“Mr. Fletcher, retired, of the Treasury, Mrs. Gorham, widow of the famous K.C., approached Him simply, and having done their praying, leant back, enjoyed the music (the organ pealed sweetly), and saw Miss Kilman at the end of the row, praying, praying, and, being still on the threshold of their underworld, thought of her sympathetically as a soul haunting the same territory; a soul cut out of immaterial substance; not a woman, a soul” (Woolf 130-1).
Woolf, Virginia. Mrs. Dalloway. Houghton Mifflin Harcourt Publishing Company, 2005.
Connection between church-goers, physically in the same space, spiritually in two separate spaces (with Him, threshold of underworld), relationship is viewed similarly between different parties
“Was it a quaint device opening a page of some medieval book of prophecies and symbols, a hawklike man flying sunward above the sea, a prophecy of the end he had been born to serve and had been following through the mists of childhood and boyhood, a symbol of the artist forging anew in his workshop out of the sluggish matter of the earth a new soaring impalpable imperishable being?” (Joyce 142).
Joyce, James. A Portrait of the Artist as a Young Man. Oxford University Press, 2000.
I’m unsure if the prophecy is calling for him to go to the church or to pursue his art, Stephen seems to think about it in terms of the artist creating art in either scenario
This act, and something in the movement of either party, instantly characterised the performers- they performed for Dencombe’s recreation- as opulent matron and humble dependant.
James, Henry. “The Middle Years.” In Complete Stories 1892-1898, edited by John Hollander and David Bromwich, 335-55. New York: Library of America, 1996, p. 336.
when does trio on beach become performers? being observed transforms people into performers (not only their fluid movements, but they must be seen), dichotomy of opulent matron/ humble dependant related to observer/performer?