Documente Academic
Documente Profesional
Documente Cultură
this shift from the active to the inner life founded biography itself as a
separate genre, it also gave birth to what Woolf calls the 'parti-coloured,
hybrid, monstrous' biography of the Victorian era. This hybridity, which is
the result of a process of contamination and distortion of Boswell's example,
designates the substitution of 'the uneventful lives of poets and painters' for
those 'of soldiers and statesmen' that had been at the centre of the
chronicler's attention. But where the chroniclers had once insisted on the
'courage and learning' of their subjects, the Victorian biographer became
obsessed with their 'goodness' (EVW iv. 474) as the standard which
determined whose life was worthy of being recorded.
Woolf's prescriptions for the writing of modern biography aim to undo
the damage done to the genre by the Victorian obsession with moral
probity and return it to the mould first shaped by Boswell. By combining an
'obstinate veracity' (EVW iv. 478) with a sense of Johnson's 'incalculable
presence' (EVW iv. 474), Boswell has paved the way for precisely that
mixture of factual accuracy and imaginative recreation which Woolf
enjoins the modern biographer to attain. But this emphasis on Boswell as
the point of both origin and arrival for the modern version of the genre
produces a certain ambivalence in Woolf's assessment of Nicolson's
contribution to the 'new biography' in Some People. While marking a
welcome relief from the 'pose, humbug, solemnity' of its Victorian
predecessors, Some People remains for Woolf a book that falls between two
stools: it 'is not fiction because it has the substance, the reality of truth. It is
not biography because it has the freedom, the artistry of fiction' (EVW iv.
476). Neither biography nor fiction, Some People plays one against the other
and leaves its readers suspended in a condition of disbelief: 'let it be fact,
one feels, or let it be fiction; the imagination will not serve under two
masters simultaneously' (EVW'w. 478).
Within the space of a few pages, then, Woolf alternates between a
theoretical endorsement of the need for a hybrid genre and the expression
of considerable reservations as to its realisation in Some People. Her reading
of Nicolson's book against the example provided by Boswell marks out very
clearly the limits of her understanding of the relationship between factual
accuracy and fictional invention in modern biography. While Woolf had
asserted very clearly at the outset that the aim of the genre was to combine
its two irreconcilable poles 'into one seamless whole', her comparative
reading of Nicolson and Boswell indicates instead the presence of very
strong anxieties about the contamination of the one by the other. Woolf
warns that the lack of firm boundaries to separate the factual from the
fictional undermines the reader's pact with the biographer. Since the
source of Boswell's 'astonishing power over us' resides in our 'implicit belief
in what he tells us' {EVW iv. 478), the biographer who, like Nicolson,
Downloaded from https://academic.oup.com/camqtly/article-abstract/XXIX/4/349/366359 by Pontificia Universidad Catolica de Chile user on 18 December 2018
THE IMPOSSIBLE ART: VIRGINIA WOOLF ON MODERN BIOGRAPHY 353
deprives his readers of that belief is also renouncing the power of suggestion
and persuasion that springs from it.
ButWoolf's insistence that the biographer's respect for factual accuracy
forms the basis of his or her ability to capture the reader's imagination
ultimately undermines the stability of her opposition between 'truth of fact'
and 'truth of fiction'. If inWoolf's argument Boswell's version of Johnson's
life has become the authoritative one, its authority does not rest on a
criterion of veracity that lies outside its text, but rather on Boswell's
rhetorical ability to establish himself as a truthful biographer. When Woolf
points out that it is our 'implicit belief in Boswell's truthfulness that lends
his Johnson its imaginative power, she is not just making the 'truth of
fiction' dependent upon the 'truth of fact'. She is also inadvertently
uncovering the complex status of factual accuracy and historical truth as
themselves the products of a textual effect, of the biographer's position
within the text as the character which guarantees the truthfulness of the
story.
This slippage between terms which Woolf insists on presenting as
intrinsically opposed reveals the extent to which that opposition is far from
a symmetrical one. If 'truth of fact' can ultimately be traced back to the
effect of textual strategies, then the nature of its opposition to the 'truth of
fiction' becomes itself the product of a rhetorical gesture, of a polemical
intervention that attempts to change the terms within which biography is
practised and understood. As this rhetorical gesture, the antithesis of
granite and rainbow hides from view the extent to which Woolf's
intervention in the debate around biography is spoken from a position that
is closer to the claims of fiction than to those of fact. The location of Woolf's
critique of the traditional association of biography with the factual
becomes more evident when she leaves aside the question of the genre's
epistemological status to consider instead its relation to the experience of
modernity:
The Woolfian echoes in this passage are unmistakable. They recall her
famous formulation in 'Modern Fiction' that 'life is not a series of gig lamps
symmetrically arranged; life is a luminous halo, a semi-transparent
4
Augustine Birrell, Frederick Locker-Lampson, quoted in 'A Character Sketch',
EVWm. 255-6.
Downloaded from https://academic.oup.com/camqtly/article-abstract/XXIX/4/349/366359 by Pontificia Universidad Catolica de Chile user on 18 December 2018
354 THE CAMBRIDGE QUARTERLY
5
This essay was included in the first Common Reader (1925), but in fact represents
a revision of an earlier piece entitled 'Modern Novels' and published in the Times
Literary Supplement in 1919. The paragraph from which the quotation above is taken
was revised from the 1919 version of the essay to become the point at which WoolPs
discussion abandoned the Edwardians to turn towards an analysis of Georgian, and
more specifically Joyce's, achievements.
Downloaded from https://academic.oup.com/camqtly/article-abstract/XXIX/4/349/366359 by Pontificia Universidad Catolica de Chile user on 18 December 2018
THE IMPOSSIBLE ART: VIRGINIA WOOLF ON MODERN BIOGRAPHY 335
6
'The Art of Biography', in The Crowded Dance of Modern Life, cd. Rachel Bowlby
(Harmondsworth 1993) p. 147; hereafter CD.
Downloaded from https://academic.oup.com/camqtly/article-abstract/XXIX/4/349/366359 by Pontificia Universidad Catolica de Chile user on 18 December 2018
356 THE CAMBRIDGE QUARTERLY
7
On this see Rachel Bowlby, Feminist Destinations and Further Essays on Virginia
Woolf (Edinburgh 1997) pp. 16-43, 110-24. For a critique of Woolfs approach to
historiography in A Room, see Margaret Ezell, Writing Women's Literary History
(Baltimore 1993) pp. 39-65.
8
Elizabeth and Essex: A Tragic History (London 1928) p. 8.
Downloaded from https://academic.oup.com/camqtly/article-abstract/XXIX/4/349/366359 by Pontificia Universidad Catolica de Chile user on 18 December 2018
THE IMPOSSIBLE ART VIRGINIA WOOLF ON MODERN BIOGRAPHY 357
9
'The Strange Elizabethans', in The Common Reader, 2nd ser. (London 1932) p. 9.
10
'A Sketch of the Past', in Moments of Being, ed. Jeanne Schulkind, 2nd edn.
(NewYork 1985) p. 142.
Downloaded from https://academic.oup.com/camqtly/article-abstract/XXIX/4/349/366359 by Pontificia Universidad Catolica de Chile user on 18 December 2018
358 THE CAMBRIDGE QUARTERLY
genre that would carry with it a reconfiguration of the literary field and a
return to the more traditional position of the genre as lying at the margins
of 'literature'. This alternation between biography as a modernist genre
and biography as craft finds perhaps its most tortuous illustration in Roger
Fry (1940), the only 'real' biography Woolf authored and one of the books
which taxed her intellectual and imaginative powers to the utmost. Written
at the same time as 'The Art of Biography', Roger Fry is a remarkably
guarded and controlled text which shows Woolf the biographer struggling
to find a solution to the kind of difficulties that Woolf the reviewer explicitly
articulates. In shifting the location of those difficulties from the delicate
balance of granite and rainbow to the issue of censorship and reticence,
'The Art of Biography' voices Woolf's frustration with a situation where
Fry's family and associates refused to comply with her demand that 'all the
facts should be made available to the biographer' ('The Art of Biography',
CD, p. 147). As a biographer, though, Woolf chose not to reveal 'all the facts'
(including and especially Fry's affair with her sister Vanessa)12 and
preferred instead to make use of the 'power of selection and relation' ('The
Art of Biography', CD, p. 147) that she presented as the counterpart of the
demand for unreserved disclosure. The result is a biography that reads like
a collage ofjuxtaposed fragments from Fry's own writings and where the
biographer's interventions are limited to trying to let the unsaid emerge
from the interstices of what can be said.13
But if this montage of Fry's writings shies away from the demand for
disclosure Woolf had often invoked as a critique of the Victorian approach,
it also outlines an approach to biography that erases any remaining
differentiation between texts and lives. Guided by the search for the
'representative scene' which would encapsulate Fry's life in a symbolic
episode, Woolf approaches Fry's autobiographical writings as reservoirs of
images rather than as a revealing expose. The tension between the creative
and critical impulses which she identifies as the structuring principle of
Fry's life and work is thus traced back to the clash between two opposing
images of Fry's father skating 'with his coat-tails flying "all laughter and
high spirits'" and of 'the stern man who could in a moment, in a voice of
12
For an account of the difficulties faced by Woolf in the composition of Roger Fry
see Hcrmione Lee, Virginia Woolf (London 1996) pp. 708-9.
13
Although Diane F. Gillespie's assessment of Roger Fry stresses its 'challenge [to]
traditional hierarchies' (p. 203) and therefore differs from the one proposed here, it
also remarks onWoolfs use of 'quotations from Fry's letters and other writings' to
produce the 'verbal equivalent of a self-portrait': 'The Biographer and the Self in
Roger Fry', in Beth Rigel Daugherty and Eileen Barrett (eds.), Virginia Woolf: Texts and
Contexts (New York 1996) p. 199. In her letters, Woolf described Roger Fry as 'an
experiment in self-suppression; a gamble on Roger's power to transmit himself:
Letters, ed. Nigel Nicolson and JoanneTrautmann, vol. vi (London 1984) p. 417.
Downloaded from https://academic.oup.com/camqtly/article-abstract/XXIX/4/349/366359 by Pontificia Universidad Catolica de Chile user on 18 December 2018
360 THE CAMBRIDGE QUARTERLY
14
Roger Fry: A Biography (London 1940) p. 22; hereafter Fry.
15
A Sketch of the Past', in Moments ofBeing, p. 142.
16
Remarking on these similarities Lyndall Gordon has pointed out that, while
attention to'the invisible life is a well-tried idea in the novel and biography', WoolPs
approach to both genres is unique in that it exemplifies 'a certain tactic of restraint:
she injects silence': 'A Writer's Life', in Eric Warner (ed.), Virginia Woolf: A Centenary
Perspective (London 1984) p. 57.
Downloaded from https://academic.oup.com/camqtly/article-abstract/XXIX/4/349/366359 by Pontificia Universidad Catolica de Chile user on 18 December 2018
THE IMPOSSIBLE ART. VIRGINIA WOOLF ON MODERN BIOGRAPHY 361