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rn2.xml
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<?xml version="1.0" encoding="UTF-8"?>
<TEI xmlns="https://www.tei-c.org/ns/1.0">
<teiHeader>
<fileDesc>
<titleStmt>
<title>RN2. [Holograph reading notes] Notes for reading at random. Holograph notebook, dated Sept. 18, 1940. 8p.</title>
<author>Virginia Woolf</author>
<respStmt>
<resp>Encoded by</resp>
<name>Joshua Phillips</name>
</respStmt>
<funder>The Leverhulme Trust: Grant ECF-2022-602</funder>
</titleStmt>
<publicationStmt>
<authority>The Estate of Virginia Woolf, administered by the Society of Authors</authority>
<availability>
<p>© Estate of Virginia Woolf 2022</p>
</availability>
</publicationStmt>
<sourceDesc>
<msDesc>
<msIdentifier>
<institution>New York Public Library</institution>
<repository>Henry W. and Albert A. Berg Collection of English and American Literature</repository>
<idno>rn2</idno>
</msIdentifier>
<physDesc>
<p>Reading notes for Anon. Headed: Reading at Random or Turning the Page. Handbound notebook with sky blue covers, spine bound with tape. Only first 8 fols. of notebook have been written on.</p>
</physDesc>
</msDesc>
</sourceDesc>
</fileDesc>
<profileDesc>
<handNotes>
<handNote xml:id="ms" scribe="vwoo" script="handwritten">
<p>Holograph writing by the documents' main hand, Virginia Woolf</p>
</handNote>
</handNotes>
</profileDesc>
<encodingDesc>
<editorialDecl>
<correction method="markup">
<p>Apparent errors have been explicitly corrected in sic / corr tags, wrapped in a choice element.</p>
</correction>
<interpretation>
<p>Names and references to places and literary works have been wrapped in rs tags which link to annotations and secondary material.</p>
</interpretation>
</editorialDecl>
<projectDesc>
<p>Text encoded as part of 'The Digital "Anon": A Digital Genetic Edition of Virginia Woolf's Final Essays'. This project, funded by Leverhulme Grant ECF-2022-602, seeks to construct a TEI-XML based digital edition of the drafts of 'Anon' and 'The Reader', among the final documents Woolf wrote before her death.</p>
</projectDesc>
</encodingDesc>
</teiHeader>
<text>
<title>
<div type="contents">
<p>
<l>Notes for Reading at Random</l>
<l>Sotheby 2</l> <!-- mark up that this is in a different hand -->
</p>
</div>
</title>
<body>
<div xml:id="notes.1r" n="1 recto">
<p>
<add place="margin">
<l>18<hi rend="superscript">th</hi> Sept</l>
<l>19<del>3</del><add>4</add>0</l>
</add>
</p>
<p>
<l><hi rend="underline">Reading at Random</hi> or Turning the Page</l>
<l>
<hi rend="underline">Notes</hi>
</l>
</p>
<p>
<l>To begin with English country before E<hi rend="superscript">th</hi>.</l>
<l>The effect of country upon writers. Hall [Holingshed?]</l>
<l>The idea of the book is to find the end of a ball of</l>
<l>string & wind out. Let one book suggest another.</l>
<l>Keep to time sequence. Pass from criticism to biography.</l>
<l>Lives of people. Always follow the genuine scent –– the</l>
<l>idea of the moment. No periods': no text book.</l>
<l>Read very widely. Write rather from memory.</l>
</p>
<p>
<add place="margin">
<l>Oct</l>
<l>3<hi rend="superscript">rd</hi></l>
</add>
</p>
<p>
<l>The Life of a Book</l>
<l>Take a living book & trace, vanishing, its family</l>
<l>But <choice>
<sic>wh.</sic>
<corr>which</corr>
</choice> book? But keep very free.</l>
<l>Harrison. That was England.</l>
<l>His mastiff. <hi rend="underline">Months with an R in them</hi></l>
<l>How many departments a person has: needing historians,</l>
<l>psychologists; poets &c. to interpret.</l>
<l>The forces telling on H. his attitude to the court, the</l>
<l>Church. <hi rend="underline">His regrets for logs of wood as pillows.</hi></l>
<l><hi rend="underline">Squire Waterton</hi>. The continuity of tradition. The RC</l>
<l>Church as a carrier. Harrison seen by Furnivall. What F.</l>
<l>paid for [butter?] in 1878. The inflection; also the medium</l>
<l>The snatch of song: if I were in my castle at [Bovenly?]</l>
<l>The song making instinct. The map of London</l>
<l>Alfred Tennyson. Mrs G H Lewes had reflected: a</l>
<l>meeting was held in [March?]... in Gower <choice>
<sic>St.</sic>
<corr>Street</corr>
</choice> at 8.</l>
<l>This is [coutements?] –– the <del>extension</del> certain emotions always in</l>
<l>being: felt by people always.</l>
</p>
<p>
<l>For the 19<hi rend="superscript">th</hi> Century. <choice>
<sic>Aug.</sic>
<corr>[Augustus?]</corr>
</choice> Hare, his mother (repulsive)</l>
<l>Scene illustrating Henry James's subject. Osbert on</l>
<l>Two generations. Sitwell meets Hare.</l>
</p>
</div>
<div xml:id="notes.2r" n="2 recto">
<p>
<l><hi rend="underline">Crot, Ninn & Pulley –– the 3 influences</hi></l>
<l>Might <add place="above">begin</add> be a [fictitious?] review of a <del>book</del> <choice>
<sic>hist</sic>
<corr>history</corr>
</choice> of <choice>
<sic>Eng. Lit.</sic>
<corr>English literature</corr>
</choice>What it omits. Try to write lit the other way round,</l>
<l>define the influences: the affectl the growth; the</l>
<l>surroundings, also the inner current all left out in </l>
<l>text books written for Pulley. Semiramis.</l>
<l>Aspasia –– witches & faeries.</l>
</p>
<p>
<l><hi rend="superscript">[Division?] of novelists into ventriloquists: soliloquists</hi></l>
<l>What is creation? The <del>old m</del>Mrs F's account.</l>
<l>The virtue of our age that people don't rest on their</l>
<l>laurels. Perpetually broken up. Renewing. No</l>
<l>conclusion. Perhaps the necessary effort of coming</l>
<l>continuing after so many other writers: a great choice of</l>
<l>models –– examples. For instance, Reads admiration for Ruskin.</l>
<l>Reviving the old fashion: No great poet: see Yeats. The</l>
<l>times too big? – or too close to us – for great poetry.</l>
</p>
<p>
<l>––––––––</l>
</p>
<p>
<l>Idea for the shape of the book.</l>
<l>To begin with the country. The eye the youthful</l>
<l>scene. Our floods. This brings back the wildness.</l> <!-- check when letter to ES about floods was! -->
<l>Out of doors. <hi rend="underline">Indoors no study no library</hi></l>
<l><hi rend="underline">Songs sung at the door</hi></l>
<l>The importance of the audience.</l>
<l>No public, in our sense.</l>
<l><hi rend="underline">Anonymity.</hi></l> <!-- is this the first time Woolf uses the word?! EXCITING! -->
<l>The song... The call to our primitive instincts.</l>
<l>Rhythm. Sound. Sight.</l>
<l>Harrison: at the right distance, at last, to see</l>
<l>England. No one looked before that.</l>
<l>Piers Plowman (after Chaucer)</l>
<l>The first chapter <del>Th</del></l>
<l>Some single figure. Bess of Hardwick.</l>
<l>The pageant. The Masque. The play.</l>
</p>
</div>
<div xml:id="notes.3r" n="3 recto">
<p>
<l>The song singers.</l>
<l>About <choice>
<sic>Sh<hi rend="superscript">re</hi></sic>
<corr>Shakespeare</corr>
</choice>: the person is consumed: <choice>
<sic>Sh<hi rend="superscript">re</hi></sic>
<corr>Shakespeare</corr>
</choice> never</l>
<l>breaks the envelope: We dont want to know about</l>
<l>him: Completely expressed.
<hi rend="underline">When the</hi></l>
<l>
<hi rend="underline">incantation ceases, we see the person.</hi>
</l>
<l>
<hi rend="underline">That opera took over the poetic play?</hi>
</l>
</p>
<p>
<l>––––––</l>
</p>
<p>
<l>
<hi rend="underline">separate article.</hi>
</l>
<l>Goldsmith. The patron.</l>
<l>Congreve. The French. Madam de Sevigne.</l>
<l> Group: La <choice>
<sic>R<hi rend="superscript">d</hi></sic>
<corr>[Rochefoucauld]?</corr>
</choice> &c.</l>
<l>Gibbon...</l>
<l><choice>
<sic>Capt</sic>
<corr>Captain</corr>
</choice> [Marryat?]</l>
</p>
<p>
<l>––––––––––</l>
</p>
<p>
<l>19<hi rend="superscript">th</hi> Century. The scene <choice>
<sic>fr.</sic>
<corr>from</corr>
</choice> which Henry James</l>
<l>took his material. [Memories? Memoirs?].</l>
<l>– Single figures all cut off – compared</l>
<l>with E<hi rend="superscript">than</hi></l>
</p>
<p>
<l>–––</l>
</p>
<p>
<l>Coleridge</l>
</p>
<p>
<l>––</l>
</p>
<p>
<l><del>The Fren</del></l>
<l>The 19<hi rend="superscript">th</hi> <choice>
<sic>cent</sic>
<corr>century</corr>
</choice> to [consist of?] outlines of people. </l>
<l>Skip present day</l>
<l>A chapter on the future</l>
</p>
</div>
<div xml:id="notes.4r" n="4 recto">
<p>
<l>From Duncan & Vanessa yesterday I got this idea, a</l>
<l>book explaining lit. from our common standpoint to painters.</l>
<l>This <choice>
<sic>wd.</sic>
<corr>would</corr>
</choice> then be the angle. <del>our</del> It would begin</l>
<l>from the writers angle. That is: we all feel</l>
<l>the desire to create, the [account?] to know about</l>
<l>others in the same condition. This <choice>
<sic>wd.</sic>
<corr>would</corr>
</choice> lead to</l>
<l>an introduction: about the germ of creation:</l>
<l>[thwartings?]; our society; interruptions; conditions.</l>
<l>Can we then see the others, in the same state ––</l>
<l>I <choice>
<sic>shd.</sic>
<corr>should</corr>
</choice> then take a poem & build up round it</l>
<l>the society <choice>
<sic>wh.</sic>
<corr>which</corr>
</choice> <del>a</del> helped it. I <choice>
<sic>shd.</sic>
<corr>should</corr>
</choice> take a</l>
<l>very old <choice>
<sic>anon.</sic>
<corr>anonymous</corr>
</choice> poem. I <choice>
<sic>shd.</sic>
<corr>should</corr>
</choice> distinguish between</l>
<l>the actual scene: the weather: the house: the</l>
<l>patron; society: make it chronological</l>
<l>often deviate. Bring in Latin, Italy, Greece.</l>
</p>
<p>
<l>–––</l>
</p>
<p>
<l>The universality of the creative instinct...</l>
<l>Stone, wool, words, paint. discuss words</l>
<l>Always keep the writer in the fore ground. Make out a</l>
<l>rough plan of the different helps & hinderances</l>
<l>a sketch, a guess.</l>
<l>The patron, the Girl at the door, the wind & the</l>
<l>rain.</l>
</p>
<p>
<l><hi rend="underline">Evolve <del>in</del> the town</hi>: the Great house. Fill</l>
<l>England with people. Take samples. <del>No</del> Both of</l>
<l>art & of the outer pressure.</l>
<l>Then increase the number of figures.</l>
<l>Describe the growth of London. <hi rend="underline">The small county town.</hi></l>
<l><hi rend="underline">The audience at the play.</hi> <hi rend="underline">At the fireside.</hi></l>
<l>Keep a running commentary upon the external.</l>
<l>The "modern" the growth of articulateness</l>
<l>The split into several languages for writers</l>
<l>Advertisements, Reviews, Travel, Society. Make a</l>
<l>sketch of 19<hi rend="superscript">th</hi> <choice>
<sic>cent.</sic>
<corr>century</corr>
</choice> society.</l>
</p>
</div>
<div xml:id="notes.5r" n="5 recto">
<p>
<l>1. Anon</l>
<l>2. <del>The Audience</del> The ear & the eye</l>
<l>3. The individual 3. The audience</l>
<l>4. Words?</l>
</p>
<p>
<l>––––––</l>
</p>
<p>
<l><del>The ear & the</del></l>
<l>The ear & the Eye.</l>
</p>
<p>
<l>–––</l>
</p>
<p>
<l>Music, rhythm, the young ladies singing</l>
<l><del>The</del> The chorus, the sound, the song comes in</l>
<l>The nonsense. The [Beauty?], something very deep ––</l>
<l>primitive, not yet extinct.</l>
<l>The age. Spenser. The pictures.</l>
<l>Spenser. The Renaissance... looking across? at Italy.</l>
<l>Allegory –– making thoughts visible...</l>
</p>
<p>The connection between seeing & writing</p>
<p>Michel Angelo, Leonardo, Blake, Rossetti</p>
<l>A twin gift <choice>
<sic>wh.</sic>
<corr>which</corr>
</choice> shall be born depends on</l>
<l>Nin Crot & Pulley</l>
<l>The writer never becomes a musician...</l>
<l>too technical?</l>
<l>What is 'manner' in writing –– manners –– the influence of the patron</l>
</div>
<div xml:id="notes.6r" n="6 recto">
<p>
<l>The big house where the book is read.</l>
<l>Description of Penshurst, of Lady Rich: Lady Bess of Hardwick</l>
<l>Sir P Sidney Spenser</l>
<l>The artist.</l>
<l>Language.</l>
<l>What <del>books</del> tells on an artist: the thing seen the framework:</l>
<l>The eye, the ear, the senses</l>
<l>The thing properly ended</l>
<l>the individual, the soul</l>
<l>The difference between reading & seeing; acting;</l>
<l>The word heard, its solidity: its depth</l>
<l>How an author cuts deeper to the bone</l>
<l>The anonymous element in the play.</l>
</p>
<p>
<l>––––––––––––––––––––––––––––</l>
</p>
<p>
<l>Chaucer the society he wrote for small and noble</l>
<l>took his points, hit off real people</l>
</p>
<p>
<l>–––</l>
</p>
<p>
<l>Society</l>
<l>The relation between the small houses & the big</l>
<l>The E<hi rend="superscript">than</hi> psychology.</l>
<l><hi rend="underline">Witches.</hi></l>
<l>The number of ignorant</l>
<l>And no English past.</l>
</p>
<p>
<l>–––</l>
</p>
<p>
<l>The writer <del>the f</del> what is his mark? That he</l>
<l>engages dispassionately: has a split in his consciousness?</l>
<l>The condition? The E<hi rend="superscript">tn</hi> writer who had no</l>
<l>literary past; only read classics in translation</l>
<l>Did <choice>
<sic>Sh<hi rend="superscript">re</hi></sic>
<corr>Shakespeare</corr>
</choice> read Chaucer?</l>
<l>[Irresponsibility?] Words without associations</l>
<l>No conventions; no difference; <choice>
<sic>cd.</sic>
<corr>could</corr>
</choice> invent.</l>
</p>
<p>
<l>–––</l>
</p>
<p>
<l>When <del>did</del> was the first theatre built?</l>
<l>The theatre for those who cant read.</l>
<l>brought in [pit & gallery?]. But did the</l>
<l>nobles 'go to the play'?</l>
</p>
</div>
<div xml:id="notes.7r" n="7 recto">
<p>
<l>Influence of the bible on prose. The biblical style limited</l>
<l>& emphatic</l>
<l>The untaught wrote more as we do –– the Bacon letters</l>
<l>She quotes Latin & French, the servant is racy.</l>
</p>
</div>
<div xml:id="notes.8r" n="8 recto">
<p>
<l>Lady Anne Clifford</l>
<l>Aug 1617– 1619</l>
</p>
<p>
<l><hi rend="underline">76</hi></l>
<l>I spent most of my time in playing at</l>
<l>Glecko & hearing Moll Neville</l>
<l>read the Arcadia.</l>
</p>
<p>
<l><hi rend="underline">41</hi></l>
<l>sat & heard Rivers & March read Montaignes</l>
<l>Essays</l>
</p>
<p>
<l><hi rend="underline">52</hi></l>
<l>Rivers used to read to me in Montaignes</l>
<l>essays & Moll Neville in the Faery Queen</l>
</p>
<p>
<l><hi rend="underline">56</hi></l>
<l>read ver the Chronicles when in trouble</l>
</p>
</div>
</body>
</text>
</TEI>