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Abstract

The tortuous evolution of Woolf’s first novel, from 1907 to 1914, is told in detail in De Salvo’s Virginia Woolf’s First Voyage. What emerges is an unsatisfactory record of an emotional journey of emancipation, a ‘curious amalgam of two stages of the novel’s earlier phases … feverishly but imperfectly fused’.2 Looking back in 1920, Woolf admitted as much: ‘Such a harlequinade as it is — such an assortment of patches — here simple and severe — here frivolous and shallow — here like God’s Truth — here strong and free-flowing as I could wish. What to make of it, Heaven knows.’3 Woolfs use of the word ‘harlequinade’ is instructive, suggesting as it does both the fantastical nature of the boat journey to South America, and the ‘particoloured’ effect of the style of writing, changeable in the way she describes. The question of form became uppermost in her own mind, and it is interesting to see how a mind reared on nineteenth-century notions of form struggled to adapt itself to the Bloomsbury world of Post-Impressionist exhibitions and quite a new conception of form in art.

Keywords

Flower Shop Painterly Vision Significant Form National Gallery Opening Scene 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Notes

  1. 10.
    Katherine Mansfield, Novels and Novelists ( London: Constable, 1930 ) p. 111.Google Scholar
  2. 18.
    Allen McLaurin, Virginia Woolf (Cambridge University Press, 1973) p. 127.Google Scholar
  3. 19.
    Alice van Buren Kelly, The Novels of Virginia Woolf ( Chicago: University of Chicago Press, 1973 ) p. 79.Google Scholar
  4. 20.
    Hermione Lee, The Novels of Virginia Woolf ( London: Methuen, 1977 ) pp. 89–90.Google Scholar
  5. 23.
    David Daiches, Virginia Woolf ( New York: New Directions, 1942 ) p. 61.Google Scholar
  6. 41.
    Avrom Fleishman, Virginia Woolf A Critical Reading ( Baltimore: Johns Hopkins University Press, 1975 ) pp. 70–3.Google Scholar
  7. 45.
    O. P. Sharma,‘Feminism as Aesthetic Vision: A Study of Virginia Woolf s Mrs Dalloway’, Women’s Studies, 3 (1975) 68.Google Scholar
  8. 52.
    Keith May,‘The Symbol of Painting in Virginia Woolf s To the Lighthouse’, Research in English Literature, 8 (1967) 98.Google Scholar
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    Allen McLaurin, ‘A Note on Lily Briscoe’s Painting in To the Lighthouse’, Notes & Queries, 26 (1979) 338–40.Google Scholar
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    James Naremore, The World Without a Self (New Haven, Conn.: Yale University Press, 1973) pp. 202, 216.Google Scholar
  11. 74.
    Herbert Marder, Feminism and Art ( Chicago: University of Chicago Press, 1968 ) p. 114.Google Scholar
  12. 95.
    Winifred Holtby, Virginia Woolf (London, 1932) p. 195.Google Scholar
  13. 98.
    James Hafley, The Glass Roof ( Berkeley, Calif.: University of California Press, 1954 ) p. 127.Google Scholar
  14. 101.
    Mario Praz, Mnemosyne ( Princeton, NJ: Princeton University Press, 1970 ) p. 188.Google Scholar
  15. 106.
    Martin Cooper, Beethoven: The Last Decade ( London: Oxford University Press, 1970 ) p. 401.Google Scholar
  16. 121.
    Quoted in Victoria Middleton, ‘The Years: “A Deliberate Failure”’, Bulletin of the New York Public Library 80 (Winter 1977) 160.Google Scholar
  17. 133.
    A. Y. Wilkinson, ‘A Principle of Unity in Between the Acts’, Criticism, 8 (1966) 53.Google Scholar
  18. 136.
    Nancy Bazin, Virginia Woolf and the Androgynous Vision ( New Brunswick, NJ: Rutgers University Press, 1973 ) pp. 220–1.Google Scholar

Copyright information

© David Dowling 1985

Authors and Affiliations

  • David Dowling

There are no affiliations available

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