Virgina Woolf. 1882: Born in London, named Adeline Virginia Stephen. 1895: suffered her first mental breakdown. 1904: had a second breakdown for the death of her father. 1912: married to Leonard Woolf. 1913: finished her first novel, The Voyage Out. .
1882: Born in London, named Adeline
1895: suffered her first mental breakdown.
1904: had a second breakdown for the
death of her father.
1912: married to Leonard Woolf.
1913: finished her first novel, The Voyage
1917: Bought a hand printing press, named
Hogarth House. First published a couple
of experimental short stories; ex: The
Mark on the Wall & Kew Gardens.
1922: Jacob’s Room published. Meets Mrs.
Harold Nicolson – Vita Sackville West.
1925: Mrs. Dalloway 1927: To the Lighthouse
1931: The Waves
1941: Committed suicide by drowning
in the River Ouse.
Virginia rebelled against what she called the “materialism” novelists and sought a more delicate rendering of those aspects of consciousness in which she felt that the truth of human experience really lay. After two novels, The Voyage Out and Night and Day, cast in traditional form, she developed her own style. (see P.2142)
These technical experiments helped revolutionize fictional technique and perfected a form of interior monologue in her novels. The publication of To the Lighthouse (1927) and Orlando (1929) established Virginia as a major novelist. She explores not only subtlety problems of personal identity and personal relationships but also a great deal of social criticism, such as the reflection on the position of women. Her strong support of women’s rights can be viewed in a series of lectures published as A Room of One’s Own (1929) and in a collection essays, Three Guineas (1938).
“……to describe the unbroken flow of thought and awareness in the waking mind; it has since been adopted to describe a narrative method in modern fiction. Long passages of introspection, describing in some detail what passes through a character’s mind,…”
“… the continuous flow of a character’s mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations. “
In this story technique and perfected a form of interior monologue in her novels. The publication of …The narrative seems to be a kind of web which has captured the stream of thought of the narrator in all its randomness and flights of fancy, in its moment-to-moment consciousness
A mark by any other name is just as confusing
The speaker is sitting in a chair. She spots a mark on the wall, above the mantelpiece, and she wonders what it might be. She could easily get up and solve the mystery, but from where she is sitting, the mark might be anything. Virginia Woolf was fascinated with the interplay between surface and depth. Thought patterns of consciousness are so various and variegated that each is like a mark on a wall - you can't actually pin it down to any one thing, and trying to come to terms with each of them is like trying to decipher a mark which is just outside of your vision and comprehension.
“Yes, it must have been the winter time, and we had just finished our tea, for I remember that I was smoking a cigarette when I looked up and saw the mark on the wall for the first time.” (2143)
“Rather to my relief the sight of the mark interrupted the fancy, for it is an old fancy, and automatic fancy, made as a child perhaps.” (2143)
She thinks “that mark was made by a nail.” (2143) –Hypothesis #1
“ technique and perfected a form of interior monologue in her novels. The publication of They wanted to leave the house because they wanted to change their style of furniture, so he said, and he was in process of saying that in his opinion art should have ideas behind it when we were torn asunder . . . .” (2143)“ . . . as one is torn from the old lady about to pour out tea and the young man about to hit the tennis ball in the back garden of the suburban villa as one rushes past in the train.” (2143)
In the third paragraph, she returns to the mark: “But for that mark, I’m not sure about it; I don’t believe it was made by nail after all; it’s too big, too round, for that …” (2143) –Hypothesis #2
“ technique and perfected a form of interior monologue in her novels. The publication of I might get up, but if I got up and looked at it, ten to one I shouldn’t be able to say for certain; because once a thing’s done, no one every know how it happened.” (2143)
“Oh! Dear me, the mystery of life’ the inaccuracy of thought! The ignorance of humanity! To show how very little control of our possessions we have – what an accidental affair this living is after all our civilization . . . .” (2143)
“Why, if one wants to compare life to anything, one must liken it to being blown through the Tube at fifty miles an hour . . . .” (2144)
Paragraph 4“Why, after all, should one not be born there as one is born here, helpless, speechless, unable to focus one’s eyesight . . . .” (2144) Paragraph 5
“ It may even be caused by some round black substance, such as a small rose leaf, left over from the summer . . . .” (2144)
A summary of “Shakespeare’s Sister.”
Virginia Woolf gives an historical argument that women lack of money and privacy from writing.
Woolf posits that men historically belittle women as a means of asserting their own superiority.
She dedicated to an analysis of the patriarchal English society that has limited women’s opportunity.