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March 28, 2005
In memoriam, Virginia Woolf
A couple of weeks ago I had a house guest, a friend from when we were both in grad school. Having written a dissertation on Woolf and the Renaissance, I published a collection of essays on that subject. Rebecca Laroche was one of the contributors, and she became a friend. Rebecca is a Renaissance scholar whose work, now, has nothing to do with Woolf: she writes about women of the Renaissance period and the particular ways in which they used the rhetoric of the household (specifically the vocabulary of the "herbal") to express their hopes and longings. My own work has gone in a radically different direction toward subjects much closer to home.
But we agreed that we both felt driven, in some way, by Woolf's own practice of critical writing. Woolf, who wrote hundreds of critical essays in addition to her fiction, had a way of engaging with her subject where she found it--not from above it or outside of it, but where it is, and on its own terms. "The lives of the obscure" were always of interest. Here she is on a London street, ducking into a book store:
Thus, glancing round the bookshop, we make other such sudden capricious friendships with the unknown and the vanished whose only record is, for example, this little book of poems, so fairly printed, so finely engraved, too, with a portrait of the author. For he was a poet and drowned untimely, and his verse, mild as it is and formal and sententious, sends forth still a frail fluty sound like that of a piano organ played in some back street resignedly by an old Italian organ-grinder in a corduroy jacket. There are travellers, too, row upon row of them, still testifying, indomitable spinsters that they were, to the discomforts that they endured and the sunsets they admired in Greece when Queen Victoria was a girl. A tour in Cornwall with a visit to the tin mines was thought worthy of voluminous record. People went slowly up the Rhine and did portraits of each other in Indian ink, sitting reading on deck beside a coil of rope; they measured the pyramids; were lost to civilization for years; converted negroes in pestilential swamps. This packing up and going off, exploring deserts and catching fevers, settling in India for a lifetime, penetrating even to China and then returning to lead a parochial life at Edmonton, tumbles and tosses upon the dusty floor like an uneasy sea, so restless the English are, with the waves at their very door. The waters of travel and adventure seem to break upon little islands of serious effort and lifelong industry stood in jagged column upon the floor. In these piles of puce-bound volumes with gilt monograms on the back, thoughtful clergymen expound the gospels; scholars are to be heard with their hammers and their chisels chipping clear the ancient texts of Euripides and Aeschylus. Thinking, annotating, expounding goes on at a prodigious rate all around us and over everything, like a punctual, everlasting tide, washes the ancient sea of fiction. Innumerable volumes tell how Arthur loved Laura and they were separated and they were unhappy and then they met and they were happy ever after, as was the way when Victoria ruled these islands.
As we know, Virginia Woolf didn't just die on this day in 1941, as Hitler prepared to invade Yugoslavia and Greece. She took her own life, and it wasn't the first time she had tried. But she too was full of life, and, like all of us, experienced moments of frustration and fear, but also of pure exaltation and delight.
Posted by Eric at March 28, 2005 11:57 AM
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Comments
The strength and limitation of Woolf's critical writings, I think, may be caught by Quentin Bell's remark on her short novel "Flush," that it was the work of someone seriously trying to imagine what it was like to be a dog. That is the sense I always get from her critical essays: whose acquaintance are we making when we meet this writer? what is he or she like?
I think "To the Lighthouse" offers a much sharper take on the possibility of such knowledge than her critical works (those I've read) ever do. Dare I suggest that many of her critical essays were written for the dual purposes of relaxation and reimbursement? Of course, W. being a genius, even her more casual products are works of art.
Posted by: Anderson at March 28, 2005 10:35 PM
Virginia Woolf: Reading the Renaissance: the title brings back memories of a period in my undergrad days when I was very interested in the affection that some of the great Anglo-American modernists (Woolf, Joyce, Barnes, Strachey, Eliot) showed for the wonderful prose stylists of the sixteenth and seventeenth centuries. I was particularly intrigued by Sir Thomas Browne's influence. It's been ages since I've thought about that, and I now work on very different things, but I must take a look at your book at some point when I have a chance.
Posted by: B. Madison Mount at March 30, 2005 2:45 AM