THE ART OF FICTION - Virginia Woolf

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we are brought to reflect whether poetry is capable of the task which we are now setting her. It may be that the emotions here sketched in such rude outline and imputed to the modern mind submit more readily to prose than to poetry. It may be possible that prose is going to take over—has, indeed, already taken over—some of the duties which were once discharged by poetry.

      If, then, we are daring and risk ridicule and try to see in what direction we who seem to be moving so fast are going, we may guess that we are going in the direction of prose and that in ten or fifteen years’ time prose will be used for purposes for which prose has never been used before. That cannibal, the novel, which has devoured so many forms of art will by then have devoured even more. We shall be forced to invent new names for the different books which masquerade under this one heading. And it is possible that there will be among the so-called novels one which we shall scarcely know how to christen. It will be written in prose, but in prose which has many of the characteristics of poetry. It will have something of the exaltation of poetry, but much of the ordinariness of prose. It will be dramatic, and yet not a play. It will be read, not acted. By what name we are to call it is not a matter of very great importance. What is important is that this book which we see on the horizon may serve to express some of those feelings which seem at the moment to be balked by poetry pure and simple and to find the drama equally inhospitable to them. Let us try, then, to come to closer terms with it and to imagine what may be its scope and nature.

      In the first place, one may guess that it will differ from the novel as we know it now chiefly in that it will stand further back from life. It will give, as poetry does, the outline rather than the detail. It will make little use of the marvellous fact-recording power, which is one of the attributes of fiction. It will tell us very little about the houses, incomes, occupations of its characters; it will have little kinship with the sociological novel or the novel of environment. With these limitations it will express the feeling and ideas of the characters closely and vividly, but from a different angle. It will resemble poetry in this that it will give not only or mainly people’s relations to each other and their activities together, as the novel has hitherto done, but it will give the relation of the mind to general ideas and its soliloquy in solitude. For under the dominion of the novel we have scrutinized one part of the mind closely and left another unexplored. We have come to forget that a large and important part of life consists in our emotions toward such things as roses and nightingales, the dawn, the sunset, life, death, and fate; we forget that we spend much time sleeping, dreaming, thinking, reading, alone; we are not entirely occupied in personal relations; all our energies are not absorbed in making our livings. The psychological novelist has been too prone to limit psychology to the psychology of personal intercourse; we long sometimes to escape from the incessant, the remorseless analysis of falling into love and falling out of love, of what Tom feels for Judith and Judith does or does not altogether feel for Tom. We long for some more impersonal relationship. We long for ideas, for dreams, for imaginations, for poetry.

      And it is one of the glories of the Elizabethan dramatists that they give us this. The poet is always able to transcend the particularity of Hamlet’s relation to Ophelia and to give us his questioning not of his own personal lot alone but of the state and being of all human life. In Measure for Measure, for example, passages of extreme psychological subtlety are mingled with profound reflections, tremendous imaginations. Yet it is worth noticing that if Shakespeare gives us this profundity, this psychology, at the same time Shakespeare makes no attempt to give us certain other things. The plays are of no use whatever as ‘applied sociology’. If we had to depend upon them for a knowledge of the social and economic conditions of Elizabethan life, we should be hopelessly at sea.

      In these respects then the novel or the variety of the novel which will be written in time to come will take on some of the attributes of poetry. It will give the relations of man to nature, to fate; his imagination; his dreams. But it will also give the sneer, the contrast, the question, the closeness and complexity of life. It will take the mould of that queer conglomeration of incongruous things—the modern mind. Therefore it will clasp to its breast the precious prerogatives of the democratic art of prose; its freedom, its fearlessness, its flexibility. For prose is so humble that it can go anywhere; no place is too low, too sordid, or too mean for it to enter. It is infinitely patient, too, humbly acquisitive. It can lick up with its long glutinous tongue the most minute fragments of fact and mass them into the most subtle labyrinths, and listen silently at doors behind which only a murmur, only a whisper, is to be heard. With all the suppleness of a tool which is in constant use it can follow the windings and record the changes which are typical of the modern mind. To this, with Proust and Dostoevsky behind us, we must agree.

      But can prose, we may ask, adequate though it is to deal with the common and the complex—can prose say the simple things which are so tremendous? Give the sudden emotions which are so surprising? Can it chant the elegy, or hymn the love, or shriek in terror, or praise the rose, the nightingale, or the beauty of the night? Can it leap at one spring at the heart of its subject as the poet does? I think not. That is the penalty it pays for having dispensed with the incantation and the mystery, with rhyme and metre. It is true that prose writers are daring; they are constantly forcing their instrument to make the attempt. But one has always a feeling of discomfort in the presence of the purple patch or the prose poem. The objection to the purple patch, however, is not that it is purple but that it is a patch. Recall for instance Meredith’s ‘Diversion on a Penny Whistle’ in Richard Feveral. How awkwardly, how emphatically, with a broken poetic metre it begins: ‘Golden lie the meadows; golden run the streams; red-gold is on the pine-stems. The sun is coming down to earth and walks the fields and the waters.’ Or recall the famous description of the storm at the end of Charlotte Brontë’s Villette. These passages are eloquent, lyrical, splendid; they read very well cut out and stuck in an anthology; but in the context of the novel they make us uncomfortable. For both Meredith and Charlotte Brontë called themselves novelists; they stood close up to life; they led us to expect the rhythm, the observation, and the perspective of poetry. We feel the jerk and the effort; we are half woken from that trance of consent and illusion in which our submission to the power of the writer’s imagination is most complete.

      But let us now consider another book, which though written in prose and by way of being called a novel, adopts from the start a different attitude, a different rhythm, which stands back from life,—and leads us to expect a different perspective—Tristram Shandy. It is a book full of poetry, but we never notice it; it is a book stained deep purple, which is yet never patchy. Here though the mood is changing always, there is no jerk, no jolt in that change to waken us from the depths of consent and belief. In the same breath Sterne laughs, sneers, cuts some indecent ribaldry, and passes on to a passage like this:

      Time wastes too fast: every letter I trace tells me with what rapidity life follows my pen; the days and hours of it more precious—my dear Jenny—than the rubies about thy neck, are flying over our heads like light clouds of a windy day, never to return more; everything presses on—whilst thou are twisting that lock—see! it grows gray; and every time I kiss thy hand to bid adieu, and every absence which follows it, are preludes to that eternal separation which we are shortly to make.—Heaven have mercy upon us both!

      CHAP. IX

      Now, for what the world thinks of that ejaculation—I would not give a groat.

      And he goes on to my Uncle Toby, the Corporal, Mrs. Shandy, and the rest of them.

      There, one sees, is poetry changing easily and naturally into prose, prose into poetry. Standing a little aloof, Sterne lays his hands lightly upon imagination, wit, fantasy; and reaching high up among the branches where these things grow, naturally and no doubt willingly forfeits his right to the more substantial vegetables that grow on the ground. For, unfortunately, it seems true that some renunciation is inevitable. You cannot cross the narrow bridge of art carrying all its tools in your hands. Some you must leave behind, or you will drop them in midstream or, what is worse, overbalance and be drowned yourself.

      So, then, this unnamed variety of the novel will be written standing back from life, because in that way a larger view is to be obtained of some important features of it; it will be written in prose, because prose, if you free it from the beast-of-burden work which so many

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