106 :The Twentieth Century Literature: 1900 to World War II

 The Role of Stream of Consciousness and the Writer in Virginia Woolf's "Orlando"

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This blog is part of an assignment for the paper 106 -The Twentieth Century Literature: 1900 to World War II , Sem - 2, 2024.

Topic:The Role of Stream of Consciousness and the Writer in Virginia Woolf's "Orlando"

Points to ponder: 

Personal information and Assignment details 

Abstract

Keywords

Introduction 

Definition and development of 'Stream of Consciousness  

Stream of Consciousness in "Orlando"

Role of the Writer

Subjectivity and Perspective

Character Development

Interplay of Time and Memory

Reader Response and Interpretation

Conclusion 

Personal Information: 

Name: Riya M Bhatt. 

Betch: M.A sem 2 (2023-2025)

Enrollment number: 5108230005

Roll number:  24

Email: riyabhatt6900@gmail.com

Assignment details: 

Topic:- The Role of Stream of Consciousness and the Writer in Virginia Woolf's "Orlando"

Paper & subject code:- The Twentieth Century Literature: 1900 to World War II

Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar 

Date of Submission:- 26 March, 2023

Abstract

This study explores the role of stream of consciousness and the writer in Virginia Woolf's "Orlando". It investigates how Woolf employs stream of consciousness as a narrative technique to delve into the inner thoughts and emotions of characters, impacting the reader's experience and interpretation. The writer's presence within the narrative is analyzed, along with its influence on character development, subjectivity, and perspective. The interplay of time and memory, as well as reader response and interpretation, are also examined. Through an exploration of Woolf's innovative narrative techniques, this study sheds light on the novel's thematic depth and its significance in shaping literary discourse.

Keywords:  Consciousness , Writer , Perspective , Subjectivity .

Introduction : 

Virginia Woolf's novel "Orlando" stands as a groundbreaking exploration of identity, time, and gender fluidity, largely due to the author's masterful use of the stream of consciousness technique. Published in 1928, Woolf's work defies conventional narrative structures, offering readers a kaleidoscopic journey through the mind of its protagonist, Orlando, as they navigate centuries of English history and undergo a profound transformation of both gender and self. In this , we delve into the role of stream of consciousness in "Orlando" and its significance in shaping the portrayal of the protagonist's inner world and the broader thematic concerns of the novel. By examining Woolf's innovative narrative technique alongside the character development of Orlando, we aim to uncover the intricate interplay between the writer, the text, and the exploration of identity within the context of early 20th-century literature.

About Writer

Adeline Virginia Woolf was born January 25, 1882, London, England , as the third of four children to Julia Prinsep Jackson, a famous model for the group of Victorian painters known as The Pre - Raphaelites, and Leslie Stephen , a noted historian and  biographer. Woolf grew in pre-villiaged households and home schooled  as a child with a focus on Victorian Literature. In 1895, her mother died of influenza, followed by her half-sister, Stella, in 1897. Woolf attended King’s College London, where she studied literature and history and began to write seriously in 1900. Woolf’s father died in 1905, and she moved with her siblings to Bloomsbury, a district in London known for its cultural and educational institutions. Living in Bloomsbury, Woolf’s circle of friends, including her brothers’ friends from Cambridge, formed a group of elite writers, artists, and philosophers known later as the Bloomsbury Group. The Bloomsbury Group had a deep respect and appreciation for art in all its forms, and they adamantly rejected the strict Victorian conventions and beliefs of their parents. The Bloomsbury Group boasted such members as E. M. Forster, Roger Fry, and Lytton Strachey, and it was where Woolf met her future husband, Leonard. The couple married in 1912, and in 1915, Woolf published her first novel, The Voyage Out. In 1917, Leonard and Virginia Woolf together opened the Hogarth Press, a publishing house in London, but her next novel, Mrs. Dalloway, was not published until 1925. Beginning with her mother’s death, Woolf struggled with mental health issues and severe bouts of depression and anxiety. In 1922, Woolf met Harold Nicolson and his wife, Vita Sackville-West, both successful writers, and Woolf and Sackville-West began a love affair that lasted most of the 1920s. By the early 1930s, their relationship had morphed into one of deep friendship, but Sackville-West was an exceedingly important part of Woolf’s life.

 

She encouraged Woolf to continue writing against the advice of her doctors. Indeed, Woolf did write, and she published To the Lighthouse in 1927 and Orlando, an experimental biography and love letter of sorts to Sackville-West, in 1928. Woolf is also remembered as an influential critic and essayist, of which A Room of One’s Own, published in 1929, is among her most famous. On the morning of March 28, 1941, at the age of 59, Woolf loaded her pockets with rocks and walked into the River Ouse near her home in Sussex and drowned.

Historical Context :

In Orlando, Orlando first sees Sasha skating on the River Thames during the festival of the Great Frost. Throughout history, there have been several Great Frosts to settle over England and Europe, including the Great Frosts of 1683 and 1708; however, it is likely that Woolf is referring to the Great Frost of 1608, in which the very first frost fair was held in London. During December of 1607, a massive cold spell settled over Great Britain, Europe, and Iceland. Temperatures plummeted, killing people and livestock, and the River Thames froze completely over. The coast of the North Sea froze as well, and all shipping and trading halted for over three months. Just as Woolf describes, ships were frozen in the harbor and giant icebergs floated out to the open water. Frost fairs offered merchants and businesses an opportunity to recuperate some of their lost revenue on account of the cold, and Londoners took to the frozen surface of the Thames River for sledding, ice skating, and carnival games. Frost fairs typically lasted only a few days but did not start to shut down until the ice began to melt, often trapping people and attractions out on the melting river. The ice usually melted rapidly, often in less than a day’s time, and it led to several deaths over the centuries. The greatest frost fair is said to have been held during the Great Frost of 1683, one of the coldest winters on record in England, and the last frost fair was held during the Great Frost of 1814. After the final frost fair of 1814, the Thames River did not again freeze over until 1963 and has not since.

"Orlando" by Virginia Woolf, published in 1928, reflects the changing social and cultural landscape of early 20th century England. Set across several centuries, the novel explores themes of gender identity, sexuality, and societal norms. Woolf's portrayal of Orlando's transformation from a young nobleman in Elizabethan England to a woman in the 20th century reflects the fluidity of identity and challenges traditional gender roles. The novel is also influenced by the Bloomsbury Group, of which Woolf was a member, and their avant-garde attitudes towards art, literature, and sexuality. Against the backdrop of a rapidly changing world, "Orlando" serves as a bold exploration of individuality and the complexities of human experience.

• Definition and development of 'Stream of Consciousness'

• Definition of Stream of Consciousness:

According to Merriam-Webster, stream of consciousness is defined as "the continuous flow of ideas and feelings that constitute an individual's conscious experience." This term is often used in literary criticism to refer to a narrative technique that seeks to represent this flow of thoughts, feelings, and sensations experienced by a character in a continuous and unbroken manner, often without the traditional structures of grammar or syntax.

• Origins and Development:

The origins of stream of consciousness can be traced back to psychological theories of consciousness, particularly those of William James, who explored the notion of a continuous stream of thoughts in his work. In literature, the technique gained prominence during the modernist movement of the early 20th century, with writers such as James Joyce, Marcel Proust, and Virginia Woolf experimenting with innovative narrative forms to capture the complexities of human consciousness.

• Virginia Woolf and Stream of Consciousness:

Virginia Woolf is renowned for her pioneering use of stream of consciousness in her novels, which include "Mrs. Dalloway," "To the Lighthouse," and "Orlando." Woolf's exploration of subjective experience and interiority revolutionized the way in which characters were portrayed in literature, paving the way for a more introspective and psychologically nuanced approach to storytelling.

• Stream of Consciousness  in "Orlando"

In Virginia Woolf's "Orlando," stream of consciousness is a pervasive narrative technique that offers readers intimate access to the inner thoughts, emotions, and experiences of the protagonist and other characters. Through this technique, Woolf immerses readers in the fluid and ever-shifting consciousness of Orlando, allowing them to witness the protagonist's journey of self-discovery, transformation, and exploration of identity across time and space. Throughout the novel, Woolf employs stream of consciousness to depict Orlando's inner turmoil, desires, and existential inquiries as they navigate through various historical epochs and embodiments. From Orlando's introspective reflections on gender, love, and artistic pursuits to their fleeting impressions of the world around them, Woolf captures the complexities of Orlando's psyche with remarkable depth and sensitivity.

Moreover, Woolf extends the use of stream of consciousness beyond Orlando's perspective to offer insights into the minds of other characters, providing readers with a multifaceted portrayal of human consciousness and experience. Through fragmented thoughts, associative leaps, and vivid sensory details, Woolf creates a rich tapestry of interiority that invites readers to engage with the novel on a deeply personal and empathetic level. In "Orlando," stream of consciousness serves as a powerful narrative tool that not only deepens our understanding of the characters but also underscores the novel's thematic explorations of identity, temporality, and the nature of reality. By immersing readers in the subjective experiences of her characters, Woolf challenges conventional notions of storytelling and invites us to reconsider our own perceptions of self and existence.

• The Role of Writer :

In "Orlando," Virginia Woolf assumes a multifaceted role as the writer, narrator, and creator of the narrative world. Woolf's presence within the text is palpable, shaping the reader's perception of the characters, events, and themes throughout the novel. As the writer, Woolf exercises control over the narrative structure, language, and stylistic choices, guiding readers through Orlando's journey across time and space. Through her meticulous attention to detail and evocative prose, Woolf constructs a vivid and immersive narrative landscape that captivates the reader's imagination. Woolf serves as the omniscient narrator of "Orlando," offering insights into the inner thoughts, emotions, and motivations of the characters. Through her narrative voice, Woolf provides commentary on the unfolding events, offering subtle reflections on the nature of identity, gender, and human experience.

Furthermore, Woolf's presence within the narrative underscores the novel's meta fictional elements, highlighting the constructed nature of storytelling and the fluidity of identity. By blurring the boundaries between reality and fiction, Woolf invites readers to interrogate their assumptions about the nature of truth and the act of reading itself. Overall, Woolf's role as the writer in "Orlando" is central to the novel's thematic depth and narrative complexity. Through her innovative narrative techniques and self-reflexive storytelling, Woolf challenges readers to reconsider their understanding of literature, identity, and the relationship between writer and reader.

• Significance within the Narrative:

The presence of the writer within the narrative underscores the novel's meta fictional elements, highlighting the constructed nature of storytelling and the fluidity of identity. Through her self-reflexive narrative voice, Woolf invites readers to reconsider their relationship to the text and to reflect on the act of reading itself.

• Subjectivity and Perspective

In "Orlando," Virginia Woolf masterfully explores the themes of subjectivity and perspective through her innovative narrative techniques, particularly the use of stream of consciousness and the fluidity of identity. The novel invites readers to inhabit the shifting perspectives of the protagonist and other characters, offering a kaleidoscopic view of human consciousness and experience.

At the heart of "Orlando" is the exploration of the subjective nature of reality and identity. Through the protagonist's journey of self-discovery across centuries and genders, Woolf challenges traditional notions of fixed identity and highlights the fluidity of the self. Orlando's experiences as both a man and a woman underscore the malleability of identity and the ways in which it is shaped by social expectations, personal desires, and historical contexts.Woolf's use of stream of consciousness allows readers to delve deep into the inner thoughts and emotions of the characters, offering insights into their individual perspectives and subjective experiences. From Orlando's introspective musings on love, art, and mortality to the fragmented memories and impressions of secondary characters, the novel foregrounds the multiplicity of consciousness and the diversity of human experience.

Through these narrative techniques, Woolf invites readers to engage with the text on a deeply personal and empathetic level, challenging them to reconsider their own perceptions of reality, identity, and the nature of subjective experience. "Orlando" thus stands as a testament to Woolf's mastery of the subjective narrative form and her profound insights into the complexities of human consciousness.

• Challenge to Objective Storytelling: 

Woolf's narrative technique in "Orlando" subverts traditional notions of objective storytelling, privileging subjective experience over linear plot progression. By embracing the fragmented and nonlinear nature of consciousness, Woolf disrupts conventional narrative conventions, inviting readers to embrace the ambiguity and complexity of human existence.

• Interplay of Time and Memory:

• Blurring of Temporal Boundaries:

Stream of consciousness blurs the boundaries between past, present, and future in "Orlando," reflecting the nonlinear nature of memory and experience. Through the associative leaps and fragmented recollections of her characters, Woolf constructs a narrative landscape where time is fluid and malleable, inviting readers to reconsider their understanding of temporality and identity.

• Integration of Memories and Experiences:

Memories and recollections are intricately woven into the fabric of "Orlando," shaping the characters' present experiences and influencing their perceptions of reality. By intertwining past and present, Woolf creates a narrative mosaic that captures the richness and complexity of lived experience, illuminating the ways in which memory shapes our understanding of the world.

• Thematic Significance of Nonlinear Structure:

The nonlinear narrative structure of "Orlando" reflects the novel's exploration of time and identity, highlighting the fluidity and contingency of both concepts. Through her innovative narrative technique, Woolf challenges linear conceptions of time and identity, suggesting that both are inherently subjective and open to interpretation.

• Reader Response and Interpretation:

• Engagement with the Text:

The use of stream of consciousness in "Orlando" invites readers to actively engage with the text, encouraging them to immerse themselves in the subjective experiences of the characters. By foregrounding the interior lives of her characters, Woolf fosters a sense of empathy and connection that resonates with readers on a deeply personal level.

• Challenges of Interpretation: 

Interpreting a narrative that prioritizes subjective experience over linear plot progression can pose challenges for readers, requiring them to embrace ambiguity and uncertainty. However, this ambiguity also opens up space for interpretation and exploration, inviting readers to bring their own perspectives and experiences to the text.

• Variability of Reader Responses: 

Different readers may interpret and respond to "Orlando" in varied ways, depending on their own experiences, beliefs, and cultural backgrounds. Some readers may resonate with the novel's themes of identity and self-discovery, while others may find meaning in it.

• Conclusion :

"Orlando" by Virginia Woolf exemplifies the transformative power of narrative technique, particularly through the innovative use of stream of consciousness. Woolf's exploration of subjective experience and perspective invites readers into the intricate inner worlds of her characters, blurring the boundaries between past, present, and future. Through the fluidity of consciousness, Woolf challenges traditional notions of storytelling, privileging the immediacy and complexity of individual thought and emotion over linear plot progression. The novel's rich tapestry of interiority offers a kaleidoscopic view of human consciousness, inviting readers to engage with the text on an intimate and empathetic level. Woolf's narrative voice serves as a conduit for the characters' inner thoughts and emotions, shaping the reader's perception of the unfolding events. Moreover, Woolf's self-reflexive narrative style underscores the novel's metafictional elements, prompting readers to reflect on the act of reading itself. In "Orlando," Woolf pioneers a new mode of storytelling that transcends conventional narrative boundaries, inviting us to reconsider our understanding of identity, time, and the nature of subjective reality.

• References :

1. Benzel, Kathryn N. “Reading Readers in Virginia Woolf’s ‘Orlando: A Biography.’” Style, vol. 28, no. 2, 1994, pp. 169–82. JSTOR, http://www.jstor.org/stable/42946241. Accessed 25 Apr. 2024.
2. Boren, Lynda S. “THE PERFORMING SELF: PSYCHODRAMA IN AUSTEN, JAMES AND WOOLF.” The Centennial Review, vol. 30, no. 1, 1986, pp. 1–24. JSTOR, http://www.jstor.org/stable/23738610. Accessed 25 Apr. 2024.
3. Craft-Fairchild, Catherine. “‘Same Person...Just a Different Sex’: Sally Potter’s Construction of Gender in ‘Orlando.’” Woolf Studies Annual, vol. 7, 2001, pp. 23–48. JSTOR, http://www.jstor.org/stable/24906451. Accessed 25 Apr. 2024.
4. Delgado, Richard. “Storytelling for Oppositionists and Others: A Plea for Narrative.” Michigan Law Review, vol. 87, no. 8, 1989, pp. 2411–41. JSTOR, https://doi.org/10.2307/1289308. Accessed 25 Apr. 2024.
5. Dahl, Liisa. “THE ATTRIBUTIVE SENTENCE STRUCTURE IN THE STREAM-OF-CONSCIOUSNESS-TECHNIQUE: With Special Reference to the Interior Monologue Used by Virginia Woolf, James Joyce and Eugene O’Neill.” Neuphilologische Mitteilungen, vol. 68, no. 4, 1967, pp. 440–54. JSTOR, http://www.jstor.org/stable/43342368. Accessed 25 Apr. 2024.
6. Delgado, Richard. “Storytelling for Oppositionists and Others: A Plea for Narrative.” Michigan Law Review, vol. 87, no. 8, 1989, pp. 2411–41. JSTOR, https://doi.org/10.2307/1289308. Accessed 25 Apr. 2024.
7. HOFFMANN, CHARLES G. “Fact and Fantasy in Orlando: Virginia Woolf’s Manuscript Revisions.” Texas Studies in Literature and Language, vol. 10, no. 3, 1968, pp. 435–44. JSTOR, http://www.jstor.org/stable/40755176. Accessed 25 Apr. 2024.
8. Kaivola, Karen. “Virginia Woolf, Vita Sackville-West, and the Question of Sexual Identity.” Woolf Studies Annual, vol. 4, 1998, pp. 18–40. JSTOR, http://www.jstor.org/stable/24906336. Accessed 25 Apr. 2024.

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