By Daniel T. O'Hara
Sublime Woolf was once written in a burst of enthusiasm after the writer, Daniel T. O'Hara was once ultimately capable of educate Virginia Woolf's modernist classics back. This e-book makes a speciality of these uncanny visionary passages while in elaborating 'a second of being,' as Woolf phrases it, supplementations creatively the innovative resonance of the scene.
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Extra resources for Virginia Woolf and the Modern Sublime: The Invisible Tribunal
Sample text
She held out a pair of Jacob’s old shoes. (143) Every detail of every sentence, or just about, alludes to another earlier in the text, thereby stitching it together by spiraling loops and bounds, as it were, both tightly and yet lightly, as there are no heavy symbolic formulae, such as Conrad’s “in the destructive element immerse” injunction from Stein in Lord Jim or the conversation in James’s The Golden Bowl, when the Prince and Charlotte—his once and future mistress and his father-in-law’s wife and wife’s step-mother—discuss the merits of and ironic crack in the title object familiarly before the Jewish shopkeeper whom they wrongly presume knows no Italian.
Lxxxvi) To be complete and clear, here is the way the passage reads in this new edition, following as it does the British first edition: “She felt somehow very like him—the young man who had killed himself. She felt glad that he had done it; thrown it away while they were living. The clock was striking. The leaden circles dissolved in the air. But she must go back. She must assemble. She must find Sally and Peter. She came in from the little room” (167). Clarissa right before she thinks this, repeats the refrain from Shakespeare’s Cymbeline, “Fear no more the heat of the sun,” which in this late romance is sung over an apparently dead body that will later arise into life again, a line that is Clarissa’s leitmotiv that right before he commits suicide Septimus says for the first time, as if telepathically in contact with or communicating with Clarissa, thereby connecting imaginatively, “fictionally,” the symbolic figures representing the private and the public life, respectively.
The wind must have risen. She was going to bed in the room opposite. It was fascinating to watch her, moving about, that old lady, crossing the room, coming to the window. Could she see her? It was fascinating, with people still laughing and shouting in the drawing-room, to watch that old woman, quite quietly, going to bed alone. She pulled blind now. The clock began striking. The young man had killed himself; but she did not pity him; with the clock striking the hour, one, two, three, she did not pity him; with all this going on.
