By Virginia Woolf, Visit Amazon's Eric Warner Page, search results, Learn about Author Central, Eric Warner,
Eric Warner areas The Waves within the context of Virginia Woolf's occupation and of the 'modern' age during which it used to be written. He examines how she got here to write down the unconventional, what her matters have been on the time, and the way it's associated either common and topic along with her previous, extra obtainable works. a last bankruptcy explores the tricky relation of the e-book to the style of the unconventional.
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Extra resources for Virginia Woolf: The Waves (Landmarks of World Literature)
It is for precisely the same use, the 'soliloquy in solitude', that Woolf appropriates the device in The Waves, Her aim is similarly to shift the emphasis from action to awareness of action, from experience of life to reflection and analysis. The meditative pressure in the speeches of The Waves is enormous, and largely the result of the style. The effect is compounded by the highly artificial 'poeticism' of the language - its lulling, alliterative cadences (in this last extract - 'Sleep, sleep, I croon .
The penalty it pays for having dispensed with the incantation and the mystery, with rhyme and metre' is that it cannot now 'leap at one spring at the heart of its subject' as poetry does. However, she goes on to say that 'if you free it from the beast-of-burden work which so many novelists necessarily lay upon it, of carrying loads of details, bushels of fact - prose thus treated will show itself capable of rising high from the ground', making that inspired leap to the 'essence' of its Form 43 subject, and sustaining the intensity of such elevation.
I quote examples from the Romantics because a reference to Keats in 'The Narrow Bridge of Art' suggests that this is the 'poetry' she has in mind. But there are other examples closer to her: 'I smile, of course, and go on drinking tea'; 'I know the voices dying with a dying fall / Beneath the music from a farther room'; 'In the room the women come and go / Talking of Michelangelo'. These examples from the early work of T. S. Eliot (a palpable influence on The Waves) use the pure present to much the same effect as the Romantics; that is, to engender a split between action and awareness.