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“I want to criticize the social system, and to show it at work, at its most
intense.” Virginia Woolf’s provocative statement about her intentions in writing
Mrs. Dalloway has regularly been ignored by the critics, since it highlights an
aspect of her literary interests very different from the traditional picture of
the “poetic” novelist concerned with examining states of reverie and vision and
with following the intricate pathways of individual consciousness. But Virginia
Woolf was a realistic as well as a poetic novelist, a satirist and social critic
as well as a visionary: literary critics’ cavalier dismissal of Woolf’s social
vision will not withstand scrutiny.
In her novels, Woolf is deeply engaged by the questions of how individuals
are shaped (or deformed) by their social environments, how historical forces
impinge on people’s lives, how class, wealth, and gender help to determine
people’s fates. Most of her novels are rooted in a realistically rendered social
setting and in a precise historical time.
Woolf’s focus on society has not been generally recognized because of her
intense antipathy to propaganda in art. The pictures of reformers in her novels
are usually satiric or sharply critical. Even when Woolf is fundamentally
sympathetic to their causes, she portrays people anxious to reform their society
and possessed of a message or program as arrogant or dishonest, unaware of how
their political ideas serve their own psychological needs. (Her Writer’s Diary
notes: “the only honest people are the artists,” whereas “these social reformers
and philanthropists… harbor… discreditable desires under the disguise of loving
their kind…”) Woolf detested what she called “preaching” in fiction, too, and
criticized novelist D. H. Lawrence (among others) for working by this
method.
Woolf’s own social criticism is expressed in the language of observation
rather than in direct commentary, since for her, fiction is a contemplative, not
an active art. She describes phenomena and provides materials for a judgment
about society and social issues; it is the reader’s work to put the observations
together and understand the coherent point of view behind them. As a moralist,
Woolf works by indirection, subtly undermining officially accepted mores,
mocking, suggesting, calling into question, rather than asserting, advocating,
bearing witness: hers is the satirist’s art.
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