Friday, May 4, 2012

Virginia Woolf described in her diary a concept of character ‘dissipated into shreds’. Discuss the presentation of character in A Portrait of the Artist as a Young Man and The Waves.

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Virginia Woolf described hers as an age in which ‘character [was] dissipated into shreds,’ in similar vein, Lawrence’s writes to Edward Garnett in 114 urging him not to ‘look in [his] novel for the old stable ego of character.’ In their public addresses, personal correspondence, novels and poems; modernist writers challenged traditional notions of wholeness of character, rendering instead what was often characterized as the fragmentary panorama of modern experience. The sense of a changing world was stimulated by urbanism, imperialism, gender roles, developing theories of psychology and anthropology, and the cataclysmic upheaval of the Great War. Attuned to these important contexts, this essay will investigate the presentation of character in Joyce’s A Portrait of the Artist as a Young Man and Woolf’s The Waves. It will attempt to elucidate debates on this subject and contrast the nineteenth and early twentieth century writing. An exploration of various devices, such as narrative technique and symbolism, will ensue and the question of the development of characters will be considered.

Woolf’s observation of the ‘dissipation’ of character was a manifestation of the new approaches prevalent in modernist writing. The disappearance of character summary, of discrete well-demarcated characters, typically found in the writings of Victorian authors such as Dickens, is absent from A Portrait of the Artist as a Young Man and The Waves. In nineteenth-century commentary, character was commonly cited as a principal object of a well-written novel. This narrative production of character emerged from and perpetuated a notion of personhood that was deeply embedded in Victorian culture. In modern texts traditional characters give way to entities like the ambiguous Stephan Dedalus and the interpenetrating voices of The Waves.

Virginia Woolf wrote not only fiction, but a range of critical studies, involving herself, in many contemporary debates. A disagreement between novelists occurred when, in two essays, Woolf attacked the well known authors Arnold Bennett, H.G Wells and John Galsworth. In her first essay, ‘Modern Fiction’(11), Woolf contrasts the accumulation of detail presented by realist authors, to the fundamental interest of the modernist writers which ‘lies in the dark places of psychology’. She goes on to describe the human mind which ‘receives a myriad of impressions � trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms.’ Woolf argues for an expression of character, with close reference to the human mind through thought, memory and desire. She juxtaposes this with the extensive recording of externalities pertaining to the person’s appearance, class, job and possessions. Life she claims is not

‘a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end. Is it not the task of the novelist to convey this varying, unknown and uncircumscribed spirit, whatever ever aberration or complexity it may display, with as little alien and external as possible?’

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Bennett and Woolf agreed that the purpose of the novel was to represent character; it was the means of doing this on which they differed. Bennett berated Georgian authors such as Joyce and Lawrence for not succeeding in creating characters that were real and convincing. He argues in favour of Edwardian authors such as himself who invent ‘societies, factories and even utopias together with recognisable people living in them’. Woolf satirises Bennett’s attention to detail in her essay ‘Mr Bennett and Mrs Brown’ ‘Bennett convinces us so well that there is a house, in every detail, that we become convinced that a person lives there.’ She develops her argument by sketching a portrait of Mrs Brown, a lady sitting in a railway carriage, and attempts to outline the Edwardian approach to describing her � giving superfluous information but never accessing her mind and therefore, never knowing her in any meaningful sense. As an alternative, Woolf suggests that character should be presented through a plethora of memories and thoughts

‘In one day thousands of ideas have coursed through your brains; thousands of emotions have met, collided and disappeared in astonishing disorder. Nevertheless, you allow the writers to palm of upon you a version of all this , an image of Mrs Brown, which has no likeness to that surprising apparition whatsoever.’

Despite their interest in ancient myth and ritual, modern writers broke with the literary past in more ways than they tried to preserve it. The symbolist movement foreshadowed modernisms interest in penetrating the surface of reality. Part of that new, deeper reality involved a reconsideration of the portrayal of literary characters. Virginia Woolf suggested that, ‘in or about December, 110, human character changed.’ It has been debated whether Woolfs comment refers the death of Englands King Edward VII or the first Post-Impressionist exhibition in London, but it is apparent that she detected a wave of change. Though she may have been exaggerating, the understanding and perception of human character had changed. This can be largely attributed to the writings of Sigmund Freud, concerning the power of the unconscious. Writers began to assimilate the idea the human personality, far from being a rational and comprehensible whole, was infinitely more complex than previously imagined. Consequently, the nineteenth centurys tendency to define character by means of historical and social contexts was no longer adequate; newer, subtler techniques were developed to portray the irrational and unpredictable side of human nature.

One such technique was the ‘stream of consciousness’ device in which a characters thoughts are reproduced as they occur, not in full sentences or in any logical sequence, but according to an associative process that depends on the conscious or unconscious connections made by each individuals mind. Interior monologue is the major component of stream-of-consciousness and as the term suggests, is a representation of the inner ‘speech’ of a character. It is distinguishable from a soliloquy in that it occurs before vocalisation. In giving credence too this pre-speech level, interior monologue gives a greater sense of psychological realism.

Since interior monologue is unorganised, it is generally conveyed within third person narrative frames. To use a first person narrative implies a degree of conscious arrangement normally absent from interior monologue. Within such third person frame narratives, however, interior monologue may be either direct or indirect. In direct interior monologue, once the narrator has entered the consciousness of a particular character, that consciousness takes over entirely and the narrator does not interrupt until the end of the monologue. In indirect interior monologue the narrator intermittently intrudes upon the characters stream of consciousness. A Portrait of the Artist as a Young Man is an example of a third-person, indirect narrative. Stephen Dedalus does not tell his story himself, but the reader is predominantly offered only what he perceives. Very little access is permitted into the minds of other characters, with occasional exceptions such as the Christmas dinner scene, or during the trip to Cork with Simon Dedalus. The narrative focuses closely on Stephen, taking the reader deeply into his mind, to the extent that at times it resembles a first person narrative. Joyce very occasionally repositions the narrative outside of Stephens consciousness. For example, at the end of the Christmas dinner scene, the reader is told that Stephen raises ‘his terror-stricken face.’ Stephen, of course, cant see his own face while sitting at the dinner table, but by taking the narrative outside Stephen for this instant, Joyce emphasizes the impact the vicious argument has had upon the young boy.

The use of interior monologue, presented as a ‘stream of consciousness’ was prevalent in authors such as Virginia Woolf and James Joyce. The first page and a half of Joyces A Portrait of the Artist as a Young Man employs this technique to particularly good advantage. In the opening words of the novel, the young protagonist describes his world in a seemingly random, disjointed prose that becomes recognisable as a child’s response to the world through sensory observation

‘Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down the road met a nicens little boy names baby tuckoo…His father told him that story his father looked at him through a glass he had hairy face’

By shrewdly manipulating syntax and language, Joyce permits access to the mind of the young Stephen Dedalus and his earliest memories. Stephen is three years old and beginning to identify himself with his physical environment. He recalls his father’s ‘hairy face’ his mother who ‘had a nicer smell than his father.’ He is ‘baby tucktoo’ the epicentre of his world. Fragmented lines from a nursery story are intertwined with the record of sensory observations and significantly his favourite song is about wild, as opposed to tame or cultivated, roses. His predisposition for rebellion and longing for liberty has been implicitly stated.

Three year old Stephen expresses his intention to marry the young girl, Eileen Vance, who lives next door. Eileen happens to be Protestant and in response to his Catholic familys shock, Stephen crawls under the table. Stephens mother assures the others that he will apologize, and Dante adds a threat that eagles will pull out Stephens eyes if he does not apologize. Stephen turns these threatening words into a rhyme; an early example of how words, Stephen’s eventual art form, afford him a buffer against societal pressure and restraints. With great economy of words, written in a pseudo-childlike style, Joyce offers the reader extensive insight into the character of Stephan Dedalus, successfully illuminating his protagonist. Stephen Dedalus’s central position in the novel is established, his subsequent rebellion foreshadowed and his awareness of politics and religion inaugurated.

In much the same way Woolf economises, omitting elements of the novel which had previously supported the investigation of character. The Waves has a muted plot, an absent narrator and an ambiguous depiction of dialogue. The reader is presented exclusively with preludes and chapters which consist entirely of the characters’ voices. The voices, are always placed in quotations and introduced with the name of the person speaking, yet the narration of the novel can be positioned on a spectrum somewhere between uncensored inner narration and conscious self-presentation. This device undergirds one of the novels central thematic preoccupations; the characters whose ‘voices’ are heard each mediate between the vivid idiosyncrasies of his or her own inner experience and the world external to themselves. Woolf introduces this dynamic in the opening phrases of the six children, who alternate in the delivery of one-line impressions of their observations. Their descriptions are analogous yet divergent. Whilst all speaking in identical subject-verb-object constructions and describing their present sensory experience; they elect to describe different phenomena and do so in unique, distinctive and impressionistic ways. It is unclear in the opening few pages, as it often is in the rest of the novel, whether they are observing the same scene at all. The question is raised as to whether they are together or each alone. There is no third person narrator to clarify this. Woolf compels the reader to rely on the characters own depictions of the world they inhabit and the people with whom they share it. In so doing she positions the human mind as paramount. The ambiguity is deliberate, since Woolfs suggestion is that even when these people are together, on a deeper level, each one is still very much alone. The sheer power of the contemplative voices always threatens to submerge any notion of a shared world or a sense of togetherness.

When considering the issue of characterisation in The Waves critics are sharply divided. Some believe the characters to be autonomous personalities, while others view them as fragments of a greater whole, electing to refer to them as ‘voices’. Debate and critical reviews differ on whether the monologues adopt a single idiom and are stylistically similar or whether they are easily differentiated. Guiguet proposes that ‘there are not six voices in search of characters, but a single being in search of voices.’ He perceives the voices to be ‘indistinguishable, with the same texture, the same substance and the same tone.’ Using this observation he concludes that the sum total of the characters is Virginia Woolf and the aspects of her personality. This is an extreme position to take and many critics accept the notion of a ‘group biography’ forming ‘one many-sided personality’ � but refrain from naming the personality.

Despite the view held by Joyce’s brother that ‘Stephen Dedalus is an imaginary, not a real self portrait,’ there is a strong temptation to view the protagonist as a ‘young’ version of his creator. In the introduction to A Portrait of the Artist as a Young Man, Seamus Deane claims that Joyce is providing the reader with a ‘part-loving , part ironic portrait of himself.’ Stephen Dedalus, while a fictitious character is largely fashioned from autobiographical origins. His youth parallels Joyce’s own, suggesting that a comparison with the author may provide a powerful lens for the analysis of the character. Joyce bestows on the protagonist a poetic sensibility and a tendency towards the creative from the outset of the novel. The deeply clich�d opening words ‘Once upon a time,’ introduce a juvenile form of Joyce’s own artistic medium. Joyce attended a boarding school for boys called Clongowes Wood College, came from a large family and had his first sexual experience with a prostitute; elements all present in Stephen Dedalus’s narrative.

It is not a coincidence that both works under consideration have tendency toward autobiography. In the movement from realism to modernism the emphasis on accessing the human mind would, by implication, force authors to reach within themselves in order to convey a true and compelling ‘portrait’ of their characters.

The increasing attention that modernist novelist paid to language, resulted in a varied and complex use of imagery and symbolism. David Lodge proposes that modern literature vacillates between two prevailing poles of symbolism metaphor which works by describing one thing in terms of another to which it is not literally related; and metonymy which operates on the principle of association, replacing an object with its attribute. For example, Dickensian characters are presented in a predominantly metonymic style, Micawber is represented by his cane in Great Expectations and Mrs Sparsit by her roman nose in Hard Times. In contrast, Virginia Woolf’s rendition of character is typically metaphoric. Jinny is often described in terms of fire or light ‘I leap like one of those flames that run between the cracks of the earth; I move I dance… I catch fire even from the women’s cold eyes. ’ She is the sensualist, her experience of the world relies heavily on her sensory abilities. Her existence is centred on her body over which she has little control. Jinny is concerned with the present and cares little of the future or the past. Fire and light are pertinent metaphoric references; both are difficult to restrain, overwhelm the senses and are not easily sustained- light becomes darkness and fire is extinguished.

Consider also Louis’s metaphoric association with roots and trees. ‘My roots go down to the depths of the world…My hair is made of leaves. I am rooted to the middle of the earth. My body is a stalk.’ Louis is the visionary of the group, perceiving himself not merely as Louis, but as continuous with all of history, with roots going down into the past. This ability to exist partially outside time and space distances him somewhat from the others. His Australian ‘roots’ and accent cause an insecurity; he feels isolated.

In A Portrait of the Artist as a Young Man, images and symbols are repeated to reveal Stephens innermost feelings. A rose, or rose colour, represents a yearning for romantic love and beauty; the colour yellow a revulsion from sordid reality; and birds or flight, an aspiration to creative freedom. Such images often relate to larger motifs drawn from religion, philosophy, and myth. Joyce predicated his novel on a superstructure of the Greek myth, concerning Deadalus and Icarus, to relate his heros personal experience to a universal story of creativity, daring, pride, and self-discovery. Stephen’s flight from Ireland is not only a departure from the restraint of his home country, but also from the ‘nineteenth century novel and its elaborate apparatus for the description of character’

Susan Henke suggests that the female characters in A Portrait of the Artist as a Young Man ‘pervade the novel, yet remain elusive.’ Rather than develop as autonomous characters, the women in this text provide a foil against which Stephen defines himself as both an artist and a man. Women are viewed exclusively through Stephen’s eyes and shaped by his fantasies; they often appear as ‘one-dimensional projections of a narcissistic imagination’ Eileen Vance the girl Stephan wants to marry when he is very young; remains a romantic ideal throughout the novel. Like Stephens mother, Eileen represents a concept of womanhood associated with the Virgin, but with connotations of warmth and comfort.

‘she did not like him to play with Eileen because Eileen was a protestant and …protestants used to make fun of the litany of the Blessed Virgin. Tower of Ivory they used to say, House of Gold! How could a woman be a tower of ivory or a house of gold? Who was right then? …Eileen had long white hands… long and white and thin and cold and soft. That was ivory a cold white thing. That was the meaning of Tower of Ivory.’

Important as she is in Stephens thoughts, Stephens mother, May, is a shadowy figure. May embodies the church and Stephen’s rejection of the church hurts her deeply. There are few encounters between Stephen and Emma. She is a provocative look under a hood, dark eyelashes, tapping footsteps, girlish laughter, and not much more. Stephen does not know Emma particularly well, and is generally too embarrassed or afraid to talk to her, but feels a powerful response stirring within him whenever he sees her. Stephens first poem, “To E� C�,” is written to Emma. For Stephen, Emma symbolizes one end of a spectrum of femininity. Stephen seems able to perceive only the extremes of this spectrum for him, women are either pure, distant, and unapproachable, like Emma, or impure, sexual, and common, like the prostitutes he visits during his time at Belvedere.

Stephens idea of femininity becomes more complex in the final sections of Chapter 5, when he finally confronts Emma and talks to her on Grafton Street. His relation to females throughout the novel has been largely conflicted and abstract to this point. This meeting with Emma, however, is concrete, placing Stephen in control. The conversation with Emma emphasizes the fact that women are no longer guiding Stephen his mother no longer pushes him, the Virgin Mary no longer shows him the way, and prostitutes no longer seduce him. Women are no longer in a superior or transcendent position in his life. Finally, in actually speaking with Emma face-to-face, Stephen shows that he has begun to conceive of women as fellow human beings rather than idealized creatures. He no longer needs to be mothered and guided, as his emotional, spiritual, and artistic development has given him the vision and confidence to show himself the way.

The rising and the setting of the sun in The Waves is charted in the preludes; this natural cycle is the physical manifestation of the development of the characters. Critics are divided on this front some believing the characters to be static, basing their argument on the premise that ‘very little stylistic change takes place in the speeches as the characters grown older’ and that there is little attempt to ‘adapt the prose as the characters age.’ A second group of critics believe that whilst all the characters are fixed, Bernard is the notable exception who through his final summation seems to exhibit growth in both language and sensibility. According to Shanahan, ‘the fragmentation of vision and personality which characterizes the first eight sections of the novel must be transcended.’ Bernard encompasses all of the fragments into one in the end. Woolf has a vision of fragmentation, and then in her resolution of The Waves goes beyond that vision Bernard is a representation of Woolf’s artistic purpose in The Waves.

The characterization of The Waves is significant on multiple levels. It reflects the notion of unity in diversity, the characters struggle to define themselves- to discover who they are and yet, the only possibility of lasting meaning lies in their communion

‘The wax --- the virginal wax that coats the spine melted in different patches for each of us. . . . Louis was disgusted by the nature of human flesh; Rhoda by our cruelty; Susan could not share; Neville wanted order; Jinny love; and so on. We suffered terribly as we became separate


Bernard’s summation of the characters in the end can be connected to their conceptions of life, which have grown along the lines laid down in the responses they articulated in chapter one. Gorsky describes the text as a ‘kind of group Bildungsroman,’ and Bernard as the artist of the group, obsessed with language and revelling in words is the obvious choice as spokesperson. It can be argued that in contrast to earlier writing, the development of character is implicit in the thoughts and articulations of the individual, rather than in their limited and scantly depicted actions.

In the cultural shift from representational to abstract, literature mirrored movements in the art world. The Cubanist movement dispensed with a fixed perspective, attempting to depict several sides of an object, from five or six different angles. ‘For many modernists, what was painted and written about became in some ways less important, and how it was painted or written became the key question.’ Cubanism’s ideas involving collage and multiple perspectives mirrored the modernist writer’s construction of character as an assembly of fragments. Dennis Brown suggests that Stephen Dedalus, just prior to his departure from Dublin, is portrayed as a ‘cubanistic collage of miscellaneous impulses and awareness.’ This final view of Stephen is an amalgamation of the

constellation of words, images and ideas which offer the reader a multi-layered vision of the protagonist. Joyce removes the familiar guideposts, creating a fragmentation in which cause and effect is eradicated, scenes melt into one another, and the passage of time is not specified. Joyce purposefully avoids explanation of the many references to places, ideas, and historical events that consume Stephens mind, leaving the reader with a cubanistic image of the character, rather than an demystified ‘portrait’ suggested by the ironic title of the book.

A Portrait of the Artist as a Young Man differs from more conventional novels as it does not depict Stephen Dedaluss development in a straightforward chronological progression or in easily understood flashbacks to the past. Instead Joyce presents a series of episodes that at first may seem unconnected but which in fact are held together by use of language, images and symbols. One of the most notable features of Stephens artistic development is his interest in language, which mirrors the self-conscious writing of the modernist novelist. Stephen notices sounds even in the very first passages, when he is young enough to use baby words like ‘moocow’ and ‘tuckoo.’ As he grows older, he ponders the intriguing sound of the word ‘wine,’ and imagines that the cricket bats are saying, ‘pick, pack, pock, puck.’ The weave of the narrative changes as Stephen moves from infancy to manhood. The boy who is ‘nicens little baby tuckoo’ becomes the proud young artist who writes in his diary brave promises about forging ‘the uncreated conscience of my race.’ Joyces transition to journal entries at the end of the novel is a formal change that highlights Stephens development as an individual attempting to find his voice. The journal entry form explores the difficulty of representing a person through words. At this point in the novel, the external narrator is completely absent and the reader sees him imitating no one and quoting no one, offering his own perceptions, dreams, insights, and reflections through his words alone. Stylistically, this section is not as polished and structured as the earlier portions of the novel, but this lack of polish indicates its immediacy and sincerity in Stephens mind.

Modernism was a response to the changing world and a celebration of the complexity of the human mind. It called for a more self-conscious writer who could employ narrative techniques and stretch language to the far reaches of it potential. It called too, for a perceptive and autonomous reader; willing to peel back the multilayered narrative in order to experience the character at close quarters. If , as Woolf suggests, character has been ‘dissipated into shreds’; modernism too has reconstructed it. As both the author and the reader take up these fragmentary shreds and connect them to each other; they are woven together emerging ultimately as a stronger thread in the fabric of the novel.


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