VIRGINIA WOOLF
Virginia Woolf, born Adeline
Virginia Stephen in London, was the daughter of biographer and critic Leslie
Stephen (later Sir Leslie) and Julia Jackson Duckworth. She was educated at
home by her father, Sir Leslie Stephen, and, after his death in 1904, she, her sister
Vanessa, and her brothers Adrian and Thoby, lived in Gordon Square, London, which
became the centre of the Bloomsbury group. In 1912 she married Leonard Woolf,
a critic and writer on economics and politics and in 1917 they founded the
Hogarth Press, which became a successful publishing house, printing
the early works of authors such as Forster, Katherine Mansfield, and T.S.Eliot, and
introducing the works of Sigmund Freud, founder of psychoanalysis, to
English readers. Except for the first printing of Woolf's first novel, The Voyage Out (1915), the Hogarth Press
published all of her works. Virginia Woolf, her husband, her
siblings, and their friends became known as the Bloomsbury group. Meeting
frequently until about 1930, the group included novelist E.M.Forster, biographer and
essayist Lytton Strachey, painter Duncan Grant, art critics Roger
Fry and Clive Bell (Vanessa's husband), economist John Maynard Keynes, and
editor Desmond McCarthy. Although the group shared certain values, it had no
common rules to follow. It was simply a number of friends, wrote McCarthy,
"whose affection and respect for each other ... stood the test of thirty
years, and whose intellectual candor made their company agreeable to each
other."
From the time of her mother's death in 1895, Woolf suffered from what is
now believed to have been bipolar disorder, which is characterized by
alternating moods of mania and depression. In 1941, at the apparent onset of a
period of depression, Woolf drowned herself in the Ouse River. She left her
husband a note explaining that she feared she was going mad and this time she
would not recover.
After her novels The Voyage Out (1915)
and Night and Day
(1919) appeared, she began to experiment. She wanted to stress the continuous
flow of experience, the indefintness of character and external circumstances as
they impinged on consciousness. She was also interested in the way time is
experienced both as a sequence of different moments and as the passing of years
and centuries. From Jacob's
Room (1922) onward, she tried to convey the impression of time
present and of time passing in individual experience and also of the
characters' awareness of historic time.
In Mrs. Dalloway (1925)
and To the Lighthouse
(1927), she extended her technical mastery; above all, she gave to each of
these novels a tightly organized form, partly by using poetic devices such as
recurring images and partly by restricting the time of the action. Orlando (1928) is a
historical fantasy with evocations of England, and especially literary England,
from Elizabeth I to 1928. In her long essay, A Room of One’s Own (1929), she
described the difficulties encountered by women writers in a man's world.
Returning to the
novel, in The Waves (1931) she
confined herself to recording the stream of consciousness. The reader lives
within the minds of one or the other of six characters from their childhood to
their old age. Human experience of the "seven ages of man," rather
than character or event, is paramount. The
Years (1937) is more expansive and traditional. In Between the acts (1941), the action, as in
Mrs. Dalloway, occurs on a single
day, but extended time is suggested by the staging of a village pageant
recording English history, while the reader is also kept aware of impending
war.
Woolf wrote two
biographies: one is fanciful, a fragment of the life of the Brownings through
the imagined memories of Elizabeth Barrett Browning's dog (Flush; 1933); the other is a full-length biography
of the art critic Roger Fry (1940). Her best critical studies are in The Common Reader
(1925), The Common Reader:
Second Series (1932), The Death of the Moth (1942), and Granite and Rainbow
(1958).
Before the early 1900s, fiction emphasized the plot as well as detailed
descriptions of characters and settings. Events in the external world, such as
marriage, murder, or deception, were the most important aspects of a story. A
character’s interior, or mental, lives served mainly to prepare for or motivate
such meaningful external occurrences. Woolf's novels, however, emphasized
patterns of consciousness rather than sequences of events in the external
world. Influenced by the works of French writer Marcel Proust and Irish writer
James Joyce, among others, Woolf strove to create a literary form that would
convey inner life. To this end, she elaborated a technique known as stream of
consciousness, recording, as she described it, "the atoms as they fall
upon the mind in the order in which they fall," tracing "the pattern,
however disconnected ... in appearance, which each ... incident scores upon
consciousness." Her novels do not limit themselves to a single
consciousness, but move from character to character, using interior monologues
to present each person's differing responses, often to the same event. Her
specific contribution to the art of fiction was this representation of multiple
consciousnesses hovering around a common center. Her writing often explores the concepts of time, memory, and
people's inner consciousness, and is remarkable for its humanity and depth of
perception.
In Woolf's best fiction novels, plot is generated by the inner lives of
the characters. Psychological effects are achieved through the use of imagery,
symbol, and metaphor. Character unfolds by means of the ebb and flow of
personal impressions, feelings, and thoughts. Thus, the inner lives of human
beings and the ordinary events in their lives are made to seem to be
extraordinary. Woolf's fiction was drawn largely from her own experience, and
her characters are almost all members of her own affluent, intellectual,
upper-middle class.
Woolf had several major concerns other than her expressed desire to
represent consciousness. She was, for example, fascinated by time—seen both as
a sequence of moments and in terms of years and centuries—and by the
differences between external and internal time. This preoccupation is often
evident in the structure of her novels; Mrs.
Dalloway (1925) occurs within the consciousness of several people
during the course of one day, whereas Orlando
(1928) traces the history of a single character who reappears over several
centuries.
Woolf was also interested in defining qualities specific to the female
mind. She saw female sensibility as intuitive, close to the core of things, and
thus able to liberate the masculine intellect from what she viewed as its
enslavement to abstract concepts. It is not surprising that her most memorable
characters, such as Mrs. Dalloway, and Mrs. Ramsay in To the Lighthouse (1927), are women.
Concerned with the inner life of individuals, Woolf attempted to
represent not only the social relationships of her characters but also their
solitude, when they were most themselves, forming silent relationships with the
things around them. She was, in fact, quite interested in the things of a
natural world, such as rocks and plants, because of their solitude and
self-sufficiency; her books contain many detailed descriptions of such things.
Her concern with things for their own sake influenced Alain Robbe-Grillet and
other French novelists of the nouvelle vague
(new wave) movement, who attempted to write purely objective fiction in which
the author does not intrude into the story with his commentary.
Woolf's early novels—The Voyage Out
(1915), Night and Day (1919), and Jacob's Room (1922)—offer increasing
evidence of her determination to expand the scope of the novel beyond mere
storytelling. Her fourth novel, Mrs.
Dalloway, is considered by many to be her first great novel,
revealing a mastery of the form and technique for which she would become known.
The novel centers on the separate worlds and interior thought processes of two
characters: Clarissa Dalloway, a gracious London hostess in her 50s whose
husband is an uninspired politician, and Septimus Warren Smith, a young
ex-soldier suffering from a mental illness triggered by a friend's death in
battle during World War I. The two do not know each other and never meet, but
their minds have curious parallels. Although Septimus is considered mentally
ill by society and Clarissa is considered sane, both experience dizzying
alternations in feeling: joy over the tiny leaves of spring, dread of onrushing
time, terror over impending extinction, and guilt over the what they feel is
crime of being human. The story takes place on one June day in London after the
war, and it explores the idea of time by including past memories and future
hopes of the characters. The novel ends with a party given by Clarissa, at
which Septimus's cold but distinguished doctor tells Clarissa of Septimus's
suicide. "Here is death, in the middle of my party," she thinks.
Instinctively she feels she understands her symbolic double, Septimus with his
sensitivity, despair, and defiance. Some critics maintain that Clarissa and
Septimus represent two aspects of the same personality, and that both are
semiautobiographical representations of Woolf.
The power of Woolf's fifth novel, To
the Lighthouse, lies in its brilliant visual imagery, extensive use
of symbolism, and use of the characters' stream of consciousness to evoke
feeling and demonstrate the progression of both time and emotion. Behind the
backdrop of ordinary domestic events, the novel's real concern is with the
impact of the radiant Mrs. Ramsay—representing female sensibility—on the lives
and feelings of the other characters, even long after her death.
The story draws on Woolf's childhood experiences at a summer home by the
sea. The novel investigates the contrasts in the behavior and thinking of Mr.
and Mrs. Ramsay, the father and mother of the household. The couple are often
considered partial portraits of Woolf's own parents. To the Lighthouse is divided into three distinct parts. The
first section, "The Window," covers a September day, before World War
I, in the lives of the Ramsays, their three children, and their four
houseguests, who include Lily Briscoe, a young painter, and Augustus
Carmichael, an older poet. In this section Woolf explores the impressions each
character has throughout the day. The Ramsays' six-year-old son, James, talks
about his most cherished dream, which is to go to the nearby lighthouse, whose
beacon flashes at night. Mr. Ramsay, however, says the weather will not permit
such a trip. As the day passes the friends chat and dream; Lily starts a
painting of Mrs. Ramsay and James sitting at a window; meals are eaten; the
children go to bed; and the Ramsays read.
The second part of To The Lighthouse,
"Time Passes," starts as the night of that first day, but is then
fused with another night, ten years later. In the course of those ten years,
Mrs. Ramsay dies; the Ramsay's eldest son, Andrew, is killed in World War I;
and their only daughter looses her life at birth. Lily and Augustus return to
the house to visit Mr. Ramsay and James, who is now 16 years old.
The third section, "The Lighthouse," covers the following day,
on which James and his father finally make their trip to the lighthouse and
Lily finishes the painting she started ten years earlier. Although Mrs. Ramsay
is dead, her presence haunts the thoughts and feelings of the other characters
throughout this section. The successful trip to the lighthouse by father and
son, and the completion of the painting seem to represent some completion to
the purpose of Mrs. Ramsay's life.
Orlando, loosely based
on Woolf's friend, writer, Vita Sackville-West is an historical fantasy and an
analysis of gender, creativity, and identity. The writing is a succession of
brilliant parodies of literary styles, and the work satirically comments on
society's changing ideas and values. The story traces the life of Orlando, who
is both a boy in 16th-century Elizabethan England and a 38-year-old woman four
centuries later.
The Waves (1931) is
Woolf's most experimental and difficult work. It is organized into nine units,
each of which records a series of stream-of-consciousness monologues given
entirely in the present tense by six characters, one after another. The
monologues reveal the personalities of each character in their inner
experiences of external events. Each of these nine units is introduced by an
italicized passage describing the sea, the sky, a garden, hills, and a house
during some imaginary day. As in her other novels, Woolf is primarily concerned
with rendering the quality of inner life, but here inner life is presented in a
highly stylized, unrealistic way. While the voices uttering the monologues have
different names, sexes, and histories, the similar language of their monologues
often seems more like different aspects of the same consciousness, perhaps
representing the various aspects of humankind as a whole.
Besides novels, Woolf also published many nonfiction works, including
two extended essays exploring the roles of women in history and society: A Room of One's Own (1929) and Three Guineas (1938). Her works of
literary criticism include The Common Reader
(1925) and The Common Reader:
Second Series (1932). After her death, Woolf's diaries were edited
and published in five volumes between 1977 and 1984 as The Diary of Virginia Woolf. The Letters of Virginia Woolf appeared in
six volumes from 1975 to 1980.