Book contents
- Frontmatter
- Contents
- Acknowledgements
- Abbreviations
- Introduction: ‘Such Absences!’
- 1 Virginia Woolf Reads Shakespeare: or, Her Silence on Master William
- 2 ‘The Proper Writing of Lives’: Biography versus Fiction in Woolf's Early Work
- 3 Night and Day: The Marriage of Dreams and Realities
- 4 Reading People, Reading Texts: ‘Byron and Mr Briggs’
- 5 ‘Modernism's Lost Hope’: Virginia Woolf, Hope Mirrlees and the Printing of Paris
- 6 The Search for Form (i): Fry, Formalism and Fiction
- 7 The Search for Form (ii): Revision and the Numbers of Time
- 8 ‘This Moment I Stand On’: Virginia Woolf and the Spaces in Time
- 9 ‘Like a Shell on a Sandhill’: Woolf's Images of Emptiness
- 10 Constantinople: At the Crossroads of the Imagination
- 11 The Conversation behind the Conversation: Speaking the Unspeakable
- 12 ‘Sudden Intensities’: Frame and Focus in Woolf's Later Short Stories
- 13 ‘Almost Ashamed of England Being so English’: Woolf and Ideas of Englishness
- 14 Between the Texts: Woolf's Acts of Revision
- Index
4 - Reading People, Reading Texts: ‘Byron and Mr Briggs’
Published online by Cambridge University Press: 12 September 2012
- Frontmatter
- Contents
- Acknowledgements
- Abbreviations
- Introduction: ‘Such Absences!’
- 1 Virginia Woolf Reads Shakespeare: or, Her Silence on Master William
- 2 ‘The Proper Writing of Lives’: Biography versus Fiction in Woolf's Early Work
- 3 Night and Day: The Marriage of Dreams and Realities
- 4 Reading People, Reading Texts: ‘Byron and Mr Briggs’
- 5 ‘Modernism's Lost Hope’: Virginia Woolf, Hope Mirrlees and the Printing of Paris
- 6 The Search for Form (i): Fry, Formalism and Fiction
- 7 The Search for Form (ii): Revision and the Numbers of Time
- 8 ‘This Moment I Stand On’: Virginia Woolf and the Spaces in Time
- 9 ‘Like a Shell on a Sandhill’: Woolf's Images of Emptiness
- 10 Constantinople: At the Crossroads of the Imagination
- 11 The Conversation behind the Conversation: Speaking the Unspeakable
- 12 ‘Sudden Intensities’: Frame and Focus in Woolf's Later Short Stories
- 13 ‘Almost Ashamed of England Being so English’: Woolf and Ideas of Englishness
- 14 Between the Texts: Woolf's Acts of Revision
- Index
Summary
We know that our lives are shaped like stories … we read life as well as books, and the activity of reading is really a matter of working through signs and texts in order to comprehend fully and powerfully not only whatever may be presented therein but also our own situations, both in their particularity and historicity and in their more durable and inevitable dimensions.
In their various ways, all Woolf's works – novels, short stories and essays – contribute to an ongoing debate about the nature and the purpose of writing; but she was equally preoccupied with the nature of reading, and especially so between the publication of Night and Day in the autumn of 1919 and that of Mrs Dalloway and The Common Reader in the spring of 1925. Struggling to come to terms with an older literary tradition associated with her father and to let go of the dead leaves of the past, she began to search for new and more open ways to practise reading as well as writing. She wanted to understand how reading worked and how it related to the wider interpretation of signs.
Woolf had always loved and needed reading: she wrote essays on ‘Hours in a Library’ (the title of her father's best-known book), ‘Reading’, ‘On Re-reading Novels’, ‘How It Strikes a Contemporary’ (the title of a Robert Browning poem), ‘How Should One Read a Book?’ and ‘All About Books’ (Essays ii, 55; iii, 141, 336; 353; iv, 388; CE ii, 263). She discussed it in her fiction, diaries and letters, and kept careful records of what she read. At least twenty-six notebooks are devoted to her reading, and many other documents include further notes on it.
- Type
- Chapter
- Information
- Reading Virginia Woolf , pp. 63 - 79Publisher: Edinburgh University PressPrint publication year: 2006