowly developed a new philosophy which is, unlike his first one, very much not a theory or a system.

In fact he came to think that the very attempt to create a unified system for assessing the meaning of propositions (as he had done in the Tractatus) was, literally, nonsense. He came to hold a completely different view, namely that meaning inheres not in analysable units but in language games, which are played according to specific rules, which arise in specific contexts and specific cultures.

The term ‘language-game‘ is meant to bring into prominence the fact that the speaking of language is part of an activity or of a ‘form of life’. (PI, Part I, section 23)

The world of discourse consists of so many overlapping language games that it would be impossible to produce a total, encyclopedic overview of them all – all Wittgenstein could hope to do was produce ‘remarks’ and exercises, observations on aspects of the types of ‘games’ or subjects which took his fancy, or develop some of the implications of this way of thinking.

(A digression on ‘remarks’: Monk refers to the type of writing which make up the Philosophical Investigations and notebooks as ‘remarks’, and the editors of his posthumous works titled many of them ‘Remarks on…’ yet when you actually read the Investigations, many of these so-called remarks actually take the form of 1) highly pedagogic instructions for mental exercises:

  • Think of the recognition of facial instructions
  • Look at a stone and imagine it having sensations
  • Examine the following description…
  • Look at the sky and…
  • Imagine someone saying…
  • Imagine the following case…

Or 2) rhetorical questions:

  • Why can’t a dog simulate pain?
  • What is the natural expression of an intention?

The more I read, the more it felt like these things are closer to the kind of exercises you might find in a school or student textbook, designed to make the student, stop, think and work through particular problems. I’ll go along with Monk’s general term ‘remarks’, but bear in mind that I actually think of them more as exercises.)

The subjects of these remarks and exercises are potentially limitless in number and so the second half of Monk’s biography shows Wittgenstein first pouring out reams of these remarks/insights/exercises on subjects such as mathematics, logic, language, aesthetics, psychology as his interests changed and evolved, in different times and settings – and then struggling for years to gather these thoughts into some kind of coherent order for the purpose of publication – a struggle made all the more difficult because Wittgenstein was now expressly against the concept of one totalising system.

So no surprise that he failed and that, at his death in 1951, Wittgenstein left behind a large number of notebooks, typescripts, notes taken by his students in lectures and seminars, which have, in the decades since, been edited and published in multiple volumes, creating quite a clutter of incomplete and difficult texts to work through. The main one, the one he got closest to considering ‘finished’, was the Philosophical Investigations, tidied up and published in 1953, but Monk gives a convincing explanation of why even this is far from ideal in both structure and content.

The second aspect of Wittgenstein’s later thought was an even greater emphasis on the notion of ‘seeing it his way’. He thought most philosophical problems arose from incorrect uses of languages but not in a trivial way, like correcting bad grammar or spelling. He thought most philosophical problems were misunderstandings of the way language worked; this is why so many philosophical questions can in fact never be solved because they aren’t really ‘questions’ in the first place. They can never be answered but they can be dissolved by what he called a change of aspect or perspective or view.

What this change was can’t be explained in a few sentences, it required what – at his most grandiose – he described as a change of being in his readers, a complete change of mentality. And that’s why the Investigations and subsequent publications consist of ad hoc ‘remarks’ and meditations and exercises – because they’re more like the fables or parables told by a holy man aiming to bring you to a whole new way of thinking about life, than like an academic philosopher laying out yet another theory.

All of which explains why, following the Second World War, a new generation of philosophy students at Cambridge (where Wittgenstein had a lectureship and then a professorship) came not just to admire but almost to venerate him as the prophet of an entirely new way of thinking – prompting mirth and mockery among rival philosophers and outside commentators of this ‘cult’. But it was these disciples who preserved and edited the long sequence of publications which followed his death, and continue up to the present day.

Key learnings

‘I have continually thought of taking my own life.’ (p.184)

1. Suicide

Wittgenstein was incredibly highly strung. He was so self-critical and self-hating that he was on the verge of committing suicide for much of his adult life. It didn’t help that no fewer than three of his brothers committed suicide (p.221). For a while I noted the references to him considering suicide, on pages 115, 154, 158, 173, 180, 184, 185, 186, 187, 188, before I gave up.

When not pondering suicide, Wittgenstein was morbidly convinced that he would die young, before he could finish his work. The slightest setback plunged him into days if not weeks and months of gloom and despair. His letters are full of descriptions of his wretchedness, misery, depression and sense of futility.

Far from being anyone’s idea of sanity, logic and reason, Wittgenstein was pitifully unhappy, over-emotional and almost unhinged, for a lot of the time.

2. Religion

And he was far, far, far more religious than I had realised. He was converted to Christianity like a thunderbolt from the blue during his service in the Austrian army in the First World War, and never resiled from a profound though (of course) eccentric form of Christian faith.

In fact Wittgenstein emerges here as a religious mystic, a deeply deeply Christian believer, and unless you realise the depth of his attachment to the religious view of life and self – the decisive importance of ‘the spiritual and moral attitudes that underpinned Wittgenstein’s life and work’ (p.265) – you won’t really ‘get’ his philosophy.

Wittgenstein is famous for producing two completely different systems but both the ‘first’ philosophy, expressed in the ‘Tractatus Logico-Philosophicus’ (1922) and the ‘second’ philosophy, expressed in the ‘Philosophical Investigations’, both were based on the idea that his work on the logic of propositions was almost ludicrously beside the point. When he concluded the Tractatus by declaring ‘Whereof we cannot speak, thereof we must be silent’, he wasn’t saying metaphysics was trivial twaddle, he was saying questions of religious faith and ethics are too important to be discussed in the kinds of relatively simplistic propositions he has been defining. And then his later philosophy moved beyond the focus on propositions altogether.

The key to Wittgenstein’s personality

Monk builds his model of Wittgenstein’s personality on a book the great man read when still a teenager, ‘Sex and Character’ by Otto Weininger, published in 1903.

Like lots of German ‘philosophy’, this is a highly subjective, irrationalist rant masquerading as knowledge, in Weininger’s case a fantastically antisemitic and misogynist screed. Weininger claims, for example, that women are incapable of thought, reason, ethics or morality, are barely people at all, that their life is utterly consumed by their sexual function, either as mothers or prostitutes – and much more in the same spirit.

So far, so bonkers. The bit that Monk thinks Wittgenstein took very much to heart, was Weininger’s passages about men. Men, Weininger claims, have a duty to strive to become a genius. A man must do anything it takes to reach excellence, forgoing love or sex, relationships and normal social standards.

Weininger’s book was at first badly reviewed and made little impression until the 23-year-old author shot himself in the house in Vienna where Beethoven had lived, leaving a note saying that, knowing he could never live up to the impossible standards for men set in his creed, it was the only honourable thing to do. He knew he wasn’t a great genius of the kind he portrayed in his book and so regarded his existence as nugatory, de trop, unnecessary, so took the necessary steps to end it.

This made author and book into a succès de scandale – suddenly everyone wanted to read the book which made the young man kill himself. It inspired several imitation suicides and received a glowing review from the full-time misogynist and part-time playwright, August Strindberg.

Back to Wittgenstein, Monk thinks Weininger’s passages about the moral duty of the gifted man to ignore all social values, ignore morality, ignore everything, in order to achieve complete mastery in his chosen field, was central to Wittgenstein’s conception of himself.

Monk shows how, during his later teens and student years and then first job (studying to be an aeronautics engineer in the Manchester), Wittgenstein worried incessantly that he had no special gift and so was, as a result, on the Weininger model, redundant, unnecessary, and fit only to kill himself. And then, when he didn’t kill himself, he underwent a kind of squaring of the original anxiety, seeing himself as not only an intellectual failure but a moral coward to boot, for not doing ‘the decent thing’ and not taking the Weininger way out of this mental cul-de-sac.

Sounds unlikely but on page after page after page Monk quotes from Wittgenstein’s own letters, other people’s letters, diaries and memoirs, proving that he never lost an intense, hyper-neurotic anxiety, a lifelong readiness to fall into the deepest despair at his failure to reach the highest heights of genius achievement.

All this, according to Monk, explains the most important moment in Wittgenstein’s life. This was when he travelled to Cambridge, on 18 October 1911, to meet the philosopher of mathematics, Bertrand Russell, and present to him certain solutions he’d come up with to the problems about the basic logic of mathematics with which Russell had ended his and Alfred Whitehead’s great work on the subject, the Principia Mathematica (1910 to 1913) (p.38).

Russell was impressed by the young man’s solutions and intense earnestness and, over the coming weeks, as they met and discussed the logical foundations of mathematics in more detail, came to realise that Wittgenstein was on an altogether different level from any of his other students of the same age, and likely to do great things.

So it was Russell’s endorsement and faith and belief in him, which at last gave Wittgenstein a sense of purpose and validity. In Monk’s view it literally saved his life. After nine years of teenage and student despair he finally felt he had a métier and a purpose.

Wittgenstein later told David Pinsent that Russell’s encouragement had ended nine years of loneliness and suffering, during which he had continually thought of suicide. (p.41 cf p.50 and many others)

In a sense, once you’ve grasped this, you’ve grasped the man. A fiendishly well-educated but harrowingly self-obsessed intellectual who, if he wasn’t forging ahead with his philosophical theories, was likely to be plunged into absolute despair, overcome with Angst, barely capable of eating or drinking, convinced he was going to die young before he achieved anything, often talking about suicide, his friends worried that if he didn’t show up for a few days he might have topped himself.

‘Deep inside me there’s a perpetual seething, like the bottom of a geyser… Every day I was tormented by a frightful Angst and by depression… It’s terrifying beyond description the kinds of mental torment there can be.. I never knew what it felt to be one step away from madness…’ (p.98)

For someone so passionately logical and unforgiving, socialising was murder and small-talk a torture with the result that he struggled with English Edwardian society and his plain-speaking frequently insulted people. As one of the few Englishmen he got close to, David Pinsent, remarked:

‘He dislikes half measures of all sorts and disapproves of everything not in deadly earnest.’ (p.73)

Pinsent went on several holidays with Wittgenstein and found it impossible to related to his moodiness, his neurotic self-centredness and his self-hatred. Wittgenstein was given to hour-long speeches, pacing up and down the room, detailing what a failure he was, how unforgivably stupid, how disgusted he was with himself. Pinsent, his best friend at the time, often though Wittgenstein was ‘mad’.

Although he went on to devise not one but two major philosophical theories, Wittgenstein was never happy with himself. All his life he looked for ways to turn into another person. Above all, his lifelong struggle to be anständig, to achieve Anständigheit meaning ‘decency’ which, right till the end, he thought he’d failed to achieve.

Self-hatred, despair and madness

‘I am cowardly beyond measure.’ (p.372)

‘Think only of myself, that my life is wretched.’ (p.374)

‘I cannot see how I can ever in my life be freed from this guilt (p.428 and p.534)

‘I no longer feel any hope for the future of my life…It is as though I had before me nothing more than a long stretch of living death.’

‘I cannot see how I can bear this life.’

‘My unhappiness is so complex that it is difficult to describe.’ (p.442)

‘I am sad, very often sad. I feel as if my life is now coming to an end.’ (p.491)

‘I feel that my mental health is hanging on a thin thread.’ (p.492)

‘I often feel that I am on the straight road to insanity.’ (p.523)

‘Often it is as though my soul were dead.’ (p.540)

And so on and on for page after page for his entire life. Although not many of us are this neurotic and this driven, most of us can relate to feelings of failure and depression. On the other hand, hardly any of us understand the language of logic or advanced maths with which these passages of self-pity alternate.

Philosophy

Monk covers all aspects of Wittgenstein’s philosophy with marvellous ease and clarity, going back to explain antecedents to this though in the mathematical logic of Russell or Gottlob Frege, or, later, back to the organic philosophy of Goethe, or explaining the philosophical approach of Oswald Spengler.

Some central points come over. Wittgenstein version 1 thought metaphysics (‘the branch of philosophy that deals with the first principles of things, including abstract concepts such as being, knowing, identity, time, and space’) was impossible as there were no data to work with. He thought epistemology (‘the theory of knowledge, especially with regard to its methods, validity, and scope, and the distinction between justified belief and opinion’) was a form of psychology. Morality was completely out of consideration, being a purely personal matter. For him all that counted as philosophy was logic. Everything else, along with most socialising, friends, family, was ‘muck’, ‘swamp’, filth he had to escape from in order to be free, clear-headed and produce new work.

(Monk associates this puritanical zeal with the feeling widespread among educated young people in turn-of-the-century Vienna, that its once great cultural legacy (Haydn, Mozart, Beethoven, Schubert) had decayed and, in the last decades of the nineteenth century, become a sham of bourgeois conventions and facades. Hence the enthusiasm of Viennese artists, writers and architects to revolt against heaviness, ornamentation, luxury Biedermeyer furniture; their wish to strip away ornament and get to the heart of the thing. Hence Adolf Loos stripping away ornament in architecture, George Trakl stripping it away in his poetry, Freud unmasking bourgeois psychology, Egon Schiele’s drawings stripping the human figure of all comfort and softness. Ludwig was at one with his generation’s impatience to reduce things to their basics.)

(Compare with Wittgenstein’s fanatical attention to detail and insistence on a minimalist, stripped-down appearance and interior, when he got involved with the architect designing a new house for his sister Gretl in Kundmanngasse, p.236.)

In 1911 Wittgenstein drafted some Notes on Logic. Monk breaks the short preface up into bullet points which, he says, underpinned the rest of his thinking.

In philosophy there are no deductions; philosophy is purely descriptive.

The word ‘philosophy’ ought always to designate something over or under, but not beside, the natural sciences.

Philosophy gives no pictures of reality, and can neither confirm nor confute scientific investigations.

Philosophy consists of logic and metaphysics, the former its basis.

Epistemology is the philosophy of psychology.

Distrust of grammar is the first requisite for philosophising.

Philosophy is the doctrine of the logical form of scientific propositions (not primitive propositions only).

A correct explanation of the logical propositions must give them a unique position as against all other propositions.

He said that physics, like the natural sciences, was concerned with deciding what was true or false. He wasn’t interested in that; he was only concerned with ‘distinguishing sense from nonsense’ (p.286).

The First World War

Once Wittgenstein reaches young manhood, Monk gives a detailed chronological account, scraped together from sources such as Wittgenstein’s own diary, the diaries of all who knew and met him, and all surviving letters to, from or about him. Monk’s book amounts to a giant jigsaw assembled from these sources. His account of Ludwig in the First World War is no exception.

The key points are that: 1) Wittgenstein volunteered to join the Austrian Army. Like most soldiers he underwent extended training and boring hanging-round in domestic barracks, before being posted to a warship patrolling rivers far behind the front line. It was a full two years before he was sent to the (Eastern) front, in March 1916. When he managed to get ill at the crucial moment and was told he might be left behind, he responded with characteristic extremity, writing in his diary that if that happened, he would kill himself (p.138).

But the second key point is that 2) Wittgenstein was champing at the bit to be placed in the maximum danger. He thought that confronting death would help him be transformed, to see the light, to become a new man etc etc.

And 3) the third point is the surprising fact that during the war Wittgenstein became a passionate Christian. This was triggered by picking up a copy of Tolstoy’s ‘The Gospel in Brief’ (1892) in a bookshop. It hit him like a train. Like everything else in his life, Wittgenstein principally saw Christianity as a means of escaping from himself and it did, for a few years, have a transformative effect. His wartime diaries are drenched in vehement belief and prayers. So when his dream of facing death finally came true and he was placed in an advanced observation post his diary reads:

Was shot at. Thought of God. Thy will be done. God be with me. (29 April 1916)

And:

Perhaps the nearness of death will bring me the light of life. May God enlighten me. I am a worm but through God I am a man. (4 May 1916)

Monk says that Wittgenstein had the main text of the ‘Tractatus Logico-Philosophicus’ ready by about 1916. What his wartime experiences added to it was the mystical religious topics which appear at the end. Like almost everything else he wrote privately, his notebooks from the entire period have now been published, and contain a number of meditations which combine a kind of probing of the basis of philosophical thinking, with a surprisingly Christian flavour:

What do I know about God and the purpose of life?
I know that this world exists.
That I am placed in it like my eye in its visual field.
That something about it is problematic, which we call its meaning.
This meaning does not lie in it but outside of it.
That life is the world.
That my will penetrates the world.
That my will is good or evil.
Therefore that good and evil are somehow connected with the meaning of the world. The meaning of life, i.e. the meaning of the world, we can call God.
And connect with this the comparison of God to a father. (p.140)

Difficult not to be disappointed and disillusioned by this, as by any serious thinker who gives up the struggle to analyse life as it is and instead reverts to a two thousand year-old tradition; gives themselves up to the embrace of their ideal Daddy, and then wastes time wondering how much Daddy loves them.

Saying and showing, in logic and religion

Monk early on raises the distinction in Wittgenstein’s thought between showing and telling. His idea was that a logical proposition doesn’t describe but embodies or shows the logical connections it makes (pages 156, 164).

In a comparable way, ethics or morality cannot be talked about but can only be shown by living them. There are ethical and aesthetic (and religious) truths but they can’t be uttered; they can only be shown.

The ‘early Wittgenstein’ was concerned with the logical relationship between propositions and the world, and he believed that by providing an account of the logic underlying this relationship, he had solved all philosophical problems.

What the Theory of Types attempts to say can be shown only by a correct symbolism and what one wants to say about ethics can be shown only by contemplating the world sub specie aeternitatis. Thus: ‘There is indeed the inexpressible. It shows itself it is the mystical.’ (p.156)

This explains why, when Wittgenstein finally finished compiling and structuring the Tractatus, he realised the relative unimportance of what he’d done.

…The truth of the thoughts communicated here seems to me unassailable and definitive. I am, therefore, of the opinion that the problems have in essentials been finally solved. And if I am not mistaken in this, then the value of this work secondly consists in the fact that it shows how little has been done when these problems have been solved.

This was because the Tractatus attained its goal of stating the logical bases of mathematics – and yet (deliberately) didn’t address any of the religious and mystical ideas which had come to dominate his life during the war.

The Tractatus Logico-Philosophicus

So many people have tried to summarise and interpret it feels pointless me adding my uninformed granule to the pile. Try this video:

Ways to understand

For me there are two really important learnings about how to handle the Tractatus:

1. The numbers The first is that I was always misled by the numbering of the propositions, from 1 to 7, to think that they progress in a logical order. It was a revelation in Monk’s book, and also various criticism I’ve read around it, to realise that the numbers do not necessarily follow. In other words, that Wittgenstein addressed a number of philosophical problems in the book and that these overspill the (apparently neat) numbering framework. In other words, the numbered headings could be dropped and the text relabelled with headings such as ‘Logical Atomism’ or ‘The Picture Theory of Language’, as in a normal textbook. If it was reconfigured like this, by clearly stated topics, it would be much more approachable, not least because you could take it one topic at a time.

But when Frege – who Wittgenstein consulted – suggested breaking it up into essays like this, with headings to clarify which philosophical problem he was seeking to solve, Wittgenstein refused. He insisted on not only the content but the form he had created. This is to some extent because, as Monk points out, the book has a consciously artistic or literary side. Wittgenstein himself said:

‘The work is strictly philosophical and at the same time literary…’ (p.177)

But mostly because Wittgenstein needed the numbered sections to structure his thoughts.

The numbers are necessary because it would be an incomprehensible jumble without them. (p.180)

But many people from that day to this have considered the numbering to clutter and obscure the thinking, unnecessarily.

2. Disagreements It was really reassuring to learn that even the people most closely connected to the subject, the people best qualified in the world to understand it – namely Wittgenstein’s sometime mentor Russell and his German forebear Frege – understood the Tractatus but disagreed with it. In Monk’s account, Frege wrote to say he had so many objections to the phraseology of the first proposition that he didn’t get past the first page.

For his part, when Russell read a copy – sent to him while Wittgenstein was still in an Italian prisoner of war camp after the war (where he remained until August 1919) – he wrote to say he understood the central distinction between saying and showing but just thought it ‘obscure and unnecessary’. It could be dispensed with, on his (Russell’s) approach to logic, by introducing a higher-level language (a meta-language) to say the things that could not be said using the original symbolic language (p.165). Russell didn’t ‘get it’ because he didn’t feel Wittgenstein’s fundamentally religious motivation. As Monk puts it:

It is no coincidence that Russell’s insistence of the application of meta-languages abolishes the sphere of the mystical, while Wittgenstein’s insistence on the impossibility of saying what can only be shown, preserves it. (p.166)

When Russell finally met Wittgenstein after the war (in The Hague) he was astonished at how mystical he had become.

3. Short cut Wittgenstein wrote a revealing letter to the German magazine editor Ludwig von Ficker, in which he explains the Tractatus in ordinary language, so revealing it’s worth quoting at length:

‘The point of the book is ethical…My work consists of two parts: the one which is here and everything which I have not written. And precisely this second part is the important one. For the Ethical is delimited from within, as it were, by my book; and I’m convinced that, strictly speaking, it can ONLY be delimited in this way. In brief, I think: all of that which many are babbling today, I have defined in my book by remaining silent about it. Therefore the book will, unless I’m quite wrong, have much to say which you want to say yourself. For the time being, I’d recommend that you read the foreword and the conclusion since these address the point most directly,’ (quoted p.178)

Go read the preface and the conclusion for yourself.

After the war

In total Wittgenstein spent five years in the army – four full years of active service and one entire year in captivity in Italy. His efficiency but also his bravery under fire (when he finally made it to the front) meant he was promoted to lieutenant. He wore his uniform for years afterwards. But in the end, the country he fought for ceased to exist. The Austro-Hungarian Empire he’d risked his life for split up into ten or so new nation states, leaving a much shrunken, poorer, smaller state of Austria with a population of just 6 million.

Wittgenstein returned from the war to discover he was one of the richest men in Austria due to his father having invested the family fortune in US bonds which, of course, survived the collapse of the empire. But, in the kind of earnest gesture which was later to fuel the Wittgenstein legend, within a month he had given it all away.

Teaching at Trattenbach and elsewhere

Part of the mystique around Wittgenstein is the legend that, having solved the problems of philosophy (or the very narrow definition of philosophy which he worked on), he packed in academia and went off to teach at remote schools in the Alps. He secured jobs at infant schools in the villages of Trattenbach, then Otterthal, then Puchberg (p.212). Like everything else, Monk gives a full, factual and riveting account, from which several things emerge.

One is that, as usual, this apparently altruistic decision was, in fact, about what was best for Wittgenstein’s moral development. It was one more way to try and assuage the sense of unworthiness and impurity which dogged him all his life. Like Tolstoy, Wittgenstein thought that if he abandoned all the perquisites of his class and went and lived among ‘the people’, then it would be a spiritually cleansing experience. Of course it was nothing of the sort and Wittgenstein soon encountered a) dislike from his teaching colleagues, which was nothing compared to b) the outright animosity of the villagers he lived among.

These peasants needed their children to help around the house and on their farms. When Ludwig started to give the brightest of them extra tuition, keeping them after school for hours to cram them for exams for good secondary schools, the parents complained, sometimes very vehemently and to his face. After a few months he became disillusioned. After a year, Monk quotes a succession of letters in which Ludwig describes the villagers as ‘loathsome worms’ (p.212), hopeless and barely human (p.228). So much for living among ‘the people’, which was always going to be an asinine upper-class fantasy.

But the second learning is that Wittgenstein beat the children, really badly. He became notorious for his corporal punishment, beating, punching and cuffing small children round the head. One time he pulled a girl’s hair so hard a lot of it came out when she later combed it. He hit a girl so hard she bled behind her ears.

And the final straw came when he hit a boy, Josef Haidbauer, so hard that he collapsed, at which Wittgenstein panicked. The father of the girl he’d hit was fetched by some of the children, confronted Wittgenstein in the corridor and called him all the names under the sun. Then he instigated an official hearing into his conduct. Here, in court and under oath, Wittgenstein directly lied about the extent of his beating (p.370). He was cleared and the headmaster wanted him to stay on but he’d had enough. It was April 1926 (p.232).

Apparently the sense of moral failure triggered by this episode haunted Wittgenstein for a decade but it wasn’t hurting the children he remembered; for years afterwards he remembered that he had lied under oath, that’s what galled him. In fact ten years later, when he felt the overwhelming need to confess his sins to (deeply embarrassed) friends and colleagues, this lying was the centrepiece of the Grand Confession he made them listen to (p.370). That is how self-centred he was.

Hardly an Alpine idyll, then, and a passage of his life which went a long way to turning me against Wittgenstein as a person.

Revising the first system

The attempt at teaching was a failure. Lots of his fantasies from the 1920a of doing other types of work to escape himself, to reform himself, to change his life, came to nothing. He worked for a while as a gardener. He worked in a monastery.

A classic example was the fantasy he developed in the mid-1930s of going to Soviet Russia to become a labourer. He actually travelled to Russia in 1935 but discovered – surprise surprise – that the Soviet authorities would welcome him as a philosophy tutor or teacher but not as an unskilled labourer. Unskilled labour was the one thing Soviet Russia had no shortage of.

Monk’s chronological approach describes in fascinating detail how a range of interactions with the philosophical world, with other thinkers, students, reading books, intense discussions with friends, all led him to reconsider the conclusions of the Tractatus almost from the moment it was published (after many frustrating delays) in 1922.

Chief among these were his interactions with the so-called Vienna Circle led by Rudolf Carnap, the leader of what came to be known as logical positivism. These guys were surprised and dismayed when they finally met Wittgenstein in person to discover that he didn’t share their promotion of the scientific approach, that he didn’t take such an astringent view of the unsayable in the Tractatus because he thought metaphysics and mysticism were nonsense but, precisely the opposite, because he thought it was too important to put into writing.

At his worst, in meetings with the Vienna Circle of logical positivists 1927 to 1928, he sometimes turned his back on the entire group and read poetry (the mystical poetry of Rabindranath Tagore) (p.243).

So, despite all his intentions to find meaningful work somewhere else, in the end, in 1929, Wittgenstein was lured back to Cambridge, where Russell and, in particular, John Maynard Keynes persuaded the authorities of Trinity College to fund a research and teaching post for him, a five-year fellowship starting Michaelmas term 1930.

Through the 1930s Wittgenstein was contracted to give lectures but they differed from conventional lectures. It was more a question of a select few being invited to a college room to watch Wittgenstein think. He would pace up and down the room muttering, sit down and stare into space, occasionally be overcome with a thought which he would stand up and deliver with oracular finality.

A philosophical dictator?

I’m afraid I couldn’t help relating some of this behaviour to the totalitarian regimes which arose between the wars, and finding it off-puttingly Germanic. For two reasons or angles. 1) Wittgenstein was a big fan of Oswald Spengler’s famous work ‘The Decline of the West’, published in 1918 and 1922 (pages 299 to 303).

I knew Spengler suggested that human cultures and civilizations are like biological organisms which have a limited, predictable and determined lifespan. I knew he predicted that Western civilization was entering a pre‑death crisis which, he thought, would lead to 200 years of Caesarism (Hitler, Mussolini) before Western civilisation finally collapsed. What I hadn’t realised, until Monk summarised it, was that Spengler’s work had a complicated philosophical aspect to it, that he, for example, distinguished between the Principle of Form and the Principle of Law, that he saw the historian’s role as seeking not to establish facts (since when did German theorists care about facts?) but instead seeking the morphological or ‘physiognomic’ relations between historical events.

He was, in other words, another German irrationalist. What Wittgenstein took from him (according to Monk) was the idea of not seeking any kind of profound Truth or foundation about history, but the technique of comparing the morphology or shape or function of different historical events. Wittgenstein saw in Spengler’s comparative historicism an approach which he sought to replicate in his approach to language philosophy.

The importance of illuminating comparisons not only lies at the heart of Wittgenstein’s central notion of ‘the understanding which consists in seeing connections’, but was also regarded by Wittgenstein as characterising his whole contribution to philosophy… Wittgenstein imparted a way of thinking and understanding, not by saying what was distinctive about it, but by showing how it can be used to clarify one’s ideas. (p.451)

2) Wittgenstein never showed his working out. The Tractatus is famous for being a series of assertions. He never provided any explanatory material, either at the time or later. He ducked any responsibility for clarifying his thought in lectures or essays, with the excuse that you either got his thought or you didn’t, that you had either had these thoughts before – and so had the pleasure of recognising them in his books, or – you hadn’t, and no amount of explaining would convey them to you.

Initially I found this attitude sort of cool and attractive but by half-way through the book I began to find it high-handed and dictatorial. Time and again he refused to write articles or a conventional book with chapters explaining his theory, partly because he claimed he wasn’t dealing in ‘theory’; theories were what other people dabbled in; he, Wittgenstein, dealt in insights and intuitions which rendered theories unnecessary. Here he is explaining his thinking to Friedrich Waismann, a member of the Vienna Circle, in 1931:

As long as there is a possibility of having different opinions and disputing about a question, this indicates that things have not yet been expressed clearly enough. Once a perfectly clear formulation – ultimate clarity – has been reached, there can be no second thoughts or reluctance any more… (p.320)

Ultimate clarity = the end of debate, the end of all discussion. The end. You can see how profoundly totalitarian this is in ambition…

It was when Monk described the way that, during his ‘lectures’ i.e. students-watching-Wittgenstein-think sessions, he would sometimes not only contradict stuff he’d written some years before (by the 1930s he had dismissed most of the Tractatus) but of what he said last week, or even what he’d said five minutes ago, all the time insisting that whatever he said, now, right now, was the New Truth which, again, he refused to explain, just demanded his students accept it – it was when I read passages like these that my opinion began to change, and I began to see him as a kind of dictator.

Like Il Duce or Der Führer, Wittgenstein gave no explanations, brooked no interruption, delivered his diktats in an exalted state of inspiration, claimed to speak The Truth, even when The Truth changed from week to week, sometimes from minute to minute. (Compare and contrast Waismann despairing of ever completing the book he’d been commissioned to write with Wittgenstein because every time they returned to the manuscript, Wittgenstein rewrote something, rethought something else, changed the order, continually, every time, p.340).

Maybe my own comparison is too extreme. A less extreme way of looking at it would be to point out that Ludwig was the youngest son of eight siblings, in a very well-off, upper middle-class household. Surely his rage against himself when anything was less than perfect, and his seigneurial refusal to explain or account for himself, surely these are just symptoms of the spoilt youngest child, the baby of the family, who’s allowed to get away with anything.

Monk’s book gives countless examples of how not only all his friends and everyone who ever tried to work with him but his own family found him extraordinarily difficult to handle, to be with, to talk to. His friends at Cambridge found it hard to put up with ‘his domineering, argumentative style’ (p.257). As his sister Hermine put it:

It is not easy having a saint for a brother (p.198)

If you like, you can regard his asocial behaviour as the prerogative of a Great Genius. But if you’re a parent like me, you can also see it as the fantastically self-centred behaviour of a spoilt child, who grows up to become something very like a bully.

There’s a thread that links his physical abuse of little children placed in his care with his domineering attitude towards the closest of his students (or ‘disciples’ as they and their enemies saw them) at Cambridge. The best of these, the ones who fell under his sway, he did everything he could to persuade to abandon academic philosophy and go and do something more useful and practical instead. Many of them actually did this, with mixed results, disappointing their families and often ending up miserably unhappy. Notable examples are his student Maurice Drury who he persuaded to become a doctor and carved a successful career as a psychiatrist; and Francis Skinner, who Wittgenstein had a gay love affair with and who he persuaded to drop his academic studies and go and work in an engineering works, much to the horror of his ambitious family and Skinner’s profound unhappiness.

Monk quotes from the letters by John Maynard Keynes – who at one stage was very close to Wittgenstein and remained supportive of his career at Cambridge even after their friendship cooled – in which he wonders whether he has the energy to face the great man coming to stay for a week or so, knowing how Wittgenstein’s unrelenting self-centredness will exhaust him.

Or the diary of 14-year-old Anthony Ryle when his father, the physician John Ryle, brought Wittgenstein to stay in the family home for a few days:

We spent the afternoon arguing – he’s an impossible person every time you say anything he says, ‘No no that’s not the point.’ It probably isn’t the point but it’s ours. A tiring person to listen to.’ (quoted p.434)

Wittgenstein’s books

Wittgenstein published only one book (‘Tractatus Logico-Philosophicus’) and one article (‘Some Remarks on Logical Form’, 1929) in his entire career. What we have of his second or later system derives from the publication of fragments, drafts and notes, some of which he worked up and revised but none of which he approved, for the simple reason that he kept changing his views and, after the war, endlessly cutting and pasting and rearranging the remarks and meditations into ever new combinations.

Monk explains the origins of a whole series of texts which were later published, situating them in the changing flux of Ludwig’s beliefs and biography (the cities and hotels where he drafted them in Newcastle, Swansea, Dublin, Norway), explaining how they came about, how much he worked on them, why they were unfinished (p.319):

  • Philosophical Remarks (p.292)
  • Philosophical Grammar (based on ‘the Big Typescript’, p.325)
  • Blue Book – lecture notes 1933 to 1934, introduced into philosophical discourse the notion of language games (p.336)
  • Brown Book – lecture notes 1934 to 1935, 72 numbered language games, never intended for publication (pages 344 to 346)
  • Philosophical Investigations, working notes, published posthumously
  • Remarks on the Foundations of Mathematics (p.438)
  • Lectures and Conversations on Aesthetics, Psychology and Religious Belief (p.403)
  • Culture and Value (pages 531 and 568)
  • Remarks on the Philosophy of Psychology (pages 518 and 535)
  • Last Writings on the Philosophy of Psychology (p.536)
  • On Certainty (pages 558, 563, 569)
  • Remarks on Colour (pages 561 and 566)

Comparing Wittgenstein I and Wittgenstein II

Obviously tens of thousands of scholars have written about the difference between Wittgenstein I and Wittgenstein II. The differences I understood are:

The Tractatus was an attempt at making a definitive statement about ‘the general form of propositions (PI, I, 65). The later model relinquishes all attempts at system and instead covers a wide variety of topics using the concepts of language games, rules, forms of life and so on.

In the later model he abandons the position of the Tractatus that atomic propositions are logically independent of each other. He now says that one can influence another i.e. all propositions are enmeshed in networks of meaning, none stand alone.

This is part of the move towards what Monk calls a more anthropological point of view, taking into account what you and I would call the context of any speech act or proposition.

The ‘later Wittgenstein’…rejected many of the assumptions of the Tractatus, arguing that the meaning of words is best understood as their use within a given language game.

Cleansing language

In lectures and notes Wittgenstein repeated the insistence that we wasn’t interested in arriving at any ‘truth’; he simply wanted to cleanse philosophy of ambiguity, obscurity and wrong thinking; to cleanse it of a certain kind of conceptual puzzlement and linguistic bewitchedness; to clear away the fog (p.306).

Instead of teaching doctrines and developing theories, Wittgenstein came to think, a philosopher should demonstrate a technique, a method of achieving clarity. (Monk, p.297)

Philosophy cannot be transformed into a science because it has nothing to find out. Its puzzles are the consequence of a misuse, a misunderstanding, of grammar, and require not a solution but a dissolution. (Monk, p.298)

‘What we find out in philosophy is trivial; it does not teach us new facts, only science does that.’ (Wittgenstein, p.298)

‘All that philosophy can do is destroy idols.’ (Wittgenstein, p.325)

‘I conceive of philosophy as an activity of cleaning up thought.’ (p.330)

He conceived of philosophy as ‘a task of clarification that has no end’ (p.326).

No foundations

Wittgenstein had been attracted to philosophy in 1911 by Russell’s challenge to provide a self-consistent logical underpinning for mathematics and thought he had attained it in the Tractatus. By the later 1920s the entire project seemed pointless. He came to believe that if somebody creates a meta-mathematics (as suggested by Russell to clear up Wittgenstein’s logical anomalies) or a new set of founding principles, they haven’t explained anything, they have just created a new mathematics to go alongside the existing ones.

There is no need for theory; a new theory is just one more entity to lay alongside whatever it was hoping to explain. There is no depth. There is no bottom. There is no foundation. If you can play a game, you understand enough of the rules as you need and don’t need a theory of rules. Playing is enough. We know that we understand something when we use it. No underlying theory is required.

The later Wittgenstein is famous for its use of the term ‘language games’, which picks up and extends this idea of language and meaning in action:

The connection between a word and its meaning is to be found, not in theory, but in practice, in the use of the word. (Monk, p.308)

The technique [of language games] is a kind of therapy, the purpose of which is to free ourselves from the philosophical confusions that result from considering language in isolation from its place in the ‘stream of life’. (Monk, p.330)

For the rest of his life, in the 1920s, ’30s, ’40s, Russell continued to believe that it was vital to generate a theory which would underpin logic and mathematics to give them a coherent foundation. He thought Wittgenstein’s abandonment of the quest signified that he had stopped being serious. But Wittgenstein had moved to an entirely new plane where there is no such thing as a single, unifying, underlying theory. Wittgenstein’s aim was to undermine the notion that mathematics even needs foundations (p.327). Wittgenstein’s thinking took elements of Goethe and Spengler (as Monk lucidly explains) to explain why we must not look for depths and foundations, but, as it were horizontally, to look for connections and similarities (p.308).

So:

Philosophy is not aiming to create new theories, discover new facts or produce general conclusions.

Philosophy is a practice, a technique which, through strategies like language games, attempts to clear away the fog of misunderstandings which have surrounded the subject.

Philosophy sets out to create no ‘foundations’ to any of the natural sciences; it is solely concerned with finding family resemblances between linguistic forms and structures.

Wittgenstein isn’t about making theories or coming up with theoretical foundations. He wants to release people from their confusions and perplexities by making them see the ‘problem’ in a new way, from a different perspective. There are no solutions. But if you see problems from the right angle, they cease to be problems any more and so the lack of solutions, also, ceases to cause you anxiety and worry. Philosophy is the therapy which cures anxiety about philosophical problems.

Apparently Wittgenstein was fond of quoting the physicist Heinrich Herz who struggled with the problems in mechanical theory bequeathed by Isaac Newton’s notion of ‘force’. But in his book The Principles of Mechanics, Herz explained that if you dumped the notion of force altogether and simply observed the wide variety of events which used to be corraled together to create the definition – if you actually just looked at what was in front of your eyes – then all the ‘problems’ raised by hanging onto Newton’s out-dated notion simply disappeared.

When these painful contradictions are removed, the question as to the nature of force will not have been answered; but our minds, no longer vexed, will cease to ask illegitimate questions. (p.446)

Wittgenstein was delighted by this passage because it exactly epitomised his own approach to the so-called ‘problems’ of philosophy.

The Brown Book

In 1938 Wittgenstein took the Brown Book to his retreat in Norway and reworked it. The first part became the basis for paragraphs 1 to 118 of Philosophical Investigations and was the only part of his later work he appeared happy with i.e. expressed no wish to revise or junk.

Monk sums up, not so much the content but how we should approach the Philosophical Investigations thus:

Philosophical Investigations – more, perhaps, than any other philosophical classic – makes demands, not just on the reader’s intelligence but on his involvement. Other great philosophical works – Schopenhauer’s World and Representation, say – can be read with interest and entertainment by someone who ‘wants to know what Schopenhauer said’. But if Philosophical Investigations is read in this spirit it will very quickly become boring and a chore to read, not because it is intellectually difficult, but because it will be practically impossible to gather what Wittgenstein is ‘saying’. For, in truth, he is not saying anything; he is presenting a technique for the unravelling of confusions. Unless these are your confusions, the book will be of very little interest. (p.366)

The Anschluss, Jewishness and Wittgenstein’s family

The Anschluss was the annexation of the Federal State of Austria into the German Reich on 13 March 1938. At a stroke Austria ceased to exist as a state and all its citizens became German, including Wittgenstein, his family, everyone he knew back in Vienna.

Monk gives a fascinating account of the implications. Legal contacts advised him not to go back to Vienna with an Austrian passport because he wouldn’t be allowed to leave the country without a German passport and the authorities might put obstacles in the way of getting one, maybe indefinitely. As a result, Wittgenstein was advised to apply for British citizenship. After some delay he acquired it on 2 June 1939, helped by the fact that on 11 February he had been elected Professor of Philosophy at Cambridge, and he had taken the post because – he was told – having a job in England would also help him to travel to and from Austria (to see his family).

I was worried that Wittgenstein’s brothers and sisters, because of their Jewish ancestry (which Monk explains very clearly, going back to the various grandparents and great-grandparents, at the start of the book) would be wiped out in the Holocaust. But his brother Paul (the one-armed pianist) escaped early to Switzerland then on to New York, one sister Gretl was already an American citizen by marriage and the remaining two, Hermine and Helene, after lengthy negotiations with the Nazi authorities, handed over a large part of the Wittgenstein family fortunes in order to win legal recognition as Aryans and so, mercifully, survived the war and all its horrors (p.400).

Second World War

During the Second World War Wittgenstein volunteered to work as a porter at Guy’s hospital. It was a repeat of his wish to submerge his ever-restless mind in physical labour, the gardening, the fantasy about going to be a labourer in the Soviet Union. Monk drily describes how his sponsor at the hospital kept it hushed up that the new porter was in fact a Cambridge professor.

But while at Guy’s he became interested in research being done into victims of shock being carried out by members of the Medical Research Council’s Clinical Research Unit, led by a Dr Grant. Discussions over dinner turned into an offer to help them with their work and writing up the resulting paper. Wittgenstein particularly warmed to their idea that the concept of ‘shock’ had been inherited from the First World War, was widely used in the literature and yet was nowhere precisely defined. In fact it had so many varying definitions that the word and concept got in the way of observing what was actually happening in patients. The researchers, Dr Grant and Dr Reeve, therefore dropped the traditional concept of ‘shock’ and instead recorded the different types of patient they were seeing, in real life and in the scientific papers they published.

This was right up Wittgenstein’s street because it was exactly what he was trying to do in philosophy – get rid of shibboleths surrounding ‘the logical foundations of mathematics’ and the numerous other concepts which had dogged philosophy for millennia. He thought philosophers had made a profound mistake when they observed people talking about the ‘good’ life or a ‘good’ person or a ‘good’ meal and decided there must be a thing called Goodness, and then set about trying to find and define this thing, Goodness. In this hopeless quest they encountered all kinds of conceptual difficulties, starting with Plato who concluded that the ‘ideal form’ of these abstract nouns must exist in some other world, in the mind of God or some such. This process is known as hypostatisation:

Hypostatisation is a noun that means treating an abstract idea or concept as a physical thing or reality. It is also known as reification, concretism, or the fallacy of misplaced concreteness. (Internet)

In Wittgenstein’s view succeeding generations of philosophers had treated these adjectives-turned-into-nouns as if they really are things – Goodness, Virtue, Beauty and so on – a fundamental misconception which had led moral and aesthetic philosophers into all kinds of delusions and quagmires, ‘problems’ and misapprehensions.

This is what Wittgenstein wanted to attack, cleanse and demolish – the centuries of gunk which had led to the vast discourse of academic ‘Philosophy’, which was so often based on a wrong way of thinking. Instead he wanted to collect multiple examples of the actual language games people play i.e. how people actually use these terms in everyday language.

The exercises in Philosophical Investigations are designed to re-orientate a reader used to dealing with the textbook philosophical ‘problems’ away from them, to help the reader see them from Wittgenstein’s perspective and to grasp that, seen from this point of view, the problems do not have ‘solutions’, they simply cease to be problems at all. They evaporate.

When Grant’s unit was moved to the Royal Victoria Infirmary Newcastle to study industrial accidents, Wittgenstein asked, and was granted permission, to join them, moving to the city in November 1942. He liked the people and turned out to be an invaluable assistant, not only engaging in useful conversations about their studies but – thanks to his early career in engineering – helping to improve the apparatus they used to measure things like blood pressure and flow in wounded patients.

Eventually, towards the end of 1943, Dr Grant’s unit was shipped to Italy in order to observe more severe battlefield wounds. Grant wrote a testimonial to the head of the MRC recommending Wittgenstein to their replacement, pointing out how punctilious he was in his duties, how stimulating it was discussing results with him, but observing, ‘He is not an easy man to deal with’ (p.456).

In the event Wittgenstein didn’t get on with Grant’s replacement and, in February 1944, left Newcastle and returned to Cambridge. However, he’d developed such an aversion to the university town as a dead, sterile place that, in March 1944, he left for Swansea where a former student of his arranged boarding rooms with a series of families.

Over the next six months Wittgenstein rearranged the mathematical parts of his draft book but, according to Monk, having done so, abandoned mathematical philosophy altogether. For the rest of his life, from 1944 to 1951, he devoted his time to ‘arranging, rearranging and revising his thoughts on the philosophy of psychology’ (p.467).

Philosophical Investigations

‘The philosopher’s treatment of a question is like the treatment of an illness.’
(Philosophical Investigations part 1, section 255)

‘Philosophy is a battle against the bewitchment of our intelligence by language.’
(Philosophical Investigations part 1, section 109)

Monk says (p.469) that during the summer of 1944 Wittgenstein doubled the length of part one of the Philosophical Investigations to form what are ‘now considered to be the central parts of the book’, the sections on:

  1. rule following (paragraphs 189 to 242)
  2. the private language argument (paragraphs 243 to 421)

The Investigations isn’t a set of consecutive reasoned arguments with proofs and conclusions. It’s more like an ‘album’ of meditations (Wittgenstein himself uses the world ‘album’, p.484).

The meaning of words is how they’re used. Don’t ask for the meaning, ask for the use.

The meaning of a word is its use in the language. (PI, I, 43)

One cannot guess how a word functions. One has to look at its use and function. (PI, I, 340)

Rules on how to use words derive from agreements that come from our social life.

Language games only make sense in this social life.

There cannot be a private language. One individual can’t play a one-person language game. Language is always a joint enterprise.

‘Forms of life’, not abstruse theories, are the bottom point of any investigation. At some point you have to stop digging for meaning and accept that meanings are based on what we do and how we behave.

To really understand this, you have to come to see the world – and the world of philosophy – from his point of view.

Again and again Monk reformulates, or quotes Wittgenstein reformulating, the same basic idea: problems of philosophy (and to some extent psychology) are only problems because of our point of view, because of our quest for totalising theories or definitions of concepts which we ourselves have invented by hypostasising nouns like good, beauty, meaning, and so on.

If we could only change our perspective, our angle of view, to think of these words as they’re actually used in a myriad of language games, embedded in our complex social life, then we would see that they are just part of our human behaviour and require no special explanations.

It could be said of his philosophical method that its aim is to change the aspect under which certain things are seen – for example, to see a mathematical proof not as a sequence of propositions but as a picture, to see a mathematical formula not as a proposition but as a rule, to see first-person reports of psychological states (‘I am in pain’ etc) not as descriptions but as expressions, and so on. The ‘understanding that consists in seeing connections’, one might say, is the understanding that results from a change of aspect. (p.508)

Later, for a while Wittgenstein pondered music, what it means to ‘have a musical ear’, to ‘be’ musical and so on. Monk draws the conclusion that Wittgenstein thought people needed to ‘get’ his point of view, his unusual angle on philosophy, in the same way they ‘get’ a joke or ‘get’ a piece of music. You have to come from the right background, have the right education or from a particular culture, from a particular ‘form of life’, to understand its jokes and music. Same with the perspective he was trying to explain (p.531-2).

This change in perspective – Wittgenstein’s repeated incitements to see the entire field from a completely different point of view – was accompanied in his notebooks, diaries and letters, by the notion of a change of heart. It was wrapped up with his sense, since his religious conversion during the First World War, that not the world but the person needs to change.

So you can see how – along with his charismatic presence, his histrionic performances in lectures where he put his head in his hands or sat staring into space for minutes on end, along with the sense that they were being taught to see the entire history of philosophy from a new and unique point of view, this sense that they weren’t just studying an academic subject but were being inducted into an entirely new way of seeing the world – you can see how this created a special sense of devotion among Wittgenstein’s students, the sense of being part of an elect few, which outsiders described as a cult.

Cultural pessimism

I was really disappointed to read Monk’s description of how Wittgenstein, after the war, gave in to that most suburban and clichéd of beliefs, that the world is going to hell. Like Marx, like Nietzsche, like Spengler, like Benjamin, like Adorno, he thought the Western world of his time was uniquely rotten and corrupt. As a German, he was particularly horrified to read about the final passages of the war when the Allies bombed Hamburg and Dresden and, of course, like everyone, horrified by the advent of the atom bomb.

All of this confirmed his really deep hatred of ‘science’ and what he saw as the slavish worship of science which had brought civilisation to this ruinous pass.

In my opinion, like Benjamin and Adorno’s pessimism, this is utterly, transparently autobiographical. Raised in a household of extraordinary high culture (Gustav Klimt painted a portrait of his sister, Brahms performed at the Wittgenstein family home) Wittgenstein revered high art, music and culture with an intensity the philistine English can’t really understand. So it is depressingly inevitable that he attributed the dire situation of the world in 1945 not to the fact that Germany had twice declared war on the rest of the Europe – that thought is never mentioned or countenanced – but that it was all due to the calamitous collapse in reverence for the things he was brought up to love – high art, music and culture. And just as predictable that this clever man would think the only way to ‘save’ the world was to restore widespread reverence for the precious things of his boyhood – high art, music and culture (pages 516, 533). In effect, ‘if only we could all go back to my childhood’… Same with Benjamin, same with Adorno. Can’t help finding this childish-nostalgia-dressed-as-cultural-critique pathetic.

And then it made me quite angry that Wittgenstein came to hate England – the country that gave him refuge during the 1930s and Second World War, that granted him citizenship, a job, the contacts to make a career and name for himself, the country that stood alone against the Nazis who deriving from his country and his cultural tradition (Hitler was Austrian), the country which bankrupted itself to defeat this embodiment of evil – and that he repeatedly described England as ‘disintegrating and putrefying’ (p.488 and p.516), ‘a country whose politics alternates between an evil purpose and no purpose’ (p.516).

This was at exactly the time that the Attlee government (which Wittgenstein voted for) was struggling to set about a massive housebuilding programme, was establishing the welfare state and the National Health Service, was trying to carry out, despite the country’s ruinous bankruptcy, a social revolution. That Wittgenstein described this country struggling to pick itself up from bankruptcy and war as ‘disintegrating and putrefying’ is pretty insulting and also, just plain stupid.

(Talking of Adorno, there’s a comparison to be drawn between the two books of these super-refined, highly educated and grimly pessimistic Teutons: between the fragmentary meditations of Minima Moralia, written during the war and published as as a series of numbered meditations in 1951, and Philosophical Investigations, also written during the war and also published as a series of numbered sections in 1953. And between the lofty cultural pessimism of both authors.)

Last years

‘Explanations come to an end somewhere. (PI. I, 1)

He was diagnosed with prostate cancer. He was treated with hormones which stopped the growth but didn’t halt it. He went to stay in the old family home in Vienna for a while. He went to stay in Ireland near Maurice Drury who’d become a successful psychiatrist. He ended up back in Cambridge where he died in the home of a Dr Bevan, recommended by Drury, who treated him as an out-patient and then very kindly took him into his own home to be cared for in his last weeks.

I was tickled to learn that Bevan’s wife, initially intimidated by this intense stickler for routine, slowly came to like him, and in his last month, weak though able to get about, the pair went to the local pub every evening at 6pm and ordered two ports, one which she drank and the other which Wittgenstein, with a schoolboy grin, enjoyed pouring into one of the pub’s aspidistra plants. He lost consciousness on 28 April 1951 and passed away in his sleep the next day.

The thrust of Wittgenstein’s remarks is to focus the attention of philosophers away from words, from sentences, and on to the occasions in which we use them, the contexts which give them their sense:

‘Am I not getting closer and closer to saying that in the end logic cannot be described? You must look at the practice of language, then you will set it.’ (p.578,)

Haunting question

‘What is the point of studying philosophy if all that it does for you is to talk with plausibility about some abstruse questions of logic etc, and if it does not improve your thinking about the important questions of everyday life?’ (p.424)

And:

‘What good does all my talent do me if, at heart, I am unhappy? What help is it to me to solve philosophical problems if I cannot settle the chief, the most important thing?’ (p.507)

What indeed?

Comments

1. For most philosophers (Plato, Hume) it’s recommended that you go back to the primary texts and study them closely. Obviously you can also do this with Wittgenstein, spend a couple of weeks working through the Tractatus with study aids to hand, then the Philosophical Investigations ditto. But there’s a good case for saying that, instead, you should read this biography for at least two reasons:

One is that Wittgenstein himself went out of his way to emphasise that all the really important subjects are not covered in his philosophy – metaphysics, morality, ontology, epistemology, all the classic subjects are excluded in favour of his relentless focus on language. And yet, as Monk’s biography makes abundantly clear, you can only really understand the change in perspective, and in life, which he hoped his works would effect in his readers, if you understand the depth and sincerity of his religious convictions. Even the form of his works, short, pithy aphorisms, are more like the cryptic teachings of a religious guru than the step-by-step reasoning of a traditional philosopher and there, more than for those kinds of thinkers, Wittgenstein’s works benefit from a sensitive explanation of their wider context in the man’s personality and beliefs. And this Monk supplies brilliantly and convincingly.

2. While reading the second half of Monk I flicked through my copy of the Philosophical Investigations, which are really a string of remarks or meditations (693 in total), dipping in and out, reading sequences which interested me, as Monk more or less recommends.

And the one major thought which almost all of them prompted is that he was inventing his own thoughts in the disciplines of pedagogy and linguistics. All the sections I read deal with how children learn language, how they use language, how adult use of language based on how we learned it as children, the language games we inherit, the culture (root of life’) we operate in and so on.

But all this was written in the 1940s, 80 years ago. If you want to really understand how children actually learn language (probably in lots of different ways) and how adults use language, shouldn’t you start with the most up-to-date scientific knowledge, based on hundreds of thousands of studies and research, rather than the enigmatic diary jottings of an eccentric Viennese?

The shocking quality of the Vintage paperback edition

Although they charge full price, this Vintage paperback is a cheap edition on very cheap paper. It’s tolerable to read (although the paper is so cheap and thin that the pages start to ripple and bend on contact with the moisture in the air) but the photo reproductions are catastrophically bad. All of them are riddled with black and grey squares, like a chessboard, and many of them are so dark as to be indecipherable. This is especially disappointing since the photos of the later Wittgenstein are uniquely charismatic and striking. Not here, they aren’t; they are shockingly poor quality and Vintage should be ashamed to publish this scandalously poor quality book. Do not buy this book new, look for older editions which were printed on decent paper.


Credit

Ludwig Wittgenstein: The Duty of Genius by Ray Monk was published by Jonathan Cape in 1990. Page references are to the 1991 Vintage paperback edition. All quotations are for the purposes of criticism and review.

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One, Two, Buckle My Shoe by Agatha Christie (1940)

‘It’s just like a serial, isn’t it? What’s the next thrilling instalment?’
(Jane Olivera mocks Poirot’s exposition of the case so far, p.102)

‘That dentist chap shooting himself, and then this Chapman woman packed away in her own fur chest with her face smashed in. It’s nasty! It’s damned nasty! I can’t help feeling that there’s something behind it all.’
(The same sense of some hidden meaning or conspiracy expressed in all Christie’s novels, voiced here by Alistair Blunt, p.151)

Within the limits of her chosen genre, I admire Agatha Christie’s experiments and innovations. Lots of her novels try out novel scenarios and variations on the basic idea of a murder mystery. This one belongs to the sub-genre of ‘murder mystery inspired by a nursery rhyme’, a category which she virtually invented – see Other Agatha Christie books and short stories which share this naming convention, such as Hickory Dickory Dock, A Pocket Full of Rye, Five Little Pigs, How Does Your Garden Grow? and ‘And Then There Were None’.

‘One, Two, Buckle My Shoe’ obviously refers to the popular children’s nursery rhyme:

One, two, buckle my shoe.
Three, four, shut the door.
Five, six, picking up sticks.
Seven, eight, lay them straight.
Nine, ten, a good fat hen.
Eleven, twelve, men must delve.
Thirteen, fourteen, maids are courting.
Fifteen, sixteen, maids in the kitchen.
Seventeen, eighteen, maids in waiting.
Nineteen, twenty, my plate’s empty.

(Actually the version I remember from childhood departs from this at several points.)

So the gimmick is that each of the novel’s ten chapters corresponds to one line of the rhyme. This is made most explicit when Poirot himself applies the rhyme, stating about half way through that he has ‘picked up the sticks’ (i.e. various bits of evidence) and now needs to ‘lay them straight’ i.e. arrange them into a coherent order. To give the passage:

He remembered how he had sat before, jotting down various unrelated facts and a series of names. A bird had flown past the window with a twig in its mouth. He, too, had been collecting twigs. Five, six, picking up sticks…

He had the sticks – quite a number of them now. They were all there, neatly pigeonholed in his orderly mind – but he had not as yet attempted to set them in order. That was the next step – lay them straight.

What was holding him up? He knew the answer. He was waiting for something. Something inevitable, fore-ordained, the next link in the chain. When it came – then – then he could go on…

And also, I was slow to realise the significance when very early on a car pulls up, the door opens, a woman’s leg emerges, wearing a shoe with a buckle, which snags on the door and comes off. Buckle my shoe. Indeed, the detail of this loose shoe buckle will turn out to be the thread which Poirot uses to unravel the whole case. Clever.

Plot summary

Poirot is going to the dentist. There are half a dozen people in the waiting room, going in or coming out of treatment, for the two dentists at the practice he visits, Mr Morley and Mr Reilly.

Next day Inspector Japp of Scotland Yard rings Poirot up and informs him that this bland inoffensive dentist, Morley, was found dead of a gunshot wound an hour after he treated Poirot. Was it suicide or murder?

So Japp and Poirot team up to interview all the employees at the practice and then all the patients in the appointments diary.

But barely have they started this process than another body turns up. A dodgy middle-aged foreigner, Mr Amberiotis, is found dead at his hotel, apparently from an overdose of the kind of local anaesthetic a dentist prescribes. For Japp this confirms the suicide theory: Morley accidentally gave Amberiotis a fatal overdose of anaesthetics, realised what he’d done, and killed himself out of shame and mortification. Doesn’t sound very likely, does it? Surely even a fool like Japp wouldn’t believe such an improbable story. And that’s one of the things wrong with this book; it never really persuades or grips.

Then another person on the list, Miss Sainsbury Seale steps out of her hotel (the Glengowrie Court Hotel) the next evening and doesn’t return for dinner or at all.

So everyone who attended the dentist’s that morning seems to be being bumped off or disappearing. Why? A whole new complexion is out on everything when Poirot goes out to Ealing to visit another patient on the list, a Mr Reginald Barnes.

One of the key figures in the waiting room was a ‘big bug’ named Alistair Blunt. Barnes now explains that Blunt is a key figure in the City and in the network of Britain’s financial system. If you were a foreign power seeking to overthrow Britain, or a communist activist seeking to sweep away the existing capitalist system, bumping off Blunt would be a good starting point.

So Barnes’ testimony to Poirot transforms this from being a boring domestic murder which would probably turns out to be about sex or who stands to gain from the dead man’s will – into an International Intrigue with overtones of spying and espionage. It plunges us back into the feverish world of Christie’s preposterous early spy novels like The Big Four, The Seven Dials Mystery and The Secret of Chimneys.

Here’s how Barnes explains it, to show you the cartoon level of the discourse:

‘That’s why certain people have made up their minds that Blunt must go.’
‘Ah,’ said Poirot.
Mr Barnes nodded.
‘Yes,’ he said. ‘I know what I’m talking about. Quite nice people some of ’em. Long-haired, earnest-eyed, and full of ideals of a better world. Others not so nice, rather nasty in fact. Furtive little rats with beards and foreign accents. And another lot again of the Big Bully type. But they’ve all got the same idea: Blunt Must Go!’

So Barnes’s theory is that ‘they’ (‘the organization that’s behind all this’) tried to persuade Morley to bump off Blunt but, when he refused, had to bump off him instead, and all the other people who, for one reason or another, might have seen or overheard something: Amberiotis, Miss Sainsbury Seal. So who actually shot Morley? His partner, Reilly.

So much for Mr Barnes’s theory. Is he right or is he paranoid and delusional? Poirot comes away wondering…

Next day Poirot goes to see Howard Raikes, a young American who was also waiting in the waiting room on the tragic morning (11.30 appointment). He finds him a firebreathing communist. I’m going to quote his big speech because of the way it echoes the sentiments expressed only a few years earlier by the writers of the Auden Generation, Auden himself and Louis MacNeice and especially Cecil Day Lewis who carried on being a communist after the war. When Auden wrote this kind of thing in verse in the early to mid-1930s it sounded thrilling and vivid; when Christie gives this speech to Raikes it sounds desperately immature and pathetic.

‘You’re Blunt’s private dick all right.’ His face darkened as he leaned across the table. ‘But you can’t save him, you know. He’s got to go – he and everything he stands for! There’s got to be a new deal – the old corrupt system of finance has got to go – this cursed net of bankers all over the world like a spider’s web. They’ve got to be swept away. I’ve nothing against Blunt personally – but he’s the type of man I hate. He’s mediocre – he’s smug. He’s the sort you can’t move unless you use dynamite. He’s the sort of man who says, “You can’t disrupt the foundations of civilization.” Can’t you, though? Let him wait and see! He’s an obstruction in the way of Progress and he’s got to be removed. There’s no room in the world today for men like Blunt – men who hark back to the past – men who want to live as their fathers lived or even as their grandfathers lived! You’ve got a lot of them here in England – crusted old diehards – useless, worn-out symbols of a decayed era. And, my God, they’ve got to go! There’s got to be a new world. Do you get me – a new world, see?’

Enquiries reveal that the missing Miss Sainsbury Seale was friends with a couple named Mr and Mrs Chapman and went to see them on the same day that Japp and Poirot interviewed her (at their flat in King Leopold Mansions, Battersea).

Enquiries reveal that Mr Chapman is currently abroad and that Mrs Chapman hasn’t been seen for weeks. In fact it’s over a month before one of the police investigators (Detective Sergeant Beddoes) becomes suspicious of Mrs Chapman’s lengthy absence and gets a pass key from the manager, and discovers a decomposed woman’s body locked in a trunk, presumed to be the missing Miss Sainsbury Seale.

When Poirot arrives, at Japp’s invitation, he sees that the woman’s face has been beaten to a pulp. All very disgusting but instantly made me realise – as always happens when anybody’s face has been smashed up in this kind of novel – that it’s been done to confuse the dead person’s identity and, sure enough, dental examination shows that the body is not Seale but Mrs Chapman.

Why? Maybe it’s just me but it felt like the story progresses at quite a slow pace. There are a lot of suggestive elements in it but somehow they don’t gel, and fail to create a sense of urgency or peril.

When he gets home, Poirot finds Mr Barnes waiting for him. He explains that Mr Albert Chapman, owner of the flat, is a spy! An agent for the British Intelligence Service, codename Q.X.912. The real question is why Barnes is telling Poirot all this? Out of the kindness of his heart, or has he been put up to it by someone?

Next thing Japp rings Poirot and tells him he’s been officially ordered to stand down the police enquiry into the murder. Clearly this has something to do with the Secret Service / espionage aspect of the whole thing. Japp is fuming at being stymied like this but Poirot, of course, being free of any official structure, can carry on investigating at will.

Next thing is Poirot receives a note from Alistair Blunt inviting him to come and stay at his country place at Exsham, in Kent. He’s barely finished reading the note when the phone rings and an unknown female voice tells him to give up his enquiries, steer clear of the case, keep his nose out of this business or else!

The narrative topples over into the ridiculous when there’s an attempt on the Prime Minister’s life. As he stepped out of Number 10 someone took a pot shot at him and missed. Now he just happened to be stepping out with what the press described as ‘a friend’ but Poirot quickly hears was the egregious Mr Alistair Blunt. Was the bullet meant for Blunt?

Not only that but the angry American communist Howard Raikes, one of the people in Morley’s waiting room that morning, just happened to be on the spot. He grabbed a man near to him and shouted to the police that he’d caught the shooter, only for this to be revealed as a mistake or decoy, because the person who fired the shot, a disgruntled Indian, was almost immediately caught with the gun on him. So what on earth was Raikes doing there and why on earth did he deliberately try to mislead the police?

As he prepares to go and stay with Blunt in Kent it becomes crystal clear that neither of Blunt’s womenfolk want him to go. Their relationship is a little complicated. Blunt was married to a woman named Rebecca Arnholt who was 20 years older than him, and a very successful financier in her own right, in fact critics said he only married her for her money. Julia Olivera was the niece of Rebecca Arnholt, being the daughter of Rebecca’s sister; and Jane Olivera is the daughter of Julia Olivera, and so Rebecca Arnholt’s grand niece.

Both of them are very superior creatures and loftily dismissive of Poirot who likens the scornful critical tones of old Mrs Olivera as like a ‘clucking hen’. It took me a moment to realise this is part of the joke or conceit or gimmick of the novel, whereby each chapter is named after – and to some extent cashes out or elaborates – a line from the rhyme, in this case ‘Nine, ten, a good fat hen’.

Poirot is driven down to the financier’s comfortable country house at Exsham in Kent in his chauffeur-driven Rolls (this is another obviously reassuring aspect of so many of Christie’s novels – it is that so many of the characters are reassuringly wealthy and upper class. It’s the same combination of nostalgia and fantasising about living that kind of life, that made the TV series ‘Upstairs Downstairs’ so popular when I was a boy, and more recently made ‘Downton Abbey’ such a hit. Petit bourgeois viewers and readers love fantasising about living the pampered lives of the Edwardian and Georgian upper classes, all country houses and huge staff.)

Anyway, the narrative had until now been all set in London and the urban setting gave the ridiculous spy story a kind of plausibility. Now setting switches to a plush country house, all gardeners and butlers, and changes tone entirely.

Here Poirot is introduced to Helen Montressor who is Blunt’s ‘cousin’. He interviews Blunt at great length, asking who would want to murder him etc. He discovers that one of the gardeners at the house is none other than Morley’s secretary’s fiancé, the touchy Frank Carter. He discovers that Jane Olivera a) hates and despises him (Poirot) for being so despicably bourgeois and b) reveals a surprising sympathy for Howard Raikes and his communist rhetoric.

The novel descends perilously close to farce when there is another assassination attempt on Blunt. Blunt is showing Poirot round his garden when a shot rings out. The bullet misses him but there is an immediate flurry in the laurel bushes and Howard Raikes falls through them, clutching Frank Carter who is holding a pistol. He claims he’s been framed, he was clipping some shrubs when the shot rang out and the gun was thrown at his feet.

When interviewed by the police, Frank claims he was offered the job by the Secret Service.

His instructions were to listen to the other gardeners’ conversations and sound them as to their ‘red’ tendencies, and to pretend to be a bit of a ‘red’ himself. He had been interviewed and instructed in his task by a woman who had told him that she was known as Q.H.56, and that he had been recommended to her as a strong anti-communist. She had interviewed him in a dim light and he did not think he would know her again. She was a red-haired lady with a lot of make-up on.

Poirot groaned. The Phillips Oppenheim touch seemed to be reappearing… (p.

E. Phillips Oppenheim (1866 to 1946) was a prolific writer of best-selling adventure fiction, featuring glamorous characters, international intrigue and fast action. So Christie’s two references to Oppenheim indicate how aware she was that her story, right from the start, verged on cheap populist melodrama.

Meanwhile, Raikes is on the scene both times someone fired a shot at Blunt. He is a communist hothead who thinks Blunt should be eliminated. Blunt’s posh niece Jane sympathises with him. Angry Frank Carter claims he’s some kind of fall guy for the Security Services. Behind all this lurks a series of unsolved murders and the involvement of a mystery British secret agent, Q.X.912. Could it get any more preposterous?

As usual, at this point I’ll stop summarising a) because it gets increasingly complicated before we arrive at the characteristically ludicrous and convoluted climax and b) I don’t want to give the game away.

 ‘I know, M. Poirot, that you have a great reputation. Therefore I accept that you must have some grounds for this extraordinary assumption—for it is an assumption, nothing more. But all I can see is the fantastic improbability of the whole thing.’ (p.225)

You can read the whole novel online.

Cast

  • Mr Henry Morley – dentist, ‘was a small man with a decided jaw and a pugnacious chin’
  • Miss Georgina Morley – Morley’s sister who keeps house for him, ‘a large woman rather like a female grenadier, ‘ tall and grim’
  • Gladys Nevill – Morley’s secretary, ‘a tall, fair, somewhat anæmic girl of about twenty-eight’
  • Frank Carter – Gladys’s fancy man, ‘ fair young man of medium height. His appearance was cheaply smart. He talked readily and fluently. His eyes were set rather close together and they had a way of shifting uneasily from side to side when he was embarrassed’ – turns out to be a blackshirt i.e. Fascist or, as the novel has it, ‘Imperial Shirt’
  • Agnes Fletcher – Morley’s house-parlourmaid
  • Mr Amberiotis – started as a Greek hotel keeper, known spy and possibly blackmailer
  • Alistair Blunt – quiet and modest and one of Britain’s great financiers
  • Rebecca Arnholt – Blunt’s dead wife, 20 years older than him, ‘a notorious Jewess’ in the words of Gladys Nevill
  • Julia Olivera – niece of Blunt’s deceased wife, Rebecca Arnholt, being the daughter of Rebecca’s sister
  • Jane Olivera – daughter of Julia Olivera and so Rebecca Arnholt’s grand-niece – American and offensive ‘She was tall, thin, and her face had an intelligence and aliveness that redeemed its lack of actual beauty. She was dark with a deeply tanned skin’ – madly in love with fellow American, Howard Raikes
  • Hercule Poirot
  • Alfred – boy assistant at the dentists’ surgery, ‘a boy in page-boy’s uniform with a freckled face, red hair, and an earnest manner’
  • Colonel Abercrombie – ‘a military-looking gentleman with a fierce moustache and a yellow complexion. He looked at Poirot with an air of one considering some noxious insect’
  • Miss Sainsbury Seale – posh, returned from India where she had unwisely married a Hindu who already had a wife, gives elocution lessons, keen amateur actress, ‘nearer fifty than forty. Pince-nez. Untidy yellow-grey hair’ – ‘a woman of forty odd with indecisively bleached hair rolled up in untidy curls. Her clothes were shapeless and rather artistic, and her pince-nez were always dropping off. She was a great talker’
  • George – Poirot’s butler
  • Chief Inspector Japp – of Scotland Yard, familiar figure from ten or so previous Poirot novels
  • Mr Reilly – Morley’s partner at the dental practice, young and flippant – ‘a tall, dark young man, with a plume of hair that fell untidily over his forehead. He had an attractive voice and a very shrewd eye’
  • Reginald Barnes – another patient (12 noon) who turns out to be a former Home office official and fantastically well informed about the international conspiracy to bump off Blunt
  • Mrs Harrison – proprietor of the Glengowrie Court Hotel
  • Mr Howard Raikes – American, embittered communist – ‘A lean hungry face, an aggressive jaw, the eyes of a fanatic. It was a face, though, that women might find attractive’ cf Ferguson in ‘Death on the Nile’
  • Mrs Merton – friend of Mrs Chapman, in whose flat at Battersea Miss Sainsbury Seale’s body is found
  • Mrs Adams – friend of Mrs Chapman, her name found on a letter in the murdered woman’s flat, lives in Hampstead, Poirot visits and questions

Method

‘You’re an odd man, M. Poirot.’
‘I am very odd. That is to say, I am methodical, orderly and logical—and I do not like distorting facts to support a theory—that, I find—is unusual!’

Women

Mrs Olivera clacked on. She was, thought Poirot, rather like a hen. A big, fat hen! Mrs Olivera, still clacking, moved majestically after her bust towards the door. (p.142)

Bookishness

Poirot asks the boy Arthur what he was reading:

What were you reading?’
‘Death at Eleven-Forty-Five, sir. It’s an American detective story. It’s a corker, sir, it really is! All about gunmen.’

‘Alfred reads detective stories – Alfred is enamoured of crime. Whatever Alfred lets slip will be put down to Alfred’s morbid criminal imagination.’

‘I’ve been looking forward, M. Poirot, to hearing a few of your adventures. I read a lot of thrillers and detective stories, you know. Do you think any of them are true to life?’
(Alistair Blunt)

As I’ve said, I think that Christie’s novels contain so many references to detective stories and thrillers in order to lower our standards of plausibility, help us suspend our disbelief and generally soften the reader up, ushering us into an imaginative world of preposterous goings-on.

Mr Barnes went on, tapping a book with a lurid jacket that lay on a table close at hand: ‘I read a lot of these spy yarns. Fantastic, some of them. But curiously enough they’re not any more fantastic than the real thing . There are beautiful adventuresses, and dark sinister men with foreign accents, and gangs and international associations and super crooks! I’d blush to see some of the things I know set down in print – nobody would believe them for a minute!’

The references to other detective stories, far from hiding the book’s artificiality, emphasise it, all the better to immerse the reader in the simple caricatures and preposterous plots of MurderMysteryWorld. As Japp remarks, citing the popular spy authors of the day:

As they went down the stairs again to No. 42, Japp ejaculated with feeling: ‘Shades of Phillips Oppenheim, Valentine Williams and William le Queux, I think I’m going mad!’ (p.122)

Sherlock Holmes

‘Talking of jobs, I’ve always been interested to know how you private detectives go about things? I suppose there’s not much of the Sherlock Holmes touch really, mostly divorce nowadays?’

The English

Among many other things, Poirot became vehicle by which Christie could express her amused fondness for her own nation and people. When Mr Morley’s secretary, Miss Gladys Nevill, comes to see him all of a-flutter, he knows how to calm her down.

Profiting by a long experience of the English people, Poirot suggested a cup of tea. Miss Nevill’s reaction was all that could be hoped for.
‘Well, really, M. Poirot, that’s very kind of you. Not that it’s so very long since breakfast, but one can always do with a cup of tea, can’t one?’
Poirot, who could always do without one, assented mendaciously.

Christie’s unfeminism

Glady’s boyfriend is unreliable, keeps losing jobs etc. But Gladys is naively confident that her love will redeem and change him, as so many women before her have made the same mistake.

‘But it will be different now. I think one can do so much by influence, don’t you, M. Poirot? If a man feels a woman expects a lot of him, he tries to live up to her ideal of him.’

Poirot sighed. But he did not argue. He had heard many hundreds of women produce that same argument, with the same blithe belief in the redeeming power of a woman’s love. Once in a thousand times, he supposed, cynically, it might be true.

In fact it is a running thread through all Christie’s books, this opinion that lots of women are attracted to bad men, to wrong ‘uns.

It was not as though he had any particular belief in, or liking for, Frank Carter. Carter, he thought dispassionately, was definitely what the English call a ‘wrong ’un’. He was an unpleasant young bully of the kind that appeals to women, so that they are reluctant to believe the worst, however plain the evidence. (p.171)

English sentimentality

‘It is not I who am sentimental! That is an English failing! It is in England that they weep over young sweethearts and dying mothers and devoted children. Me, I am logical.’ (p.204)

You only have to look at most Victorian art to see how vast a slab of sugary sentimentality used to be a central characteristic of the English.

Bookishness

Japp mocking Poirot’s claims that Morley was murdered triggers the self-mocking of her own genre and style which Christie deploys in every one of her novels.

‘If—only if, mind you—that blasted woman committed suicide, if she’d drowned herself for instance, the body would have come ashore by now. If she was murdered, the same thing.’
‘Not if a weight was attached to her body and it was put into the Thames.’
‘From a cellar in Limehouse, I suppose! You’re talking like a thriller by a lady novelist.’
‘I know—I know. I blush when I say these things!’
‘And she was done to death by an international gang of crooks, I suppose?’ (p.107)

After a minute or two, Japp went on with his summing up of the Sainsbury Seale situation.
‘I suppose her body might have been lowered into a tank of acid by a mad scientist—that’s another solution they’re very fond of in books! But take my word for it, these things are all my eye and Betty Martin. (p.109)

Wittgenstein

Poirot insists that solving a murder mystery requires a certain amount of fact finding, obviously yes yes yes – but then what is really required is thinking long and hard so as to arrange everything that is known into a logical sequence which fits all the facts and matches the psychology of the people involved i.e. is psychologically plausible. Hence his repeated insistence in all the books on the imperative importance of sitting back and thinking.

To be more precise, you have to find the right angle, the right vantage point, from which all the facts fit into a logical and psychologically consistent pattern. And so it is here, again.

A snare cunningly laid—a net with cords—a pit open at his feet—dug carefully so that he should fall into it.

He was in a daze—a glorious daze where isolated facts spun wildly round before settling neatly into their appointed places.

It was like a kaleidoscope—shoe buckles, 10-inch stockings, a damaged face, the low tastes in literature of Alfred the page-boy, the activities of Mr Amberiotis, and the part played by the late Mr Morley, all rose up and whirled and settled themselves down into a coherent pattern.

For the first time, Hercule Poirot was looking at the case the right way up… (p.176)

Now this idea, that a mental problem is only a problem because we are looking at it from the wrong perspective, and that what is required is not finding a solution so much as finding the right angle from which to regard the facts – this reminded me exactly of the later philosophy of the twentieth century’s greatest philosopher, Ludwig Wittgenstein. In my review of the brilliant biography of Wittgenstein by Ray Monk, I summarise his later attitude thus:

Wittgenstein isn’t about making theories or coming up with theoretical foundations. He wants to release people from their confusions and perplexities by making them see the ‘problem’ in a new way, from a different perspective. There are no solutions. But if you see problems from the right angle, they cease to be problems any more and so the lack of solutions, also, ceases to cause you anxiety and worry. Philosophy is the therapy which cures anxiety about philosophical problems.

Apparently Wittgenstein was fond of quoting the physicist the German physicist Heinrich Herz who struggled with the problems in mechanical theory bequeathed by Isaac Newton’s notion of ‘force’. But in his book ‘The Principles of Mechanics’, Herz explained that if you dumped the notion of force altogether and simply observed the wide variety of events which used to be corralled together to create the definition – if you actually just looked at what was in front of your eyes – then all the ‘problems’ raised by hanging onto Newton’s out-dated notion simply disappeared.

“When these painful contradictions are removed, the question as to the nature of force will not have been answered; but our minds, no longer vexed, will cease to ask illegitimate questions.” (Quoted in Ludwig Wittgenstein: The Duty of Genius by Ray Monk, 1991, page 446)

Wittgenstein was delighted by this passage because it exactly epitomised his own approach to the so-called ‘problems’ of philosophy.

Which all closely matches the approach of the great fictional detective.

‘Me, I have dealt with crime for many years now. I have my own way of regarding things.‘

Poirot has a way, an angle, a perspective, which again and again solves complex mysteries which all his peers, whether professional or amateur, find impossible to solve. And he nearly always ends up by saying that, once regarded from the correct angle, most of these ‘insoluble’ puzzles turn out to be astonishingly simple.

So the twentieth century’s greatest detective and its greatest philosopher shared this fundamental approach in common 🙂

1930s slang: ‘lay’

Christie always lards Inspector Japp’s speech with plenty of Cockney slang to emphasise his lower class, not-so-well-educated character. I was struck in this novel by use of the word ‘lay’ which I don’t think I’ve seen used in this way before.

He was in close touch with some of our Central European friends. Espionage racket.’
‘You are sure of that?’
‘Yes. Oh, he wasn’t doing any of the dirty work himself. We wouldn’t have been able to touch him. Organizing and receiving reports – that was his lay.’

And:

‘Did you know that Miss Sainsbury Seale was a close friend of the late Mrs Alistair Blunt?’
‘Who says so? I don’t believe it. Not in the same class.’
‘She said so.’
‘Who’d she say that to?’
‘Mr Alistair Blunt.’
‘Oh! That sort of thing. He must be used to that lay.’ (p.108)

Thoughts

‘One, Two, Buckle My Shoe’ is a reversion to the preposterous atmosphere of international intrigue, secret crime organisations, spies and espionage, which characterised The Secret of Chimneys and The Seven Dials Mystery. Only with measurably less of the charm and humour which made those early novels so hilarious.


Credit

‘One, Two, Buckle My Shoe’ by Agatha Christie was published by the Collins Crime Club in November 1940.

Related links

Related reviews

Three Act Tragedy by Agatha Christie (1935)

‘You’re a thundering good chap, Charles, but you do let your imagination run away with you.’
(The upper class milieu: Sir Bartholomew Strange addressing Sir Charles Cartwright in Chapter 3 of ‘Three Act Tragedy’)

‘You believe in me?’ said Sir Charles. He was moved.
‘Yes, yes, yes. We’re going to get at the truth. You and I together.’
‘And Satterthwaite.’
‘Of course, and Mr. Satterthwaite,’ said Egg without interest.
(Young Lady Egg Gore flirting with old Sir Charles Cartwright, Chapter 12)

‘You must forgive us badgering you like this. But, you see, we feel that there must be something, if only we could get at it.’
(Classic expression of the frustration and bewilderment expressed by the investigators in all Christie’s novels, Chapter 13)

‘My God,’ burst out Sir Charles. ‘It’s a nightmare – the whole thing is utterly incomprehensible.’
(The same sense of complete perplexity expressed in all Christie’s novels as they approach their climax, Chapter 25)

‘Think! With thought, all problems can be solved.’
(The core of Poirot’s method, Chapter 23)

He was the sort of gentle creaking gate that would have lived to be ninety.
(Sweet old Reverend Babbington, Chapter 4)

‘Three Act Tragedy’ is the ninth Hercule Poirot novel (there were 2 non-novel books – a collection of short stories and the novelisation of a play by a different author – so strictly speaking it’s the 11th Poirot book).

Previous ones have contained passing mockery of the English police, solicitors and other professions or, alternatively, have used a strongly themed setting (the obvious ones being the train-bound stories ‘The Mystery of Blue Train’, 1928, and ‘Murder on the Orient Express’, 1934).

This one, as the title suggests, is dominated by theatrical metaphors and comparisons. The central protagonist is a former star of the London theatre, Sir Charles Cartwright who, very amusingly, treats every setting as a Stage on which he frequently plays one of his Famous Parts, from the Hearty Sailor to the Intrepid Detective. All of which gives the entire narrative a kind of theatrical, stagey feel which, seeing as the whole thing is preposterous bunkum, makes it all the more enjoyable. Leading up to Poirot’s clever explanation of the mystery which divides it, as per the title, into three acts, and allows him to conclude with a flourish, right at the end:

‘It is nothing – nothing. A tragedy in three acts – and now the curtain has fallen.’
(Chapter 26)

Talking of Poirot, though, the book is notable for One Big Thing which is that he very much takes a back seat. He is, for random, unexplained reasons, present at the first murder, of the harmless vicar at Sir Charles Cartwright’s dinner party. And he bumps into Mr Satterthwaite in a public park in Monte Carlo just long enough to discuss the case and then, completely gratuitously (obviously because Christie thought it was about time she did so) gives us a potted account of his life story.

But then he disappears from the narrative. All the running i.e. the discussing theories behind the two murders, and going off to interview witnesses and related characters, is carried out by the triumvirate of Cartwright, Satterthwaite and Egg. It is only when they are all back at the Crow’s Nest, in the very Ship Room where Babbington’s death occurred, and are in the middle of a ‘conference’ to pool their latest findings that there’s an unexpected knock on the door and Poirot pokes his head round.

Magically, he knows that they are having just such a ‘conference’ and accurately predicts what they’ve discovered up to now and so are thinking. He admits that when they talked here in this room, weeks earlier, later in the evening of Babbington’s death, he thought Sir Charles’s theory that it was murder was just theatrical hyperbole. But Sir Bartholomew’s death changes everything and he has returned to apologise.

‘And so, Sir Charles, I have come up to you to apologise – to say I, Hercule Poirot, was wrong, and to ask you to admit me to your councils. (Chapter 15)

Cartwright and Satterthwaite are delighted, though all three men notice that Egg is reluctant. She had been hoping, via the investigation, to get closer to her hero, Sir Charles. But after a moment’s hesitation she has to acquiesce, and Poirot is on the team!

But he promises to take a back seat, not to get involved in any of the active sleuthing, and act in a purely advisory or consultative capacity.

So ‘Three Act Tragedy’ is by way of being another of Christie’s experiments with the form or narrative of the detective story – one in which the famous detective appears but is, for long stretches, invisible and uninvolved, while other characters dominate the narrative and conduct most of the footwork.

Plot summary

  • Cornwall
  • Monte Carlo
  • Yorkshire
  • London

Sir Charles Cartwright is a larger-than-life former actor; two year who has retired to the English Riviera where has had a luxury mansion constructed overlooking the sea (pretentiously named the ‘Crow’s Nest’).

House party Here he invites twelves guests to join him for a house party, half of whom have made the trip down from London, half who are locals. Rather randomly, one of the guests is the famous detective Hercule Poirot. When Cartwright’s friend Sir Bartholomew ‘Tollie’ Strange learns about Poirot attending, he jokes that they better watch out because murder seems to follow the little Belgian everywhere.

The vicar dies The party assembles and haven’t even sat down to dinner, are still enjoying cocktails in the ‘Ship Room’, when the local vicar, Mr Stephen Babbington, starts to choke, staggers to a nearby couch, collapses and dies. Who? Where? Why? What?

‘But why?’ cried Mrs. Babbington. ‘Why? What motive could there be for anyone killing Stephen?’ (Chapter 13)

Well Alan Manders for one. He revives the fact that, as a supposed communist, not so long ago he had a flaring argument with the vicar about the awful influence of Christianity, calling on churches all around the world to be swept away. But is that kind of political argument enough to murder someone?

Egg in love An important thread is that ‘Egg’ Gore, daughter of the impoverished aristocrat, Lady Mary Gore, appears to be passionately in love with old Sir Charles while, according to his observant friend, Satterthwaite, Sir Charles feels the same.

Interlude in Monte Carlo Again, with disarming randomness, Cartwright and Satterthwaite go on holiday to Monte Carlo where, by a boggling coincidence, Satterthwaite bumps into Hercule Poirot who confesses that he is bored. It’s here that he gives a potted account of his life story, explains that he is rich enough to retire, but is bored. Much later, when Satterthwaite is interviewing Manders, there’s a little exchange about Poirot.

‘That man!’ The expression burst from Oliver. ‘Is he back in England?’
‘Yes.’
‘Why has he come back?’
Mr. Satterthwaite rose.
‘Why does a dog go hunting?’ he replied. (Chapter 22)

Strange dies Luckily enough the English newspapers tell them that Cartwright’s close friend, Sir Bartholomew Strange, has also dropped dead at a dinner party he was giving at his home in Yorkshire, Melfort Abbey, with many of the same guests as attended Sir Charles’s ill-fated dinner in Cornwall. Can the two deaths be linked? In which case are they not from natural causes?

Nicotine poisoning When Sir Bartholomew’s death is attributed to nicotine poisoning, the authorities are persuaded to exhume Babbington’s body to see whether he died from the same cause.

The triumvirate Satterthwaite and Cartwright return to England, to Cornwall, where they meet up with Egg Gore and the threesome form a triumvirate a) agree that there’s more to this thing that meets the eye and so b) organise themselves as a team of sleuths, with different members tasked with interviewing various witnesses and connected persons.

Poirot reappears It’s in the middle of this conference, that Poirot makes the unexpected appearance I’ve described above, in Chapter 15 i.e. half way through the novel.

To Yorkshire Thus Satterthwaite and Cartwright travel up to Yorkshire, where they meet the country’s chief constable, the inspector in charge of the investigation, then visit the scene of Strange’s death (i.e. his grand country house), where they extensively interview the staff.

The missing butler In particular they follow up the local police’s main focus which is that Sir Bartholomew had recently retired his butler of long standing and taken on a new man, John Ellis. This Ellis disappeared from the house on the night of Strange’s death and no-one has seen him since.

The blackmail letters Poking around in Ellis’s room, Cartwright is struck by an ink stain on the carpet right in the corner of the room and, using his acting skills to impersonate a person huddled there, speculates that they were writing something when they heard footsteps coming along the hall, and so probably stuffed whatever they were writing under the gas heater. Sure enough they discover in just that location several drafts of what is obviously a blackmail note. Ellis knew something incriminating and planned to blackmail someone about it although, frustratingly, his drafts don’t include an addressee or any details.

The sanatorium They also visit the sanatorium set up at the nearby old Grange by Sir Bartholomew (who was a nerve specialist) for the treatment of patients with nervous breakdowns etc. As we all know, such places, in detective stories or thriller movies, are hotbeds of rumour and conspiracy. They interview the calm efficient matron.

Mrs De Rushbridger But they also learn of the recent arrival of a new patient, a Mrs De Rushbridger suffering from a nervous breakdown and loss of memory. And the inexplicable fact that, when Sir Bartholomew was informed by phone that she had arrived at his sanatorium, he was overcome with delight and congratulated the butler, Ellis, who had brought the news, something considered very odd by the housemaid who witnessed it. Why did Mrs De Rushbridger’s arrival at his sanatorium bring Sir Bartholomew so much pleasure? And a lot later on, when Miss Wills mentions that Sir Bartholomew had told her he was experimenting with hypnotism in restoring lost memories… Is that significant?

Alan Manders At the same time, a glaring oddity about the Yorkshire dinner is that Egg’s sometime beau, the suave young Alan Manders, who had attended the Cornwall dinner, had contrived to crash his motorbike into the wall of Sir Bartholomew’s country estate, had been taken into the house and so invited along to the dinner.

Anyone who’s read Christie’s preceding novel, the comedy thriller ‘Why Didn’t They Ask Evans?’ will remember how a leading character fakes a crash into the wall of a grand estate in order to be invited to rest and recuperate up at the big house. It seems that she’s used the exact same plot device in her very next story. These stories being arch, knowing comedies, she has her characters comment on the plot device’s obviousness, as Sir Bartholomew comments to his friend Angela Sutcliffe:

‘A new method of gate crashing,’ he called it. ‘Only,’ he said, ‘it’s my wall he’s crashed, not my gate.’ (Chapter 20)

Anyway, it puts us the alert that this Mandel went to great and rather absurd lengths to get himself invited to the fatal dinner. Was it in order to poison Sir Bartholomew? But why?

Egg interviews Meanwhile, Egg goes up to London where she interviews in quick succession two key attendees of both dinner parties, Mrs Dacres the fashionable dress-maker, and her wastrel husband Freddie Dacres, plus a model at Mrs D’s boutique who discloses that: 1) the company, despite its gleaming facade, is actually in dire financial straits; 2) Mrs D was chatting to if not having an affair with a handsome rich young man who she hoped to persuade to invest in her company but that 3) this likely fellow had been ordered off on a long sea voyage by none other than the noted Harley Street nerve specialist, Sir Bartholomew Strange. Mrs Dacres can’t possibly have murdered Sir Bartholomew out of revenge for the despatch of her lover / financial saviour… can she?

Freddie Dacres’ slip I’ve forgotten to mention that when Egg talks to Freddie (who takes her to a nightclub where he gets steadily more drunk) he goes into a kind of drunken memory which seems to imply that he himself has been consigned to, or locked up in, Sir Bartholomew’s sanatorium:

‘Sir Bartholomew Strange. Sir Bartholomew Humbug. I’d like to know what goes on in that precious Sanatorium of his. Nerve cases. That’s what they say. You’re in there and you can’t get out. And they say you’ve gone of your own free will. Free will! Just because they get hold of you when you’ve got the horrors.’ (Chapter 19)

Before going on to suddenly remember that his wife (Cynthia Dacres) not to tell anyone about this. Because then someone, or the police, might suspect him of bumping off old Sir Bartholomew…

Stop It’s at this point, with half a dozen possible suspects identified and a number of storylines nicely bubbling away, that I will – as in all my Christie reviews – stop summarising the plot. Because 1) they get steadily so much more complicated that summarising them becomes impossible, and 2) I don’t want to spoil it for anyone who decides to read it (see link to the online text, below).

Cast

In Loomouth

Murder 1: The Reverend Stephen Babbington dies soon after drinking a cocktail during drinks prior to dinner at Sir Charles Cartwright’s seaside house at Loomouth in Cornwall.

  • Mr Satterthwaite – ‘a dried-up little pipkin of a man’ with a ‘little wrinkled face’
  • Sir Charles Cartwright – 52, ‘an extraordinarily good-looking man, beautifully proportioned, with a lean humorous face, and the touch of grey at his temples gave him a kind of added distinction’ – has fallen in love with young ‘Egg’ Gore (below)
  • Sir Bartholomew ‘Tollie’ Strange – ‘a well-known specialist in nervous disorders’
  • Angela Sutcliffe – ‘a well-known actress, no longer younger, but with a strong hold on the public and celebrated for her wit and charm. She was sometimes spoken of as Ellen Terry’s successor’ – ‘How dull men are when they decide to settle down! They lose all their charm’
  • Captain Freddie Dacres – dissolute, gambler, drinker, drug taker – ‘He spent a lot of time on racecourses – had ridden himself in the Grand National in years – ‘a little red, foxy man with a short moustache and slightly shifty eyes’
  • Mrs Cynthia Dacres – owner of Ambrosine Ltd, a high-class, pretentious dress-making company and boutique in Bruton Street; Egg finds out from one of her models that the company is actually in dire financial straits
  • Anthony Astor – pen-name for the female playwright Miss Muriel Wills, author of ‘One-Way Traffic’ – ‘tall and thin, with a receding chin and very badly waved fair hair. She wore pince-nez and was dressed in exceedingly limp green chiffon. Her voice was high and undistinguished’ – distinctly less classy than all the other bourgeois characters, as indicated by the location of her home, in downscale Tooting
  • Lady Mary Lytton Gore – ‘Left as a widow very badly off with a child of three, she had come to Loomouth and taken a small cottage where she had lived with one devoted maid ever since. She was a tall thin woman, looking older than her fifty-five years. Her expression was sweet and rather timid’
  • Hermione Lytton ‘Egg’ Gore – young and foolish and in love with Sir Charles Cartwright, a genuine Christian – ‘twice as alive as anyone in that room. She had dark hair, and grey eyes and was of medium height. It was something in the way the hair curled crisply in her neck, in the straight glance of the grey eyes, in the curve of the cheek, in the infectious laugh that gave one that impression of riotous youth and vitality’
  • The Reverend Stephen Babbington – ‘quite a good fellow, not too parsonical,’ – ‘a man of sixty old, with kind faded eyes and a disarming diffident manner’
  • Mrs Margaret Babbington – the reverend’s wife, ‘a big untidy woman. She looked full of energy and likely to be free from petty mindedness’
  • Robin Babbington – their son, killed in India (they have three other sons: Edward in Ceylon, Lloyd in South Africa, and Stephen third officer on the Angolia)
  • Oliver Manders – 25, a good-looking young fellow, ‘a handsome lad, with his dark, heavy-lidded eyes and easy grace of movement’ – with something foreign about his appearance triggering this exchange: Egg Lytton Gore says to him: ‘Oliver – you slippery Shylock -‘ and Mr Sattersthwaite, observing the exchange, thinks: ‘Of course, that’s it – not foreign – Jew!’. Later we find out his mother had an affair with a married man whose wife refused a divorce i.e. he’s a bastard, he was taken up by his rich uncle in the City
  • Miss Milray – Sir Charles’s secretary: ‘Neither sudden deaths nor sudden changes of plan could excite Miss Milray. She accepted whatever happened as a fact and proceeded to cope with it in an efficient way’
  • Hercule Poirot
  • Temple – Sir Charles’s maid, ‘a tall girl of thirty-two or three. She had a certain smartness – her hair was well brushed and glossy, but she was not pretty. Her manner was calm and efficient.’
  • Dr MacDougal – the principal doctor in Loomouth

In Yorkshire

Murder 2: Sir Bartholomew Strange dies during a dinner party he’s hosting for much the same guests who attended Cartwright’s party in Cornwall.

  • Colonel Johnson – ’Yorkshire chief constable: ‘a big red-faced man with a barrack-room voice and a hearty manner’
  • Superintendent Crossfield – managing the investigation into Sir Bartholomew’s death: ‘a large, solid-looking man, rather slow of speech, but with a fairly keen blue eye’
  • Sir Jocelyn Campbell – local GP and toxicologist who was a guest at the dinner, who calls Strange’s time of death and suggests nicotine poisoning
  • Doctor Davis – police doctor
  • John Ellis – Sir Charles’s butler who disappears on the night of the death; later, letters threatening someone unknown with blackmail are found in his room
  • Mr Baker – Sir Bartholomew’s usual butler, for the last seven years, but who had been taken ill, given a holiday, and been replaced by Ellis
  • Miss Lyndon – Strange’s secretary
  • Mrs. Leckie – Strange’s cook: ‘a portly lady, decorously gowned in black’
  • Beatrice Church – Strange’s upper-housemaid: ‘a tall thin woman, with a pinched mouth, who looked aggressively respectable’
  • Alice West – Strange’s parlourmaid ‘a demure, dark-eyed young woman of thirty’
  • The Matron of the sanatorium – ‘a tall, middle-aged woman, with an intelligent face and a capable manner’
  • Strange’s lodge keeper – ‘a slow-witted man of middle age’

In London

Where Satterthwaite, Cartwright and Egg plan their investigations and are joined by Poirot, in an advisory capacity.

  • Sydney Sandford – the newest and youngest decorator of the moment, designed Mrs Dacres’ dress boutique
  • Doris Sims – model at Mrs Dacres’ boutique who Egg interviews, and tells her Mrs Dacres is hard up but she had been schmoozing a young rich man in a bid to get investment, but then he was ordered to take a long sea voyage, by his physician, the nerve specialist Sir Bartholomew Strange (!)

In Kent

  • Old Mrs Milray – Sir Charles’s secretary’s mother, ‘an immense dumpling of a woman immovably fixed in an armchair conveniently placed so that she could, from the window, observe all that went on in the world outside’ (Chapter 24)
  • Serving woman at the bakers where Egg and Sir Charles have a simple lunch

Love

Satterthwaite observes the love that cannot speak its name between Sir Charles Cartwright, 52, and young Egg Gore, young enough to be his daughter. Daddy issues.

It was, he [Satterthwaite] thought, an odd situation. That Sir Charles was overwhelmingly in love with the girl, he had no doubt whatever. She was equally in love with him. And the link between them the link to which each of them clung frenziedly was a crime a double crime of a revolting nature.
(Chapter 12)

Poirot’s life story

Early in the novel the setting moves to Monte Carlo where Mr Satterthwaite comes across Poirot sitting in a public park. Suddenly, for no very good reason, the Belgian tells him his life story:

‘See you, as a boy I was poor. There were many of us. We had to get on in the world. I entered the Police Force. I worked hard. Slowly I rose in that Force. I began to make a name for myself. I made a name for myself. I began to acquire an international reputation. At last, I was due to retire. There came the War. I was injured. I came, a sad and weary refugee, to England. A kind lady gave me hospitality. She died – not naturally; no, she was killed. Eh bien, I set my wits to work. I employed my little grey cells. I discovered her murderer. I found that I was not yet finished. No, indeed, my powers were stronger than ever. Then began my second career, that of a private inquiry agent in England. I have solved many fascinating and baffling problems. Ah, monsieur, I have lived! The psychology of human nature, it is wonderful. I grew rich. Some day, I said to myself, I will have all the money I need. I will realise all my dreams.’ (Chapter 6)

So that explains why he is retired and able to dally.

‘My time is all holidays nowadays. I have succeeded. I am rich. I retire. Now I travel about seeing the world.’ (Chapter 6)

Poirot’s motivation

‘Like the chien de chasse, I follow the scent, and I get excited, and once on the scent I cannot be called off it. All that is true. But there is more… It is – how shall I put it? – a passion for getting at the truth. In all the world there is nothing so curious and so interesting and so beautiful as truth…’ (Chapter 17)

Poirot’s method

‘I see the facts unbiased by any preconceived notions.’ (Poirot, Chapter 16)

‘My friend, do not ask me to do anything of an active nature. It is my lifelong conviction that any problem is best solved by thought.’ (Chapter 16)

Mon ami,’ said Poirot, ‘be guided by me. Only one thing will solve this case – the little grey cells of the brain. To rush up and down England, to hope that this person and that will tell us what we want to know – all such methods are amateurish and absurd. The truth can only be seen from within. (Chapter 25)

‘You mean it’s a lie?’ asked Sir Charles bluntly.
‘There are so many kinds of lies,’ said Hercule Poirot.
(Chapter 23)

And comparing his approach with his fellow investigators’:

‘You have the actor’s mind, Sir Charles, creative, original, seeing always dramatic values. Mr. Satterthwaite, he has the playgoer’s mind, he observes the characters, he has the sense of atmosphere. But me, I have the prosaic mind. I see only the facts without any dramatic trappings or footlights.’ (Chapter 25)

And once again we find him building houses out of cards as a way of meditating or letting his thoughts flow, much to Egg’s disgust (Chapter 26).

And, just as in every Poirot story, there comes the Eureka moment:

Mon dieu‘ cried Poirot.
‘What is it? Has anything happened?’
‘Yes, indeed something has happened. An idea. A superb idea. Oh, but I have been blind – blind –’
(Chapter 26)

Poirot’s pride

Mr. Satterthwaite studied him [Poirot] with interest. He was amused by the naïve conceit, the immense egoism of the little man. But he did not make the easy mistake of considering it mere empty boasting. An Englishman is usually modest about what he does well, sometimes pleased with himself over something he does badly; but a Latin has a truer appreciation of his own powers. If he is clever he sees no reason for concealing the fact.
(Chapter 17)

Poirot’s subterfuge

But behind these latter qualities turns out to be cunning. Obviously Christie was in an explanatory mood because she not only inserts into this novel an overview of Poirot’s career, but also a clever explanation of his manner:

‘Ah, I will explain. It is true that I can speak the exact, the idiomatic English. But, my friend, to speak the broken English if an enormous asset. It leads people to despise you. They say – a foreigner – he can’t even speak English properly. It is not my policy to terrify people – instead I invite their gentle ridicule. Also I boast! An Englishman he says often, “A fellow who thinks as much of himself as that cannot be worth much.” That is the English point of view. It is not at all true. And so, you see, I put people off their guard. Besides, he added, it has become a habit.’ (Chapter 27)

Cunning as a serpent.

The English class system

Hercule Poirot, the little bourgeois, looked up at the aristocrat. He spoke quickly but firmly.

Bookishness

‘Mrs de Rushbridger was killed before she could speak. How dramatic! How like the detective stories, the plays, the films!’ (Poirot in Chapter 27)

In previous reviews I’ve developed the idea that Christie having her characters regularly compare their situations and scenarios to the stereotypes and clichés of detective stories (or movies) serves several purposes. 1) It pre-empts criticism from critics or readers who may be tempted to complain about the corny (or preposterous) plot developments. 2) But at the same time it draws attention to the artificiality of the whole genre and nudges you away from even trying to compare anyone or anything that happens to ‘real life’, gently nudging you into the entirely fictional land of Detective Stories, where anything can happen, where anyone can disguise themselves as anyone else in order to carry out the most ludicrously complicated crimes.

Hence the succession of ‘nudges’ in this story.

‘You know, Egg, you really are detestably hearty. And your tastes are childish – crime – sensation – and all that bunk.’ (Manders to Egg, Chapter 5)

‘How superior detective stories are to life,’ sighed Sir Charles. ‘In fiction there is always some distinguishing characteristic.’ (Chapter 9)

‘What was his manner on the night of the tragedy?’ asked Mr Satterthwaite in a slightly bookish manner. (Chapter 9)

They left it in a somewhat disconcerted fashion. Their zeal as detectives was momentarily damped. Possibly the thought passed through their minds that things were arranged better in books. (Chapter 10)

‘The idea of gain we can now put definitely away,’ he said. ‘There does not seem to be anybody who (in detective story parlance) could benefit by Stephen Babbington’s death.’ (Chapter 15)

‘I’m afraid,’ said Lady Mary, ‘that that’s rather too clever for me.’
‘I apologise. I was talking rather bookishly.’ (Chapter 14)

‘Dash it all,’ went on Sir Charles with feeling, ‘in detective stories there’s always some identifying mark on the villain. I thought it was a bit hard that real life should prove so lamentably behindhand.’
‘It’s usually a scar in stories,’ said Miss Wills thoughtfully.
‘A birthmark’s just as good,’ said Sir Charles. (Chapter 21)

As Egg and Mr. Satterthwaite stood waiting for the lift, Egg said ecstatically: ‘It’s lovely – just like detective stories. All the people will be there, and then he’ll tell us which of them did it.’ (Chapter 23)

But these narrow quotes risk missing the bigger picture which I mentioned at the start, which is the book’s relentless comparison of lots of scenes to The Stage, with Sir Charles Cartwright ready, at the drop of a hat, to step into character as The Intrepid Detective, much to the amusement of his wry, observing friend, Mr Satterthwaite.

The new woman

Every generation going back to the 1880s thinks it has invented The New Woman, fearlessly defying the conventions of a Man’s World, and competing with men on their own terms etc etc. Christie’s independent novels almost always feature a variation on this type. In ‘Three Act Tragedy’, Egg Gore is a kind of caricature of the modern young woman, headstrong, impatient, taking the lead.

Egg Lytton Gore had got him [Mr Satterthwaite] securely cornered on the fishing quay. Merciless, these modern young women – and terrifying! (Chapter 4)

‘Have patience,’ counselled Mr Satterthwaite. ‘Everything comes right in the end, you know.’
‘I’m not patient,’ said Egg. ‘I want to have things at once, or even quicker.’ (Chapter 12)

1930s diction

‘I hate women. Lousy cats. Did you see her clothes – that one with the green hair? They made me gnash my teeth with envy. A woman who has clothes like that has a pull – you can’t deny it. She’s quite old and ugly as sin, really, but what does it matter. She makes everyone else look like a dowdy curate’s wife. Is it her? Or is it the other one with the grey hair? She’s amusing – you can see that. She’s got masses of S.A…’ (Chapter 5)

‘I always think,’ said Egg, ‘that Mrs Dacres looks a frightful cat. Is she?’ (Chapter 18)

‘I’m not at all sure that I’m not a little jealous of her… We women are such cats, aren’t we? Scratch, scratch, miauw, miauw, purr, purr…’ She laughed. (Chapter 20)

Where ‘cat’ means gossipy bitch, and SA stands for sex appeal.

‘And so he’s legged it.’

Which I thought was a lower-class phrase from my own youth, but is obviously older.

Mrs. Dacres, looking as usual marvellously unreal, was (as Egg put it to herself) doing her stuff. (Chapter 18)

Penetrating

Her words came drawlingly, in the mode of the moment.
‘My dear, it wasn’t possible. I mean, things either are possible or they’re not. This wasn’t. It was simply penetrating.’
That was the new word just now – everything was ‘penetrating‘. (Chapter 2)

‘Now, do you like this? Those shoulder knots – rather amusing, don’t you think? And the waistline’s rather penetrating.’ (Chapter 18)

‘My dear, it was too penetrating for words!’ (Chapter 18)

‘Extraordinary fat women come and positively goggle at me. Too penetrating.’ (Chapter 18)

Modern psychology

Presumably, as the years passed from 1916 when Christie wrote her first novel, modern psychology became more and more well known, extensive, covered in newspapers and magazines, and so filtered into popular fiction, especially when the lead character (Poirot) is himself so interested in psychology, as he tells anyone who will listen.

‘How much crime depends, too, on that psychological moment. The crime, the psychology, they go hand in hand.’ (Chapter 17)

But in this story it is not only Poirot who talks about psychology, but other characters as well. The subject crops up when Mr Satterthwiate goes to see / interview staid old Lady Mary. Here’s Satterthwaite confidently describing an inferiority complex, a concept first developed by Freud’s follower Alfred Adler, around 1907 but which had, quite clearly, percolated through to the wider culture by 1934 if not some time before:

‘An inferiority complex is a very peculiar thing. Crippen, for instance, undoubtedly suffered from it. It’s at the back of a lot of crimes. The desire to assert one’s personality.’ (Chapter 14)

Surprisingly, maybe, Lady Mary turns out to have read up on the subject:

‘Some books that I’ve read these last few years have brought a lot of comfort to me. Books on psychology. It seems to show that in many ways people can’t help themselves. A kind of kink. Sometimes, in the most carefully brought-up families you get it. As a boy Ronald stole money at school – money that he didn’t need. I can feel now that he couldn’t help himself… He was born with a kink…’ (Chapter 14)

‘Every woman adores a fascist’ (Sylvia Plath)

Lady Mary fell for a wrong ‘un. Her father told her so and tried to forbid her from marrying ‘Ronald’ but, according to her, many women are attracted to problem men.

‘There doesn’t seem to be anything that warns girls against a certain type of man. Nothing in themselves, I mean. Their parents warn them, but that’s no good – one doesn’t believe. It seems dreadful to say so, but there is something attractive to a girl in being told anyone is a bad man. She thinks at once that her love will reform him.’
(Lady Mary, Chapter 14)

Her daughter, Egg, is a chip off the old block, although she’s much more forward and confident and cynical about it, in the modern style:

‘I like men to have affairs,’ said Egg. ‘It shows they’re not queer or anything.’
(Chapter 4)

Nonetheless, despite all this modern self-awareness, she seems to have fallen in love just as inappropriately, with an older man, with Sir Charles.

This theme was aired extensively in ‘Murder on the Blue Train’ where young Ruth Kettering is said to be attracted to Comte Armand de la Roche precisely because he had such a bad reputation. And in the novel after this, ‘Death in the Clouds’ where sweet Jane Grey is attracted (without knowing it) to the serial killer, Norman Gale:

‘A killer,’ said Poirot. ‘And like many killers, attractive to women.’
(Death in the Clouds, Chapter 26)

It’s tempting to attribute the belief to Christie herself, but I’m more inclined to think it’s one of the many standardised clichés and stereotypes which she used to construct her ludicrous stories.

Dinner menu

I’ve read thousands of novels in which characters have thousands of breakfasts, lunches and dinners but it never ceases to amaze me how little detail most authors give of the specific dishes consumed at any meal. This novel features a very rare description of the actual dishes served at a dinner, and so an interesting sidelight on social history.

Soup, grilled sole, pheasant and chipped potatoes, chocolate soufflé, soft roes on toast.
(Chapter 7)

Cornwall’s reputation

‘I always think Cornwall is rather terribly artisty… I simply cannot bear artists. Their bodies are always such a curious shape.’
(Mrs Dacres in Chapter 18)

Poirot and Wittgenstein

Right at the end of his neat explanation of the crime, how it was done and why, Poirot draws a general conclusion. Solving a murder mystery requires a certain amount of fact finding, obviously yes yes yes – but then what is really required is thinking long and hard so as to arrange everything that is known into a logical sequence which fits all the facts and matches the psychology of the people involved i.e. is psychologically plausible. Hence his repeated insistence in all the books on the imperative importance of sitting back and thinking.

To be more precise, you have to find the right angle, the right vantage point, from which all the facts fit into a logical and psychologically consistent pattern.

‘Now here I admit that Sir Charles was right and I was wrong. I was wrong because I was looking at the crime from an entirely false angle. It is only twenty-four hours ago that I suddenly perceived the proper angle of vision – and let me say that from that angle of vision the murder of Stephen Babbington is both reasonable and possible.’ (Chapter 27)

Now this idea, that a mental problem is only a problem because we are looking at it from the wrong perspective, and that what is required is not finding a solution so much as finding the right angle from which to regard the facts – this reminded me exactly of the later philosophy of the twentieth century’s greatest philosopher, Ludwig Wittgenstein. In my review of the brilliant biography of Wittgenstein by Ray Monk, I summarise his later attitude thus:

Wittgenstein isn’t about making theories or coming up with theoretical foundations. He wants to release people from their confusions and perplexities by making them see the ‘problem’ in a new way, from a different perspective. There are no solutions. But if you see problems from the right angle, they cease to be problems any more and so the lack of solutions, also, ceases to cause you anxiety and worry. Philosophy is the therapy which cures anxiety about philosophical problems.

Apparently Wittgenstein was fond of quoting the physicist Heinrich Herz who struggled with the problems in mechanical theory bequeathed by Isaac Newton’s notion of ‘force’. But in his book The Principles of Mechanics, Herz explained that if you dumped the notion of force altogether and simply observed the wide variety of events which used to be corralled together to create the definition – if you actually just looked at what was in front of your eyes – then all the ‘problems’ raised by hanging onto Newton’s out-dated notion simply disappeared.

“When these painful contradictions are removed, the question as to the nature of force will not have been answered; but our minds, no longer vexed, will cease to ask illegitimate questions.” (Quoted in Ludwig Wittgenstein: The Duty of Genius by Ray Monk, 1991, page 446)

Wittgenstein was delighted by this passage because it exactly epitomised his own approach to the so-called ‘problems’ of philosophy.

And closely matches the approach of the great fictional detective.

‘Me, I have dealt with crime for many years now. I have my own way of regarding things

Poirot has a way, an angle, a perspective, which again and again solves complex mysteries which all his peers, whether professional or amateur, find impossible to solve. And he nearly always ends up by saying that, once regarded from the correct angle, most of these ‘insoluble’ puzzles turn out to be astonishingly simple.

So the twentieth century’s greatest detective and its greatest philosopher shared this fundamental approach in common 🙂


Credit

‘Three Act Tragedy’ by Agatha Christie was published in 1935 by the Collins Crime Club.

Related links

Related reviews

‘I’d never seen a murder at close hand before. A writer’s got to take everything as copy, hasn’t she?’
‘I believe that’s a well-known axiom.’ (Chapter 21)

To The Lighthouse by Virginia Woolf (1927)

One could not say what one meant.
(Mrs Ramsay laments, p.23)

Who knows what we are, what we feel?
(Lily Briscoe ponders, p.159)

No, she thought, one could say nothing to nobody. The urgency of the moment always missed its mark. Words fluttered sideways and struck the object inches too low. Then one gave it up; then the idea sunk back again…
(Lily ponders some more, p.165)

‘To The Lighthouse’ is Virginia Woolf’s fifth novel and generally considered to be her most popular. It is really quite brilliant. It showcases her phenomenal strengths as a writer and also her limitations. It is divided into three parts.

Part 1. The Window (105 pages)

Mr and Mrs Ramsay are the parents of no fewer than eight children who are, of course, in the approved upper middle-class way, all exceptional.

  1. Andrew (extraordinary gift for mathematics)
  2. Jasper (likes shooting birds)
  3. Roger
  4. James (aged 6)
  1. Prue (takes your breath away with her beauty)
  2. Rose (wonderfully gifted with her hands)
  3. Nancy
  4. Cam (aged 7)

The Ramsays take their children for their annual holiday to an island in the Hebrides (called Finlay? p.56), where every summer they rent the same ramshackle old house. The rent of the house (presumably for a week), along with the garden and tennis court, is precisely two-pence ha’penny, or about one modern penny (p.29).

It is a Victorian family so Mrs Ramsay has also brought servants – Mildred the cook, and two maids, one named Marie from Switzerland (her father is dying of cancer, poor thing, p.30), the other named Ellen. (Back at home, in Oxford (?) they have Kennedy the gardener who Mrs R routinely accuses of being lazy, p.63. You just can’t get the servants!)

Mr Ramsay tends to abrupt and unfeeling truth-telling, often upsetting their children. Mrs Ramsay (aged 50) is, of course, much more conciliatory and supportive. She is a great empathiser. She visits the sick and poor of their parish, helping them out, writing down in her notebook details of their wages and spending. She wants to go out to the lighthouse on an island in the bay purely to give gifts to the lighthouse keeper, Sorley, and his son who is afflicted with a tuberculous hip, lonely souls!

Mr Ramsay supports all this by being an academic philosopher, writing about ‘Subject and object and the nature of reality’ as his son, Andrew, sums it up (p.26).

Mrs Ramsay is, of course, too busy being a mother to read any of his books or the books given to her by the poets and authors of their acquaintance (‘Croom on the Mind and Bates on the Savage Customs of Polynesia’). Like Mrs Dalloway, she has a superficial smattering of culture but isn’t that bothered. But then she has something more important than education or culture; she has feeling.

She knew then — she knew without having learnt. Her simplicity fathomed what clever people falsified. Her singleness of mind made her drop plumb like a stone, alight exact as a bird, gave her, naturally, this swoop and fall of the spirit upon truth which delighted, eased, sustained… (p.31)

The novel opens with Mrs Ramsay promising one of her children, James, aged 8, that they will go out to the lighthouse on the island, tomorrow. To her irritation, her husband immediately contradicts her, saying the wind is in the wrong direction.

Her husband is a successful academic and author, a philosopher, and has an irritating habit of attracting fan students, young men who come and stay with them and the rest of the family has to put up with. On this holiday it is a bony youth, a ‘conspicuous atheist’ named Charles Tansley. (For Mr Ramsay’s supposed ‘thoughts’, see ‘Intellectual shallowness’ below.) When Mr Ramsay says the wind is in the wrong direction, he is immediately backed up by Tansley to Mrs Ramsay’s irritation.

After breakfast one day Mrs Ramsay invites Charles to accompany her into the nearest village to do a few chores. They pass a Mr Augustus Carmichael, the old poet, lying out in the sun. In town she sees a one-armed man pasting up a big poster on a wall for a circus that’s coming to town. She finds out more about Tansley, that he’s one of nine children, his father was a lowly chemist, he paid his way from the age of 13, he’s dragged himself up by his shoestrings to become a junior academic and is now writing a book about the influence of someone on someone else. (Mrs Ramsay is a mother of a certain age; she’s not interested in the details, she doesn’t really listen to whatever Tansley’s dissertation is about, a point so important to Woolf she repeats it, on pages 16, 64 and 96).

They go to a house where Mrs Ramsay disappears upstairs, presumably to talk to the wife or mother, Elsie (?), maybe bed-bound. As they walk the street, a workman stops his digging to look at her. Tansley realises he’s half in love with her.

Cut back to the present where Mrs Ramsay is cheering James up by selecting pictures in the Army and Navy catalogue to cut out. The other children are playing cricket. She, Mrs R, is being painted by another guest, young Lily Briscoe (33). In fact Lily is staying in a house in the village, along with William Bankes (60), ‘old enough to be her father too, a botanist, a widower, smelling of soap, very scrupulous and clean’.

Twitchy young Charles Tansley has made an enemy of Lily by boldly telling her women can’t paint and women can’t write, a phrase she remembers with scorn half a dozen times, more or less every time she looks at him. (And comes to realise is typical of the way people say things which aren’t meant to be true but feed some kind of need in themselves.)

Tradition and innovation

At the time, the way the narrative of ‘To The Lighthouse’ weaves in and out of the characters’ thoughts and memories which, by definition, are from various points in the past, was considered highly innovative. A hundred years later, we have become so used to mixed-up narratives, not just in high literature, but in popular films and TV shows, that the technique feels completely natural and accessible, more or less transparent.

No, what comes over instead is the deep, deep traditonalness of the subject matter: the sensitive feelings of an upper middle-class mother and those around her, with a central focus on Love. As Anthony Burgess says in his biography of D.H. Lawrence, the novel is an essentially bourgeois art form and Virginia Woolf’s novels describe characters at the upper end of the bourgeoisie. Lovely people having lovely thoughts, no wonder they have remained popular to this day with bookish ladies who pride themselves on their sensitivity.

One of the commenters on one of her novels on Amazon says how lovely and elegant Woolf’s prose is. Exactly. It is exactly this quality which holds it back. No matter how ‘modernist’ her enjoyment of flitting between her characters’ points of view, the actual sentences themselves are constrained by good manners. Their vocabulary is limited by good taste. They always strive for the same effect of melliflousness, of politesse and refinement. The result is that they delve, exquisitely and with perfect decorum, but into a very limited, narrow, blinkered experience of the world: the same calm and demure and polite good taste.

Here’s an example. It’s a long sentence but the subordinate clauses are arranged clearly and logically, so it flows simply enough.

Qualities that in a desolate expedition across the icy solitudes of the Polar region would have made him the leader, the guide, the counsellor, whose temper, neither sanguine nor despondent, surveys with equanimity what is to be and faces it, came to his help again.

The balancing of antitheses – ‘neither sanguine nor despondent’ – and the vocabulary itself – counsellor, temper, equanimity – hark back to the stately elegancies of the eighteenth century. Although her perceptions are often ‘modern’, Woolf’s style is almost always Georgian.

Woolf’s novels radiate all the pampered privilege of her class while mocking the very men – the politicians and financiers and businessmen and imperial soldiers – which made her life of sensitive impressions possible, whose farflung empire provided the flowers and foodstuffs and finery which her privileged female protagonists enjoy sampling and savouring. And she is aware of it and expresses it.

A square root? What was that? Her sons knew. She leant on them; on cubes and square roots; that was what they were talking about now; on Voltaire and Madame de Staël; on the character of Napoleon; on the French system of land tenure; on Lord Rosebery; on Creevey’s Memoirs: she let it uphold her and sustain her, this admirable fabric of the masculine intelligence, which ran up and down, crossed this way and that, like iron girders spanning the swaying fabric, upholding the world, so that she could trust herself to it utterly, even shut her eyes, or flicker them for a moment, as a child staring up from its pillow winks at the myriad layers of the leaves of a tree. (p.98)

It just doesn’t matter to her. It’s not what she’s about. Men are the adults who create and maintain the structure of the world, and women…? Women do something else, no less important, subtle and enduring.

Intellectual shallowness (Mr Ramsay)

Like so many novelists, Woolf would have us believe that her male protagonist is a successful and respected Thinker, a philosopher with a post at Oxford (I think, since there’s mention of Balliol College). He is said to be frequently distracted from everyday life by Great Thoughts about philosophy. And yet, when she comes to portray these Great Thoughts, they are pitifully inadequate. In fact they aren’t philosophy at all. Does he ponder on the mathematical bases of philosophy like Bertrand Russell and Alfred Whitehead, does he respond to the dazzling theories of the young Ludwig Wittgenstein, does he engage with the moral philosophy of G.E. Moore, is he aware of the turn to linguistics signalled by the rise of the logical positivists or the Vienna Circle, does he engage with the sociocultural implications thrown up by Darwin’s theory of evolution or its recasting into the scientific positivism of Herbert Spencer? Has he heard of Continental philosophy? What does he make of the German tradition of Kant, Hegel, Feuerbach, Marx, or Nietzsche? Does he have views on the creative evolution of Henri Bergson?

No. Instead Woolf has Mr Ramsay wandering up and down his garden with a head full of tragically simple-minded, obvious, trite and clichéd cultural questions from mid-nineteenth century magazines: would culture have been different if Shakespeare had never lived? Is culture the product of great men? How do you measure culture and civilisation, by how it affects everyone, or as a product for an elite? And so on (pages 43 to 44).

These are not the questions asked by professional philosophers anywhere, they are the tired, hackneyed themes of thousands of half-baked essays by half-educated litterateurs. What a complete failure to understand or depict the thoughts of a supposed ‘philosopher’. Mr Ramsay is (rather hilariously) described as ‘so brave a man in thought’ and yet, on the evidence of these ‘thoughts’, he could barely think his way out of a paper bag; is not much different from the guide on a coachload of American tourists: ‘And on our left, ladies and gentlemen, the birthplace of William Shakespeare, the jewel in the crown of our national culture’ etc.

(Same happens a bit later when Mr Ramsay walks by chuckling to himself at the thought of the philosopher David Hume grown so fat he once got stuck in a bog. Is he given a witty joke about Hume’s philosophical scepticism and metaphysical naturalism, his devastating demolition of the argument from induction? No. Instead, Ramsay chuckles over Hume getting fat and falling in a bog. This is Laurel and Hardy, not philosophy. And Woolf likes it so much she has Mr Ramsay think about it on three separate occasions, pages 62, 66 and 70)

It is not for the quality of her ‘thought’ that anyone reads Virginia Woolf. There isn’t much ‘thought’ on display. Move Woolf a few inches outside her comfort zone of bookish book chat and she is lost. It is the extraordinary quality of her art which makes her great – which means a combination of her perceptions and insights into human psychology, arranged into beautiful patterns, and expressed in elegant and mellifluous prose.

The beautiful protagonist (Mrs Ramsay)

It helps a lot when your protagonist is effortlessly beautiful, ‘astonishingly beautiful’ (p.112):

She bore about with her, she could not help knowing it, the torch of her beauty; she carried it erect into any room that she entered; and after all, veil it as she might, and shrink from the monotony of bearing that it imposed on her, her beauty was apparent. She had been admired. She had been loved.

This – being beautiful and sensitive – is much more important than reading books and knowing things. Woolf is a great feminist saint but I always find it ironic how counter-feminist her fictions actually are. Mrs Ramsay, like Clarissa Dalloway, isn’t clever or well-read or particularly cultured or well-informed, but she is valued by Woolf simply because she is beautiful and sensitive.

And because she wants to give. Mrs Dalloway thinks her own strength is in bringing posh people together at her house, being a wonderful party host. Mrs Ramsay thinks her strength is caring for her eight children plus all sorts of miscellaneous good causes – ‘this desire of hers to give, to help’. Both, as you can see, live for others in the most clichéd stereotype of the selfless, empathetic upper middle-class woman.

The core subject of ‘Mrs Dalloway’ and ‘To The Lighthouse’ is Love. Women are depicted as a) a bit dim and ineffectual but that’s OK because they are b) continually thinking about lost loves, past loves, present loves – as if a woman’s life was entirely one of emotions and feelings, and nothing to do with rational thought and achievement. What could be more sexist?

More events in part 1

‘Plot summary’ or ‘synopsis’ are both a bit too precise for what happens in a Woolf novel. Things happen but mostly people have sensitive feelings, memories, perceptions and polite conversations.

Lily just can’t capture on canvas the vivid colours she sees in real life. She is embarrassed when Mr Ramsay wanders by and sees her canvas.

Two other young people are staying, Minta Doyle (24; a tomboy) and Paul Rayley. As is the way with classic bourgeois fiction, the interest here is in whether Paul will propose to Minta and whether she will accept him. Women, in this ideology, have only one purpose and that is to get married – at least, this is Mrs Ramsay’s view.

Minta must, they all must marry, since in the whole world, whatever laurels might be tossed to her (but Mrs Ramsay cared not a fig for her painting), or triumphs won by her (probably Mrs Ramsay had had her share of those), and here she saddened, darkened, and came back to her chair, there could be no disputing this: an unmarried woman (she lightly took her hand for a moment), an unmarried woman has missed the best of life. (p.49)

Later, Mrs R suddenly wants young Lily Briscoe to marry William Bankes. ‘What an admirable idea! They must marry’ (p.68). Maybe it’s only here, though. At the end of the novel, Lily wonders what lay behind Mrs Ramsay’s ‘mania’ for marriage (p.163).

Mrs Ramsay reads her son, James, the story of the Fisherman and his Wife, continually interrupted by her own thoughts about her husband, her marriage, her children (they grow up so fast, don’t they?), wondering whether Paul has proposed to Minta, worrying why they haven’t come back for a walk.

She finishes the story and James goes off to have supper with the rest of the children. Mrs Ramsay mentions them all being given baths and then put to bed, activities she seems to have no involvement in and so, presumably, are conducted by the three woman servants. Hard life.

During all this the lighthouse light is lit and she observes the triple beam which swings over sea and shore. Sometimes she wakes and sees it on the floor of the bedroom.

She is continually worrying that repairs to the greenhouse back home are going to cost £50 and she hasn’t plucked up the courage to tell her husband yet. She thinks their gardener, Kennedy, is lazy. She remembers her Aunt Camilla who was, of course, ‘the most beautiful woman I ever saw,’ said Mrs Ramsay. (She also has an Uncle James, in India.)

Mr and Mrs R are walking in the garden. It’s just past 7pm. They arrive at the gap in the red hot pokers and see the lights of the town twinkling on the sea. He wants to apologise for being a bit harsh when rebuffing her suggestion they all go to the lighthouse tomorrow, but can’t. They are happily married but there are gulfs between them.

Lily sees them walking and, as dusk falls, has a vision of them as perfect emblems, ‘symbols of marriage, husband and wife’.

Early on in the book we learned that old Mr Ramsay is developing the habit of wandering round declaiming poetry out loud, because the early pages have lines from Tennyson’s poem The Charge of the Light Brigade scattered through them. Once again it’s not the idiosyncrasy it’s the extreme ancientness of the poem, published in 1854, which is striking.

Minta and Paul had indeed gone down to the beach as Mrs Ramsay suspected, taking with them not only Andrew but Nancy, too. They are still children and scatter to explore rock pools. When the tide starts coming in, Nancy squeals and runs up the beach, round a big rock and bang into Minta and Paul who are having a kiss. They separate and Nancy and Andrew are bad tempered on the walk back because of the embarrassment. Half way back Minta realises she’s lost the brooch her grandmother gave to her and starts crying. They go back to look but the tide’s coming in and it’s getting dark. Paul promises to get up at dawn and come and find it tomorrow.

The dinner

It’s getting dark as they arrive back at the house and the lamps are being lit for dinner. There are fifteen for dinner (Mr and Mrs R and their 8 children, Charles Tansley, Minta and Paul, Mr Carmichael, and Mr Bankes has agreed to dine with them for the first time.)

Mrs Ramsay looks out the window at the rooks settling in the trees. She’s nicknamed the oldest one Old Joseph.

A servant rings the gong for dinner, Mrs Ramsay proceeds in stately manner to the dining room, everyone assembles and sits and starts on the soup, and there is a Woolfian smorgasboard of everyone’s thoughts intertwining.

Young uncomfortable Charles Tansley covers his embarrassment by despising everyone for their dinner tittle-tattle. Mrs Ramsay talks to Mr Bankes about a mutual friend, Carrie Manning whose house at Marlow she used to visit, who she hasn’t thought about in decades. Mrs Ramsay is interrupted to give orders to the servants and Bankes wistfully wonders how perishable human friendships are, wonders what it’s all about, really etc.

Charles is twitching with frustration so Lily very consciously, as a favour to Mrs Ramsay, speaks to him and sparks a torrent of feeling about the plight of poor fishermen, which involves criticising the present government, and both Lily and Mrs R can sit back and let the men crap on. God, how boring they and their politics are!

It’s dark and Mrs Ramsay orders the candles to be lit which suddenly transforms the room and the long table into a fairy land. Minta and Paul burst into the dining room, very late indeed, Minta crying about losing her grandmother’s brooch. Minta sits down next to Mr Ramsay and he immediately starts flirting with her. Mrs Ramsay is jealous but, then again, likes the way the young women he likes surrounding himself with keep him young. Also, Minta has a golden aura about her and Mrs R guesses Paul proposed and she said yes (since getting married is, in her eyes, the most important thing a young woman can do with her life).

When Paul tells his end of the table that he’s planning to get up at the crack of dawn and go and find the brooch, Lily is swept with enthusiasm and asks if she can come and help him, to which he is suddenly brutally indifferent. Please yourself. Mrs Ramsay notices this, thinking how cruel love can be, has made the handsome Paul. Sitting near him both plain Lilly and ugly Charles suffer in comparison.

Some argument starts up about Sir Walter Scott’s Waverley novels and when someone says something about work which lasts she knows that will trigger her husband, who is very conscious of not being truly great, that his best years are behind him, that he is already turning into a back number. But luckily Minta with her golden glow says something flattering and defuses the tension.

Incidentally, the centrepiece of the dinner is a big chunk of beef, cooked Bœuf en Daube according to a recipe of Mrs Ramsay’s grandmother. (There’s a passage of conversation about how lamentable British cooking is.)

Most people have finished eating when she hears her husband reciting a poem to golden Minta and slowly the general conversation dies down as they all listen. Mrs Ramsay stands and walks to the door, taking Minta’s arm. This rather glorious family dinner is over.

The party breaks up. Mr Bankes takes Charles Tansley out onto the terrace to carry on talking about politics, as men will. Lily watches Mrs Ramsay walk stately upstairs to check on the younger children who should be in bed. It has been a memorable evening, one everyone present will remember. She pauses to look out the window at the black outline of the elm trees, to steady and centre herself. The ghost of Woolf’s madness momentarily casts its shadow…

Irritatingly, the children are still awake, not least because someone called Edward (not otherwise mentioned in the text) had sent the children the skull of a pig which someone nailed to the wall of their bedroom and now they can’t sleep for fear of it. So Mrs Ramsay covers it in her shawl and tells her impressionable young daughter, Cam, that now it’s like a lovely bird’s nest.

As she goes back downstairs Prue calls up that some of them had thought of going down to the sea to watch the waves, and Mrs Ramsay is transfigured with girlish enthusiasm. Off they go but, in fact, something keeps her behind; it is her duty to go into the living room and be with her husband who is anxiously reading a novel by Walter Scott, anxious because he is always anxious whether his work will last.

She picks up a volume of poetry and they both read in companionable silence. Marriage, reflects Mr Ramsay, probably reflecting an opinion of Woolf’s, is not all about going to bed with a woman. There are also these moments of soul peace.

Suddenly he wants her to tell him she loves him. She knows it but rarely says it. She stands at the window looking at the beams of the lighthouse. Then she turns and, astonishingly beautiful as she is, gives him a radiant smile.

Part 2. Time Passes (15 pages)

I was expecting some major change of time or setting but part two follows on without a break from part 1. Mrs Bankes, Prue and Andrew come back from the beach. It was so dark they couldn’t distinguish between the sea and the sand. Slowly the lamps go out all round the house. Darkness falls and cheeky little draughts explore the old house.

But then it kicks in, and part 2 becomes a wild farrago of purple prose, about winter winds, hails, waves destroying, ravages, tattered flags, gold letters on marble pages describe death in battle and bones bleaching in faraway deserts. I presume this all refers to the First World War. In the long dark winter Mrs (Maggie) McNab the housekeeper comes to air and tidy the house. Spring comes round and summer and another winter.

Meanwhile, bracketed against the long convoluted paragraphs of purple prose, is a series of short, factual declarations which tell us the news of the family, in hard square brackets. It is hard, heart-breaking news.

  • In a throwaway sentence we learn that Mrs Ramsay, heart and soul of part one, has died.
  • In May Prue, looking beautiful, gets married.
  • A year later Prue dies from complications of childbirth.
  • Andrew, in the British Army in France, is killed instantly by a shell.
  • Old Carmichael brings out a volume of poetry which has an unexpected success. War has given the public a taste for poetry.

It is some years later and Mrs McNab surveys the mouldering old house, all the clothes rotting in their wardrobes, the pipes overflowed and the carpet ruined. Rats in the attic. The garden overgrown and alive with rabbits. The family had promised to return but the war made travel difficult.

Suddenly after years of silence Mrs McNab receives a letter asking her to make the place ready. It is such a ruin she has to recruit the help of her friend Mrs Bast and her son, George. Builders have to replaster, fix doors, and locks. It is an epic amount of work.

Then one day Lily Briscoe arrives, followed by old Mr Carmichael. Mrs Beckwith (who we’ve never heard of before) comes to stay.

Part 23 The Lighthouse [ten years later] (55 pages)

Overnight, as if by magic, the other surviving members of the family have arrived – Mr Ramsay, Nancy, James and Cam. And somehow, the next morning they breakfast early because it has been arranged to go out to the lighthouse.

And Lily, rather like the reader, dazed and confused by everything which has happened, sits at the breakfast table wondering what it’s all about: What does it mean then, what can it all mean? What does one do? Why is one sitting here after all?

I’ve mentioned Woolf’s mental illness more than once: here again, in the sense of profound disorientation, the reader feels it again.

Sitting alone (for Nancy went out again) among the clean cups at the long table she felt cut off from other people, and able only to go on watching, asking, wondering. The house, the place, the morning, all seemed strangers to her. She had no attachment here, she felt, no relations with it, anything might happen, and whatever did happen, a step outside, a voice calling (‘It’s not in the cupboard; it’s on the landing,’ some one cried), was a question, as if the link that usually bound things together had been cut, and they floated up here, down there, off, anyhow. How aimless it was, how chaotic, how unreal it was, she thought, looking at her empty coffee cup. (p.138)

The extraordinary unreality was frightening… Such were some of the parts, but how bring them together?… If only she could put them together, she felt, write them out in some sentence, then she would have got at the truth of things…

Here, as in the mad sections of ‘Mrs Dalloway’, it feels like Woolf is recycling her many weeks and months and years of illness and mania, of the special peripheral vision it gives you, of the world and of yourself.

It is ten years since Lily left her painting unfinished (which is why commentators generally take the dates of the two visits to be 1910 and 1920). She is now 44 with an ‘old maidish’ manner. A long passage is devoted to Mr Ramsay coming up to her where she’s painting and exerting the full weight of his grief, his need, his exorbitant self pity, on her, demanding that she say something sympathetic, but she just stands there, hostile and dumb.

Suddenly, randomly, she notices his lovely brown boots and says out loud how nice they are, and to both their astonishment, he bucks up, becomes proud and lively and shows them off, and a knot he uses, of his own invention. Cam and James arrive (sulky 16 and 17 year olds) and Mr Ramsay declares they’re off to the lighthouse and marches them down the garden.

Leaving Lily facing a blank white canvas and riddled with doubts and conflicting emotions. Woolf spends quite a while describing the feelings she has as she makes the first marks on the canvas. It is an essay on the feeling of painting. It’s also mixed up with her love-hate relationship with patronising poor Charles Tansley. She remembered a happy moment when they took to playing ducks and drakes across the sea, and how it only happened because Mrs Ramsay, like God in Bishop Berkeley’s philosophy, watched it happen.

What is the meaning of life? Is there a meaning to life? No. There is no one great Revelation. Instead there’s a steady stream of epiphanies and insights.

What is the meaning of life? That was all—a simple question; one that tended to close in on one with years. The great revelation had never come. The great revelation perhaps never did come. Instead there were little daily miracles, illuminations, matches struck unexpectedly in the dark… (p.150)

She walks over to a view of the sea and sees the little boat with Mrs Ramsay, James and Cam in it set sail and move out beyond the others, towards the lighthouse.

In the little sailing boat Mr Ramsay gets impatient. He has forced two more new characters, Macalister and Macalister’s boy, to come with them. He makes Macalister tell him about the great storm last Christmas, which drove 11 ships into the bay of which three were shipwrecked. When the wind picks up and they start properly sailing, tense Mr Ramsay can relax. But Cam and James are surly and resentful at having been forced to go on this trip, purely to lay their father’s ghosts. They really hate him, Cam in particular remembering:

that crass blindness and tyranny of his which had poisoned her childhood and raised bitter storms, so that even now she woke in the night trembling with rage and remembered some command of his; some insolence: ‘Do this,’ ‘Do that’; his dominance: his ‘Submit to me.’ (p.158)

Back in the garden, Lily continues trying to pain, her mind aswirl with memories of Mrs Ramsay’s presence, when she last tried to paint here, when she played ducks and drakes with Charles Tansley, moments in time, why does she remember some and forget huge stretches of others?

She remembers going to visit the Rayleys (Paul and Minta after they married) in their place at Rickmansworth and finding the atmosphere terribly strained. Some time later she went back and found them reconciled and friendly, and this was because Paul had taken a mistress with radical political views like his, and Minta thoroughly approved.

From this Lily rambles on to thinking about her own relationship with the much older William Bankes. How Mrs Ramsay wanted them to get married and how they dated and went places together and felt great affection but never enough to marry. This long passage of meandering thought has taken us deep into mysteries:

What was it then? What did it mean? Could things thrust their hands up and grip one; could the blade cut; the fist grasp? Was there no safety? No learning by heart of the ways of the world? No guide, no shelter, but all was miracle, and leaping from the pinnacle of a tower into the air? Could it be, even for elderly people, that this was life?—startling, unexpected, unknown? (p.167)

And she finds herself crying and saying Mrs Ramsay’s name out loud.

Cut to James in the sailing boat. The wind slackens and the sail flaps and James lives in terror of his father looking up from the book he’s studiously reading and reprimanding. James lives in permanent terror of his father’s reprimands and hates him with a white-hot hatred. He remembers being seven and wanting to go to the lighthouse and the harshness of his father’s refusal – the scene which opens the novel, a resentment he’s never forgotten. His memories of boyhood are like grains of misery.

Cut to Cam remembering being small and coming across her father sitting quietly in his study, accompanied by another venerable old gentleman, a copy of the Times crinkling in someone’s hand, as her father wrote slowly and neatly across the pages of his book. And she looks at her father now, curled up in the middle of the boat and quietly, purposefully reading, and her heart softens towards him.

Cut to Lily on land thinking about what you feel for things depends on whether they’re far or near: the nearer, the more familiar and funny; the further away, the more hazy and venerable. Then the light changes, the mood of the sea changes, and she is unhappy. She looks at her painting and thinks she hasn’t caught it at all. And Woolf delivers a little lecture on the struggle to create, to capture life in art.

Phrases came. Visions came. Beautiful pictures. Beautiful phrases. But what she wished to get hold of was that very jar on the nerves, the thing itself before it has been made anything. Get that and start afresh; get that and start afresh; she said desperately, pitching herself firmly again before her easel. It was a miserable machine, an inefficient machine, she thought, the human apparatus for painting or for feeling; it always broke down at the critical moment; heroically, one must force it on. (p.178)

Compare T.S. Eliot 1940:

       and every attempt
Is a wholly new start, and a different kind of failure
Because one has only learnt to get the better of words
For the thing one no longer has to say, or the way in which
One is no longer disposed to say it. And so each venture
Is a new beginning, a raid on the inarticulate,
With shabby equipment always deteriorating
In the general mess of imprecision of feeling,
Undisciplined squads of emotion…

Samuel Beckett in 1983:

Try Again. Fail Again. Fail Better.

And plenty of other examples in between. The inability of language to adequately express our feelings and perceptions is a fairly common trope in the literary world.

Lily looks at slumbering Mr Carmichael. He’s famous now but still the same polite old geezer she’s always known. People can be two people, in fact people can be many people. One thing leads to another and she tells us that Charles Tansley got his fellowship, got married, lives in Golders Green. She went to hear him speak during the war, in a half-empty hall droning on about brotherly love, and again she remembers for the third or fourth time the occasion when she and he played ducks and drakes at some cask which came floating in on the waves while Mrs Ramsay watched them.

Lily remembers countless times seeing Mr Ramsay losing his temper, shouting, behaving badly, throwing a plate through the air, then loitering round his wife waiting for her forgiveness. Odd that all this comes out at the very end of the text because only now does it make sense of the scene which opens the novel, the couple’s sharp disagreement about whether to go to the lighthouse on the morrow. Canny withholding.

Lily notices someone has finally gotten up and is moving about inside the house and for a mad moment she thinks it’s her beloved Mrs Ramsay.

Cut to James in the sailboat. They are getting close to the lighthouse now and he can see it, a tall tower on jagged rocks. He observes his father getting to the end of the book he’s been reading. Finally he finishes it and announces he’s hungry. He opens the packet with their sandwiches in. Out of respect to Macalister he stops Cam throwing a half-eaten sandwich over the side. Macalister is 75 and Mr Ramsay shares that he’s 71.

And his father finally praises James’s steering. All this time James’s hatred is based on his father’s unerring criticism. Just one word of praise makes him pitifully grateful. All through this Cam lives in two worlds, part of her seeing her shabby father, the other part excited because he is taking them on an adventure. Freudian ambivalence.

Finally the boat reaches the lighthouse jetty, Mr Ramsay buttons his jacket, puts on his hat, tells the kids to get the packets which Nancy had wrapped for the lighthouse keeper, stands erect at the bow and steps ashore.

Cut back to Lily on the island who is joined by Mr Carmichael standing up. They both look towards the lighthouse which has become hazy and agree they must have arrived by now. And Lily looks from the steps up to the terrace, then back at her painting, and then has the inspiration on how to finish it. And the novel ends with a symbolic phrase which describes not only what Lily has seen and captured, but what Woolf the author has also done – achieved her vision.

She looked at the steps; they were empty; she looked at her canvas; it was blurred. With a sudden intensity, as if she saw it clear for a second, she drew a line there, in the centre. It was done; it was finished. Yes, she thought, laying down her brush in extreme fatigue, I have had my vision. (p.192)

It’s a masterpiece.

Cast

Woolf’s fictions overflow with people, not just the primary characters but also a throng of secondary and tertiary characters, people who pop up sometimes for just one mention, for one sighting only, but who add to the sense her novels give of a dense tapestry of human lives all impinging on each other.

The Ramsays

1. Mr Ramsay

2. Mrs Ramsay

3. Lily Briscoe

4. Andrew Ramsay

5. Jasper Ramsay

6. Roger Ramsay

7. James Ramsay

8. Prue Ramsay

9. Rose Ramsay

10. Nancy Ramsay

11. Cam Ramsay

House guests

16. Charles Tansley, student writing his dissertation

17. Augustus Carmichael, old poet with white beard stained yellow

18. Lily Briscoe, painter

19. Minta Doyle, tomboy

20. Paul Rayley, young and handsome

21. William Bankes, scientist

Servants

12. Mildred the cook

13. Marie the Swiss maid

14. Ellen the maid

15. Kennedy the gardener

22. Aunt Camilla

23. Uncle James

24. Mrs McNab

25. Mrs Bast, helps Mrs McNab clean up the old house

26. George Bast, scythes the grass

27. Mrs Beckwith, turns up as a guest in part 3

28. Old Macalister

29. Macalister’s boy

30. Miss Giddings – mentioned just once, as being startled when Mr Ramsay suddenly, randomly quoted some poetry at her.

31. Mr Langley – also mentioned precisely once, in an anecdote Mrs Ramsay tells, that he had been round the world dozens of times but told her he never suffered as he did when my husband took him across to the lighthouse (p.85).

32. Mrs McNab – the housekeeper who airs and maintains the house in the family’s absence, through the long dark winters.


Credit

‘To The Lighthouse’ by Virginia Woolf was first published by the Hogarth Press in 1927. Page references are to the 1977 Granada paperback edition, although the text is easily available online.

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