Woolf's "Modern Fiction" / "The Legacy" / and Mansfield's "Daughters": page refs to Norton, 6th ed.
students' notes | theoretical, cultural issues
What theoretical positions does Woolf propose: how do these help understand her technique and aims in "The Legacy"; in Mansfield's "Daughters of the Late Colonel"? And given what Woolf rejects, what in these two stories contrasts with that?
Modern Fiction The Legacy 1 Writing now, no real progress; in the dust; but move one way rather than another -- (2306) Nothing changes in the real world; everything changes within Gilbert's mind, in reaction to his wife's diaries. 2 Quarrel is with Wells, Bennett, Galsworth: materalists; thesis novels (2307) The act of writing the story in its time is an act of courage: betrayal, adultery, suicide, talked about in a way that is more raw, more expressive. Wife courageous in killing herself in honour of her friend BM. 3 In Bennett "Life escapes"; it has moved off; been embalmed in probability, every last button (2308) Sissy Miller is one of those "drab little women in black"; "She was wearing the little black coat and skirt that seemed the uniform of her profession" (2336). Appearance is mediated by Gilbert's (prejudiced) view of her. 4 Life is -- a myriad impressions, a luminous halo, unknown spirit (2308) Gilbert notices many things around him but doesn't understand their implications; but Woolf conveys the layers to us.
Life is more than having a pretty wife waiting at home; not knowing who his wife really was; she has rich life outside home.5 Joyce closer to Life; "record the atoms as they fall upon the mind" (2308-9); spiritual, innermost flame in disregard of probability, coherence (2309) story traces Gilbert's gradual realization of truth behind Angela's death, all the information ('atoms') falling on his mind, moving towards coherence.
"He could see her in front of him" (2340).
A chain reaction of thoughts, how one things causes him to think another.6 but Joyce enclosed, solipsistic (2309) Gilbert solipsistic, thinks only about himself until the end of the story.
Gilbert's perception of Angela, Sissy, BM extremely limited to the superficial qualities of those close to him.
Author has ability to put herself in the minds of all the diverse characters, especially Gilbert, who is nothing like herself.7 modern writer's interest is "very likely in the dark places of psychology" (2310) Angela's pact with BM to join him in death: dark place in psyche, romanticism of death.
Gilbert unable to step outside the box of his own perceptions. Last section is Gilbert's fantasy of his wife's death: he will have to endure this fabricated truth; this is his legacy.
Gilbert thinks his wife forced into having an affair and corrupted by BM, but actually she is much more active!
First impressions are of a happy couple, but relationship was empty of any real emotion, just socially imposed feelings.8 Chekhov: apparent inconsequentiality (2310) Angela's death-pact with B.M. (2340) could hardly be more consequential.
Sissy holds truth of Angela's death, although Gilbert cannot see that she would be able to provide him with anything.9 Russian novelists: spirituality, suffering of others, hopelessness; vs. English delight in humour, beauty (2310) related to Russian perspective, Gilbert's situation is hopeless; Angela imposed suffering on Gilbert through her actions.
Angela, BM, commit suicide: hopeless; Gilbert hopeless at end due to his wife's hopelessness.
Russian hopelessness of Angela's despair; British humour and beauty in the beginning in Gilbert's self-regard, looking in the mirror: "a very distinguished-looking man" (2337).10 for fiction there is no method, no proper subject; "no perception comes amiss" (2311) No concrete themes: based mostly on Gilbert's thoughts and emotions; little descriptive, mostly consciousness.
Modern Fiction Daughters 1 Writing now, no real progress; in the dust; but move one way rather than another -- (2306) Nothing really changes in terms of circumstance (dad has already died when the story opens), but characters change; become more thoughtful (2509-10), but don't overcome their immaturity.
Time shifts from present to past in sisters' minds (e.g., nephew's visit; when Nurse Andrews eats); but time doesn't shift in physical world.2 Quarrel is with Wells, Bennett, Galsworth: materalists; thesis novels (2307) Contrast between physical details and immaterial, more spiritual environment; although the girls grow up in a stately home, they were deprived of nurturing and emotional contact.
Lack of conditioning to be able to support and care for themselves in the real world; child-like.3 In Bennett "Life escapes"; it has moved off; been embalmed in probability, every last button (2308) They appear to be young, immature, but are actually old (mother an adult 35 years ago: 2509); mourning wear, more concerned with looking sad than dealing with their real feelings.
Life escapes (2499): they have a lot of 'what ifs': life has moved on and they may have have missed something.
Description of females not provided in context of story; from dialogue females are very immature, maybe in their twenties; but in reality in their forties.
Sisters are so terrified of their father that they are frozen in time; their perspective hasn't changed, exhibiting almost childlike characters.4 Life is -- a myriad impressions, a luminous halo, unknown spirit (2308) Not only deals with what has happened but also what could have happened; if their father had opened both of his eyes; if their father had lived.
Their life is beyond their father.
Focus on specific moments to leave impressions on them.
Clash of cultures: Buddha from east vs. respect for communion, part of Catholic doctrine; their inability to take communion in their living room, seen as almost sacrilegious.5 Joyce closer to Life; "record the atoms as they fall upon the mind" (2308-9); spiritual, innermost flame in disregard of probability, coherence (2309) Different events seems to trigger random memories (mention of porter's hat); they think of their nephew Cyril (2505); no logical progression of thoughts.
Gradual unfolding of the story: we eventually get the whole but see it atom by atom.
Thoughts aren't coherent in terms of time; petty thoughts over petty things; significant in terms of their reactions and how they interpret events in their minds.6 but Joyce enclosed, solipsistic (2309) Women similar to each other and both self-absorbed; doesn't show Mansfield's ability to get into the head of a multitude of personalities.
Sisters are solipsistic, self-centered; the world revolves around them; no awareness of the world apart.7 modern writer's interest is "very likely in the dark places of psychology" (2310) Women are obviously disturbed: feel cold air and their father's presence when they enter his room (2501/2503); Constantia feels victimized and plays as if she is crucified (2509-10); afraid their father would disapprove of his burial; effects of their father's life haven't ceased.
Even though father is dead, they think he will never forgive them for burying him and for the funeral.
Whole story is related to father's death; they haven't grown up -- fear father even in death rather than love him; worry about events like a child would.
Sisters trapped in childlike phase, similar to Freudian phases; arrested development a result of their inability to differentiate between reality and fantasy: "a moment of absolute terror" (2500) -- can't bury father without his permission.8 Chekhov: apparent inconsequentiality (2310) More concerned about trivial belongings, appearances, than consequential events (father's death); can't seem to effect any sort of changes.
By the death of their father they are looking at trivial consequences; how they lived their lives around him, mourning not him but what they had because of him.
Sisters involved in trivial things, but seem important to them: e.g., going into their father's room: suggests they are emotionally retarded.9 Russian novelists: spirituality, suffering of others, hopelessness; vs. English delight in humour, beauty (2310) Feel lost after death of their father; dream about leaving but could never cope; want to show concern for others (feed mouse: 2498) on trivial matters, but make no significant impact on anyone else's life.
It compares to British writing because there's humour depicted in a serious situation.
They focus on detail, but also a sombre aspect: spirituality through Buddha, and the crucification in the moonlight (2509); there's a spiritual message they can't connect to (2509-10).
Sisters are sad about their father's death but they have an innocence that doesn't allow them to suffer; they will recover and continue their cheerless lives.
Suffering at loss of father, but hopelessness: don't know how to take care of themselves; irony created by their immaturity.10 for fiction there is no method, no proper subject; "no perception comes amiss" (2311) Based on how they live minute to minute, not major events; they never come to any major realizations or make any decisions.
"No perception comes amiss": the sisters engaged in trivial thoughts & events; we hear about jam and dressing gowns and poor mice; nothing really important, but we hear every thought no matter how odd.
No concrete theme, but excessive descriptions of inconsequential everyday things; no real conclusion: "I've forgotten too" (2510).
Theoretical issues (literary, psychological, etc.) (DSM)
The plotless story seems to arise naturally from the intellectual climate of its time. In a world where, as the German philosopher Nietzsche declared, God was dead, and evolutionary theory had produced a sharp sense of man's insignificance in a changing universe, the only alternative seemed to be the retreat within, to the compensating powers of the imagination. With such a retreat came the stress on the significant moment, which would be called 'vision' or 'epiphany' by later writers such as James Joyce -- the moment of insight which is outside space and time, vouchsafed only fleetingly to the imagination, but redeeming man's existence in time. (Gurr and Hanson, from Short Story Criticism 9 (1992), 286)
In the course of centuries the naive self-love of men has had to submit to two major blows at the hands of science. The first was when they learnt that our earth was not the centre of the universe but only a tiny fragment of a cosmic system of scarcely imaginable vastness. This is associated in our minds with the name of Copernicus, though something similar had already been asserted by Alexandrian science. The second blow fell when biological research destroyed man's supposedly privileged place in creation and proved his descent from the animal kingdom and his ineradicable animal nature. This revaluation has been accomplished in our own days by Darwin, Wallace and their predecessors, though not without the most violent contemporary opposition. But human megalomania will have suffered its third and most wounding blow from the psychological research of the present time which seeks to prove to the ego that it is not even master in its own house, but must content itself with scanty information of what is going on unconsciously in its mind. (Freud, Introductory Lectures on Psycho-Analysis, 1916-17; in Standard Edition, trans. James Strachey, Vol. 16, p. 284-5.)
Document prepared March 7th 2001/ update March 15th