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The Death of the Moth, and other essays
essay [ ]

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by [_Adeline_Virginia__Woolf__(Stephen_) ]

2008-03-18  |     |  Submited by Marius Surleac

"The Death of the Moth, and other essays"

By Virginia Woolf
Written in 1919

"It would be easy to justify the suspicion which the sight of WITHIN THE RIM aroused, and to make it account for the tepid and formal respect with which we own to have approached the book. Essays about the war contributed to albums and books with a charitable object even by the most distinguished of writers bear for the most part such traces of perfunctory composition, such evidence of genius forcibly harnessed to the wagon of philanthropy and sullen and stubborn beneath the lash, that one is inclined for the sake of the writer to leave them unread. But we should not have said this unless we intended immediately and completely to unsay it. The process of reading these essays was a process of recantation. It is possible that the composition of some of them was an act of duty, in the sense that the writing of a chapter of a novel was not an act of duty. But the duty was imposed upon Henry James not by the persuasions of a committee nor by the solicitations of friends, but by a power much more commanding and irresistible—a power so large and of such immense significance to him that he scarcely succeeds with all his range of expression in saying what it was or all that it meant to him. It was Belgium, it was France, it was above all England and the English tradition, it was everything that he had ever cared for of civilization, beauty and art threatened with destruction and arrayed before his imagination in one figure of tragic appeal.
Perhaps no other elderly man existed in August 1914 so well qualified to feel imaginatively all that the outbreak of war meant as Henry James. For years he had been appreciating ever more and more finely what he calls “the rare, the sole, the exquisite England”: he had relished her discriminatingly as only the alien, bred to different sounds and sights and circumstances, could relish others so distinct and so delightful in their distinctness. Knowing so well what she had given him, he was the more tenderly and scrupulously grateful to her for the very reason that she seemed to him to bestow her gifts half in ignorance of their value. Thus when the news came that England was in danger he wandered in the August sunshine half overwhelmed with the vastness of what had happened, reckoning up his debt, conscious to the verge of agony of the extent to which he had committed his own happiness to her, and analysing incessantly and acutely just what it all meant to the world and to him. At first, as he owned, he had “an elderly dread of a waste of emotion . . . my house of the spirit amid everything around me had become more and more the inhabited, adjusted, familiar home”; but before long he found himself
building additions and upper storeys, throwing out extensions and protrusions, indulging even, all recklessly, in gables and pinnacles and battlements—things that had presently transformed the unpretending place into I scarce know what to call it, a fortress of the faith, a palace of the soul, an extravagant, bristling, flag–flying structure which had quite as much to do with the air as with the earth.
In a succession of images not to be torn from their context he paints the state of his mind confronted by one aspect after another of what appeared to him in so many diverse lights of glory and of tragedy. His gesture as of one shrinking from the sight of the distress, combined with an irresistible instinct of pity drawing him again and again to its presence, recalls to the present writer his reluctance to take a certain road in Rye because it led past the workhouse gates and forced to his notice the dismal line of tramps waiting for admittance. But in the case of the wounded and the fugitive his humanity forced him again and again to face the sight, and brought him the triumphant reward of finding that the beauty emerging from such conditions more than matched the squalor. “. . . their presence,” he wrote of the wounded soldier, “is a blest renewal of faith.”
A moralist perhaps might object that terms of beauty and ugliness are not the terms in which to speak of so vast a catastrophe, nor should a writer exhibit so keen a curiosity as to the tremors and vibrations of his own spirit in face of the universal calamity. Yet, of all books describing the sights of war and appealing for our pity, this largely personal account is the one that best shows the dimensions of the whole. It is not merely or even to any great extent that we have been stimulated intellectually by the genius of Henry James to analyse shades and subtleties; but rather that for the first and only time, so far as we are aware, someone has reached an eminence sufficiently high above the scene to give it its grouping and standing in the universal. Read, for instance, the scene of the arrival of the Belgian refugees by night at Rye, which we will not curtail and thus rob of its completeness. It is precisely the same little scene of refugees hurrying by in silence, save for the cry of a woman carrying her child, which, in its thousand varieties, a thousand pens have depicted during the past four years. They have done their best, and left us acknowledging their effort, but feeling it to be a kind of siege or battering ram laid to the emotions, which have obstinately refused to yield their fruits. That it is altogether otherwise with the scene painted for us by Henry James might perhaps be credited to his training as a novelist. But when, in his stately way, diminishing his stature not one whit and majestically rolling the tide of his prose over the most rocky of obstacles, he asks us for the gift of a motor–car, we cannot help feeling that if all philanthropies had such advocates our pockets would never be anything but empty. It is not that our emotions have been harassed by the sufferings of the individual case. That he can do upon occasion with beautiful effect. But what he does in this little book of less than a hundred and twenty pages is, so it seems to us, to present the best statement yet made of the largest point of view. He makes us understand what civilization meant to him and should mean to us. For him it was a spirit that overflowed the material bounds of countries, but it is in France that he sees it most plainly personified:
. . . what happens to France happens to all that part of ourselves which we are most proud, and most finely advised, to enlarge and cultivate and consecrate. . . . She is sole and single in this, that she takes charge of those of the ‘interests’ of man which most dispose him to fraternize with himself, to pervade all his possibilities and to taste all his faculties, and in consequence to find and to make the earth a friendlier, an easier, and especially a more various sojourn.
If all our counselors, we cannot help exclaiming, had spoken with that voice!"

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