Virginia Woolf (January 25, 1882 - March 28, 1941)
Born: 25th January, 1882
Died: 28th March, 1941
Nationality: British
Profession/Occupation: Author
Region: London, England
Notable works: "Mrs. Dalloway", "Orlando", "To the Lighthouse", "A Room of One's Own", "The Common Reader", "Jacob's Room", "The Waves", "Kew Gardens", "Modern Fiction", "The Years"

Virginia Woolf Facts

Biography

Virginia Woolf, original name in full Adeline Virginia Stephen, (born January 25, 1882, London, England—died March 28, 1941, near Rodmell, Sussex), English writer whose novels, through their nonlinear approaches to narrative, exerted a major influence on the genre.

While she is best known for her novels, especially Mrs. Dalloway (1925) and To the Lighthouse (1927), Woolf also wrote pioneering essays on artistic theory, literary history, women’s writing, and the politics of power. A fine stylist, she experimented with several forms of biographical writing, composed painterly short fictions, and sent to her friends and family a lifetime of brilliant letters.

Early life and influences

Born Virginia Stephen, she was the child of ideal Victorian parents. Her father, Leslie Stephen, was an eminent literary figure and the first editor (1882–91) of the Dictionary of National Biography. Her mother, Julia Jackson, possessed great beauty and a reputation for saintly self-sacrifice; she also had prominent social and artistic connections, which included Julia Margaret Cameron, her aunt and one of the greatest portrait photographers of the 19th century. Both Julia Jackson’s first husband, Herbert Duckworth, and Leslie’s first wife, a daughter of the novelist William Makepeace Thackeray, had died unexpectedly, leaving her three children and him one. Julia Jackson Duckworth and Leslie Stephen married in 1878, and four children followed: Vanessa (born 1879), Thoby (born 1880), Virginia (born 1882), and Adrian (born 1883). While these four children banded together against their older half siblings, loyalties shifted among them. Virginia was jealous of Adrian for being their mother’s favourite. At age nine, she was the genius behind a family newspaper, the Hyde Park Gate News, that often teased Vanessa and Adrian. Vanessa mothered the others, especially Virginia, but the dynamic between need (Virginia’s) and aloofness (Vanessa’s) sometimes expressed itself as rivalry between Virginia’s art of writing and Vanessa’s of painting.

The Stephen family made summer migrations from their London town house near Kensington Gardens to the rather disheveled Talland House on the rugged Cornwall coast. That annual relocation structured Virginia’s childhood world in terms of opposites: city and country, winter and summer, repression and freedom, fragmentation and wholeness. Her neatly divided, predictable world ended, however, when her mother died in 1895 at age 49. Virginia, at 13, ceased writing amusing accounts of family news. Almost a year passed before she wrote a cheerful letter to her brother Thoby. She was just emerging from depression when, in 1897, her half sister Stella Duckworth died at age 28, an event Virginia noted in her diary as “impossible to write of.” Then in 1904, after her father died, Virginia had a nervous breakdown.

While Virginia was recovering, Vanessa supervised the Stephen children’s move to the bohemian Bloomsbury section of London. There the siblings lived independent of their Duckworth half brothers, free to pursue studies, to paint or write, and to entertain. Leonard Woolf dined with them in November 1904, just before sailing to Ceylon (now Sri Lanka) to become a colonial administrator. Soon the Stephens hosted weekly gatherings of radical young people, including Clive Bell, Lytton Strachey, and John Maynard Keynes, all later to achieve fame as, respectively, an art critic, a biographer, and an economist. Then, after a family excursion to Greece in 1906, Thoby died of typhoid fever. He was 26. Virginia grieved but did not slip into depression. She overcame the loss of Thoby and the “loss” of Vanessa, who became engaged to Bell just after Thoby’s death, through writing. Vanessa’s marriage (and perhaps Thoby’s absence) helped transform conversation at the avant-garde gatherings of what came to be known as the Bloomsbury group into irreverent, sometimes bawdy repartee that inspired Virginia to exercise her wit publicly, even while privately she was writing her poignant “Reminiscences”—about her childhood and her lost mother—which was published in 1908. Viewing Italian art that summer, she committed herself to creating in language “some kind of whole made of shivering fragments,” to capturing “the flight of the mind.”

Early fiction

Virginia Stephen determined in 1908 to “re-form” the novel by creating a holistic form embracing aspects of life that were “fugitive” from the Victorian novel. While writing anonymous reviews for the Times Literary Supplement and other journals, she experimented with such a novel, which she called Melymbrosia. In November 1910, Roger Fry, a new friend of the Bells, launched the exhibit “Manet and the Post-Impressionists,” which introduced radical European art to the London bourgeoisie. Virginia was at once outraged over the attention that painting garnered and intrigued by the possibility of borrowing from the likes of artists Paul Cézanne and Pablo Picasso. As Clive Bell was unfaithful, Vanessa began an affair with Fry, and Fry began a lifelong debate with Virginia about the visual and verbal arts. In the summer of 1911, Leonard Woolf returned from the East. After he resigned from the colonial service, Leonard and Virginia married in August 1912. She continued to work on her first novel; he wrote the anticolonialist novel The Village in the Jungle (1913) and The Wise Virgins (1914), a Bloomsbury exposé. Then he became a political writer and an advocate for peace and justice.

Between 1910 and 1915, Virginia’s mental health was precarious. Nevertheless, she completely recast Melymbrosia as The Voyage Out in 1913. She based many of her novel’s characters on real-life prototypes: Lytton Strachey, Leslie Stephen, her half brother George Duckworth, Clive and Vanessa Bell, and herself. Rachel Vinrace, the novel’s central character, is a sheltered young woman who, on an excursion to South America, is introduced to freedom and sexuality (though from the novel’s inception she was to die before marrying). Woolf first made Terence, Rachel’s suitor, rather Clive-like; as she revised, Terence became a more sensitive, Leonard-like character. After an excursion up the Amazon, Rachel contracts a terrible illness that plunges her into delirium and then death. As possible causes for this disaster, Woolf’s characters suggest everything from poorly washed vegetables to jungle disease to a malevolent universe, but the book endorses no explanation. That indeterminacy, at odds with the certainties of the Victorian era, is echoed in descriptions that distort perception: while the narrative often describes people, buildings, and natural objects as featureless forms, Rachel, in dreams and then delirium, journeys into surrealistic worlds. Rachel’s voyage into the unknown began Woolf’s voyage beyond the conventions of realism.

Woolf’s manic-depressive worries (that she was a failure as a writer and a woman, that she was despised by Vanessa and unloved by Leonard) provoked a suicide attempt in September 1913. Publication of The Voyage Out was delayed until early 1915; then, that April, she sank into a distressed state in which she was often delirious. Later that year she overcame the “vile imaginations” that had threatened her sanity. She kept the demons of mania and depression mostly at bay for the rest of her life.

In 1917 the Woolfs bought a printing press and founded the Hogarth Press, named for Hogarth House, their home in the London suburbs. The Woolfs themselves (she was the compositor while he worked the press) published their own Two Stories in the summer of 1917. It consisted of Leonard’s Three Jews and Virginia’s The Mark on the Wall, the latter about contemplation itself.

Since 1910, Virginia had kept (sometimes with Vanessa) a country house in Sussex, and in 1916 Vanessa settled into a Sussex farmhouse called Charleston. She had ended her affair with Fry to take up with the painter Duncan Grant, who moved to Charleston with Vanessa and her children, Julian and Quentin Bell; a daughter, Angelica, would be born to Vanessa and Grant at the end of 1918. Charleston soon became an extravagantly decorated, unorthodox retreat for artists and writers, especially Clive Bell, who continued on friendly terms with Vanessa, and Fry, Vanessa’s lifelong devotee.

Virginia had kept a diary, off and on, since 1897. In 1919 she envisioned “the shadow of some kind of form which a diary might attain to,” organized not by a mechanical recording of events but by the interplay between the objective and the subjective. Her diary, as she wrote in 1924, would reveal people as “splinters & mosaics; not, as they used to hold, immaculate, monolithic, consistent wholes.” Such terms later inspired critical distinctions, based on anatomy and culture, between the feminine and the masculine, the feminine being a varied but all-embracing way of experiencing the world and the masculine a monolithic or linear way. Critics using these distinctions have credited Woolf with evolving a distinctly feminine diary form, one that explores, with perception, honesty, and humour, her own ever-changing, mosaic self.

Proving that she could master the traditional form of the novel before breaking it, she plotted her next novel in two romantic triangles, with its protagonist Katharine in both. Night and Day (1919) answers Leonard’s The Wise Virgins, in which he had his Leonard-like protagonist lose the Virginia-like beloved and end up in a conventional marriage. In Night and Day, the Leonard-like Ralph learns to value Katharine for herself, not as some superior being. And Katharine overcomes (as Virginia had) class and familial prejudices to marry the good and intelligent Ralph. This novel focuses on the very sort of details that Woolf had deleted from The Voyage Out: credible dialogue, realistic descriptions of early 20th-century settings, and investigations of issues such as class, politics, and suffrage.

Woolf was writing nearly a review a week for the Times Literary Supplement in 1918. Her essay “Modern Novels” (1919; revised in 1925 as “Modern Fiction”) attacked the “materialists” who wrote about superficial rather than spiritual or “luminous” experiences. The Woolfs also printed by hand, with Vanessa Bell’s illustrations, Virginia’s Kew Gardens (1919), a story organized, like a Post-Impressionistic painting, by pattern. With the Hogarth Press’s emergence as a major publishing house, the Woolfs gradually ceased being their own printers.

In 1919 they bought a cottage in Rodmell village called Monk’s House, which looked out over the Sussex Downs and the meadows where the River Ouse wound down to the English Channel. Virginia could walk or bicycle to visit Vanessa, her children, and a changing cast of guests at the bohemian Charleston and then retreat to Monk’s House to write. She envisioned a new book that would apply the theories of “Modern Novels” and the achievements of her short stories to the novel form. In early 1920 a group of friends, evolved from the early Bloomsbury group, began a “Memoir Club,” which met to read irreverent passages from their autobiographies. Her second presentation was an exposé of Victorian hypocrisy, especially that of George Duckworth, who masked inappropriate, unwanted caresses as affection honouring their mother’s memory.

In 1921 Woolf’s minimally plotted short fictions were gathered in Monday or Tuesday. Meanwhile, typesetting having heightened her sense of visual layout, she began a new novel written in blocks to be surrounded by white spaces. In “On Re-Reading Novels” (1922), Woolf argued that the novel was not so much a form but an “emotion which you feel.” In Jacob’s Room (1922) she achieved such emotion, transforming personal grief over the death of Thoby Stephen into a “spiritual shape.” Though she takes Jacob from childhood to his early death in war, she leaves out plot, conflict, even character. The emptiness of Jacob’s room and the irrelevance of his belongings convey in their minimalism the profound emptiness of loss. Though Jacob’s Room is an antiwar novel, Woolf feared that she had ventured too far beyond representation. She vowed to “push on,” as she wrote Clive Bell, to graft such experimental techniques onto more-substantial characters.

Major period

At the beginning of 1924, the Woolfs moved their city residence from the suburbs back to Bloomsbury, where they were less isolated from London society. Soon the aristocratic Vita Sackville-West began to court Virginia, a relationship that would blossom into a lesbian affair. Having already written a story about a Mrs. Dalloway, Woolf thought of a foiling device that would pair that highly sensitive woman with a shell-shocked war victim, a Mr. Smith, so that “the sane and the insane” would exist “side by side.” Her aim was to “tunnel” into these two characters until Clarissa Dalloway’s affirmations meet Septimus Smith’s negations. Also in 1924 Woolf gave a talk at Cambridge called “Character in Fiction,” revised later that year as the Hogarth Press pamphlet Mr. Bennett and Mrs. Brown. In it she celebrated the breakdown in patriarchal values that had occurred “in or about December, 1910”—during Fry’s exhibit “Manet and the Post-Impressionists”—and she attacked “materialist” novelists for omitting the essence of character.

In Mrs. Dalloway (1925), the boorish doctors presume to understand personality, but its essence evades them. This novel is as patterned as a Post-Impressionist painting but is also so accurately representational that the reader can trace Clarissa’s and Septimus’s movements through the streets of London on a single day in June 1923. At the end of the day, Clarissa gives a grand party and Septimus commits suicide. Their lives come together when the doctor who was treating (or, rather, mistreating) Septimus arrives at Clarissa’s party with news of the death. The main characters are connected by motifs and, finally, by Clarissa’s intuiting why Septimus threw his life away.

Woolf wished to build on her achievement in Mrs. Dalloway by merging the novelistic and elegiac forms. As an elegy, To the Lighthouse—published on May 5, 1927, the 32nd anniversary of Julia Stephen’s death—evoked childhood summers at Talland House. As a novel, it broke narrative continuity into a tripartite structure. The first section, “The Window,” begins as Mrs. Ramsay and James, her youngest son—like Julia and Adrian Stephen—sit in the French window of the Ramsays’ summer home while a houseguest named Lily Briscoe paints them and James begs to go to a nearby lighthouse. Mr. Ramsay, like Leslie Stephen, sees poetry as didacticism, conversation as winning points, and life as a tally of accomplishments. He uses logic to deflate hopes for a trip to the lighthouse, but he needs sympathy from his wife. She is more attuned to emotions than reason. In the climactic dinner-party scene, she inspires such harmony and composure that the moment “partook, she felt,…of eternity.” The novel’s middle “Time Passes” section focuses on the empty house during a 10-year hiatus and the last-minute housecleaning for the returning Ramsays. Woolf describes the progress of weeds, mold, dust, and gusts of wind, but she merely announces such major events as the deaths of Mrs. Ramsay and a son and daughter. In the novel’s third section, “The Lighthouse,” Woolf brings Mr. Ramsay, his youngest children (James and Cam), Lily Briscoe, and others from “The Window” back to the house. As Mr. Ramsay and the now-teenage children reach the lighthouse and achieve a moment of reconciliation, Lily completes her painting. To the Lighthouse melds into its structure questions about creativity and the nature and function of art. Lily argues effectively for nonrepresentational but emotive art, and her painting (in which mother and child are reduced to two shapes with a line between them) echoes the abstract structure of Woolf’s profoundly elegiac novel.

In two 1927 essays, “The Art of Fiction” and “The New Biography,” she wrote that fiction writers should be less concerned with naive notions of reality and more with language and design. However restricted by fact, she argued, biographers should yoke truth with imagination, “granite-like solidity” with “rainbow-like intangibility.” Their relationship having cooled by 1927, Woolf sought to reclaim Sackville-West through a “biography” that would include Sackville family history. Woolf solved biographical, historical, and personal dilemmas with the story of Orlando, who lives from Elizabethan times through the entire 18th century; he then becomes female, experiences debilitating gender constraints, and lives into the 20th century. Orlando begins writing poetry during the Renaissance, using history and mythology as models, and over the ensuing centuries returns to the poem “The Oak Tree,” revising it according to shifting poetic conventions. Woolf herself writes in mock-heroic imitation of biographical styles that change over the same period of time. Thus, Orlando: A Biography (1928) exposes the artificiality of both gender and genre prescriptions. However fantastic, Orlando also argues for a novelistic approach to biography.

In 1921 John Maynard Keynes had told Woolf that her memoir “on George,” presented to the Memoir Club that year or a year earlier, represented her best writing. Afterward she was increasingly angered by masculine condescension to female talent. In A Room of One’s Own (1929), Woolf blamed women’s absence from history not on their lack of brains and talent but on their poverty. For her 1931 talk “Professions for Women,” Woolf studied the history of women’s education and employment and argued that unequal opportunities for women negatively affect all of society. She urged women to destroy the “angel in the house,” a reference to Coventry Patmore’s poem of that title, the quintessential Victorian paean to women who sacrifice themselves to men.

Having praised a 1930 exhibit of Vanessa Bell’s paintings for their wordlessness, Woolf planned a mystical novel that would be similarly impersonal and abstract. In The Waves (1931), poetic interludes describe the sea and sky from dawn to dusk. Between the interludes, the voices of six named characters appear in sections that move from their childhood to old age. In the middle section, when the six friends meet at a farewell dinner for another friend leaving for India, the single flower at the centre of the dinner table becomes a “seven-sided flower…a whole flower to which every eye brings its own contribution.” The Waves offers a six-sided shape that illustrates how each individual experiences events—including their friend’s death—uniquely. Bernard, the writer in the group, narrates the final section, defying death and a world “without a self.” Unique though they are (and their prototypes can be identified in the Bloomsbury group), the characters become one, just as the sea and sky become indistinguishable in the interludes. This oneness with all creation was the primal experience Woolf had felt as a child in Cornwall. In this her most experimental novel, she achieved its poetic equivalent. Through To the Lighthouse and The Waves, Woolf became, with James Joyce and William Faulkner, one of the three major English-language Modernist experimenters in stream-of-consciousness writing.

Late work

From her earliest days, Woolf had framed experience in terms of oppositions, even while she longed for a holistic state beyond binary divisions. The “perpetual marriage of granite and rainbow” Woolf described in her essay “The New Biography” typified her approach during the 1930s to individual works and to a balance between writing works of fact and of imagination. Even before finishing The Waves, she began compiling a scrapbook of clippings illustrating the horrors of war, the threat of fascism, and the oppression of women. The discrimination against women that Woolf had discussed in A Room of One’s Own and “Professions for Women” inspired her to plan a book that would trace the story of a fictional family named Pargiter and explain the social conditions affecting family members over a period of time. In The Pargiters: A Novel-Essay she would alternate between sections of fiction and of fact. For the fictional historical narrative, she relied upon experiences of friends and family from the Victorian Age to the 1930s. For the essays, she researched that 50-year span of history. The task, however, of moving between fiction and fact was daunting.

Woolf took a holiday from The Pargiters to write a mock biography of Flush, the dog of poet Elizabeth Barrett Browning. Lytton Strachey having recently died, Woolf muted her spoof of his biographical method; nevertheless, Flush (1933) remains both a biographical satire and a lighthearted exploration of perception, in this case a dog’s. In 1935 Woolf completed Freshwater, an absurdist drama based on the life of her great-aunt Julia Margaret Cameron. Featuring such other eminences as the poet Alfred, Lord Tennyson, and the painter George Frederick Watts, this riotous play satirizes high-minded Victorian notions of art.

Meanwhile, Woolf feared she would never finish The Pargiters. Alternating between types of prose was proving cumbersome, and the book was becoming too long. She solved this dilemma by jettisoning the essay sections, keeping the family narrative, and renaming her book The Years. She narrated 50 years of family history through the decline of class and patriarchal systems, the rise of feminism, and the threat of another war. Desperate to finish, Woolf lightened the book with poetic echoes of gestures, objects, colours, and sounds and with wholesale deletions, cutting epiphanies for Eleanor Pargiter and explicit references to women’s bodies. The novel illustrates the damage done to women and society over the years by sexual repression, ignorance, and discrimination. Though (or perhaps because) Woolf’s trimming muted the book’s radicalism, The Years (1937) became a best seller.

When Fry died in 1934, Virginia was distressed; Vanessa was devastated. Then in July 1937 Vanessa’s elder son, Julian Bell, was killed in the Spanish Civil War while driving an ambulance for the Republican army. Vanessa was so disconsolate that Virginia put aside her writing for a time to try to comfort her sister. Privately a lament over Julian’s death and publicly a diatribe against war, Three Guineas (1938) proposes answers to the question of how to prevent war. Woolf connected masculine symbols of authority with militarism and misogyny, an argument buttressed by notes from her clippings about aggression, fascism, and war.

Still distressed by the deaths of Roger Fry and Julian Bell, she determined to test her theories about experimental, novelistic biography in a life of Fry. As she acknowledged in “The Art of Biography” (1939), the recalcitrance of evidence brought her near despair over the possibility of writing an imaginative biography. Against the “grind” of finishing the Fry biography, Woolf wrote a verse play about the history of English literature. Her next novel, Pointz Hall (later retitled Between the Acts), would include the play as a pageant performed by villagers and would convey the gentry’s varied reactions to it. As another holiday from Fry’s biography, Woolf returned to her own childhood with “A Sketch of the Past,” a memoir about her mixed feelings toward her parents and her past and about memoir writing itself. (Here surfaced for the first time in writing a memory of the teenage Gerald Duckworth, her other half brother, touching her inappropriately when she was a girl of perhaps four or five.) Through last-minute borrowing from the letters between Fry and Vanessa, Woolf finished her biography. Though convinced that Roger Fry (1940) was more granite than rainbow, Virginia congratulated herself on at least giving back to Vanessa “her Roger.”

Woolf’s chief anodyne against Adolf Hitler, World War II, and her own despair was writing. During the bombing of London in 1940 and 1941, she worked on her memoir and Between the Acts. In her novel, war threatens art and humanity itself, and, in the interplay between the pageant—performed on a June day in 1939—and the audience, Woolf raises questions about perception and response. Despite Between the Acts’s affirmation of the value of art, Woolf worried that this novel was “too slight” and indeed that all writing was irrelevant when England seemed on the verge of invasion and civilization about to slide over a precipice. Facing such horrors, a depressed Woolf found herself unable to write. The demons of self-doubt that she had kept at bay for so long returned to haunt her. On March 28, 1941, fearing that she now lacked the resilience to battle them, she walked behind Monk’s House and down to the River Ouse, put stones in her pockets, and drowned herself. Between the Acts was published posthumously later that year.

Legacy

Woolf’s experiments with point of view confirm that, as Bernard thinks in The Waves, “we are not single.” Being neither single nor fixed, perception in her novels is fluid, as is the world she presents. While Joyce and Faulkner separate one character’s interior monologues from another’s, Woolf’s narratives move between inner and outer and between characters without clear demarcations. Furthermore, she avoids the self-absorption of many of her contemporaries and implies a brutal society without the explicit details some of her contemporaries felt obligatory. Her nonlinear forms invite reading not for neat solutions but for an aesthetic resolution of “shivering fragments,” as she wrote in 1908. While Woolf’s fragmented style is distinctly Modernist, her indeterminacy anticipates a postmodern awareness of the evanescence of boundaries and categories.

Woolf’s many essays about the art of writing and about reading itself today retain their appeal to a range of, in Samuel Johnson’s words, “common” (unspecialized) readers. Woolf’s collection of essays The Common Reader (1925) was followed by The Common Reader: Second Series (1932; also published as The Second Common Reader). She continued writing essays on reading and writing, women and history, and class and politics for the rest of her life. Many were collected after her death in volumes edited by Leonard Woolf.

Virginia Woolf wrote far more fiction than Joyce and far more nonfiction than either Joyce or Faulkner. Six volumes of diaries (including her early journals), six volumes of letters, and numerous volumes of collected essays show her deep engagement with major 20th-century issues. Though many of her essays began as reviews, written anonymously to deadlines for money, and many include imaginative settings and whimsical speculations, they are serious inquiries into reading and writing, the novel and the arts, perception and essence, war and peace, class and politics, privilege and discrimination, and the need to reform society.

Woolf’s haunting language, her prescient insights into wide-ranging historical, political, feminist, and artistic issues, and her revisionist experiments with novelistic form during a remarkably productive career altered the course of Modernist and postmodernist letters.

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Top 86 Virginia Woolf quotes

I thought how unpleasant it is to be locked out; and I thought how it is worse, perhaps, to be locked in.
How
Locked
Out
Perhaps
Thought
Unpleasant
Worse
One cannot think well, love well, sleep well, if one has not dined well.
Cannot
Dined
Love
Sleep
Think
Well
One has to secrete a jelly in which to slip quotations down people's throats - and one always secretes too much jelly.
Always
Down
Jelly
Much
People
Quotations
Slip
Throats
Too
Too much
Which
Women have served all these centuries as looking glasses possessing the power of reflecting the figure of man at twice its natural size.
Centuries
Figure
Glasses
Looking
Man
Natural
Possessing
Power
Reflecting
Served
Size
Twice
Women
The beauty of the world, which is so soon to perish, has two edges, one of laughter, one of anguish, cutting the heart asunder.
Anguish
Beauty
Cutting
Edges
Heart
Laughter
Perish
Soon
Two
Which
World
The beautiful seems right by force of beauty, and the feeble wrong because of weakness.
Beautiful
Beauty
Because
Feeble
Force
Right
Seems
Weakness
Wrong
The man who is aware of himself is henceforward independent; and he is never bored, and life is only too short, and he is steeped through and through with a profound yet temperate happiness.
Aware
Bored
Happiness
He
Himself
Independent
Life
Man
Never
Only
Profound
Short
Temperate
Through
Thought and theory must precede all salutary action; yet action is nobler in itself than either thought or theory.
Action
Either
Itself
Must
Precede
Than
Theory
Thought
I read the book of Job last night, I don't think God comes out well in it.
Book
God
Job
Last
Last night
Night
Out
Read
Think
Well
Nothing induces me to read a novel except when I have to make money by writing about it. I detest them.
About
Detest
Except
Make
Me
Money
Nothing
Novel
Read
Them
Writing
The older one grows, the more one likes indecency.
Grows
Likes
More
Older
If you do not tell the truth about yourself you cannot tell it about other people.
About
Cannot
Other
People
Tell
Truth
You
Yourself
Literature is strewn with the wreckage of men who have minded beyond reason the opinions of others.
Beyond
Literature
Men
Minded
Opinions
Others
Reason
Strewn
Who
Each has his past shut in him like the leaves of a book known to him by his heart, and his friends can only read the title.
Book
Each
Friends
Heart
Him
His
Known
Leaves
Like
Only
Past
Read
Shut
Title
It is fatal to be a man or woman pure and simple: one must be a woman manly, or a man womanly.
Be a man
Fatal
Man
Manly
Must
Pure
Simple
Woman
Womanly
Humor is the first of the gifts to perish in a foreign tongue.
First
Foreign
Gifts
Humor
Perish
Tongue
Fiction is like a spider's web, attached ever so slightly perhaps, but still attached to life at all four corners. Often the attachment is scarcely perceptible.
Attached
Attachment
Corners
Ever
Fiction
Four
Life
Like
Often
Perhaps
Scarcely
Slightly
Spider
Still
I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.
Anon
Guess
Many
Often
Poems
Signing
Them
Venture
Who
Without
Woman
Would
Wrote
These are the soul's changes. I don't believe in ageing. I believe in forever altering one's aspect to the sun. Hence my optimism.
Ageing
Altering
Aspect
Believe
Changes
Forever
Hence
I believe
I believe in
Optimism
Soul
Sun
Masterpieces are not single and solitary births; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice.
Behind
Body
Common
Experience
Many
Mass
Masterpieces
Outcome
People
Single
Solitary
Thinking
Voice
Years
You send a boy to school in order to make friends - the right sort.
Boy
Friends
Make
Order
Right
School
Send
Sort
You
As a woman I have no country. As a woman my country is the whole world.
Country
No country
Whole
Woman
World
Indeed, I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.
Anon
Guess
Indeed
Many
Often
Poems
Signing
Them
Venture
Who
Without
Woman
Would
Wrote
Arrange whatever pieces come your way.
Arrange
Come
Pieces
Way
Whatever
Your
That great Cathedral space which was childhood.
Cathedral
Childhood
Great
Space
Which
One of the signs of passing youth is the birth of a sense of fellowship with other human beings as we take our place among them.
Among
Beings
Birth
Fellowship
Human
Human beings
Other
Our
Passing
Place
Sense
Signs
Take
Them
One likes people much better when they're battered down by a prodigious siege of misfortune than when they triumph.
Battered
Better
Down
Likes
Misfortune
Much
People
Siege
Than
Triumph
When the shriveled skin of the ordinary is stuffed out with meaning, it satisfies the senses amazingly.
Amazingly
Meaning
Ordinary
Out
Satisfies
Senses
Skin
Stuffed
Almost any biographer, if he respects facts, can give us much more than another fact to add to our collection. He can give us the creative fact; the fertile fact; the fact that suggests and engenders.
Add
Almost
Another
Any
Collection
Creative
Fact
Facts
Fertile
Give
He
More
Much
Our
Somewhere, everywhere, now hidden, now apparent in what ever is written down, is the form of a human being. If we seek to know him, are we idly occupied?
Apparent
Being
Down
Ever
Everywhere
Form
Hidden
Him
Human
Human being
Idly
Know
Now
Occupied
Yet it is in our idleness, in our dreams, that the submerged truth sometimes comes to the top.
Dreams
Idleness
Our
Our dreams
Sometimes
Top
Truth
Once conform, once do what other people do because they do it, and a lethargy steals over all the finer nerves and faculties of the soul. She becomes all outer show and inward emptiness; dull, callous, and indifferent.
Because
Becomes
Callous
Conform
Dull
Emptiness
Faculties
Finer
Indifferent
Inward
Lethargy
Nerves
Once
Other
It is the nature of the artist to mind excessively what is said about him. Literature is strewn with the wreckage of men who have minded beyond reason the opinions of others.
About
Artist
Beyond
Excess
Him
Literature
Men
Mind
Minded
Nature
Opinions
Others
Reason
Said
Great bodies of people are never responsible for what they do.
Bodies
Great
Never
People
Responsible
For what Harley Street specialist has time to understand the body, let alone the mind or both in combination, when he is a slave to thirteen thousand a year?
Alone
Body
Both
Combination
Harley
He
Mind
Slave
Specialist
Street
Thirteen
Thousand
Time
Understand
There is much to support the view that it is clothes that wear us, and not we, them; we may make them take the mould of arm or breast, but they mould our hearts, our brains, our tongues to their liking.
Arm
Brains
Clothes
Hearts
Liking
Make
May
Mould
Much
Our
Support
Take
Them
Tongues
A masterpiece is something said once and for all, stated, finished, so that it's there complete in the mind, if only at the back.
Back
Complete
Finished
Masterpiece
Mind
Once
Only
Said
Something
Stated
The history of men's opposition to women's emancipation is more interesting perhaps than the story of that emancipation itself.
Emancipation
History
Interesting
Itself
Men
More
Opposition
Perhaps
Story
Than
The history of
Women
Some people go to priests; others to poetry; I to my friends.
Friends
Go
Others
People
Poetry
Priests
Some
Some people
Rigid, the skeleton of habit alone upholds the human frame.
Alone
Frame
Habit
Human
Rigid
Skeleton
Really I don't like human nature unless all candied over with art.
Art
Human
Human nature
Like
Nature
Over
Really
Unless
If one could be friendly with women, what a pleasure - the relationship so secret and private compared with relations with men. Why not write about it truthfully?
About
Compared
Could
Friendly
Men
Pleasure
Private
Relations
Relationship
Secret
Truthfully
Why
Why not
Women
Life is not a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end.
Arranged
Beginning
Consciousness
End
Envelope
Gig
Halo
Lamps
Life
Life is a
Luminous
Series
Surrounding
Us
A good essay must have this permanent quality about it; it must draw its curtain round us, but it must be a curtain that shuts us in not out.
About
Curtain
Draw
Essay
Good
Must
Out
Permanent
Quality
Round
Us
Why are women... so much more interesting to men than men are to women?
Interesting
Men
More
Much
Than
Why
Women
My own brain is to me the most unaccountable of machinery - always buzzing, humming, soaring roaring diving, and then buried in mud. And why? What's this passion for?
Always
Brain
Buried
Diving
Humming
Machinery
Me
Most
Mud
My own
Own
Passion
Roaring
Soaring
The eyes of others our prisons; their thoughts our cages.
Eyes
Others
Our
Prisons
Thoughts
We can best help you to prevent war not by repeating your words and following your methods but by finding new words and creating new methods.
Best
Creating
Finding
Following
Help
Methods
New
Prevent
Repeating
War
Words
You
Your
Boredom is the legitimate kingdom of the philanthropic.
Boredom
Kingdom
Legitimate
Philanthropic
The poet gives us his essence, but prose takes the mold of the body and mind.
Body
Essence
Gives
His
Mind
Mold
Poet
Prose
Takes
Us

Virginia Woolf books

To the Lighthouse

To the Lighthouse

Orlando: A Biography

Orlando: A Biography

Mrs. Dalloway

Mrs. Dalloway

The Waves

The Waves

A Room of One's Own

A Room of One's Own

A Writer's Diary

A Writer's Diary

Moments of Being

Moments of Being

All the Lives We Ever Lived: Seeking Solace in Virginia Woolf

All the Lives We Ever Lived: Seeking Solace in Virginia Woolf

Who's Afraid of Virginia Woolf?

Who's Afraid of Virginia Woolf?

Mrs Dalloway

Mrs Dalloway

A Room of One's Own: -

A Room of One's Own: -

The Complete Shorter Fiction of Virginia Woolf: Second Edition

The Complete Shorter Fiction of Virginia Woolf: Second Edition

Virginia Woolf essays

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Death And Paralysis In 'The Sisters'
In order to identify that Joyces Dubliners is a work unified by fatality, it is necessary for you to return to the start, where a careful reading is paramount, and begin again. The beginning history, "The Sisters, " is concerned with death and its impact after the living individuals kept in its wake. In case the reader considers its function as essentially an introductory chapter, one will start to find a palpable semblance of unity throughout Dubliners, as this storyline establishes the overarching theme of loss of life and its own associated motifs: paralysis, silences, and epiphanies-the..
Significance Of The Representation Of The City English Books Essay
In this article I am talking about three very diverse text messages which will allow me to bring into light a various range of views and interpretations of the city. I will be concentrating on D. H. Lawrence's Ladies in Love, T. S Eliot's The Waste materials Land, and finally Virginnia Woolf''s Mrs Dalloway. All texts can help me run into the various insights, views and personal feelings towards the city the authors sensed. Several writers develop their ideas and emphasise on the influences of the town through their characterization, this article will further help me develop the representation..
The Classification Of The Principles Of Time English Literature Essay
Transcending Temporality: Escaping the Shackles of Linear Time. The concept of time is one that eludes the typical dictionary explanation that etymologists so simply thrust after the more concrete words that create the English language. Perhaps time defies the ability to be defined because of this of its ubiquitous mother nature - humans find time and energy to be so typical that it seems senseless to seek out a way with which to spell it out it. Perhaps it evades a conclusion because contemporary society is so fixated on its passage somewhat than its presence. Or simply it can't be defined since..
Biography of Virginia Woolf Essay
Va Woolf was created on January 25th, 1882 to Leslie Stephan, manager of the Cornhill magazine plus the Dictionary of National Biography (Kennedy 340). Her mother name was Julia who had been a renowned beauty, also obtained sketched by pre Raphaelite artist (Woolf 173). This is during a length of a vastly fast paced growing United States, where railroad sector was flourishing and industrialism was at full spin. Her mother, Julia died in 1895 the moment Woolf was thirteen (Woolf 173). Even though Woolf was growing up in a literary and artsy household yet she was kept far from a better education which..
Dissertation - Connect Between Planets in Va Woolf's For the Lighthouse
For the Lighthouse - Bridge Among WorldsVirginia Woolf's To the Lighthouse illustrates a connect between the sides of the Victorian mother plus the modern, potentially independent girl. The Victorian woman was going to be absorbed, as Mrs. Ramsay is, by the job of being mother and wife. Her cause of existing was to complete the man, rather than to exist in her personal right. Mrs. Ramsay undoubtedly sees this kind of role pertaining to herself and is also disturbed when ever she feels, briefly, that she actually is better than her husband because he needs her support to feel good about himself..
Reality and Fiction in Virginia Woolf's "to the Lighthouse" Essay
Actuality and fictional works in Va Woolf's "To the Lighthouse" I have picked this subject because I came across very interesting issue, and the writer is one of the greatest writers all times. His performs is significant and total, his heroes are molded such that that fascinate you. Victorian period also is one of the most famous, with most improvements produced in British literature Towards the Lighthouse can be described as 1927 book by Virginia Woolf. A landmark story of high modernism, the text, which centres around the Ramsays and their visits towards the Isle of Skye in..
"Sons and Lovers" as Psychological Novel Essay
Daughters and Addicts belongs to the group of psychological hype. The impressive development of emotional novel can be described as notable trend of the 20th century literary scene. The psychology from the characters plus the typical challenges, emanating coming from a particular internal pattern constitute the staple of your psychological new. This psychological novel continues to be ushered in by Va Woolf and James Joyce. The psycho-analytical novel, as the very term implies, lays stress on psycho-analysis.The novelist turns into a psychoanalyst and he provides into focus, the delicate..
Virginia Woolf's A Room of One's Very own Proves Students Need Schools of Their Own
Virginia Woolf's A Room of One's Own Proves College students Need Colleges of Their OwnBased on the Children's Security Fund, in 1989 typically 1, 375 children dropped out of school every day. Being a future mentor, my reaction to this figure is among horror and disbelief. When I work through the impact of such a figure and the essential rhetorical questions: How could we permit this happen?, I turn into an investigator. I set out to look for patterns in the users of learners who have failed. I consider the subjects these students ingest and how it is fed to these people. I make an effort..
The Impact of Social Idealogy on Va Woolf's Towards the Lighthouse Dissertation
The Impact of Social Idealogy on Woolf's To the Light-houseThroughout literature the ideology of the culture in which the publisher was living is apparent in your text. This can cause particular groups in a text being empowered even though the other groups are marginalised and restricted by the cultural restrictions located upon these people by the ideology. In the novel To the Light-house by Va Woolf, Woolf shows all of us an awareness of gender national politics during the 1920 s Britain simply by subverting the conventional gender functions but as well naturalises symbole of class creating..
Dissertation about Va Woolf's Story Technique within a Room of your respective Own
"Like many uneducated Englishwomen, I like examining. " May these words and phrases really belong to Virginia Woolf, an "uneducated Englishwoman" who also knew some languages, whom authored a shelf's length of novels and essays, who possessed one of the rarified fictional minds in the twentieth 100 years? Tucked to the back end pages of the Room of your respective Own, this kind of comment shimmers with Woolf's typically wry and modest sense of humor. She jests, nevertheless she means something serious at the same time: like a reader, your woman worries about..
The Zoo Story Essay
Analyse the dramatic effect of a passage, paying close attention to the language and level directions while relating your observations to your understanding of post-1945 Drama. (PASSAGE- from pg. 27- ‘GET AWAY FROM MY PERSONAL BENCH! A' to the end of the play) During the passing I have chosen here, the dramatic anxiety that has been boiling for most of the play actually reaches boiling level as the quarrels, ‘territorial struggles' and one-upmanship reach a climaxing. In this article I will be looking at how this is conveyed inside the language, symbolism, and strengthen that Albee..
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