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6 - ‘. . . and nothing whatever happened’: Orlando’s Continuous Eruptive Form

Published online by Cambridge University Press:  06 May 2021

Elsa Högberg
Affiliation:
Uppsala University
Amy Bromley
Affiliation:
University of Glasgow
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Summary

He saw the beech trees turn golden and the young ferns unfurl; he saw the moon sickle and then circular; he saw – but probably the reader can imagine the passage which should follow and how every tree and plant in the neighbourhood is described first green, then golden; how moons rise and suns set; how spring follows winter and autumn summer; how night succeeds day and day night; how there is first a storm and then fine weather; how things remain much as they are for two or three hundred years or so, except for a little dust and a few cobwebs which one old woman can sweep up in half an hour; a conclusion which, one cannot help feeling, might have been reached more quickly by the simple statement that ‘Time passed’ (here the exact amount could be indicated in brackets) and nothing whatever happened.

The wondrous whimsy of this sentence shows the hand of a writer so confident in her craft that she can self-mock, choreograph a textual performance with abandon and eight semi-colons, and embody in an act of deconstruction her mastery of the tools she has made from her own ideas. Mixing metaphors, Woolf is a juggler, throwing all the balls in the air, and still holding the pattern of form and order when the sentence settles. In a radical act of textual and literal housekeeping (much like that of the old cleaning woman in the sentence), with a bold clearing of the textual space, Woolf enacts the scrubbing clean of the canvas, the rubbing out of the meanings and the words. She shows not only the brush strokes, but also the rag that wipes them clean, and as she says, mockingly, this clearing work only takes one old woman half an hour. When the change comes, it comes fast. It lets in the air, the light and the colour of a new perception. It breaks the bond between words and old meanings, and enacts the undoing of mimetic representation.

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Chapter
Information
Sentencing Orlando
Virginia Woolf and the Morphology of the Modernist Sentence
, pp. 80 - 91
Publisher: Edinburgh University Press
Print publication year: 2018

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