Abstract
It is so tempting, even to those with no aesthetic axe to grind, to see in an artist’s oeuvre the beauty and completion which were perhaps denied to their individual productions. Between the Acts can be seen as Woolf’s swansong, her farewell to an art form which failed her just as the villagers, cows, gramophone and audience failed Miss La Trobe. It is difficult to imagine a successor to that novel; but then, it is just as difficult to imagine successors to Woolf’s previous novels. Forster’s A Passage to India is perhaps more understandably a final novel, not simply from the evidence of the author’s subsequent silence.
The best critics … wrote of literature with music and painting in their minds. 1
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Notes
M. S. Shanahan, ‘Between the Acts: Virginia Woolfs Final Endeavour in Art’, Texas Studies in Literature and Language, 14 (Spring 1972 ) 138.
R. S. Cammarota, ‘Musical Analogy and Internal Design in A Passage to India’, English Literature in Transition, 18 (1975) 39–46.
Clive Bell, Since Cézanne ( London: Chatto & Windus, 1929 ) p. 106.
D. S. Savage, The Withered Branch ( London: Eyre & Spottiswoode, 1950 ) p. 71.
Virginia Woolf, A Room of One’s Own (Harmondsworth: Penguin, 1945) pp. 43, 72, 77.
Jacqueline Thayer, ‘Virginia Woolf: From Impressionism to Abstract Art’ (unpublished dissertation, University of Tulsa, 1977 ) p. 22.
Alan Wilde, Art and Life ( New York: New York University Press, 1964 ) p. 159.
Austin Warren, Rage for Order ( Ann Arbor: University of Michigan Press, 1959 ) p. 122.
E. M. Forster, Pharos and Pharillon ( London: Hogarth, 1923 ) p. 83.
Mark Golding, ‘Virginia Woolf and the Critic as Reader’, in Virginia Woolf, ed. Claire Sprague (Englewood Cliffs, NJ: Prentice-Hall, 1971 ) p. 161.
Virginia Woolf, The Moment and Other Essays ( New York: Harcourt Brace Jovanovich, 1974 ) p. 173.
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© 1985 David Dowling
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Dowling, D. (1985). Conclusion. In: Bloomsbury Aesthetics and the Novels of Forster and Woolf. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-17673-1_9
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