Casual Articles - The Literary Work Of Virginia Woolf

The following critical essays analyze different aspects of Virginia Woolf`s literary life: The fate of women of genius, Virgia Woolf “mind” and “body” on the plane of literary controversy and the essay Three Dramas of Emotional Conflict makes a parallel between Virgia Woolf`s literary work and personal life. These three works of different authors written in different time and from the different perspective give the multi side analysis of the personality of Virginia Woolf and in different ways give the approach to the explanations of the particularities of her literary works. It`s a well known fact that the theme of feminism and the emancipation of women took one of the major themes in Woolf`s writings and she supported the positions of the feminist movement.

In the essay The fate of women of genius the author Mary Gordon makes an analysis of Virgia Woolf`s theme and origins of her poem “A room of one`s own” and makes the parallels with her other works that relate to the same theme of writing. At the same the author states the symbolism of her works that might have some of the realistic features contradicts with her aesthetic views and unperception of the harsh realities of after war life and the desire to escape from reality. She has a sympathy only to the few “chosen” women, not to common women, but to those who distinguish by the richness of the inner world. The author describes it in the following lines:

``A Room of One`s Own`` opened Woolf up to the charges - snobbery, estheticism - by that time habitually laid at the Bloomsbury gate by the generation that came of age in the late Twenties. To an extent, the accusations are just: Woolf is concerned with the fate of women of genius, not with that of ordinary women; her plea is that we create a world in which Shakespeare`s sister might survive her gift, not one in which a miner`s wife can have her rights to property; Woolf`s passion is for literature, not for universal justice. The thesis of ``A Room of One`s Own `` -women must have money and privacy in order to write - is inevitably connected to questions of class: ``Genius like Shakespeare`s is not born among laboring, uneducated, servile people.

Her pessimism and attitude to the realities of the after war time is observed nearly all of the novels written in 1920ies. And again as the author of the article The fate of women of genius she has a deep sympathy to women, stating that the condition of women had become worse because of the attitude of the men, caused by the depression:

Woolf says that we who live after the First World War have lost something beautiful, some necessary grace. We do not hum under our breaths; we are cats without tails; we are encumbered by our anger, our sense of doom, more important, perhaps, by our sexual selfconsciousness. The war destroyed illusions, particularly for men. Women have, for Woolf (how unrealistically hopeful her illusion), given up their roles as ``looking-glasses possessing the magic and delicious power of reflecting the figure of m an at twice its natural size.`` Therefore men are angry; Woolf sees this anger in everything she reads about women when she begins her quest to discover why women are so poor (their college serves stringy beef, custard and prunes), why so few women have written.

If the author of the article The fate of women of genius pays more attention to the explanation and comments of Virgia Woolf`s feminist origins in her works than the author of the article Virgia Woolf “mind” and “body” on the plane of literary controversy turns more attention to the literary methods she used in her poems. In both articles we see the similarities that describe the origins of her writing and make the comparisons to the workers of her contemporaries. In fact both authors describe her ties with aesthesism:

That is, from the horse`s mouth, the rationale of the non-religious, un-theosophic, pleasure-cult, of which -- in that ninetyish pocket at the end of the nineteenth century, in full, more than Stracheyish, reaction against Victorian manners -- Oscar Wilde was the high-priest. And there is, of course, a very much closer connection than people suppose between the aesthetic movement presided over by Oscar Wilde, and that presided over in the first post-war decade bv Mrs. Woolf and Miss Sitwell. (Miss Sitwell has recently been rather overshadowed by Mrs. Woolf, but she once played an equally important part -- if it can be called important -- in these events.)

In the article Virgia Woolf “mind” and “body” on the plane of literary controversy the author searches for the links to aesthesis and ties with the influence of her contemporaries on her literary works and her style. But searching for the origins of her literary work particularities and making analogies with the creative work of French artists and writers of the twentieth century the author doesn`t explore the sources of authors inspiration and doesn`t explore the inner world of Virginia Woolf, which is very important in order to make a full critical picture of at least one of her literary particularities. By the words of Virginia Woolf it`s more important to search in a soul, because the author is more interesting than his characters:

``The woman who wrote those pages (of ``Jane Eyre``) had more genius in her than Jane Austen; but if one reads them over and marks that jerk in them, that indignation, one sees that she will never get her genius expressed whole and entire. ... She will write in a rage where she should write calmly. She will write foolishly where she should write wisely. She will write of herself where she should write of her characters.``

But the author of Virgia Woolf “mind” and “body” on the plane of literary controversy makes a clear outline, why the personality of Virginia Wool is interesting for modern reader, as she is not just a feminist writer, but a writer who wrote more than just of women:

And she has crystallized for us, in her critical essays, what is in fact the feminine -- as distinguished from the feminist -- standpoint. She is especially valuable in her "clash" with what is today, in fact and in deed, a dead issue, namely nineteenth-century scientific "realism,"

The particularities of the feminist writing of Virginia Woolf are well described in the article The fate of women of genius. She raises the role of the woman in the creative activity of men writers, and she argues on the issues on the issues of the creative works of women writers. The author of the articles making the analogies with her previous works presents the arguments for the reasons of the Woolf`s feminism and symbolism, but still Mary Gordon doesn`t make any definite evaluation of her works being more and less exact in her conclusions.

If the essays of Mary Gordon and Wyndham Lewis explore the literary origins of Woolf`s work analyze them and compare to the works of other of her contemporaries than the essay of Edna O`Brien makes an overview of her life and her relations with close friends, family and explains how her personal life influenced on her literature:

For me Virginia Woolf was in that particular galaxy of early 20th-century writers that included James Joyce, T. S. Eliot and Ezra Pound. Like them she was difficult, she was an innovator, she did not tell stories in the usual way, she defied the conventions as Joyce had done - alas, she was blind to his vaster genius. Her method was to take moments and split them into a myriad of sensations, finding, or searching for all their several and separate components just as a scientist might split and examine an atom. The breaking down of the whole in order to reach the essential was the obsession of this woman who so dreaded emptiness that she felt guilty if she did not fill in her diary each day along with conceiving her prose.

O`Brien shows the attitude of Virginia Woolf to the literary critics, which is very important in order to fully understand the nature of the personality and character of Woolf: ``Virginia was terribly - even morbidly - sensitive to criticism of any kind and from anyone. Her writing was to her the most serious thing in life, and, as with so many serious writers, her books were to be part of herself somewhat in the same way, as a mother often seems all her life to feel that her child remains still a part of herself. And just as the mother feels acutely the slightest criticism of her child, so any criticism of her book even by the most negligible nitwit gave Virginia acute pain.``

The facts that O`Brien describes about life of Virginia Woolf give us the clear picture of her personality and the origins of her feminist views as well as the pessimism and fragmentation of her works. It shows her inner world contradictions that were caused by personal problems, the disappointment in life, the great depression and literary searches. The name of the essay “three dramas of emotional conflict” makes us to understand all difficulties and emotional barriers that Virginia Woolf had to overcome in order to express her emotions and feelings in her literary works.

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``A Room of One`s Own`` opened Woolf up to the charges - snobbery, estheticism - by that time habitually laid at the Bloomsbury gate by the generation that came of age in the late Twenties. To an extent, the accusations are just: Woolf is concerned with the fate of women of genius, not with that of ordinary women; her plea is that we create a world in which Shakespeare`s sister might survive her gift, not one in which a miner`s wife can have her rights to property; Woolf`s passion is for literature, not for universal justice. The thesis of ``A Room of One`s Own `` -women must have money and privacy in order to write - is inevitably connected to questions of class: ``Genius like Shakespeare`s is not born among laboring, uneducated, servile people.

Her pessimism and attitude to the realities of the after war time is observed nearly all of the novels written in 1920ies. And again as the author of the article The fate of women of genius she has a deep sympathy to women, stating that the condition of women had become worse because of the attitude of the men, caused by the depression:

Woolf says that we who live after the First World War have lost something beautiful, some necessary grace. We do not hum under our breaths; we are cats without tails; we are encumbered by our anger, our sense of doom, more important, perhaps, by our sexual selfconsciousness. The war destroyed illusions, particularly for men. Women have, for Woolf (how unrealistically hopeful her illusion), given up their roles as ``looking-glasses possessing the magic and delicious power of reflecting the figure of m an at twice its natural size.`` Therefore men are angry; Woolf sees this anger in everything she reads about women when she begins her quest to discover why women are so poor (their college serves stringy beef, custard and prunes), why so few women have written.

If the author of the article The fate of women of genius pays more attention to the explanation and comments of Virgia Woolf`s feminist origins in her works than the author of the article Virgia Woolf “mind” and “body” on the plane of literary controversy turns more attention to the literary methods she used in her poems. In both articles we see the similarities that describe the origins of her writing and make the comparisons to the workers of her contemporaries. In fact both authors describe her ties with aesthesism:

That is, from the horse`s mouth, the rationale of the non-religious, un-theosophic, pleasure-cult, of which -- in that ninetyish pocket at the end of the nineteenth century, in full, more than Stracheyish, reaction against Victorian manners -- Oscar Wilde was the high-priest. And there is, of course, a very much closer connection than people suppose between the aesthetic movement presided over by Oscar Wilde, and that presided over in the first post-war decade bv Mrs. Woolf and Miss Sitwell. (Miss Sitwell has recently been rather overshadowed by Mrs. Woolf, but she once played an equally important part -- if it can be called important -- in these events.)

In the article Virgia Woolf “mind” and “body” on the plane of literary controversy the author searches for the links to aesthesis and ties with the influence of her contemporaries on her literary works and her style. But searching for the origins of her literary work particularities and making analogies with the creative work of French artists and writers of the twentieth century the author doesn`t explore the sources of authors inspiration and doesn`t explore the inner world of Virginia Woolf, which is very important in order to make a full critical picture of at least one of her literary particularities. By the words of Virginia Woolf it`s more important to search in a soul, because the author is more interesting than his characters:

``The woman who wrote those pages (of ``Jane Eyre``) had more genius in her than Jane Austen; but if one reads them over and marks that jerk in them, that indignation, one sees that she will never get her genius expressed whole and entire. ... She will write in a rage where she should write calmly. She will write foolishly where she should write wisely. She will write of herself where she should write of her characters.``

But the author of Virgia Woolf “mind” and “body” on the plane of literary controversy makes a clear outline, why the personality of Virginia Wool is interesting for modern reader, as she is not just a feminist writer, but a writer who wrote more than just of women:

And she has crystallized for us, in her critical essays, what is in fact the feminine -- as distinguished from the feminist -- standpoint. She is especially valuable in her "clash" with what is today, in fact and in deed, a dead issue, namely nineteenth-century scientific "realism,"

The particularities of the feminist writing of Virginia Woolf are well described in the article The fate of women of genius. She raises the role of the woman in the creative activity of men writers, and she argues on the issues on the issues of the creative works of women writers. The author of the articles making the analogies with her previous works presents the arguments for the reasons of the Woolf`s feminism and symbolism, but still Mary Gordon doesn`t make any definite evaluation of her works being more and less exact in her conclusions.

If the essays of Mary Gordon and Wyndham Lewis explore the literary origins of Woolf`s work analyze them and compare to the works of other of her contemporaries than the essay of Edna O`Brien makes an overview of her life and her relations with close friends, family and explains how her personal life influenced on her literature:

For me Virginia Woolf was in that particular galaxy of early 20th-century writers that included James Joyce, T. S. Eliot and Ezra Pound. Like them she was difficult, she was an innovator, she did not tell stories in the usual way, she defied the conventions as Joyce had done - alas, she was blind to his vaster genius. Her method was to take moments and split them into a myriad of sensations, finding, or searching for all their several and separate components just as a scientist might split and examine an atom. The breaking down of the whole in order to reach the essential was the obsession of this woman who so dreaded emptiness that she felt guilty if she did not fill in her diary each day along with conceiving her prose.

O`Brien shows the attitude of Virginia Woolf to the literary critics, which is very important in order to fully understand the nature of the personality and character of Woolf: ``Virginia was terribly - even morbidly - sensitive to criticism of any kind and from anyone. Her writing was to her the most serious thing in life, and, as with so many serious writers, her books were to be part of herself somewhat in the same way, as a mother often seems all her life to feel that her child remains still a part of herself. And just as the mother feels acutely the slightest criticism of her child, so any criticism of her book even by the most negligible nitwit gave Virginia acute pain.``

The facts that O`Brien describes about life of Virginia Woolf give us the clear picture of her personality and the origins of her feminist views as well as the pessimism and fragmentation of her works. It shows her inner world contradictions that were caused by personal problems, the disappointment in life, the great depression and literary searches. The name of the essay “three dramas of emotional conflict” makes us to understand all difficulties and emotional barriers that Virginia Woolf had to overcome in order to express her emotions and feelings in her literary works.

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If the author of the article The fate of women of genius pays more attention to the explanation and comments of Virgia Woolf`s feminist origins in her works than the author of the article Virgia Woolf “mind” and “body” on the plane of literary controversy turns more attention to the literary methods she used in her poems. In both articles we see the similarities that describe the origins of her writing and make the comparisons to the workers of her contemporaries. In fact both authors describe her ties with aesthesism:

That is, from the horse`s mouth, the rationale of the non-religious, un-theosophic, pleasure-cult, of which -- in that ninetyish pocket at the end of the nineteenth century, in full, more than Stracheyish, reaction against Victorian manners -- Oscar Wilde was the high-priest. And there is, of course, a very much closer connection than people suppose between the aesthetic movement presided over by Oscar Wilde, and that presided over in the first post-war decade bv Mrs. Woolf and Miss Sitwell. (Miss Sitwell has recently been rather overshadowed by Mrs. Woolf, but she once played an equally important part -- if it can be called important -- in these events.)

In the article Virgia Woolf “mind” and “body” on the plane of literary controversy the author searches for the links to aesthesis and ties with the influence of her contemporaries on her literary works and her style. But searching for the origins of her literary work particularities and making analogies with the creative work of French artists and writers of the twentieth century the author doesn`t explore the sources of authors inspiration and doesn`t explore the inner world of Virginia Woolf, which is very important in order to make a full critical picture of at least one of her literary particularities. By the words of Virginia Woolf it`s more important to search in a soul, because the author is more interesting than his characters:

``The woman who wrote those pages (of ``Jane Eyre``) had more genius in her than Jane Austen; but if one reads them over and marks that jerk in them, that indignation, one sees that she will never get her genius expressed whole and entire. ... She will write in a rage where she should write calmly. She will write foolishly where she should write wisely. She will write of herself where she should write of her characters.``

But the author of Virgia Woolf “mind” and “body” on the plane of literary controversy makes a clear outline, why the personality of Virginia Wool is interesting for modern reader, as she is not just a feminist writer, but a writer who wrote more than just of women:

And she has crystallized for us, in her critical essays, what is in fact the feminine -- as distinguished from the feminist -- standpoint. She is especially valuable in her "clash" with what is today, in fact and in deed, a dead issue, namely nineteenth-century scientific "realism,"

The particularities of the feminist writing of Virginia Woolf are well described in the article The fate of women of genius. She raises the role of the woman in the creative activity of men writers, and she argues on the issues on the issues of the creative works of women writers. The author of the articles making the analogies with her previous works presents the arguments for the reasons of the Woolf`s feminism and symbolism, but still Mary Gordon doesn`t make any definite evaluation of her works being more and less exact in her conclusions.

If the essays of Mary Gordon and Wyndham Lewis explore the literary origins of Woolf`s work analyze them and compare to the works of other of her contemporaries than the essay of Edna O`Brien makes an overview of her life and her relations with close friends, family and explains how her personal life influenced on her literature:

For me Virginia Woolf was in that particular galaxy of early 20th-century writers that included James Joyce, T. S. Eliot and Ezra Pound. Like them she was difficult, she was an innovator, she did not tell stories in the usual way, she defied the conventions as Joyce had done - alas, she was blind to his vaster genius. Her method was to take moments and split them into a myriad of sensations, finding, or searching for all their several and separate components just as a scientist might split and examine an atom. The breaking down of the whole in order to reach the essential was the obsession of this woman who so dreaded emptiness that she felt guilty if she did not fill in her diary each day along with conceiving her prose.

O`Brien shows the attitude of Virginia Woolf to the literary critics, which is very important in order to fully understand the nature of the personality and character of Woolf: ``Virginia was terribly - even morbidly - sensitive to criticism of any kind and from anyone. Her writing was to her the most serious thing in life, and, as with so many serious writers, her books were to be part of herself somewhat in the same way, as a mother often seems all her life to feel that her child remains still a part of herself. And just as the mother feels acutely the slightest criticism of her child, so any criticism of her book even by the most negligible nitwit gave Virginia acute pain.``

The facts that O`Brien describes about life of Virginia Woolf give us the clear picture of her personality and the origins of her feminist views as well as the pessimism and fragmentation of her works. It shows her inner world contradictions that were caused by personal problems, the disappointment in life, the great depression and literary searches. The name of the essay “three dramas of emotional conflict” makes us to understand all difficulties and emotional barriers that Virginia Woolf had to overcome in order to express her emotions and feelings in her literary works.

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``The woman who wrote those pages (of ``Jane Eyre``) had more genius in her than Jane Austen; but if one reads them over and marks that jerk in them, that indignation, one sees that she will never get her genius expressed whole and entire. ... She will write in a rage where she should write calmly. She will write foolishly where she should write wisely. She will write of herself where she should write of her characters.``

But the author of Virgia Woolf “mind” and “body” on the plane of literary controversy makes a clear outline, why the personality of Virginia Wool is interesting for modern reader, as she is not just a feminist writer, but a writer who wrote more than just of women:

And she has crystallized for us, in her critical essays, what is in fact the feminine -- as distinguished from the feminist -- standpoint. She is especially valuable in her "clash" with what is today, in fact and in deed, a dead issue, namely nineteenth-century scientific "realism,"

The particularities of the feminist writing of Virginia Woolf are well described in the article The fate of women of genius. She raises the role of the woman in the creative activity of men writers, and she argues on the issues on the issues of the creative works of women writers. The author of the articles making the analogies with her previous works presents the arguments for the reasons of the Woolf`s feminism and symbolism, but still Mary Gordon doesn`t make any definite evaluation of her works being more and less exact in her conclusions.

If the essays of Mary Gordon and Wyndham Lewis explore the literary origins of Woolf`s work analyze them and compare to the works of other of her contemporaries than the essay of Edna O`Brien makes an overview of her life and her relations with close friends, family and explains how her personal life influenced on her literature:

For me Virginia Woolf was in that particular galaxy of early 20th-century writers that included James Joyce, T. S. Eliot and Ezra Pound. Like them she was difficult, she was an innovator, she did not tell stories in the usual way, she defied the conventions as Joyce had done - alas, she was blind to his vaster genius. Her method was to take moments and split them into a myriad of sensations, finding, or searching for all their several and separate components just as a scientist might split and examine an atom. The breaking down of the whole in order to reach the essential was the obsession of this woman who so dreaded emptiness that she felt guilty if she did not fill in her diary each day along with conceiving her prose.

O`Brien shows the attitude of Virginia Woolf to the literary critics, which is very important in order to fully understand the nature of the personality and character of Woolf: ``Virginia was terribly - even morbidly - sensitive to criticism of any kind and from anyone. Her writing was to her the most serious thing in life, and, as with so many serious writers, her books were to be part of herself somewhat in the same way, as a mother often seems all her life to feel that her child remains still a part of herself. And just as the mother feels acutely the slightest criticism of her child, so any criticism of her book even by the most negligible nitwit gave Virginia acute pain.``

The facts that O`Brien describes about life of Virginia Woolf give us the clear picture of her personality and the origins of her feminist views as well as the pessimism and fragmentation of her works. It shows her inner world contradictions that were caused by personal problems, the disappointment in life, the great depression and literary searches. The name of the essay “three dramas of emotional conflict” makes us to understand all difficulties and emotional barriers that Virginia Woolf had to overcome in order to express her emotions and feelings in her literary works.

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O`Brien shows the attitude of Virginia Woolf to the literary critics, which is very important in order to fully understand the nature of the personality and character of Woolf: ``Virginia was terribly - even morbidly - sensitive to criticism of any kind and from anyone. Her writing was to her the most serious thing in life, and, as with so many serious writers, her books were to be part of herself somewhat in the same way, as a mother often seems all her life to feel that her child remains still a part of herself. And just as the mother feels acutely the slightest criticism of her child, so any criticism of her book even by the most negligible nitwit gave Virginia acute pain.``

The facts that O`Brien describes about life of Virginia Woolf give us the clear picture of her personality and the origins of her feminist views as well as the pessimism and fragmentation of her works. It shows her inner world contradictions that were caused by personal problems, the disappointment in life, the great depression and literary searches. The name of the essay “three dramas of emotional conflict” makes us to understand all difficulties and emotional barriers that Virginia Woolf had to overcome in order to express her emotions and feelings in her literary works.

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The essays discussed even though that cover the different aspects of Virgia Woolf life both personal and literary but they in the whole give the most obvious and true picture of this interesting and contradictory personality of the early literature of the twentieth century, comparing her works to those of her contemporaries and to the historical events and trends of that epoch.

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