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the search for meaning > flint -waves -2019 > Flashcards

flint -waves -2019 Flashcards

1
Q

the waves presents a challenge to the reader

A

it is an exploration of the workings of the minds of the six named characters within the text

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2
Q

conveyed through a series of dramatic soliloquies (as Virginia Wools termed them),

A

interspersed with passages of depersonalised prose which describe constantly shifting patterns of light and water

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3
Q

passing from dawn to dusk

A

spring to winter, across the globe

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4
Q

throughout tall of this, no authorial comment is offered but, in many ways

A

one may read the novel as Woolf’s investigation of her own patterns of thought

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5
Q

lois and bernard both become

A

successful business men

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6
Q

bernard has a wife and family whilst

A

Louis takes rhoda as his lover

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7
Q

Rhoda

A

subsequently commits suicide

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8
Q

Susan marrie a farmer and

A

has children

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9
Q

Jinny leads an active London social life

A

moving from one young man to another

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10
Q

the homosexual aesthete, Neville is intensely private

A

with one close friend at a time

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11
Q

but it is not these customary material of much fiction

A

which count in the waves

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12
Q

Woolf ha moved away from

A

conventional patterns of plot

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13
Q

here she goes further than previously in the direction of demonstrating that identity

A

rather than depending on the concrete circumstances of a person’s life, is primarily constructed from within, through individual’s deployment of language

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14
Q

Wordsworth’s prelude: ‘who, looking

A

inward, have observed ties that bind the perishable hours of life
each to the other & the curious props’

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15
Q

in the novel, Woolf, Like Wordsworth, is preoccupied with the particularising details of language through which one establishes

A

one’s own private sense of identity, internalising aspects of the outer world

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16
Q

it is these details which distinguish

A

her characters from one another

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17
Q

the syntax of their sentences works in the opposite direction

A

reminding one that similarity and difference can coexist

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18
Q

their utterances are soliloquies,

A

self presentations, and self justifications, rather than communication with one another

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19
Q

all of the speakers in The Waves have certain set phrases or habits of thinking

A

to which they return, carrying them through talismans

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20
Q

‘stream of consciousness’ a term often loosely used of Woolf’s prose in this novel, is in fact

A

inappropriate in its suggestion of a continuous flow

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21
Q

instead, the images of waves, with their incessant, recurrent dips and crests, provides a far more helpful means of understanding

A

wolfs representation of consciousness as something which is certainly fluid, but cyclical and repetitive, rather than linear

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22
Q

additionally, (…) the novel dramatises how identities themselves do not stand, ultimately, clear and distinct

A

but flow and merge into each other

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23
Q

the very act of questioning the purpose of life, the vacillation between

A

sensations of stability and insecurity, is, for Woolf, something which links otherwise disparate individuals

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24
Q

Louis is linguistically, and hence (…) emotionally joined with Rhoda since

A

both speak of flinging out words and thoughts like fans of seed being broadcast on bare ploughland, which suggests that connections exist between those who on the surface may appear dissimilar

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25
Q

all the monologues are bound together by references

A

to Percival, the boy idol, the future administrator of the British empire, who dies, not in battle

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26
Q

all have their language permeated by references to

A

waves and water, to light: a frame of reference which is also found in the impersonal interludes

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27
Q

these interludes originally served both to give ‘ a

A

background- the sea; insensitive nature and to give Woolf scope to comment on the art of the narrator, presenting the workings of a mind severed from the body;’

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28
Q

while each of the characters is individualised, language here works to flatten out difference by

A

indicating the continual oscillation of extremes and opposites which takes place in the world: between land and water, winter and summer, the interior of the room and the flight of a bird, the simultaneous presence of violence and beauty

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29
Q

the interludes indicate Woolf’s desire to present the world in terms of cohesion and unity, whatever the apparent variance of each person’s

A

perception of life

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30
Q

Woolf’s diary 1929: ‘Now is life very solid, or very shifting?’…

A

‘I am haunted by the two contradictions. this has gone on forever: will last for ever; goes to the bottom of the world- this moment I stand on. Also it is transitory, flying, diaphanous. I shall pass like a cloud on the waves’

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31
Q

just as characters establish their selves through their thought patterns, so Woolf, during the time that she was writing the novel, continually represented by her own mental state by means of a figurative employment of waves and water which ebbs and flows

A

throughout her own diary writings

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32
Q

there is nothing new in this preoccupation with water. it goes back to Woolf’s earliest

A

memories, where it is equated with contentment and plenitude. a recognition that a steady rhythm beats behind life

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33
Q

‘life has a base that it stands upon, if it is a bowl that one fills and fills and fills- then my bowl without a doubt

A

stands upon memory’ [VW 1939]

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34
Q

but water, for Woolf, does not always represent such security. The Voyage out (1915), her first novel, not only includes the actual voyage to Santa Marina, but connects Rachel’s sinking

A

into her fatal illness and delirious despair with being submerged beneath the surface

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35
Q

‘it is of laying and hearing this splash and seeing this light, and feeling, it is almost impossible that I

A

should be here; of feeling the purest ecstasy I can conceive’

36
Q

The Voyage out: on the one day she regains proper consciousness, ‘she has come to the surface of the dark, sticky pool

A

and wave seemed to bear her up and own with it’

37
Q

the sea offers, as in the case of The Voyage Out, the sense of unfathomable, potentiality cruel and

A

unpredictable depths, depression invariably overcame Woolf after finishing the novel

38
Q

Diary III 1926: ‘oh it is beginning its coming- the horror- physically like a painful wave swelling about the heart

A

tossing me up. I’m unhappy unhappy! Down God I wish I were dead. Pause. but why am I feeling this/ Let me watch the wave rise.”

39
Q

Rhoda’s trepidation at life, he failure, her refusal to accept her identity in the material world

A

which is conveyed through her inability to cross a puddle, and Bernard’s vision of vaster, deeper waters, with their surface repeatedly troubled by the menace of the breaking fin

40
Q

[Diary III 1926] Woolf started to record her aim of writing

A

‘something mystic, spiritual’ ‘something abstract and poetic’

41
Q

Woolf conceived of The Waves as the representation of ‘A mind thinking’; not a sexless, nor androgynous mind, but the mind of a woman:

A

‘I am anxious that she should have no name. I don’t want a Lavinia or a Penelope. I want “she” [Diary III 1926]

42
Q

T.S Elliot: poetry ‘is not

A

the expression of personality, but an escape from personality’

43
Q

it is clear that she saw in the practice of poetic principles, as she understood them, an opportunity to escape from suspicions about her own

A

egoism and desire for praise

44
Q

above all it is the capacity of poetry to compress and intensify to which she returns in her diary

A

and which makes sense of the method which she attempts to develop in relation to the wave

45
Q

Woolf does not seem to have defined poetry in formal terms concerned with versification, but to have

A

equated it with a capacity to express intense feeling

46
Q

close parallels between musical composition and The Waves may be made- the use of counterpoint

A

the taking up of a theme first by one instrument and they by another; the use of combination of words (or sounds) for immediate emotional impact rather than for their referential capacities

47
Q

‘I am writing the Waves to a rhythm not a plot… through the rhythmical is more natural to me than

A

a narrative, it is completely opposed to the tradition of fiction and I am casting about the time for some rope to throw to the reader

48
Q

this ebb and flow parallels the intensity and lull in each of the characters’ lives: for each, with the possible exception of Rhoda, constantly living at a finely tuned pitch, alternates an acceptance of the ordinary and everyday with vivid flashes

A

of memory or attempts to freeze their perceptions of the passing moment in singular, startling images

49
Q

it is a novel in which Woolf seeks to convey, most intimately,

A

a sense of herself

50
Q

it is not auto biographical in the sense of a life history

A

(…) but an examination of the workings of the creative mind in so far as they can be separated from the life history of the individual

51
Q

in the long soliloquy which brings the waves to a conclusion

A

Bernard ponders the theme of his individuality

52
Q

[Bernard at the end] he locates the origins of this uniqueness in childhood, and in the varied responses to

A

physicality which each of the children manifested

53
Q

Bernards sense of his own bodies vulnerability and sensitivity to pain could be located in the memory of the piercing arrows of sensation which shot

A

through him as Mrs Constable raised the sponge above her head and squeezed it: a moment which defined, for him, the distinction between that which was within him and that which was outside himself

54
Q

[Bernard] in a city street, not only must he keep his body inviolate from the roaring threat of an omnibus, but he

A

establishes other forms of assertion

55
Q

[bernard] yet in the end, he finds that he can be far less confident in his assertion of uniqueness, for when he looks back at memories

A

he finds that they are composed of associations, of presences, in which others are undeniably

56
Q

Louis is the arranger

A

and the organiser

57
Q

Neville has a poetic precision his choice of literary language and is

A

granted the capacity to articulate some of Woolf’s own ideas about the challenge off impersonal poetry makes upon the reader, who needs a myriad eyes, like an outriding lamp on a boat out at sea on a rough night

58
Q

[neville] needs patience, the desire to make an effort of understanding

A

and acceptance

59
Q

Susan is associated with fecundity, with motherhood as a

A

form of creativity

60
Q

Rhoda inhabits the shadowy world of the imagination: we have already seen how her metaphysical

A

crisis brought on by the inability to cross the puddle sprung from Woolf’s memory of her past insecurities

61
Q

the waves exhibits Woolf’s fascination between the

A

relationship between self and body

62
Q

at one level, the idea of the body presents an imaginary wholeness of being

A

which we spend our lives trying to reach, even to re-enter

63
Q

But then as befits writing about something which is seventy percent water,

A

Woolf never forgets that the body is a stable entity

64
Q

Rather than looking at bodies from the outside

A

as objects to admire (…) or to criticise, Woolf is concerned with representing subjective notions about the body

65
Q

differing modes of self-awareness concerning bodies- both one’s own and other peoples-

A

form one of the prime means of distinguishing one character from another

66
Q

one sees that see is making the point that one’s reactions and responses towards

A

ones own body are in a constant state of flux and rearrangement

67
Q

Woolf Is concerned with representing

A

subjective notions about the body

68
Q

not even Jinny, who can claim that ‘My imagination is my body’s’, can take

A

continual comfort from recognition of its material being since one’s perceptions of the container one both is, and inhabits, are shown to shift

69
Q

the sense of self is assailed from within and without: from Chaos of the world outside

A

and by the mixture of fluids within

70
Q

This can be seen particularly clearly in the case of Neville who tries to retain

A

a highly poised, neat image of himself

71
Q

he feels a mixture if fear and exultation as he nears London

A

as his own heart goes out to meet the metaphorical heart of the bustling city

72
Q

[Neville] his apprehension about the waves of urban life seems linked to the barely distinguished disgust

A

with sexuality which he expressed when younger, hating ‘dangling things; … dampish things… wandering and mixing things together’, despite the ease with which at an adoring distance he could contemplate Percival lying ‘naked, tumbled, hot, on his bed’

73
Q

sex, like death, or rather the thought of death, had the capacity, for Neville,

A

to remove distinctions between mental and physical

74
Q

Jinny (the character whom Woolf gives her Father’s pet name for herself) is, on the other hand, confident of the power of the body

A

it acts as a sexual magnet, a centripetal force

75
Q

Indeed, often compared to fire, she is the echo in the text of the candle flame

A

or lamp around which moths fatally flutter [jinny]

76
Q

[jinny] ‘my body lives a life of its own’ expressing grave and allure

A

whilst at the same time she retains control over it: ‘I open my body, I shut my body at my Will’

77
Q

[jinny] time brings vulnerability. Although when young she is anxious to see as much of her narrow, rippling body in the looking glass, when much later she catches sight of her reflection unawares in the tube station

A

she sees herself solitary shrunk and aged, a little animal, whimpering, sucking her flanks in and out with fear. even Jinny needs effort of the mind to prepare herself to see the identity she wishes to have reflected back to her

78
Q

Mirrors need not tell the truth, when one is in command

A

of one’s powers of perception: they reflect back, Woolf suggests, what one sets out to see

79
Q

Susan’s confidence in her body is of a different kind

A

(…) Sharing involves the acknowledgement of other’s needs, and therefore of separateness, whilst Susan’s mode of existence is merging with natural forms

80
Q

[susan] she fantasised as a child of becoming a wild woman of the woods with matted hair, eating nuts, peering for eggs through the brambles, sleeping in hedges

A

as a child, too, her sense of language is elemental. she is ‘tied down with single words’ whilst Bernard and the others soar away, weaving words into phrases; as an adult too, she complains ‘I do not understand phrases… the only saying I understand are cries of love, hate, rage and pain’

81
Q

[susan] for a while her lack of communication with other humans leads to her own dissatisfaction to the point where she complains

A

’ I am sick of the body’;

82
Q

[Louis] conscious of his outsider status, he wants to feel his individuality swamped, wishes ‘to feel

A

close over me the protective waves of the ordinary’

83
Q

Rhoda needs at times to touch the firm rail at the end of the bed, or to try to keep the chest of draws firmly within her gaze in

A

order to stop herself sinking beneath waves of panic

84
Q

[Rhoda] at other moments she is willing to see herself as. translucent, like a leaf

A

with the light shining through it

85
Q

more problematic is the portrayal of Percival, an absent centre, who fascinates the other characters with his physical masculine beauty and aura but who

A

is never allowed a voice

86
Q

the sense of waste and loss which his early death brings to all six characters can be

A

linked to the premature death of Woolf’s much loved elder brother Thoby

87
Q

Woolf wrote of Bernard’s death in terms of triumph and bravery in the face of finality and on the one hand

A

while on the other hand setting this finality against a more consolatory image: ‘eternal renewal, the incessant rise and fall and rise again’

the search for meaning (23 decks)

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