The Greatest Essays of Virginia Woolf. Virginia Woolf

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       Virginia Woolf

      The Greatest Essays of Virginia Woolf

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      2017 OK Publishing

      ISBN 978-80-272-3514-8

      Table of Contents

       THE COMMON READER

       “JANE EYRE” AND “WUTHERING HEIGHTS”

       THE PATRON AND THE CROCUS

       THE MODERN ESSAY

       THE DEATH OF THE MOTH

       EVENING OVER SUSSEX: REFLECTIONS IN A MOTOR CAR

       THREE PICTURES

       OLD MRS. GREY

       STREET HAUNTING:

       JONES AND WILKINSON

       “TWELFTH NIGHT” AT THE OLD VIC

       MADAME DE SÉVIGNÉ

       THE HUMANE ART

       TWO ANTIQUARIES: WALPOLE AND COLE

       THE REV WILLIAM COLE

       THE HISTORIAN AND “THE GIBBON”

       REFLECTIONS AT SHEFFIELD PLACE

       THE MAN AT THE GATE

       SARA COLERIDGE

       “NOT ONE OF US”

       HENRY JAMES

       GEORGE MOORE

       THE NOVELS OF E. M. FORSTER

       MIDDLEBROW

       THE ART OF BIOGRAPHY

       CRAFTSMANSHIP

       A LETTER TO A YOUNG POET

       WHY?

       PROFESSIONS FOR WOMEN

       THOUGHTS ON PEACE IN AN AIR RAID

      THE COMMON READER

      There is a sentence in Dr. Johnson’s Gray which might well be written up in all those rooms, too humble to be called libraries, yet full of books, where the pursuit of reading is carried on by private people. ” … I rejoice to concur with the common reader; for by the common sense of readers, uncorrupted by literary prejudices, after all the refinements of subtilty and the dogmatism of learning, must be finally decided all claim to poetical honours.” It defines their qualities; it dignifies their aims; it bestows upon a pursuit which devours a great deal of time, and is yet apt to leave behind it nothing very substantial, the sanction of the great man’s approval.

      The common reader, as Dr. Johnson implies, differs from the critic and the scholar. He is worse educated, and nature has not gifted him so generously. He reads for his own pleasure rather than to impart knowledge or correct the opinions of others. Above all, he is guided by an instinct to create for himself, out of whatever odds and ends he can come by, some kind of whole—a portrait of a man, a sketch of an age, a theory of the art of writing. He never ceases, as he reads, to run up some rickety and ramshackle fabric which shall give him the temporary satisfaction of looking sufficiently like the real object to allow of affection, laughter, and argument. Hasty, inaccurate, and superficial, snatching now this poem, now that scrap of old furniture, without caring where he finds it or of what nature it may be so long as it serves his purpose and rounds his structure, his deficiencies as a critic are too obvious to be pointed out; but if he has, as Dr. Johnson maintained, some say in the final distribution of poetical honours, then, perhaps, it may be worth while to write down a few of the ideas and opinions which, insignificant in themselves, yet contribute to so mighty a result.

      “JANE EYRE” AND “WUTHERING HEIGHTS”

      Of the hundred years that have passed since Charlotte Bronte was born, she, the centre now of so much legend, devotion, and literature, lived but thirty-nine. It is strange to reflect how different those legends might have been had her life reached the ordinary human span. She might have become, like some of her famous contemporaries, a figure familiarly met with in London and elsewhere, the subject of pictures and anecdotes innumerable, the writer of many novels, of memoirs possibly, removed from us well within the memory of the middle-aged in all the splendour of established fame. She might have been wealthy, she might have been prosperous. But it is not so. When we think of her we have to imagine some one who had no lot in our modern world; we have to cast our minds back to the ‘fifties of the last century, to a remote parsonage upon the wild Yorkshire moors. In that parsonage, and on those moors, unhappy and lonely, in her poverty and her exaltation, she remains for ever.

      These circumstances, as they affected her character, may have left their traces on her work. A novelist, we reflect, is bound to build up his structure with much very perishable material which begins by lending it reality and ends by cumbering it with rubbish. As we open JAYNE EYRE once more we cannot stifle the suspicion that we shall find her world of imagination as antiquated, mid-Victorian, and out of date as the parsonage on the moor, a place only to be visited by the curious, only preserved by the pious. So we open JAYNE EYRE; and in two pages every doubt is swept clean from our minds.