Virginia Woolf: “The Waves”

1931

The Waves unfolds over 9 episodes corresponding to the time of day, from sunrise to night: 1) childhood, 2) adolescence, 3) young adulthood, 4) adulthood (dinner/voices blend), 5) adulthood (Percival falls from his horse and dies, solace in baby for Bernard, art for Rhoda), 6) maturity, 7) midlife (crisis), 8) old age (dinner/common experience) 9) old age (Bernard alone speaks – language as a fight against death, experience moving beyond language to the direct). (One could also think of this as 9 months of gestation, a womanly cycle of reproduction.) It is loosely constructed, much more than by plot, by the voices of the 6 central characters:

Bernardlanguage & loquaciousness, sees personality constructed by others, not snobby (Forster?)
Nevilleorder & beauty, artistic, gay, classics scholar, in love with Percival
Louisinsecurity & ambition, depressive “T. S. Eliot” figure, Australian, becomes seamy, has affair with Rhoda
Jinny physicality & beauty, dancer, free, sexual
Susan – intensity & attachment, in touch with Nature (farm), maternal, classical figure of femininity
Rhoda – dreamlike abstraction, depressive, split from ordinary life, “Woolfian” suicide

There are also 2 main peripheral characters:
Percival – the “popular boy” the others are friends with, representing monolithic, white, paternal, phallic, British, colonial masculinity and power, the book is at once an elegy to him and an exploration of nostalgia for something one never should have loved. Percival speaks only once, to say “No.”
Old /Dr. Crane – the boys’ headmaster. compare to Mr. Keasey in Ulysses? (Also “service for man who was drowned” – 78).  Perceived as a Kantian negative pleasure, like a tooth removed when he leaves the room (50), pontificating on literature (58).

Woolf herself wrote in her diary that the “playpoem” was not meant to be read as a novel with distinct characters so much as pseudocharacters enacting multiplicity or demonstrating collectivity, representing facets of human experience and thought before they are made into types, characters, or performances. Bernard writes,

“I wish then after this somnolence to sparkle, many-faceted under the light of my friends’ faces. I have been traversing the sunless territory of non-identity… With them I am many-sided. They retrieve me from darkness… I see Louis, stone-carved, sculpturesque; Neville, scissor-cutting, exact; Susan with eyes like lumps of crystal; Jinny dancing like a flame, febrile, hot, over dry earth; and Rhoda the nymph of the fountain always wet. These are fantastic pictures, these are figments… Yet they drum me alive” 117.

I read this novel as a meditation on language as a surface and a representation that nonetheless orders and constitutes experience.

Bernard: “we are not single, we are one… I have little aptitude for reflection. I require the concrete in everything. It is so only that I lay hands up on the world. A good phrase, however, seems to me to have an independent existence” (68).

Woolf begins with the image of the sea,

“indistinguishable from the sky, except that the sea was slightly creased as if a cloth had wrinkles in it… the sky and the grey cloth became barred with thick strokes moving, one after another, beneath the surface, following each other, pursuing each other, perpetually” (7).

She goes on to call it “a thin veil,” “the green surface,” and a “surface” on the same page. When, after the sunrise interlude, the characters speak for the first time, Bernard sees a ring, Susan sees a slab of pale yellow, Rhoda hears a chirp, Neville sees a globe, Jinny sees a crimson tassel, and Louis hears stamping. Interestingly, the two “depressive” characters hear, seemingly a more spiritual connection with their surroundings (Re: Kant on how we hear reason speaking to us), whereas the other four see, and the girls see in color (Re: Kant on how we see the beautiful, and especially the sublime, and how the beautiful is more about the bounded outline, whereas color is merely an accessory – see 85).

Bernard and Susan often mirror/repeat each other as ideal types of British masculinity and femininity? Rhoda and Louis are more antisocial and demonstrate the artist’s tendency. Finally, Jinny and Neville both buck gender stereotypes, queering the possibilities of performance (dance, sex, criticism) that they engage in. Percival, who does not speak, seems to represent a sort of Althusserian ISA – a patriarchy or power never seen, but always present and part of one’s self-awareness or self-policing. At the end of the novel, Bernard thinks,

“And now I ask, ‘Who am I?’ I have been talking of Bernard, Neville, Jinny, Susan, Rhoda, and Louis. Am I all of them? Am I one and distinct? I do not know. We sat here together. But now Percival is dead and Rhoda is dead; we are divided; we are not here. Yet I cannot find any obstacle separating us. There is no division between me and them. As I talked I felt, ‘I am you.’ This difference we make so much of, this identity we so feverishly cherish, was overcome… Here on my brow is the blow I got when Percival fell. Here on the nape of my neck is the kiss Jinny gave Louis. My eyes fill with Susan’s tears. I see far away, quivering like a gold thread, the pillar Rhoda saw, and feel the rush of the wind of her flight when she leapt” 289.

This picks up on Clarissa’s faceting and her sympathetic experience of Septimus’ death in Mrs. Dalloway. Bernard’s final thoughts of his being are wonderfully feminizing: “Immeasurably receptive, holding everything, trembling with fullness, yet clear, contained – so my being seems, now that desire urges it no more out and away… now that he is dead, the man I called ‘Bernard'” 291. The book ends with Bernard having to confront materiality again and heading out “like Percival,” as a youth against death, to write. The last line is The waves broke on the shore 297. If the other six are one, Percival is the troublesome mirror they all look into: a kind of national ideology, sometimes lovely and leading, sometimes violent and brutish.

The characters emphasize divergent subjectivity but similar diction and expression. Their perceptions unfold as the idea from Woolf’s essay “Modern Fiction” of recording atomized experience in the order in which it occurs. I would like to compare their 6 similar but separated voices to the 6 parts of Lessing’s The Golden Notebook, all parts or forms of one Anna or the 6 different voices of David Mitchell’s Cloud Atlas (who speak differently, but may all be the same psyche).

Surfaces:
The female body itself as a surface: Jinny after kissing Louis:

“Now I smell geraniums; I smell earth mould. I dance. I ripple. I am thrown over you like a net of light. I lie quivering flung over you” (13).

Louis on Rhoda: “Her shoulderblades meet across her back like the wings of a small butterfly” (22), like when he thinks “they skim the butterflies from the nodding tops of the flowers. They brush the surface of the world” (12).

Bernard: “rich and heavy sensations form on the roof of my mind; down showers the day” (26)/ “drop that forms on the roof of the soul in the evening is round, many-coloured” (80).

Faceting:

Susan: “I saw her kiss him… She danced in flecked with diamonds light as dust… Jinny’s eyes break into a thousand lights” (15).

Louis: “From discord, from hatred… my shattered mind is pieced together by some sudden perception” (39).

Bernard: “I am not one and simple, but complex and many… I am only superficially represented by what I was saying tonight. Underneath, and, at the moment when I am most disparate, I am also integrated” (76-7), see also 80.

As in other Woolf, the images around waves and water seem to concern solitude and drowning (often Rhoda). On the flip side, plants, leaves, and trees seem to connote connectedness – rootedness but also striving (see Louis, 11-12).

Language: 

Though the shifting perspectives are represented as things characters have “said,” much is internal, some is aloud. Importance of direct speech, vs. free indirect discourse? Stream of consciousness as a kind of speech (Woolf sees mind processing world, at least consciously, via language?). Bernard’s speech is imagined as a continually unfolding story (69).

Bernard: “we melt into each other with phrases. We are edged with mist. We make an unsubstantial territory” (16).

Susan: Rhoda dreams, Louis regards, Bernard moulds, Neville finished, Jinny spins, I am not afraid (25-6).

“Bernard says there is always a story. I am a story. Louis is a story” (37)/ “Among the tortures and devastations of life is this then – our friends are not able to finish their stories” (39).

Neville: “I shall be a clinger to the outsides of words all my life” (48). His elision of language around homosexuality (51).

Bernard: “My charm and flow of language, unexpected and spontaneous as it is delights me too. I am astonished, as I draw the veil off things with words, how much, how infinitely more I can say I have observed… images and images” (84).

Faces: 

As sources of misreading (30) – faces of people (affect) and clocks (time).

Misc.

Bernard on shopgirls (86)/ Kracauer.

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s