Virginia Woolf - Genius and Ink

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FOREWORD BY ALI SMITHWITH AN INTRODUCTION BY FRANCESCA WADEWho better to serve as a guide to great books and their authors than Virginia Woolf?In the early years of its existence, the Times Literary Supplement published some of the finest writers in English: T. S. Eliot, Henry James and E. M. Forster among them. But one of the paper’s defining voices was Virginia Woolf, who produced a string of superb essays between the two World Wars.The weirdness of Elizabethan plays, the pleasure of revisiting favourite novels, the supreme examples of Charlotte Brontë, George Eliot and Henry James, Thomas Hardy and Joseph Conrad: all are here, in anonymously published pieces, in which may be glimpsed the thinking behind Woolf’s works of fiction and the enquiring, feminist spirit of A Room of One’s Own.Here is Woolf the critical essayist, offering, at one moment, a playful hypothesis and, at another, a judgement laid down with the authority of a twentieth-century Dr Johnson. Here is Woolf working out precisely what’s great about Hardy, and how Elizabeth Barrett Browning made books a “substitute for living” because she was “forbidden to scamper on the grass”. Above all, here is Virginia Woolf the reader, whose enthusiasm for great literature remains palpable and inspirational today.

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But if we need all our knowledge of the old writers in order to follow what the new writers are attempting, it is certainly true that we come from adventuring among new books with a far keener eye for the old. It seems that we should now be able to surprise their secrets; to look deep down into their work and see the parts come together, because we have watched the making of new books, and with eyes clear of prejudice can judge more truly what it is that they are doing, and what is good and what bad. We shall find, probably, that some of the great are less vulnerable than we thought them. Indeed, they are not so accomplished or so profound as some of our own time. But if in one or two cases this seems to be true, a kind of humiliation mixed with joy overcomes us in front of others. Take Shakespeare, or Milton, or Sir Thomas Browne. Our little knowledge of how things are done does not avail us much here, but it does lend an added zest to our enjoyment. Did we ever in our youngest days feel such amazement at their achievement as that which fills us now that we have sifted myriads of words and gone along uncharted ways in search of new forms for our new sensations? New books may be more stimulating and in some ways more suggestive than the old, but they do not give us that absolute certainty of delight which breathes through us when we come again to Comus , or Lycidas , Urn Burial , or Anthony and Cleopatra . Far be it from us to hazard any theory as to the nature of art. It may be that we shall never know more about it than we know by nature, and our longer experience of it teaches us this only – that of all our pleasures those we got from the great artists are indisputably among the best; and more we may not know. But, advancing no theory, we shall find one or two qualities in such works as these which we can hardly expect to find in books made within the span of our lifetime. Age itself may have an alchemy of its own. But this is true: you can read them as often as you will without finding that they have yielded any virtue and left a meaningless husk of words; and there is a complete finality about them. No cloud of suggestions hangs about them teasing us with a multitude of irrelevant ideas. But all our faculties are summoned to the task, as in the great moments of our own experience; and some consecration descends upon us from their hands which we return to life, feeling it more keenly and understanding it more deeply than before.

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