Virginia Woolf Virginia Woolf was born in London, as the daughter of Julia Jackson Duckworth, a member of the Duckworth publishing family, and Sir Leslie Stephen, a literary critic, a friend of Meredith, Henry James, Tennyson, Matthew Arnold, and George Eliot, and the founder of the Dictionary of National Biography. Leslie Stephen's first wife had been the daughter of the novelist William Makepeace Thackeray. His daughter Laura from the first marriage was institutionalized because of mental retardation. In a memoir dated 1907 she wrote of her parents, "Beautiful often, even to our eyes, were their gestures, their glances of pure and unutterable delight in each other." Woolf, who was educated at home by her father, grew up at the family home at Hyde Park Gate. In middle age she described this period in a letter to Vita Sackville-West: "Think how I was brought up! No school; mooning about alone among my father's books; never any chance to pick up all that goes on in schoolsthrowing balls; ragging; slang; vulgarities; scenes; jealousies!" Woolf's youth was shadowed by series of emotional shocks. Gerald Duckworth, her half-brother, sexually abused her. In 'Sketch of the Past' (1939) she wrote: "I can remember the feel of his hands going under my clothes; going firmly and steadily lower and lower, I remember how I hoped that he would stop; how I stiffened and wriggled as his hand approached my private parts. But he did not stop." Julia Jackson Duckworth died when Virginia was in her early teens. Stella Duckworth, her half sister, took her mother's place, but died a scant two years later. Leslie Stephen suffered a slow death from cancer. When her brother Toby died in 1906, she had a prolonged mental breakdown. Vanessa, Virginia's sister, influenced a number of her characters; in childhood they bathed and slept together. Later in FLUSH (1933) Woolf parodies her own devotion to Vanessa. Following the death of her father in 1904, Woolf moved with her sister and two brothers to the house in Bloomsbury. Vanessa, a painter, agreed to marry the critic of art and literature Clive Bell. Virginia's economic situation improved when she inherited £2,500 from an aunt. Their house become central to activities of the Bloomsbury group. "And part of the charm of those Thursday evenings was that they were astonishingly abstract. It was not only that Moore's book [Principia Ethica, 1903] had set us all discussing philosophy, art, religion; it was that the atmosphere - if in spite of Hawtrey I may use that word - was abstract in the extreme.
Both Virginia Woolf and Annie Dillard are extremely gifted writers. Virginia Woolf in 1942 wrote an essay called The Death of the Moth. Annie Dillard later on in 1976 wrote an essay that was similar in the name called The Death of a Moth and even had similar context. The two authors wrote powerful texts expressing their perspectives on the topic of life and death. They both had similar techniques but used them to develop completely different views. Each of the two authors incorporate in their text a unique way of adding their personal experience in their essay as they describe a specific occasion, time, and memory of their lives. Woolf’s personal experience begins with “it was a pleasant morning, mid-September, mild, benignant, yet with a keener breath than that of the summer months” (Woolf, 1). Annie Dillard personal experience begins with “two summers ago, I was camping alone in the blue Ridge Mountains of Virginia” (Dillard, 1). Including personal experience allowed Virginia Woolf to give her own enjoyable, fulfilling and understandable perception of life and death. Likewise, Annie Dillard used the personal narrative to focus on life but specifically on the life of death. To explore the power of life and death Virginia Woolf uses literary tools such as metaphors and imagery, along with a specific style and structure of writing in a conversational way to create an emotional tone and connect with her reader the value of life, but ultimately accepting death through the relationship of a moth and a human. While Annie Dillard on the other hand uses the same exact literary tools along with a specific style and similar structure to create a completely different perspective on just death, expressing that death is how it comes. ...
There are two women from the near and distant past that have become strong female role models in recent years: Queen Elizabeth I and Virginia Woolf. These women were not without problems while growing up, though. Elizabeth’s mother was beheaded after being charged with treason when she was only three; she grew up viewing women as indispensable after her father had six wives; her family kept dying (mother, step mother, father, half brother, sister), and she was locked away by her sister Queen Mary in the Tower of London for a number of years. Virginia Woolf on the other hand battled with depression and mental disease her whole life, was denied a typical education because she was female, had many mental breakdowns after death of mother, and was institutionalized after father’s death. Both Elizabeth Tudor and Virginia Stephen-Woolf shared many of the same family problems in their lives, but their life paths and careers were drastically different from one another.
Johnsen, William. "Finding the Father:Virginia Woolf, Modernism, and Feminism." February 28, 2003. http://www.msu.edu/course/eng/492h/johnsen/CH6.htm April 16, 2003.
Throughout Virginia Woolf’s writings, she describes two different dinners: one at a men’s college, and another at a women’s college. Using multiple devices, Woolf expresses her opinion of the inequality between men and women within these two passages. She also uses a narrative style to express her opinions even more throughout the passages.
Virginia Woolf, in her novels, set out to portray the self and the limits associated with it. She wanted the reader to understand time and how the characters could be caught within it. She felt that time could be transcended, even if it was momentarily, by one becoming involved with their work, art, a place, or someone else. She felt that her works provided a change from the typical egotistical work of males during her time, she makes it clear that women do not posses this trait. Woolf did not believe that women could influence as men through ego, yet she did feel [and portray] that certain men do hold the characteristics of women, such as respect for others and the ability to understand many experiences. Virginia Woolf made many of her time realize that traditional literature was no longer good enough and valid. She caused many women to become interested in writing, and can be seen as greatly influential in literary history
Woolf shifts from describing the process of writing to describing an obstacle. Woolf encapsulates the essence of female expectations by citing the Angel in the House. The Angel in the House references a narrative poem written in the nineteenth century to describe the ideal Victorian woman. Woolf illustrates the Angel in the House “as shortly as [she] can” in order to acknowledge her audience and to make her speech brief and comprehensible for the listening women. Through employing anaphora, Woolf explains, “she was intensely sympathetic...intensely charming...utterly unselfish…” These descriptions are standards for women which the Angel in the House embodied. Woolf expands the audience’s understanding of the Angel in the House by providing concrete examples of her self-sacrificing nature. This is juxtaposed with Woolf’s behavior; Woolf purchased a Persian cat instead of using her earnings to purchase something more practical. Her impractical tendencies are contrasted with the selflessness of the Angel in the House, outwardly depicting that Woolf challenged her expectations as a woman. Woolf employs profound imagery to describe her haunting by the Angel in the House, “The shadows of her wings fell on my page; I heard the wrestling of her skirts in the room.” Through appealing to both visual and auditory senses, Woolf develops the Angel in the House from a creation of her subconscious into a concrete being, which is how she viewed it. Woolf finds the Angel in the House so intolerable she kills it in an act of “self-defence,” claiming that the Angel in the House would have killed her if she had not killed her first. Woolf definitively states, “She died hard,” which is emphatic
Jensen, Emily. "Clarissa Dalloway's Respectable Suicide." Virginia Woolf: A Feminist Slant. Ed. Jane Marcus. Lincoln: U of Nebraska P, 1983.
Virginia Woolf, one of the pioneers of modern feminism, found it appalling that throughout most of history, women did not have a voice. She observed that the patriarchal culture of the world at large made it impossible for a woman to create works of genius. Until recently, women were pigeonholed into roles they did not necessarily enjoy and had no way of
Virginia Woolf’s Mrs. Dalloway revolves around several of the issues that preoccupied the Bloomsbury writers and thinkers as a group. Issues of androgyny, class, madness, and mythology run throughout the novel. While that is hardly an exhaustive list, these notions seem to form the core of the structure of the novel. Woolf herself, when envisioning the project, sought to produce “a study of insanity and suicide, the world seen by the sane and the insane side by side.” This issue of madness, in particular, gives the novel its form as we follow the twinned lives of Septimus Warren Smith and Clarissa Dalloway. These preoccupations, occuring in the biographical and intellectual lives of the disparate members of Bloomsbury, revolved around Virginia framing the preoccupations and concerns of the text.
Virginia Woolf was born on January 25, 1882 in Kensington, England. The daughter of a critic Leslie Stephen, Woolf was constantly under great pressure to make something of herself as, "Woolf's parents were extremely connected both socially and artistically" (Lazzari 300). Woolf made many great strides to begin her career as an aspiring writer including the creating of the "Hyde Park Gate News," a newspaper that documented her family's numerous activities. It was her fate to become "the daughter of educated men" as Woolf danced between literary expression and personal desolation in her writing works, intriguing her community with her innovating style (Mills 300). Growing up in a time where the feminist movement was at the helm of educational reforms, Woolf’s writing reflected much of the culture and political movements around her (Brackett 22). Moreover, ...
Though published seventy years ago, Virginia Woolf's A Room of One's Own holds no less appeal today than it did then. Modern women writers look to Woolf as a prophet of inspiration. In November of 1929, Woolf wrote to her friend G. Lowes Dickinson that she penned the book because she "wanted to encourage the young women–they seem to get frightfully depressed" (xiv). The irony here, of course, is that Woolf herself eventually grew so depressed and discouraged that she killed herself. The suicide seems symptomatic of Woolf's own feelings of oppression within a patriarchal world where only the words of men, it seemed, were taken seriously. Nevertheless, women writers still look to Woolf as a liberating force and, in particular, at A Room of One's Own as an inspiring and empowering work. Woolf biographer Quentin Bell notes that the text argues:
Virginia Woolf, born in Great Britain, was a modernist in the twentieth century who suffered from various mental illnesses throughout her life. At the age of 59, she committed suicide by drowning herself. She practically puts all of herself into the novel. The novel takes place in England where she was born and lived, the novel has characters that had mental illnesses like her, and the novel has a character who commits suicide like she did later on in life. Mrs. Dalloway is a novel that represents who Virginia Woolf was and portrayed what she went through in her life.
The extensive descriptions of Mrs. Dalloway’s inner thoughts and observations reveals Woolf’s “stream of consciousness” writing style, which emphasizes the complexity of Clarissa’s existential crisis. She also alludes to Shakespeare’s Cymbeline, further revealing her preoccupation with death as she quotes lines from a funeral song. She reads these lines while shopping in the commotion and joy of the streets of London, which juxtaposes with her internal conflicts regarding death. Shakespeare, a motif in the book, represents hope and solace for Mrs. Dalloway, as his lines form Cymbeline talk about the comforts found in death. From the beginning of the book, Mrs. Dalloway has shown a fear for death and experiences multiple existential crises, so her connection with Shakespeare is her way of dealing with the horrors of death. The multiple layers to this passage, including the irony, juxtaposition, and allusion, reveal Woolf’s complex writing style, which demonstrates that death is constantly present in people’s minds, affecting their everyday
DeSalvo, Louise A. Virginia Woolf: the Impact of Chilhood Sexual Abuse on her Life and work. Boston: Beacon, 1989. 122-25.
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