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Department of English and American Studies English Language And Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Naděžda Suchá Bloomsbury Group: Its Influence and Controversy Bachelor’s Diploma Thesis Supervisor: prof. Mgr., Milada Franková, CSc., M.A. 2009 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. ……………….…………………………………………… Naděžda Suchá Acknowledgement I would like to thank my supervisor, prof. Mgr. Milada Franková, CSc., M.A., for her kind and valuable advice and help. I would also like to thank my friends Jana and Bára for proofreading the final text. TABLE OF CONTENTS 1. Introduction……………………………………………………………………………………………….………..…..1 2. What Was the Bloomsbury Group? .............................................................................4 2.1. Origins……………………………………………………………………………………………….……….…...6 2.1.1. Principia Ethica ………………………………………………………………………….……….……6 2.1.2. The Apostles……………………………………………………………………………….………...7 2.1.3. Cambridge in Bloomsbury………………………………………………………….…..……..7 2.1.4. Memoir Club ………………………………………………………………………………..…..…...8 2.2. Members…………………………………………………………………………………………………..……9 2.3. Controversy of the Bloomsbury Group…………………………………………………….......18 2.3.1. “Intertwined” Relationships in the Bloomsbury Group………………………..19 3. Virginia Woolf…………………………………………………………………………………………………......21 3.1. Influence…………………………………………………………………………………………….……..…21 3.2. Feminism………………………………………………………………………………………….…….…...22 3.3. Stream of Consciousness……………………………………………………………………..………27 3.4. Woolf’s “Ladylikeness” According to Angus Wilson………………………….………….30 3.5. Virginia Woolf and Fascism…………………………………………………………....……………31 4. Bloomsbury Artists………………………………………………………………………..……..…………….33 4.1. Fry and the Post-Impressionists…………………………………………..………..…………..33 4.2. The Omega Workshops………………………………………………………………………..……..35 4.3. Influence…………………………………………………………………………………………….……...36 4.4. Criticism…………………………………………………………………………………………….....……37 4.4.1. Wyndham Percy Lewis and Vorticists versus the Bloomsbury Group….37 4.4.2. D.H. Lawrence and Duncan Grant……………………………………………………….39 4.4.3. Clive Bell and Formalism……………………………………..................................40 4.4.4. G.B. Shaw and Clive Bell……………………………………………………………………..41 4.5 War Art………………………………………………………………………………………………………..42 5. Conclusion………………………………………………………………………………………………………….45 6. Works Used and Cited…………………………………………………………………………………………47 1. INTRODUCTION The Bloomsbury Group was an informal circle of intellectuals who were all born in the 19 th century. Its members, called Bloomsburies, were mainly writers and artists from the English upper class. Bloomsbury biographers do not share a common view on who actually belonged to the Bloomsbury Group. In my thesis, I will go along with a Bloomsbury biographer, Leon Edel, who regards Leonard Woolf, Clive Bell, Lytton Strachey, John Maynard Keynes, Desmond MacCarthy, Virginia Woolf, Vanessa Bell, Duncan Grant, and Roger Fry as the members. The circle was based in the district of Bloomsbury in Central London, and its members used to meet from 1905 until the beginning of the Second World War. During these meetings they were engaged in discussions on current topics and new courses in art, literature and politics as well as a timeless philosophical analysis of “the Good,” “the Beautiful,” and “the Truth,” which they derived from Moore’s Principia Ethica (1903). This book could be labelled “the Bible” of the Bloomsbury Group. Apart from Prinicipia Ethica there was no ideology or doctrine that would connect Bloomsburies. In my thesis, I will present some ideas from this book that inspired them. Bloomsburies were often accused of snobbism and elitism due to their class origins. Their critics claim that as they did not experience much difficulty in their lives, because they led carefree, comfortable, bohemian lives consisting only of plenty of leisure time; their work does not reflect the reality of life and thus is not reliable. During the First and Second World Wars they were despised for their pacifism. 1 Generally they were condemned for their homosexuality, 1 swapping partners and non- nuclear family arrangements. Bloomsbury group was not only criticized but also praised and, more importantly, its members were perceived as inventors and pioneers within certain fields. They were undoubtedly foresighted, progressive, open-minded, and audacious people. They helped to create modern views on Modernism, feminism, sexuality, pacifism etc. The aim of this thesis is to present both sides of the debate—the praise and the criticism; and to seek the arguments that would weaken the criticism. There are many types of “harshness” of life and everybody experiences different ones. As long as we are aware of the difficulties of others and approach our own problems with humility, we are capable of seeing the true and down-to-earth reality of the world. One should not be blamed or his/her work derogated for having a different kind of experience such as the class origin. Bloomsbury has been criticized for various reasons, and I would like to prove that those views are irrelevant and that the critics’ disapproval is insignificant in comparison with their immense contributions. The thesis is divided into three parts: Bloomsbury—Introduction, Influence and Controversy; Virginia Woolf—Influence and Controversy, and Bloomsbury Artists—Influence and Controversy 1 Lytton Strachey, John Maynard Keynes, Duncan Grant and Roger Fry were self-proclaimed homosexuals. 2 In the first chapter, I will introduce the nine “original” members of the group, according to Edel; then roughly sketch the circle’s development and touch on Moore’s Principia Ethica so as to provide the reader with a more profound insight. Further on, in the same chapter, I would like to discuss the particular features of the Bloomsbury controversy such as pacifism, elitism etc. and their overall influence on modern society. The second chapter concentrates on Virginia Woolf and her influence and controversy. I will present the criticism of her concept of androgyny; her early concerns with women’s place in society, and the reaction of modern feminists to this issue; her invention of a new narrative mode—“the stream of consciousness” and the criticism it received from other authors. The chapter about Bloomsbury artists Vanessa and Clive Bell, Roger Fry and Duncan Grant will describe the artistic development of the painters and Fry’s influence on them as well as on the society. I will write about the Omega Workshops and the two Post- Impressionist exhibitions in London organized by Fry with help of other Bloomsburies which introduced the Post-Impressionism to Britain. In this chapter, I will present the critical views of G.B. Shaw and D.H. Lawrence on Bloomsbury art. 2. WHAT WAS THE BLOOMSBURY GROUP? The Bloomsbury group was an informal circle of upper-class intellectuals. Among its members were writers, artists, critics, politicians, and an economist. The circle’s influence reached its peak in the 1920s. The group definitely played an important role in modernizing the liberal opinion and their thoughts had an impact on the 20th century society. 3 The members of the circle were not connected by any doctrine or aim; however, they shared admiration for the moral philosophy of G. E. Moore, a Cambridge don, born in 1873 Stanford Rosenbaum states that “Bloomsbury members were critics of capitalism, imperialism and war, materialistic realism in painting and literature, and of sexual inequality, discrimination and repression” (Hanna 30). According to the poet Stephen Spender, “Not to regard the French Impressionist and Post-Impressionist painters as sacrosanct, not to be an agnostic and in politics a Liberal with Socialist leanings, was to put oneself outside Bloomsbury” (Foster et. al. 73). Bell adds that Bloomsbury believed, in fact, "in pacific and rational discussion” (Bell 104). There are many opinions on who actually belonged to the group. According to Edel, “there are nine characters in search of an author in Bloomsbury” (11): Virginia Woolf, Leonard Woolf, Maynard Keynes, Lytton Strachey, Clive Bell, Vanessa Bell, Duncan Grant, Desmond MacCarthy, and Roger Fry. Quentin Bell, another biographer of Bloomsbury, almost entirely falls in with Edel’s account of the Bloomsbury members with an exception of Desmond MacCarthy (14). Some Bloomsbury reviewers also consider E.M. Forster 2 to be a member but Edel disagrees. “Was E.M. Forster really Bloomsbury? I think not, for his life did not become intertwined with the nine originals” (12). Stephen Spender also doubts whether Forster belonged to the group. “It is more difficult to say why E.M. Forster does not quite fit. He was perhaps too impish, too mystical, too moralizing” (Rosenbaum 393). Hillis Miller defines the group as a much wider selection of people. She includes people who did not attend 2 Edward Morgan Forster, (1879-1970): novelist, essayist, critic, biographer, Apostle, close friend with Bloomsburies. His major novel is A Passage to India published in 1924 (Rosenbaum 2007: 232). 4 Bloomsbury meetings but were more or less connected with it. “The Bloomsbury group included Bertrand Russell, G.E. Moore, J. McT. E. McTaggart, J.M. Keynes, E.M. Forster, Clive Bell, Roger Fry, and Lytton Strachey, but Virginia Woolf was the centre and cohesive force” (445). As there are many versions of the actual membership, I have decided to go along with Edel’s selection of the “nine originals” when talking about the Bloomsbury
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