The art of biography, we say —-but at once go on to ask, is biography an art? The question is foolish perhaps, and ungenerous certainly, considering the keen pleasure that biographers have given us. But the question asks itself so often that there must be something behind it. There it is, whenever a new biography is opened, casting its shadow on the page; and there would seem to be something deadly in that shadow, for after all, of the multitude of lives that are written, how few survive!
But the reason for this high death rate, the biographer might argue, is that biography, compared with the arts of poetry and fiction, is a young art. Interest in our selves and in other people’s selves is a late development of the human mind. Not until the eighteenth century in England did that curiosity express itself in writing the lives of private people. Only in the nineteenth century was biography fully grown and hugely prolific. If it is true that there have been only three great biographers — Johnson, Boswell, and Lockhart — the reason, he argues, is that the time was short; and his plea, that the art of biography has had but little time to establish itself and develop itself, is certainly borne out by the textbooks. Tempting as it is to explore the reason — why, that is, the self that writes a book of prose came into being so many centuries after the self that writes a poem, why Chaucer preceded Henry James — it is better to leave that insoluble question unasked, and so pass to his next reason for the lack of masterpieces. It is that the art of biography is the most restricted of all the arts. He has his proof ready to hand. Here it is in the preface in which Smith, who has written the life of Jones, takes this opportunity of thanking old friends who have lent letters, and “last but not least” Mrs. Jones, the widow, for that help “without which,” as he puts it, “this biography could not have been written.” Now the novelist, he points out, simply says in his foreword, “Every character in this book is fictitious.” The novelist is free; the biographer is tied.
There, perhaps, we come within hailing distance of that very difficult, again perhaps insoluble, question: What do we mean by calling a book a work of art? At any rate, here is a distinction between biography and fiction — a proof that they differ in the very stuff of which they are made. One is made with the help of friends, of facts; the other is created without any restrictions save those that the artist, for reasons that seem good to him, chooses to obey. That is a distinction; and there is good reason to think that in the past biographers have found it not. only a distinction but a very cruel distinction.
The widow and the friends were hard taskmasters. Suppose, for example, that the man of genius was immoral, ill-tempered, and threw the boots at the maid’s head. The widow would say, “Still I loved him — he was the father of my children; and the public, who love his books, must on no account be disillusioned. Cover up; omit.” The biographer obeyed. And thus the majority of Victorian biographies are like the wax figures now preserved in Westminster Abbey, that were carried in funeral processions through the street — effigies that have only a smooth superficial likeness to the body in the coffin.
Then, towards the end of the nineteenth century, there was a change. Again for reasons not easy to discover, widows became broader-minded, the public keener-sighted; the effigy no longer carried conviction or satisfied curiosity. The biographer certainly won a measure of freedom. At least he could hint that there were scars and furrows on the dead man’s face. Froude’s Carlyle is by no means a wax mask painted rosy red. And following Froude there was Sir Edmund Gosse, who dared to say that his own father was a fallible human being. And following Edmund Gosse in the early years of the present century came Lytton Strachey.
The figure of Lytton Strachey is so important a figure in the history of biography, that it compels a pause. For his three famous books, Eminent Victorians, Queen Victoria, and Elizabeth and Essex, are of a stature to show both what biography can do and what biography cannot do. Thus they suggest many possible answers to the question whether biography is an art, and if not why it fails. Lytton Strachey came to birth as an author at a lucky moment. In 1918, when he made his first attempt, biography, with its new liberties, was a form that offered great attractions. To a writer like himself, who had wished to write poetry or plays but was doubtful of his creative power, biography seemed to offer a promising alternative. For at last it was possible to tell the truth about the dead; and the Victorian age was rich in remarkable figures many of whom had been grossly deformed by the effigies that had been plastered over them. To recreate them, to show them as they really were, was a task that called for gifts analogous to the poet’s or the novelist’s, yet did not ask that inventive power in which he found himself lacking.
It was well worth trying. And the anger and the interest that his short studies of Eminent Victorians aroused showed that he was able to make Manning, Florence Nightingale, Gordon, and the rest live as they had not lived since they were actually in the flesh. Once more they were the centre of a buzz of discussion. Did Gordon really drink, or was that an invention? Had Florence Nightingale received the Order of Merit in her bedroom or in her sitting room? He stirred the public, even though a European war was raging, to an astonishing interest in such minute matters. Anger and laughter mixed; and editions multiplied.
But these were short studies with something of the over-emphasis and the foreshortening of caricatures. In the lives of the two great Queens, Elizabeth and Victoria, he attempted a far more ambitious task. Biography had never had a fairer chance of showing what it could do. For it was now being put to the test by a writer who was capable of making use of all the liberties that biography had won: he was fearless; he had proved his brilliance; and he had learned his job. The result throws great light upon the nature of biography. For who can doubt after reading the two books again, one after the other, that the Victoria is a triumphant success, and that the Elizabeth by comparison is a failure? But it seems too, as we compare them, that it was not Lytton Strachey who failed; it was the art of biography. In the Victoria he treated biography as a craft; he submitted to its limitations. In the Elizabeth he treated biography as an art; he flouted its limitations.
But we must go on to ask how we have come to this conclusion and what reasons support it. In the first place it is clear that the two Queens present very different problems to their biographer. About Queen Victoria everything was known. Everything she did, almost everything she thought, was a matter of common knowledge. No one has ever been more closely verified and exactly authenticated than Queen Victoria. The biographer could not invent her, because at every moment some document was at hand to check his invention. And, in writing of Victoria, Lytton Strachey submitted to the conditions. He used to the full the biographer’s power of selection and relation, but he kept strictly within the world of fact. Every statement was verified; every fact was authenticated. And the result is a life which, very possibly, will do for the old Queen what Boswell did for the old dictionary maker. In time to come Lytton Strachey’s Queen Victoria will be Queen Victoria, just as Boswell’s Johnson is now Dr. Johnson. The other versions will fade and disappear. It was a prodigious feat, and no doubt, having accomplished it, the author was anxious to press further. There was Queen Victoria, solid, real, palpable. But undoubtedly she was limited. Could not biography produce something of the intensity of poetry, something of the excitement of drama, and yet keep also the peculiar virtue that belongs to fact — its suggestive reality, its own proper creativeness?
Queen Elizabeth seemed to lend herself perfectly to the experiment. Very little was known about her. The society in which she lived was so remote that the habits, the motives, and even the actions of the people — of that age were full of strangeness and obscurity. “By what art are we to worm our way into those strange spirits? those even stranger bodies? The more clearly we perceive it, the more remote that singular universe becomes,” Lytton Strachey remarked on one of the first pages. Yet there was evidently a “tragic history” lying dormant, half revealed, half concealed, in the story of the Queen and Essex. Everything seemed to lend itself to the making of a book that combined the advantages of both worlds, that gave the artist freedom to invent, but helped his invention with the support of facts — a book that was not only a biography but also a work of art.
Nevertheless, the combination proved unworkable; fact and fiction refused to mix. Elizabeth never became real in the sense that Queen Victoria had been real, yet she never became fictitious in the sense that Cleopatra or Falstaff is fictitious. The reason would seem to be that very little was known — he was urged to invent; yet something was known — his invention was checked. The Queen thus moves in an ambiguous world, between fact and fiction, neither embodied nor disembodied. There is a sense of vacancy and effort, of a tragedy that has no crisis, of characters that meet but do not clash.
If this diagnosis is true we are forced to say that the trouble lies with biography itself. It imposes conditions, and those conditions are that it must be based upon fact. And by fact in biography we mean facts that can be verified by other people besides the artist. If he invents facts as an artist invents them — facts that no one else can verify — and tries to combine them with facts of the other sort, they destroy each other.
Lytton Strachey himself seems in the Queen Victoria to have realized the necessity of this condition, and to have yielded to it instinctively. “The first forty-two years of the Queen’s life,” he wrote, “are illuminated by a great and varied quantity of authentic information. With Albert’s death a veil descends.” And when with Albert’s death the veil descended and authentic information failed, he knew that the biographer must follow suit. “We must be content with a brief and summary relation,” he wrote; and the last years are briefly disposed of. But the whole of Elizabeth’s life was lived behind a far thicker veil than the last years of Victoria. And yet, ignoring his own admission, he went on to write, not a brief and summary relation, but a whole book about those strange spirits and even stranger bodies of whom authentic information was lacking. On his own showing, the attempt was doomed to failure.
It seems, then, that when the biographer complained that he was tied by friends, letters, and documents he was laying his finger upon a necessary element in biography; and that it is also a necessary limitation. For the invented character lives in a free world where the facts are verified by one person only — the artist himself. Their authenticity lies in the truth of his own vision. The world created by that vision is rarer, intenser, and more wholly of a piece than the world that is largely made of authentic information supplied by other people. And because of this difference the two kinds of fact will not mix; if they touch they destroy each other. No one, the conclusion seems to be, can make the best of both worlds; you must choose, and you must abide by your choice.
But though the failure of Elizabeth and Essex leads to this conclusion, that failure, because it was the result of a daring experiment carried out with magnificent skill, leads the way to further discoveries. Had he lived, Lytton Strachey would no doubt himself have explored the vein that he had opened. As it is, he has shown us the way in which others may advance. The biographer is bound by facts — that is so; but, if it is so, he has the right to all the facts that are available. If Jones threw boots at the maid’s head, had a mistress at Islington, or was found drunk in a ditch after a night’s debauch, he must be free to say so — so far at least as the law of libel and human sentiment allow.
But these facts are not like the facts of science — once they are discovered, always the same. They are subject to changes of opinion; opinions change as the times change. What was thought a sin is now known, by the light of facts won for us by the psychologists, to be perhaps a misfortune; perhaps a curiosity; perhaps neither one nor the other, but a trifling foible of no great importance one way or the other. The accent on sex has changed within living memory. This leads to the destruction of a great deal of dead matter still obscuring the true features of the human face. Many of the old chapter headings — life at college, marriage, career — are shown to be very arbitrary and artificial distinctions. The real current of the hero’s existence took, very likely, a different course.
Thus the biographer must go ahead of the rest of us, like the miner’s canary, testing the atmosphere, detecting falsity, unreality, and the presence of obsolete conventions. His sense of truth must he alive and on tiptoe. Then again, since we live in an age when a thousand cameras are pointed, by newspapers, letters, and diaries, at every character from every angle, he must be prepared to admit contradictory versions of the same face. Biography will enlarge its scope by hanging up looking glasses at odd corners. And yet from all this diversity it will bring out, not a riot of confusion, but a richer unity. And again, since so much is known that used to be unknown, the question now inevitably asks itself, whether the lives of great men only should be recorded. Is not anyone who has lived a life, and left a record of that life, worthy of biography — the failures as well as the successes, the humble as well as the illustrious? And what is greatness? And what smallness? We must revise our standards of merit and set up new heroes for our admiration.
Biography thus is only at the beginning of its career; it has a long and active life before it, we may be sure — a life full of difficulty, danger, and hard work. Nevertheless, we can also be sure that it is a different life from the life of poetry and fiction — a life lived at a lower degree of tension. And for that reason its creations are not destined for the immortality which the artist now and then achieves for his creations.
There would seem to be certain proof of that already. Even Dr. Johnson as created by Boswell will not live as long as Falstaff as created by Shakespeare. Micawber and Miss Bates we may be certain will survive Lockhart’s Sir Walter Scott and Lytton Strachey’s Queen Victoria. For they are made of more enduring matter. The artist’s imagination at its most intense fires out what is perishable in fact; he builds with what is durable; but the biographer must accept the perishable, build with it, imbed it in the very fabric of his work. Much will perish; little will live. And thus we come to the conclusion, that he is a craftsman, not an artist; and his work is not a work of art, but something betwixt and between.
Yet on that lower level the work of the blographer is invaluable; we cannot thank him sufficiently for what he for us. For we are incapable of living wholly in the intense world of the imagination. The imagination is a faculty that soon tires and needs rest and refreshment. But for a tired imagination the proper food is not inferior poetry or minor fiction — indeed they blunt and debauch it — but sober fact, that “authentic information” from which, as Lytton Strachey has shown us, good biography is made. When and where did the real man live; how did he look; did he wear laced boots or elastic-sided; who were his aunts, and his friends; how did he blow his nose whom did he love, and how; and when he came to die did he die in his bed like a Christian, or . . .
By telling us the true facts, by sifting the little from the big, and shaping the whole so that we perceive the outline, the biographer does more to stimulate the imagination than any poet or novelist save the very greatest. For few poets and novelists are capable of that high degree of tension which gives us reality. But almost any biographer, if he respects facts, can give us much more than another fact to add to our collection. He can give us the creative fact; the fertile fact; the fact that suggests and engenders. Of this, too, there is certain proof. For how often, when a biography is read and tossed aside, some scene remains bright, some figure lives on in the depths of the mind, and causes us, when we read a poem or a novel, to feel a start of recognition, as if we remembered something that we had known before.
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Virginia Woolf was an English writer and essayist. We have most of her works at this site and they consistently rank as some of the most popular ebooks accessed. At the bottom of this page you will find a few snippets of her writing.
The article on Woolf at Wikipedia states that she "is considered one of the greatest innovators in the English language. In her works she experimented with stream-of-consciousness, the underlying psychological as well as emotional motives of characters, and the various possibilities of fractured narrative and chronology. In the words of E. M. Forster, she pushed the English language 'a little further against the dark,' and her literary achievements and creativity are influential even today."
Contents of Virginia Woolf's Short Story and Essay Collections
|THE COMMON READER (1925)Read Now|
The Common Reader
THE COMMON READER: SECOND SERIES (1932) Read Now
The Strange Elizabethans
THE DEATH OF THE MOTH AND OTHER ESSAYS (1942)
The Death Of The Moth
THE CAPTAIN'S DEATH BED AND OTHER ESSAYS (1950)
|MONDAY OR TUESDAY (1919)Read Now|
A Haunted House
A HAUNTED HOUSE (1944)
A Haunted House
THE COMPLETE SHORTER FICTION (1985)
Phyllis and Rosamond
Extracts from Virginia Woolf's writing
Thus, glancing round the bookshop, we make other such sudden capricious friendships with the unknown and the vanished whose only record is, for example, this little book of poems, so fairly printed, so finely engraved, too, with a portrait of the author. For he was a poet and drowned untimely, and his verse, mild as it is and formal and sententious, sends forth still a frail fluty sound like that of a piano organ played in some back street resignedly by an old Italian organ-grinder in a corduroy jacket. There are travellers, too, row upon row of them, still testifying, indomitable spinsters that they were, to the discomforts that they endured and the sunsets they admired in Greece when Queen Victoria was a girl. A tour in Cornwall with a visit to the tin mines was thought worthy of voluminous record. People went slowly up the Rhine and did portraits of each other in Indian ink, sitting reading on deck beside a coil of rope; they measured the pyramids; were lost to civilization for years; converted negroes in pestilential swamps. This packing up and going off, exploring deserts and catching fevers, settling in India for a lifetime, penetrating even to China and then returning to lead a parochial life at Edmonton, tumbles and tosses upon the dusty floor like an uneasy sea, so restless the English are, with the waves at their very door. The waters of travel and adventure seem to break upon little islands of serious effort and lifelong industry stood in jagged column upon the floor. In these piles of puce-bound volumes with gilt monograms on the back, thoughtful clergymen expound the gospels; scholars are to be heard with their hammers and their chisels chipping clear the ancient texts of Euripides and Aeschylus. Thinking, annotating, expounding goes on at a prodigious rate all around us and over everything, like a punctual, everlasting tide, washes the ancient sea of fiction. Innumerable volumes tell how Arthur loved Laura and they were separated and they were unhappy and then they met and they were happy ever after, as was the way when Victoria ruled these islands.
From "Street Haunting: A London Adventure"
At the thought of all those women working year after year and finding it hard to get two thousand pounds together, and as much as they could do to get thirty thousand pounds, we burst out in scorn at the reprehensible poverty of our sex. What had our mothers been doing then that they had no wealth to leave us? Powdering their noses? Looking in at shop windows? Flaunting in the sun at Monte Carlo? There were some photographs on the mantelpiece. Mary's mother--if that was her picture--may have been a wastrel in her spare time (she had thirteen children by a minister of the church), but if so her gay and dissipated life had left too few traces of its pleasures on her face. She was a homely body; an old lady in a plaid shawl which was fastened by a large cameo; and she sat in a basket-chair, encouraging a spaniel to look at the camera, with the amused, yet strained expression of one who is sure that the dog will move directly the bulb is pressed. Now if she had gone into business; had become a manufacturer of artificial silk or a magnate on the Stock Exchange; if she had left two or three hundred thousand pounds to Fernham, we could have been sitting at our ease to-night and the subject of our talk might have been archaeology, botany, anthropology, physics, the nature of the atom, mathematics, astronomy, relativity, geography. If only Mrs Seton and her mother and her mother before her had learnt the great art of making money and had left their money, like their fathers and their grandfathers before them, to found fellowships and lectureships and prizes and scholarships appropriated to the use of their own sex, we might have dined very tolerably up here alone off a bird and a bottle of wine; we might have looked forward without undue confidence to a pleasant and honourable lifetime spent in the shelter of one of the liberally endowed professions. We might have been exploring or writing; mooning about the venerable places of the earth; sitting contemplative on the steps of the Parthenon, or. going at ten to an office and coming home comfortably at half-past four to write a little poetry. Only, if Mrs Seton and her like had gone into business at the age of fifteen, there would have been--that was the snag in the argument--no Mary. What, I asked, did Mary think of t hat? There between the curtains was the October night, calm and lovely, with a star or two caught in the yellowing trees. Was she ready to resign her share of it and her memories (for they had been a happy family, though a large one) of games and quarrels up in Scotland, which she is never tired of praising for the fineness of its air and the quality of its cakes, in order that Fernham might have been endowed with fifty thousand pounds or so by a stroke of the pen? For, to endow a college would necessitate the suppression of families altogether. Making a fortune and bearing thirteen children--no human being could stand it. Consider the facts, we said. First there are nine months before the baby is born. Then the baby is born. Then there are three or four months spent in feeding the baby. After the baby is fed there are certainly five years spent in playing with the baby. You cannot, it seems, let children run about the streets. People who have seen them running wild in Russia say that the sight is not a pleasant one. People say, too, that human nature takes its shape in the years between one and five. If Mrs Seton, I said, had been making money, what sort of memories would you have had of games and quarrels? What would you have known of Scotland, and its fine air and cakes and all the rest of it? But it is useless to ask these questions, because you would never have come into existence at all. Moreover, it is equally useless to ask what might have happened if Mrs Seton and her mother and her mother before her had amassed great wealth and laid it under the foundations of college and library, because, in the first place, to earn money was impossible for them, and in the second, had it been possible, the law denied them the right to possess what money they earned. It is only for the last forty-eight years that Mrs Seton has had a penny of her own. For all the centuries before that it would have been her husband's property--a thought which, perhaps, may have had its share in keeping Mrs Seton and her mothers off the Stock Exchange. Every penny I earn, they may have said, will be taken from me and disposed of according to my husband's wisdom--perhaps to found a scholarship or to endow a fellowship in Balliol or Kings, so that to earn money, even if I could earn money, is not a matter that interests me very greatly. I had better leave it to my husband.
From "A Room of One's Own"
But these contributions to the dangerous and fascinating subject of the psychology of the other sex--it is one, I hope, that you will investigate when you have five hundred a year of your own--were interrupted by the necessity of paying the bill. It came to five shillings and ninepence. I gave the waiter a ten-shilling note and he went to bring me change. There was another ten-shilling note in my purse; I noticed it, because it is a fact that still takes my breath away the power of my purse to breed ten-shilling notes automatically. I open it and there they are. Society gives me chicken and coffee, bed and lodging, in return for a certain number of pieces of paper which were left me by an aunt, for no other reason than that I share her name.
From "A Room of One's Own"
Updated 23 July 2007