Chapter 5The Remedial Implications of Spatial Form 197
Chapter 5 The Remedial Implications of Spatial Form Words move, music moves Only in time; but that which is only living Can only die. Words, after speech, reach Into the silence. Only by the form, the pattern, Can words or music reach The stillness, as a Chinese jar still Moves perpetually in its stillness. — T. S. Eliot, Four Quartets The Spatial Form of the Novels After examining thematized visuality and spatiality, we now turn to Woolf ’s own spatiality. According to Quentin Bell, in the early 1920s, the author was ‘already claiming for herself the ability, or at least the intention, to see events out of time, to apprehend processes of thought and feeling as though they were pictorial shapes’.1 Woolf ’s concern with spatial intercon- nectedness continued. She was still writing to Clive Bell in 1938: ‘like all painters, your sense of words is plastic, not linear, and I am on the side of the plastic myself ’ (L VI, 302). By shifting the focus onto the author’s stance and her own formal strategies, this chapter explores the way in which spatial form works com- pared with the thematized formal strategies previously considered. The 1 Q. Bell, Virginia Woolf: A Biography (New York: Harcourt, 1972), 338. A similar emphasis is put on the fact that Mrs Dalloway also expresses Woolf ’s ‘desire to make literature “radial” rather than “linear”’ (ibid.). 198 Chapter 5 comparison is carried out through several heterogeneous textual samples from the main constituent levels of...
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