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Virginia Woolf From Wikipedia, the free encyclopedia Virginia Woolf
Born
Adeline Virginia Stephen 25 January 1882 London, England, UK 28 March 1941 (aged 59) near Lewes, East Sussex, England Novelist, Essayist, Publisher, Critic
Died
Occupation Notable work(s)
To the Lighthouse , Mrs Dalloway ,Orlando: A Biography , A Room of One's Own
Leonard Woolf (1912±1941)
Spouse(s)
Influences[show]
Adeline Virginia Woolf (25 January 1882 ± 28 March 1941) was an English author, essayist, publisher, and writer of short stories, regarded as one of the foremostmodernist literary figures of the twentieth century. During the interwar period , Woolf was a significant figure in London literary society and a member of the Bloomsbury Group. Her most famous works include the novels Mrs
E l lif
P
t
Vi i i in Indi to
other, here he erved Burne- ones. and
[1]
ountaineer.[2]
which would influence ate, Kensington.
educated by her parents in their literate and well-connected household at 22 yde Park er parents had each been erbert arried previously and been widowed, arriages. ulia had uckworth, S tella arriet uckworth: eorge and, consequently, the household contained the children of three three children from her first husband, uckworth, and erald uckworth.
arian (Minny) Thackeray (1840±1875), and they had one daughter: aura Makepeace Stephen, who was declared mentally disabled and lived with the family until she was institutionalised in 1891.[3] eslie and ulia had four children together:Vanessa Stephen (1879), Thoby Stephen (1880), Virginia (1882), and Adrian Stephen (1883). Sir eslie Stephen's eminence as an editor, critic, and biographer, and his connection to illiam Thackeray (he was the widower of Thackeray's youngest daughter), meant
¦
A
o om of One's Own (1929), it it f f if i t it fi ti
i lf
t it f A t ,
li P i
r. ohn nd
er father, Sir eslie Stephen, was a notable historian, author, critic e was the editor of the ictionary of ational Biography, a work oolf's later experi ental biographies. The young Virginiawas
¥¤£
Dall
a y(1925), To t
i
li St li
¢¢
¢
¡
t ouse (1927)
Orlando (1928), i t ." , "A
t
-l t
t
,
t
f i
lf,
li i 1882.
t t born ith her ,
.
Vi i i St St (born
on) (1846 ±1895), oved to Engl nd
ri P ttl
on nd l t r
odel for Pre-R
haelite ainters such as Edward
er father eslie Stephen was married to
that his children were raised in an environment filled with the influences of Victorian literary society. enry ames, eorge enry ewes, ulia Margaret ameron (an aunt of ulia Stephen), and ames Russell owell, who was made Virginia's honorary godfather, were among the visitors to the house. ulia Stephen was equally well connected. escended from an attendant of Marie Antoinette, she came from a family of renowned beauties who left their mark on Victorian society as models for Pre-Raphaelite artists and early photographers. Supplementing these influences was the immense library at the Stephens' house, from which Virginia and Vane ssa were taught the classics and English literature. formally educated and sent to nlike the girls, Adrian and Thoby were ambridge contacts, as the ambridge, a differ nce which Virginia would regret. The e
sisters did, however, benefit indirectly from their brothers'
boys brought their new intellectual friends home to the Stephens' drawing room.
ulia Prinsep Stephen portrayed by Edward Burne- ones, 1866 According to oolf's memoirs, her most vivid childhood memories, however, were not ornwall, where the family spent every summer until 1895. ouse, looked out over Porthminster Bay, and
of ondon but of St. Ives in
The Stephens' summer home, Talland
is still standing today, though somewhat altered. Memories of these family holidays and impressions of the landscape, especially the odrevy ighthouse, informed the fiction oolf wrote in later years, most notably To t e i t o use.
The sudden death of her mother in 1895, when Virginia was 13, and that of her half sister Stella two years later, led to the first of Virginia's several nervous breakdowns. She was, however, able to take courses of study (some at degree level) in atin, erman and history at the adies¶ epartment of King¶s reek, ollege ondon
between 1897 and 1901, and this brought her into contact with some of the early
§ §© ¨ §
reformers of women¶s higher education such as aithfull (Principal of the King¶s adies¶ ladies). adies¶
[4]
lara Pater,
eorge
arr and ilian
epartment and noted as one of the Steamboat
er sister Vanessa also studied atin, Italian, art and architecture at King¶s epartment.
The death of her father in 1904 provoked her most alarming collapse and she was briefly institutionalised.[3] er breakdowns and subsequent recurring depressive periods, modern scholars (including her nephew and biographer, Quentin Bell) have suggested,[5] were also influenced by thesexual abuse she and Vanessa were subjected to by their half brothers uckworth (which Past and 22 Hyde Park Gate). Throughout her life, eorge and erald oolf recalls in her autobiographical essaysA Sketc of t e
oolf was plagued by periodicmood swings and associated
illnesses. Though this instability often affected her sociallife, her literary productivity continued with few breaks through her life.
Bloomsbury
The
readnought
oaxers in Abyssinianregalia; Virginia
oolf is the bearded figure on
the far left After the death of their father and Virginia's second nervous breakdown, Vanessa and Adrian sold 22 in Bloomsbury. oolf came to know ytton Strachey, Turner, uncan rant, eonard live Bell, Rupert Brooke, Saxon Sydneyroup. Several yde Park ate and bought a house at 46 ordon Square
oolf and Roger ry, who together formed the nucleus
of the intellectual circle of writers and artists known as the Bloomsbury Virginia participated in disguised as a maleAbyssinian royal.
members of the group attained notoriety in 1910 with the readnought hoax, which er complete 1940 talk on
the Hoax was discovered and is published in the memoirs collected in the e xpanded edition of The Platform of Time (2008). In 1907 Vanessa married Clive Bell, and the couple s interest in avant garde art would have an important influence on Virginia s development as an author. [6] Virginia Stephen married writer Leonard Woolf in 1912. Despite his low material status (Woolf referring to Leonard during their engagement as a penniless Jew ) the couple shared a close bond. Indeed, in 19 7, Woolf wrote in her diary: Love making ± after 25 years can¶t bear to be separate ... y ou see it is enormous pleasure being wanted: a wife. And our marriage so complete. he two also collaborated professionally, in 1917 founding the Hogarth Press, which subsequently published Virginia s novels along with works by .S. Eliot, Laurens van der Post, and others. [7] he Press also commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell. he ethos of the Bloomsbury group encouraged a liberal approach to sexuality, and in 1922 she met the writer and gardener Vita Sackville West, wife of Harold Nicolson. After a tentative start, they began a sexual relationship, which, according to Sackville West, was only twice consummated. [8] In 1928, Woolf present ed Sackville West with Orlando , a fantastical biography in which the eponymous hero s life spans three centuries and both genders. Nigel Nicolson, Vita Sackville West s son, wrote love letter in literature, in which she explores Vita, weave s her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her .
[9]
he
effect of Vita on Virginia is all contained in Orlando , the longest and most charming
After their
affair ended, the two women remained friends until Woolf s death in 1941. Virginia Woolf also remained close to her surviving siblings, Adrian and Vanessa; hoby had died of an illness at the age of 26. Work Woolf began writing professionally in 1900, initially for the Times Literary
Supplement with a journalistic piece about Haworth, home of theBrontë family.[10]
Her first novel, The Voyage Out , was published in 1915 by her half brother s imprint, Gerald Duckworth and Company Ltd . his novel was originally entitled Melymbrosia, but Woolf repeatedly changed the draft. An earlier version of The
Voyage Out has been reconstructed by Woolf scholar Louise DeSalvo and is now
available to the public under the intended title. DeSalvo argues that many of the changes Woolf made in the text were in response to changes in her own life.
[11]
ytton Strachey and
oolf at
arsington, 1923.[12]
oolf went on to publish novels and essays as a public intellectual to both critical and popular success. Much of her work was self-published through the ogarth Press. She has been hailed as one of the greatest novelists of the twenti th century and one of the e foremost modernists.[13] oolf is considered one of the greatest innovators in th English language. In her e works she experimented with stream-of-consciousness and the underlying psychological as well as emotional motives of characters. sharply after orld of eminist criticism in the 1970s.[14] er work was criticised for epitomising the narrow world of the upper middle class [citation English intelligentsia. Some critics judged it to be lacking in universality and depth, needed]
oolf's reputation declined
ar II, but her eminence was re-established with the surge
without the power to communicate anything of emotional or ethical relevance to
the disillusioned common reader,[citation needed] weary of the 1920s aest e tes. She was also criticised by some as an anti-semite, despite her being happily married to a ewish man. This anti-semitism is drawn from the fact that she often wrote of ewish characters in stereotypical archetypes and generalisations, including describing some of her ewish characters as physically repulsive and dirty.[15] The overwhelming and rising 1920s and 30s anti-semitism possibly influenced Virginia 1930 letter to the composer, Ethel Smyth, quoted in igel oolf. She wrote in her owever, in a diary, "I do not like the ewish voice; I do not like the ewish laugh."
icolson's biography, irginia V
Woolf,she recollects her boasts of eonard's ewishness confirming her snobbish
tendencies, How I hated marrying a Jew What a snob I was, for they have immense vitality.
[16]
In another letter to her dear friend Ethel Smyth, Virginia gives a scathing
[17]
denunciation of Christianity, seeing it as self righteous egotism and stating my Jew has more religion in one toe nail ²more human love, in one hair. knowing they were on Hitler s blacklist. Her 19 8 book Three indictment of fascism.
[18]
Virginia and her
husband Leonard Woolf actually hated and feared 19 0s fascism with its anti semitism
uineas was an
Virginia Woolf s peculiarities as a fiction writer have tended to obscure her central strength: Woolf is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted²and sometimes almost dissolved ²in the characters receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions.
[18]
he intensity of Virginia Woolf s poetic vision elevates the ordinary, sometimes banal settings ± often wartime environments ± of most of her novels. For example, Mrs
Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle aged society
woman, to organise a party, even as her life is paralleled with that of Septimus Warren Smith, a working class veteran who has returned from the First World War bearing deep psychological scars. [19]
To the Lighthouse (1927) is set on two days ten years apart. he plot centres around
the amsay family s anticipation of and reflection upon a visit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is the struggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of the family drama. he novel is also a meditation upon the lives of a nation s inhabitants in the midst of war, and of the people left behind. It also explores the passage of time, and how women are forced by society to allow men to take emotio nal strength from them. [20]
Orlando (1928) is one of Virginia Woolf s lightest novels. A parodic b iography of a
young nobleman who lives for three centuries without aging much past thirty (but who does abruptly turn into a woman), the book is in part a portrait of Woolf s lover Vita Sackville West. It was meant to console Vita for the loss of her ancestral home, though it is also a satirical treatment of Vita and her work. In Orlando the techniques of historical biographers are being ridiculed; the character of a pompous biographer is being assumed in order for it to be mocked. [21]
to recitatives than to interior monologues proper, create a wave like atmosphere that is more akin to a prose poem than to a plot centered novel. [22]
The
aves (19 1) presents a group of six friends whose reflections, which ar e closer
Her last work, Between the A ts (1941) sums up and magnifies Woolf s chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation ²all set in a highly imagina tive and symbolic narrative encompassing almost all of English history. his book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse.
[2 ]
understood as consistently in dialogue with Bloomsbury, particularly its tendency (informed by G.E. Moore, among others) towards doctrinaire rationali sm, it is not a simple recapitulation of the coterie s ideals. [24] Her works have been translated into over 50 languages, by writers such as Jorge Luis Borges and Marguerite Yourcenar .
While Woolf s work can be
Born
Adeline Virginia Stephen 25 January 1882 London, England, UK 28 March 1941 (aged 59) near Lewes, East Sussex, England Novelist, Essayist, Publisher, Critic
Died
Occupation Notable work(s)
To the Lighthouse , Mrs Dalloway ,Orlando: A Biography , A Room of One's Own
Leonard Woolf (1912±1941)
Spouse(s)
Influences[show]
Adeline Virginia Woolf (25 January 1882 ± 28 March 1941) was an English author, essayist, publisher, and writer of short stories, regarded as one of the foremostmodernist literary figures of the twentieth century. During the interwar period , Woolf was a significant figure in London literary society and a member of the Bloomsbury Group. Her most famous works include the novels Mrs
E l lif
P
t
Vi i i in Indi to
other, here he erved Burne- ones. and
[1]
ountaineer.[2]
which would influence ate, Kensington.
educated by her parents in their literate and well-connected household at 22 yde Park er parents had each been erbert arried previously and been widowed, arriages. ulia had uckworth, S tella arriet uckworth: eorge and, consequently, the household contained the children of three three children from her first husband, uckworth, and erald uckworth.
arian (Minny) Thackeray (1840±1875), and they had one daughter: aura Makepeace Stephen, who was declared mentally disabled and lived with the family until she was institutionalised in 1891.[3] eslie and ulia had four children together:Vanessa Stephen (1879), Thoby Stephen (1880), Virginia (1882), and Adrian Stephen (1883). Sir eslie Stephen's eminence as an editor, critic, and biographer, and his connection to illiam Thackeray (he was the widower of Thackeray's youngest daughter), meant
¦
A
o om of One's Own (1929), it it f f if i t it fi ti
i lf
t it f A t ,
li P i
r. ohn nd
er father, Sir eslie Stephen, was a notable historian, author, critic e was the editor of the ictionary of ational Biography, a work oolf's later experi ental biographies. The young Virginiawas
¥¤£
Dall
a y(1925), To t
i
li St li
¢¢
¢
¡
t ouse (1927)
Orlando (1928), i t ." , "A
t
-l t
t
,
t
f i
lf,
li i 1882.
t t born ith her ,
.
Vi i i St St (born
on) (1846 ±1895), oved to Engl nd
ri P ttl
on nd l t r
odel for Pre-R
haelite ainters such as Edward
er father eslie Stephen was married to
that his children were raised in an environment filled with the influences of Victorian literary society. enry ames, eorge enry ewes, ulia Margaret ameron (an aunt of ulia Stephen), and ames Russell owell, who was made Virginia's honorary godfather, were among the visitors to the house. ulia Stephen was equally well connected. escended from an attendant of Marie Antoinette, she came from a family of renowned beauties who left their mark on Victorian society as models for Pre-Raphaelite artists and early photographers. Supplementing these influences was the immense library at the Stephens' house, from which Virginia and Vane ssa were taught the classics and English literature. formally educated and sent to nlike the girls, Adrian and Thoby were ambridge contacts, as the ambridge, a differ nce which Virginia would regret. The e
sisters did, however, benefit indirectly from their brothers'
boys brought their new intellectual friends home to the Stephens' drawing room.
ulia Prinsep Stephen portrayed by Edward Burne- ones, 1866 According to oolf's memoirs, her most vivid childhood memories, however, were not ornwall, where the family spent every summer until 1895. ouse, looked out over Porthminster Bay, and
of ondon but of St. Ives in
The Stephens' summer home, Talland
is still standing today, though somewhat altered. Memories of these family holidays and impressions of the landscape, especially the odrevy ighthouse, informed the fiction oolf wrote in later years, most notably To t e i t o use.
The sudden death of her mother in 1895, when Virginia was 13, and that of her half sister Stella two years later, led to the first of Virginia's several nervous breakdowns. She was, however, able to take courses of study (some at degree level) in atin, erman and history at the adies¶ epartment of King¶s reek, ollege ondon
between 1897 and 1901, and this brought her into contact with some of the early
§ §© ¨ §
reformers of women¶s higher education such as aithfull (Principal of the King¶s adies¶ ladies). adies¶
[4]
lara Pater,
eorge
arr and ilian
epartment and noted as one of the Steamboat
er sister Vanessa also studied atin, Italian, art and architecture at King¶s epartment.
The death of her father in 1904 provoked her most alarming collapse and she was briefly institutionalised.[3] er breakdowns and subsequent recurring depressive periods, modern scholars (including her nephew and biographer, Quentin Bell) have suggested,[5] were also influenced by thesexual abuse she and Vanessa were subjected to by their half brothers uckworth (which Past and 22 Hyde Park Gate). Throughout her life, eorge and erald oolf recalls in her autobiographical essaysA Sketc of t e
oolf was plagued by periodicmood swings and associated
illnesses. Though this instability often affected her sociallife, her literary productivity continued with few breaks through her life.
Bloomsbury
The
readnought
oaxers in Abyssinianregalia; Virginia
oolf is the bearded figure on
the far left After the death of their father and Virginia's second nervous breakdown, Vanessa and Adrian sold 22 in Bloomsbury. oolf came to know ytton Strachey, Turner, uncan rant, eonard live Bell, Rupert Brooke, Saxon Sydneyroup. Several yde Park ate and bought a house at 46 ordon Square
oolf and Roger ry, who together formed the nucleus
of the intellectual circle of writers and artists known as the Bloomsbury Virginia participated in disguised as a maleAbyssinian royal.
members of the group attained notoriety in 1910 with the readnought hoax, which er complete 1940 talk on
the Hoax was discovered and is published in the memoirs collected in the e xpanded edition of The Platform of Time (2008). In 1907 Vanessa married Clive Bell, and the couple s interest in avant garde art would have an important influence on Virginia s development as an author. [6] Virginia Stephen married writer Leonard Woolf in 1912. Despite his low material status (Woolf referring to Leonard during their engagement as a penniless Jew ) the couple shared a close bond. Indeed, in 19 7, Woolf wrote in her diary: Love making ± after 25 years can¶t bear to be separate ... y ou see it is enormous pleasure being wanted: a wife. And our marriage so complete. he two also collaborated professionally, in 1917 founding the Hogarth Press, which subsequently published Virginia s novels along with works by .S. Eliot, Laurens van der Post, and others. [7] he Press also commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell. he ethos of the Bloomsbury group encouraged a liberal approach to sexuality, and in 1922 she met the writer and gardener Vita Sackville West, wife of Harold Nicolson. After a tentative start, they began a sexual relationship, which, according to Sackville West, was only twice consummated. [8] In 1928, Woolf present ed Sackville West with Orlando , a fantastical biography in which the eponymous hero s life spans three centuries and both genders. Nigel Nicolson, Vita Sackville West s son, wrote love letter in literature, in which she explores Vita, weave s her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her .
[9]
he
effect of Vita on Virginia is all contained in Orlando , the longest and most charming
After their
affair ended, the two women remained friends until Woolf s death in 1941. Virginia Woolf also remained close to her surviving siblings, Adrian and Vanessa; hoby had died of an illness at the age of 26. Work Woolf began writing professionally in 1900, initially for the Times Literary
Supplement with a journalistic piece about Haworth, home of theBrontë family.[10]
Her first novel, The Voyage Out , was published in 1915 by her half brother s imprint, Gerald Duckworth and Company Ltd . his novel was originally entitled Melymbrosia, but Woolf repeatedly changed the draft. An earlier version of The
Voyage Out has been reconstructed by Woolf scholar Louise DeSalvo and is now
available to the public under the intended title. DeSalvo argues that many of the changes Woolf made in the text were in response to changes in her own life.
[11]
ytton Strachey and
oolf at
arsington, 1923.[12]
oolf went on to publish novels and essays as a public intellectual to both critical and popular success. Much of her work was self-published through the ogarth Press. She has been hailed as one of the greatest novelists of the twenti th century and one of the e foremost modernists.[13] oolf is considered one of the greatest innovators in th English language. In her e works she experimented with stream-of-consciousness and the underlying psychological as well as emotional motives of characters. sharply after orld of eminist criticism in the 1970s.[14] er work was criticised for epitomising the narrow world of the upper middle class [citation English intelligentsia. Some critics judged it to be lacking in universality and depth, needed]
oolf's reputation declined
ar II, but her eminence was re-established with the surge
without the power to communicate anything of emotional or ethical relevance to
the disillusioned common reader,[citation needed] weary of the 1920s aest e tes. She was also criticised by some as an anti-semite, despite her being happily married to a ewish man. This anti-semitism is drawn from the fact that she often wrote of ewish characters in stereotypical archetypes and generalisations, including describing some of her ewish characters as physically repulsive and dirty.[15] The overwhelming and rising 1920s and 30s anti-semitism possibly influenced Virginia 1930 letter to the composer, Ethel Smyth, quoted in igel oolf. She wrote in her owever, in a diary, "I do not like the ewish voice; I do not like the ewish laugh."
icolson's biography, irginia V
Woolf,she recollects her boasts of eonard's ewishness confirming her snobbish
tendencies, How I hated marrying a Jew What a snob I was, for they have immense vitality.
[16]
In another letter to her dear friend Ethel Smyth, Virginia gives a scathing
[17]
denunciation of Christianity, seeing it as self righteous egotism and stating my Jew has more religion in one toe nail ²more human love, in one hair. knowing they were on Hitler s blacklist. Her 19 8 book Three indictment of fascism.
[18]
Virginia and her
husband Leonard Woolf actually hated and feared 19 0s fascism with its anti semitism
uineas was an
Virginia Woolf s peculiarities as a fiction writer have tended to obscure her central strength: Woolf is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted²and sometimes almost dissolved ²in the characters receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions.
[18]
he intensity of Virginia Woolf s poetic vision elevates the ordinary, sometimes banal settings ± often wartime environments ± of most of her novels. For example, Mrs
Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle aged society
woman, to organise a party, even as her life is paralleled with that of Septimus Warren Smith, a working class veteran who has returned from the First World War bearing deep psychological scars. [19]
To the Lighthouse (1927) is set on two days ten years apart. he plot centres around
the amsay family s anticipation of and reflection upon a visit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is the struggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of the family drama. he novel is also a meditation upon the lives of a nation s inhabitants in the midst of war, and of the people left behind. It also explores the passage of time, and how women are forced by society to allow men to take emotio nal strength from them. [20]
Orlando (1928) is one of Virginia Woolf s lightest novels. A parodic b iography of a
young nobleman who lives for three centuries without aging much past thirty (but who does abruptly turn into a woman), the book is in part a portrait of Woolf s lover Vita Sackville West. It was meant to console Vita for the loss of her ancestral home, though it is also a satirical treatment of Vita and her work. In Orlando the techniques of historical biographers are being ridiculed; the character of a pompous biographer is being assumed in order for it to be mocked. [21]
to recitatives than to interior monologues proper, create a wave like atmosphere that is more akin to a prose poem than to a plot centered novel. [22]
The
aves (19 1) presents a group of six friends whose reflections, which ar e closer
Her last work, Between the A ts (1941) sums up and magnifies Woolf s chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation ²all set in a highly imagina tive and symbolic narrative encompassing almost all of English history. his book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse.
[2 ]
understood as consistently in dialogue with Bloomsbury, particularly its tendency (informed by G.E. Moore, among others) towards doctrinaire rationali sm, it is not a simple recapitulation of the coterie s ideals. [24] Her works have been translated into over 50 languages, by writers such as Jorge Luis Borges and Marguerite Yourcenar .
While Woolf s work can be
