Virginia Woolf

Talland House

In the spring of 1882, Leslie rented a large white house in St Ives, Cornwall. The family spent three months each summer there for the first 13 years of Virginia's life. Despite its limited amenities, the house's main attraction was the view of Porthminster Bay overlooking the Godrevy Lighthouse. The happy summers spent at Talland House would later influence Woolf's novels Jacob's Room, To the Lighthouse and The Waves.

At both Talland House and the family home, the family engaged with many literary and artistic figures. Frequent guests included Henry James, George Meredith, and James Russell Lowell. The family did not return to Talland House after 1894; a hotel was constructed in front of the house which blocked the sea view, and Julia Stephen died in May the following year.

Sexual abuse

In the 1939 essay "A Sketch of the Past", Woolf first disclosed that she had experienced childhood sexual abuse by her half-brother, Gerald Duckworth. There is speculation that this contributed to her mental health issues later in life. There are also suggestions of sexual impropriety from George Duckworth during the period that he was caring for the Stephen sisters when they were teenagers.

Adolescence

Her mother's death in 1895 precipitated what Virginia later identified as her first "breakdown"—for months afterwards she was nervous and agitated, and she wrote very little for the subsequent two years.

Stella Duckworth took on a parental role in the household. She married in April 1897 but remained closely involved with the Stephens, moving to a house very close to the Stephens to continue to support the family. However, she fell ill on her honeymoon and died in July of that same year. After Stella's death, George Duckworth took on the role of head of the household, and sought to bring Vanessa and Virginia into society. However, this experience did not resonate with either sister. Virginia later reflected on this societal expectation, stating: "Society in those days was a very competent, perfectly complacent, ruthless machine. A girl had no chance against its fangs. No other desires—say to paint, or to write—could be taken seriously." For Virginia, writing remained a priority. She began a new diary at the start of 1897 and filled notebooks with fragments and literary sketches.

In February 1904 Leslie Stephen died, which caused Virginia to suffer another period of mental instability, lasting from April to September. During this time she experienced a severe psychological crisis, which led to at least one suicide attempt. Woolf later described the period between 1897 and 1904 as "the seven unhappy years".

Education

As was common at the time, Virginia's mother did not believe in formal education for her daughters. Instead, Virginia was educated in a piecemeal fashion by her parents. She also received piano lessons. Virginia had unrestricted access to her father's vast library, exposing her to much of the literary canon. This resulted in a greater depth of reading than any of her Cambridge contemporaries. She later recalled: Even today there may be parents who would doubt the wisdom of allowing a girl of fifteen the free run of a large and quite unexpurgated library. But my father allowed it. There were certain facts – very briefly, very shyly he referred to them. Yet "Read what you like", he said, and all his books...were to be had without asking.

Beginning in 1897, Virginia received private tutoring in Classical Greek and Latin. One of her tutors was Clara Pater, who was instrumental to her classical education, while another, Janet Case, became a lasting friend and introduced her to the suffrage movement. Virginia also attended lectures at the King's College Ladies' Department.

Although Virginia could not attend Cambridge, she was profoundly influenced by her brother Thoby's experiences there. When Thoby went to Trinity in 1899 he became part of an intellectual circle of young men, including Clive Bell, Lytton Strachey, Leonard Woolf (whom Virginia would later marry), and Saxon Sydney-Turner. He introduced his sisters to this circle at the Trinity May Ball in 1900. This circle formed a reading group that they named the Midnight Society, to which the Stephen sisters would later be invited.

Themes

Woolf's fiction has been studied for its insight into many themes including war, shell shock, witchcraft, and the role of social class in contemporary modern British society. In the postwar Mrs Dalloway (1925), Woolf addresses the moral dilemma of war and its effects and provides an authentic voice for soldiers returning from the First World War, suffering from shell shock, in the person of Septimus Smith. In A Room of One's Own (1929), Woolf equates historical accusations of witchcraft with creativity and genius among women "When, however, one reads of a witch being ducked, of a woman possessed by devils...then I think we are on the track of a lost novelist, a suppressed poet, of some mute and inglorious Jane Austen". Throughout her work Woolf tried to evaluate the degree to which her privileged background framed the lens through which she viewed class. She examined her own position as someone who would be considered an elitist snob but attacked the class structure of Britain as she found it. In her 1936 essay Am I a Snob? she examined her values and those of the privileged circle she existed in. She concluded she was, and subsequent critics and supporters have tried to deal with the dilemma of being both elite and a social critic.

The sea is a recurring motif in Woolf's work. Noting Woolf's early memory of listening to waves break in Cornwall, Katharine Smyth writes in The Paris Review that "the radiance [of] cresting water would be consecrated again and again in her writing, saturating not only essays, diaries, and letters but also Jacob's Room, The Waves, and To the Lighthouse." Patrizia A. Muscogiuri explains that "seascapes, sailing, diving and the sea itself are aspects of nature and of human beings' relationship with it which frequently inspired Virginia Woolf's writing." This trope is deeply embedded in her texts' structure and grammar; James Antoniou notes in Sydney Morning Herald how "Woolf made a virtue of the semicolon, the shape and function of which resembles the wave, her most famous motif."

Despite the considerable conceptual difficulties, given Woolf's idiosyncratic use of language, her works have been translated into over 50 languages. Some writers, such as the Belgian Marguerite Yourcenar, had rather tense encounters with her, while others, such as the Argentinian Jorge Luis Borges, produced versions that were highly controversial.

Drama

Virginia Woolf researched the life of her great-aunt, the photographer Julia Margaret Cameron, publishing her findings in an essay titled "Pattledom" (1925), and later in her introduction to her 1926 edition of Cameron's photographs. She had begun work on a play based on an episode in Cameron's life in 1923 but abandoned it. Finally, it was performed on 18 January 1935 at the studio of her sister, Vanessa Bell on Fitzroy Street in 1935. Woolf directed it herself, and the cast were mainly members of the Bloomsbury Group, including herself. Freshwater is a short three act comedy satirising the Victorian era, only performed once in Woolf's lifetime. Beneath the comedic elements, there is an exploration of both generational change and artistic freedom. Both Cameron and Woolf fought against the class and gender dynamics of Victorianism and the play shows links to both To the Lighthouse and A Room of One's Own that would follow.

Non-fiction

Woolf wrote a body of autobiographical work and more than 500 essays and reviews, some of which, like A Room of One's Own (1929) were book-length. Not all were published in her lifetime. Shortly after her death, Leonard Woolf produced an edition of unpublished essays, The Moment and other Essays, published by the Hogarth Press in 1947. Many of these were originally lectures she gave, and several more volumes of essays followed, such as The Captain's Death Bed: and other essays (1950).

A Room of One's Own

Among Woolf's non-fiction works, one of the best known is A Room of One's Own (1929), a book-length essay divided into six chapters. Considered a key work of feminist literary criticism, it was written following two lectures she delivered on "Women and Fiction" at Cambridge University the previous year. In it, she examines the historical disempowerment women have faced in many spheres, including social, educational and financial. One of her more famous dicta is contained within the book "A woman must have money and a room of her own if she is to write fiction". Much of her argument ("to show you how I arrived at this opinion about the room and the money") is developed through the "unsolved problems" of women and fiction writing to arrive at her conclusion, although she claimed that was only "an opinion upon one minor point". In doing so, she says a good deal about the nature of women and fiction, employing a quasi-fictional style as she examines where women writers failed because of lack of resources and opportunities, examining along the way the experiences of the Brontës, George Eliot and George Sand, as well as the fictional character of Shakespeare's sister, equipped with the same genius but not position. She contrasts these women who accepted a deferential status with Jane Austen, who wrote entirely as a woman.

Hogarth Press

Virginia had taken up book-binding as a pastime in October 1901, at the age of 19. The Woolfs had been discussing setting up a publishing house for some time – Leonard intended for it to give Virginia a rest from the strain of writing, and thereby help her fragile mental health. Additionally, publishing her works under their own imprint would save her from the stress of submitting her work to an external company, which had contributed to her breakdown during the process of publishing her first novel The Voyage Out. The Woolfs obtained their own hand-printing press in April 1917 and set it up on their dining-room table at Hogarth House, thus beginning the Hogarth Press.

The first publication was Two Stories in July 1917, consisting of "The Mark on the Wall" by Virginia Woolf (which has been described as "Woolf's first foray into modernism") and "Three Jews" by Leonard Woolf. The accompanying illustrations by Dora Carrington were a success, leading Virginia to remark that the press was "specially good at printing pictures, and we see that we must make a practice of always having pictures." The process took two and a half months with a production run of 150 copies. Other short stories followed, including Kew Gardens (1919) with a woodblock by Vanessa Bell as frontispiece. Subsequently, Bell added further illustrations, adorning each page of the text.

Unlike its contemporary small printers, who specialised in expensive artisanal reprints, the Woolfs concentrated on living avant-garde authors, and over the subsequent five years printed works by authors including Katherine Mansfield, T. S. Eliot, E. M. Forster, Clive Bell and Roger Fry. They also produced translations of Russian works with S. S. Koteliansky, and the first translation of the complete works of Sigmund Freud. They acquired a larger press in 1921 and began to sell directly to booksellers. In 1938 Virginia sold her share of the company to John Lehmann, who had started working for the Hogarth Press seven years previously. The Press eventually became Leonard's only source of income, but his association with it ended in 1946, after publishing 527 titles, and Hogarth is now an imprint of Penguin Random House.

The Press also produced explicitly political works. Pamphlets had fallen out of fashion due to the high production costs and low revenue, but the Hogarth Press produced several series on contemporary issues of international politics, challenging colonialism and critiquing Soviet Russia and Italian fascism. The Woolfs also published political fiction, including Turbott Wolfe (1926) by William Plomer and In a Province (1934) by Laurens van der Post, which concern South African racial policies and revolutionary movements respectively. Virginia Woolf saw a link between international politics and feminism, publishing a biography of Indian feminist activist Saroj Nalini Dutt and the memoirs of suffragette Elizabeth Robins. Scholar Ursula McTaggart argues that the Hogarth Press shaped and represented Woolf's later concept of an "Outsiders' Society", a non-organised group of women who would resist "the patriarchal fascism of war and nationalism" by exerting influence through private actions, as described in Three Guineas. In this view, the readers and authors form a loose network, with the Press providing the means to exchange ideas.

Influences

Sybil Oldfield examines Woolf's convinced pacifism, its sources and its expression in her life and works.

Michel Lackey argues that a major influence on Woolf, from 1912 onward, was Russian literature and Woolf adopted many of its aesthetic conventions. The style of Fyodor Dostoyevsky with his depiction of a fluid mind in operation helped to influence Woolf's writings about a "discontinuous writing process", though Woolf objected to Dostoyevsky's obsession with "psychological extremity" and the "tumultuous flux of emotions" in his characters together with his right-wing, monarchist politics as Dostoyevsky was an ardent supporter of the autocracy of the Russian Empire. In contrast to her objections to Dostoyevsky's "exaggerated emotional pitch", Woolf found much to admire in the work of Anton Chekhov and Leo Tolstoy. Woolf admired Chekhov for his stories of ordinary people living their lives, doing banal things and plots that had no neat endings. From Tolstoy, Woolf drew lessons about how a novelist should depict a character's psychological state and the interior tension within. Lackey notes that, from Ivan Turgenev, Woolf drew the lessons that there are multiple "I's" when writing a novel, and the novelist needed to balance those multiple versions of him- or herself to balance the "mundane facts" of a story vs. the writer's overarching vision, which required a "total passion" for art.

The American writer Henry David Thoreau also influenced Woolf. In a 1917 essay, she praised Thoreau for his statement "The millions are awake enough for physical labor, but only one in hundreds of millions is awake enough to a poetic or divine life. To be awake is to be alive." They both aimed to capture "the moment"––as Walter Pater says, "to burn always with this hard, gem-like flame." Woolf praised Thoreau for his "simplicity" in finding "a way for setting free the delicate and complicated machinery of the soul". Like Thoreau, Woolf believed that it was silence that set the mind free to really contemplate and understand the world. Both authors believed in a certain transcendental, mystical approach to life and writing, where even banal things could be capable of generating deep emotions if one had enough silence and the presence of mind to appreciate them. Woolf and Thoreau were both concerned with the difficulty of human relationships in the modern age.

Woolf's preface to Orlando credits Daniel Defoe, Sir Thomas Browne, Laurence Sterne, Sir Walter Scott, Lord Macaulay, Emily Brontë, Thomas de Quincey, and Walter Pater as influences. Among her contemporaries, Woolf was influenced by Marcel Proust, writing to Roger Fry, "Oh if I could write like that!"

Virginia Woolf and her mother

The intense scrutiny of Virginia Woolf's literary output has led to speculation as to her mother's influence, including psychoanalytic studies of mother and daughter. Her memories of her mother are memories of an obsession, starting with her first major breakdown on her mother's death in 1895, the loss having a profound lifelong effect. In many ways, her mother's profound influence on Virginia Woolf is conveyed in the latter's recollections, "there she is; beautiful, emphatic... closer than any of the living are, lighting our random lives as with a burning torch, infinitely noble and delightful to her children".

Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure, becomes more nuanced and complete. She described her mother as an "invisible presence" in her life, and Ellen Rosenman argues that the mother-daughter relationship is a constant in Woolf's writing. She describes how Woolf's modernism needs to be viewed in relationship to her ambivalence towards her Victorian mother, the centre of the former's female identity, and her voyage to her own sense of autonomy. To Woolf, "Saint Julia" was both a martyr whose perfectionism was intimidating and a source of deprivation, by her absences real and virtual and premature death. Julia's influence and memory pervade Woolf's life and work. "She has haunted me", she wrote.

Historical feminism

According to the 2007 book Feminism: From Mary Wollstonecraft to Betty Friedan by Bhaskar A. Shukla, "Recently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work, such as in the 1997 collection of critical essays, Virginia Woolf: Lesbian Readings, edited by Eileen Barrett and Patricia Cramer." In 1928, Woolf took a grassroots approach to informing and inspiring feminism. She addressed undergraduate women at the ODTAA Society at Girton College, Cambridge, and the Arts Society at Newnham College, with two papers that eventually became A Room of One's Own (1929).

Woolf's best-known nonfiction works, A Room of One's Own (1929) and Three Guineas (1938), examine the difficulties that female writers and intellectuals faced because men held disproportionate legal and economic power, as well as the future of women in education and society. In The Second Sex (1949), Simone de Beauvoir counts, of all women who ever lived, only three female writers—Emily Brontë, Woolf and "sometimes" Katherine Mansfield—who have explored "the given".

Much examination has been made of Woolf's mental health. From the age of 13, following the death of her mother, Woolf suffered periodic mood swings. However, Hermione Lee asserts that Woolf was not "mad"; she was merely a woman who suffered from and struggled with illness for much of her life, a woman of "exceptional courage, intelligence and stoicism", who made the best use, and achieved the best understanding she could, of that illness. Writer and social anthropologist Camille Caprioglio suggests that Woolf may have been autistic, a possible contributing factor to her mental health struggles. In contemporary terms, the majority of her symptoms are most readily attributed to bipolar disorder.

Her mother's death in 1895, "the greatest disaster that could happen", precipitated a crisis for which their family doctor, Dr. Seton, prescribed rest, stopping lessons and writing, and regular walks supervised by Stella. Yet just two years later, Stella too was dead, bringing on Virginia's first expressed wish for death at the age of 15. This was a scenario she would later recreate in "Time Passes" (To the Lighthouse, 1927).

The death of her father in 1904 provoked her most alarming collapse, on 10 May, when she threw herself out of a window and was briefly institutionalised under the care of her father's friend, the eminent psychiatrist George Savage. She spent time recovering at the house of Stella's friend Violet Dickinson, and at her aunt Caroline Stephen's house in Cambridge, and by January 1905, Savage considered her cured.

Her brother Thoby's death in 1906 marked a "decade of deaths" that ended her childhood and adolescence.

On Savage's recommendation, Virginia spent three short periods in 1910, 1912, and 1913 at Burley House at 15 Cambridge Park, Twickenham, described as "a private nursing home for women with nervous disorder" run by Miss Jean Thomas. By the end of February 1910, she was becoming increasingly restless, and Savage suggested being away from London. Vanessa rented Moat House, outside Canterbury, in June, but there was no improvement, so Savage sent her to Burley for a "rest cure". This involved partial isolation, deprivation of literature, and force-feeding, and after six weeks she was able to convalesce in Cornwall and Dorset during the autumn.

She loathed the experience; writing to her sister on 28 July, she described how she found the religious atmosphere stifling and the institution ugly, and informed Vanessa that to escape "I shall soon have to jump out of a window". The threat of being sent back would later lead to her contemplating suicide. Despite her protests, Savage would refer her back in 1912 for insomnia and in 1913 for depression.

On emerging from Burley House in September 1913, she sought further opinions from two other physicians on the 13th: Maurice Wright, and Henry Head, who had been Henry James's physician. Both recommended she return to Burley House. Distraught, she returned home and attempted suicide by taking an overdose of 100 grains of veronal (a barbiturate) and nearly dying.

On recovery, she went to Dalingridge Hall, George Duckworth's home in East Grinstead, Sussex, to convalesce on 30 September, returning to Asham on 18 November. She remained unstable over the next two years, with another incident involving veronal that she claimed was an "accident", and consulted another psychiatrist in April 1914, Maurice Craig, who explained that she was not sufficiently psychotic to be certified or committed to an institution.

The rest of the summer of 1914 went better for her, and they moved to Richmond, but in February 1915, just as The Voyage Out was due to be published, she relapsed once more, and remained in poor health for most of that year. Then she began to recover, following 20 years of ill health. Nevertheless, there was a feeling among those around her that she was now permanently changed, and not for the better.

Over the rest of her life, she suffered recurrent bouts of depression. In 1940, a number of factors appeared to overwhelm her. Her biography of Roger Fry had been published in July, and she had been disappointed in its reception. The horrors of war depressed her, and their London homes had been destroyed in the Blitz in September and October. Woolf had completed Between the Acts (published posthumously in 1941) in November, and completing a novel was frequently accompanied by exhaustion. Her health became increasingly a matter of concern, culminating in her decision to end her life on 28 March 1941.

She also suffered many physical ailments such as headaches, backache, fevers and faints, which related closely to her psychological stress. These often lasted for weeks or even months, and impeded her work: "What a gap!... for 60 days; & those days spent in wearisome headache, jumping pulse, aching back, frets, fidgets, lying awake, sleeping draughts, sedatives, digitalis, going for a little walk, & plunging back into bed again."

Though this instability would frequently affect her social life, she was able to continue her literary productivity with few interruptions throughout her life. Woolf herself provides not only a vivid picture of her symptoms in her diaries and letters but also her response to the demons that haunted her and at times made her long for death: "But it is always a question whether I wish to avoid these glooms... These 9 weeks give one a plunge into deep waters... One goes down into the well & nothing protects one from the assault of truth."

Psychiatry had little to offer Woolf, but she recognised that writing was one of the behaviours that enabled her to cope with her illness: "The only way I keep afloat... is by working... Directly I stop working I feel that I am sinking down, down. And as usual, I feel that if I sink further I shall reach the truth." Sinking underwater was Woolf's metaphor for both the effects of depression and psychosis— but also for finding the truth, and ultimately was her choice of death.

Throughout her life, Woolf struggled, without success, to find meaning in her illness: on the one hand, an impediment, on the other, something she visualised as an essential part of who she was, and a necessary condition of her art. Her experiences informed her work, such as the character of Septimus Warren Smith in Mrs Dalloway (1925), who, like Woolf, was haunted by the dead, and ultimately takes his own life rather than be admitted to a sanatorium.

Leonard Woolf relates how during the 30 years they were married, they consulted many doctors in the Harley Street area, and although they were given a diagnosis of neurasthenia, he felt they had little understanding of the causes or nature. The proposed solution was simple—as long as she lived a quiet life without any physical or mental exertion, she was well. In contrast, any mental, emotional, or physical strain resulted in a reappearance of her symptoms, beginning with a headache, followed by insomnia and thoughts that started to race. Her remedy was simple: to retire to bed in a darkened room, following which the symptoms slowly subsided.

Modern scholars, including her nephew and biographer, Quentin Bell, have suggested her breakdowns and subsequent recurring depressive periods were influenced by the sexual abuse to which she and her sister Vanessa were subjected by their half-brothers George and Gerald Duckworth (which Woolf recalls in her autobiographical essays "A Sketch of the Past" and "22 Hyde Park Gate"). Biographers point out that when Stella died in 1897, there was no counterbalance to control George's predation, and his nighttime prowling. "22 Hyde Park Gate" ends with the sentence "The old ladies of Kensington and Belgravia never knew that George Duckworth was not only father and mother, brother and sister to those poor Stephen girls; he was their lover also."

It is likely that other factors also played a part. It has been suggested that they include genetic predisposition. Virginia's father, Leslie Stephen, suffered from depression, and her half-sister Laura was institutionalised. Many of Virginia's symptoms, including persistent headache, insomnia, irritability, and anxiety, resembled those of her father's. Another factor is the pressure she placed upon herself in her work; for instance, her breakdown of 1913 was at least partly triggered by the need to finish The Voyage Out.

Virginia herself hinted that her illness was related to how she saw the repressed position of women in society when she wrote A Room of One's Own. in a 1930 letter to Ethel Smyth:

As an experience, madness is terrific I can assure you, and not to be sniffed at; and in its lava I still find most of the things I write about. It shoots out of one everything shaped, final, not in mere driblets, as sanity does. And the six months—not three—that I lay in bed taught me a good deal about what is called oneself.

Thomas Caramagno and others, in discussing her illness, oppose the "neurotic-genius" way of looking at mental illness, where creativity and mental illness are conceptualised as linked rather than antithetical. Stephen Trombley describes Woolf as having a confrontational relationship with her doctors, and possibly being a woman who is a "victim of male medicine", referring to the lack of understanding, particularly at the time, about mental illness.