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Woolf and Joyce 423 consciousness’; particularly how her memories of the past mingle with perceptions of the present and how the constant switches in tense capture the simultaneous nature of her experiences. There is no simple chronology to ‘what happens’; that would be false to the immediacy of Lily’s experience. In fact, there is only minimal reference to an outside world (for example, ‘stepping back a foot or so’) – actions and external movement which would receive more emphasis in traditional novels and which contrast here with a varied and complex inner movement. The point of view here is also complex and varied. It seems to belong both to Virginia Woolf, the author, and to Lily, the character, but not clearly to either. In a traditional novel, the thoughts and speech of the characters would be clearly marked by she said or she thought with appropriate quotation marks and with the point of view of the author definitely present. The effect is less certain for the reader who has to work harder to make meanings, and there is very little direction given by the author who does not directly interpret for her readers what is happening. The term ‘stream of consciousness’ is widely used, indeed perhaps over-used. The concern of writers is to ‘examine for a moment an ordinary mind on an ordinary day’, as Virginia Woolf put it herself in an essay entitled Modern Fiction. But the techniques are employed differently by different writers. A major, some think the major, Modernist writer who shares Virginia Woolf ’s concern to render the inner life of characters is James Joyce. Joyce’s techniques of stream of consciousness are different from Virginia Woolf ’s. The following extract from his novel Ulysses (1922) provides an interesting comparison. The main character in the novel is Leopold Bloom: He entered Davy Byrne’s. Moral pub. He doesn’t chat. Stands a drink now and then. But in leapyear once in four. Cashed a cheque for me once. What will I take now? He drew his watch. Let me see now. Shandygaff? —— Hellow, Bloom! Nosey Flynn said from his nook. —— Hello, Flynn. —— How’s things? —— Tiptop —— Let me see —— Sardines on the shelves. Almost taste them by looking. Sandwich? —— What is home without Plumbtree’s potted meat? Incomplete. What a stupid ad! —— Eat, drink and be merry. Then casual words full after. Heads bandaged. Cheese digests all but itself. Mighty cheese. —— Have you a cheese sandwich? ——Yes, sir.
424 The twentieth century: 1900–45 There is some overlap between the narrator’s voice and the character’s voice and the same concentration on Bloom’s interior monologue. The movement of the prose is, however, more staccato and less poetic in rhythm and imagery. In linguistic terms, the fragmentation of narration is often represented by unusual cohesion, or changes in the normal ways of linking sentences, paragraphs, and narration. This leads to unusual jumps, juxtapositions, and connections, often also marked by unusual or missing punctuation, which can create unexpected visual or graphological effects on the page. Stream of consciousness takes these effects to extremes, often abandoning cohesion, syntax, and punctuation and lexical correctness which previously brought order and clarity to narration. Much modern writing has continued these linguistic experiments introduced in the 1920s. The world recorded here reflects the presence of the everyday in Bloom’s consciousness. It is in keeping with the character of Bloom himself who is portrayed as an ordinary, average man, most of whose thoughts tend to be about the immediate world around him. Bloom’s stream of consciousness is made up of strange, inconsequential associations. Memories are prompted, unusual ideas connected, playful links created between words of similar sound or meaning. The style is kaleidoscopic and the language often ungrammatical, but rules are broken in order to represent the workings of Bloom’s mind. In other parts of Ulysses, Joyce’s experiments with language are even more innovative and experimental. Here is an extract from the famous interior monologue of Molly Bloom, Leopold Bloom’s wife, which occurs at the end of the novel. It is at the end of the day (the novel describes one day in the life of the characters in June 1904), and Molly Bloom is lying in bed, half-awake and half-asleep. Molly’s monologue lasts for almost fifty pages and is totally without punctuation: what shall I wear shall I wear a white rose those cakes in Liptons I love the smell of a rich big shop at 7 1/2d a pound or the other ones with cherries in them of course a nice plant for the middle of the table I love flowers Id love to have the whole place swimming in roses God of heaven theres nothing like nature the wild mountains then the sea and the waves rushing – The stream of consciousness here is in a freer, looser style and captures
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The Routledge History of Literature
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First published 1997 by Routledge 1
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Contents List of illustrations Fore
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Contents ix The Gothic and the subl
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Contents xi THE TWENTIETH CENTURY:
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Illustrations Figure 1 Linguistic b
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xvi Foreword The Routledge History
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xviii Foreword and burlesque and sa
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From the earliest stages, Malcolm B
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Beowulf, the Dane, dear king of his
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6 Old and Middle English 600-1485 T
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8 Old and Middle English 600-1485 t
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10 Old and Middle English 600-1485
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22 Figure 2 The greatest extent of
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The Renaissance 1485-1660
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58 The Renaissance 1485-1660 centur
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60 The Renaissance 1485-1660 would
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62 The Renaissance 1485-1660 were n
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64 The Renaissance 1485-1660 ‘To
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66 The Renaissance 1485-1660 I find
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68 The Renaissance 1485-1660 Mid-su
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70 The Renaissance 1485-1660 and a
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72 The Renaissance 1485-1660 I had
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74 The Renaissance 1485-1660 Faustu
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76 The Renaissance 1485-1660 perfor
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78 The Renaissance 1485-1660 Greek
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80 The Renaissance 1485-1660 47); a
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82 The Renaissance 1485-1660 the Re
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84 The Renaissance 1485-1660 years
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86 The Renaissance 1485-1660 Renais
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88 The Renaissance 1485-1660 terms
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90 The Renaissance 1485-1660 Shakes
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92 The Renaissance 1485-1660 1601 2
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94 The Renaissance 1485-1660 The pu
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96 The Renaissance 1485-1660 Shakes
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98 The Renaissance 1485-1660 most o
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100 The Renaissance 1485-1660 And s
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102 The Renaissance 1485-1660 I all
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104 The Renaissance 1485-1660 In mu
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106 The Renaissance 1485-1660 my he
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108 The Renaissance 1485-1660 Thou
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110 The Renaissance 1485-1660 Trahe
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112 The Renaissance 1485-1660 Old T
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114 The Renaissance 1485-1660 misun
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116 The Renaissance 1485-1660 from
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118 The Renaissance 1485-1660 The t
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120 The Renaissance 1485-1660 Middl
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122 The Renaissance 1485-1660 GIOVA
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124 The Renaissance 1485-1660 SIR B
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126 The Renaissance 1485-1660 The s
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Thy wars brought nothing about; Thy
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Contexts and conditions 131 Sea; no
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Early Milton 133 Revolution was the
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Early Milton 135 good and evil as t
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Early Milton 137 the hero from the
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Restoration drama 139 many lives as
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Restoration drama 141 Revenge! PIER
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Restoration drama 143 One of the fi
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Restoration drama 145 prohibiting
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Restoration drama 147 LOVELESS No,
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Restoration drama 149 PRIM Do they
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Rochester 151 The Theatres Licensin
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Dryden 153 what it saw as the highe
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Dryden 155 his best, and his transl
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Pope 157 POPE True wit is nature to
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Journalism 159 And, spite of pride,
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Scottish Enlightenment, diarists an
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The novel 167 and the social awaren
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The novel 169 Each serial volume of
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The novel 171 paraphrase Pope: what
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The novel 173 polemic comes when he
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The novel 175 That kingdom he hath
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The novel 177 opportunity to set fo
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The novel 179 sentence of death. He
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Criticism 181 to do with that work.
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Johnson 183 (1712). Swift took the
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Johnson 185 There are some hostile
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Sterne, Smollett and Scottish voice
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Drama after 1737 195 MISS HARDCASTL
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Poetry after Pope 197 Thomas Gray
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Poetry after Pope 199 Nor rural sig
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Poetry after Pope 201 but by no mea
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Melancholy, madness and nature 203
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The Gothic and the sublime 209 Burk
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The Gothic and the sublime 211 conc
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The Gothic and the sublime 213 all
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Bliss was it in that dawn to be ali
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Contexts and conditions 219 and mor
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Contexts and conditions 221 economi
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Contexts and conditions 223 past, p
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Blake, Wordsworth and Coleridge 225
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Keats 235 and completing the poetic
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Keats 237 beauty but at the same ti
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Shelley 239 Keats also gives us occ
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Shelley 241 or sail around Venice.
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Byron 243 Each like a corpse within
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Byron 245 What I have done is done;
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Byron 247 Though the night was made
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Romantic prose 249 Bright yellow is
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Romantic prose 251 one of the Immor
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The novel in the Romantic period 25
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Jane Austen 255 the remotest antiqu
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Jane Austen 257 she wrote in her le
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Jane Austen 259 LANGUAGE NOTE Jane
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Scott 261 and scarcely even picture
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Scott 263 She coloured highly, and
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From Gothic to Frankenstein 265 flu
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The Scottish regional novel 267 (18
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The nineteenth century
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272 The nineteenth century of Queen
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274 The nineteenth century Smollett
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276 The nineteenth century Hard Tim
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278 The nineteenth century Podsnap
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280 The nineteenth century income a
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282 The nineteenth century cover su
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284 The nineteenth century in some
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286 The nineteenth century earlier
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288 The nineteenth century the end.
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290 The nineteenth century Charlott
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292 The nineteenth century by Dicke
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294 The nineteenth century the ‘v
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296 The nineteenth century LATE VIC
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298 The nineteenth century fathers
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300 The nineteenth century In his l
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302 The nineteenth century An old w
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304 The nineteenth century is a cla
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306 The nineteenth century there ca
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308 The nineteenth century Renaissa
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310 The nineteenth century of Doria
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312 The nineteenth century Most of
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314 The nineteenth century embellis
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316 The nineteenth century Irish; F
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318 The nineteenth century justifie
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320 The nineteenth century However,
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322 The nineteenth century mode of
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324 The nineteenth century the firs
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326 The nineteenth century Its titl
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328 The nineteenth century also saw
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330 The nineteenth century aware so
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332 The nineteenth century Stitch!
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334 The nineteenth century Her robe
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336 The nineteenth century year as
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338 The nineteenth century twentiet
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340 The nineteenth century But if y
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342 The nineteenth century we can r
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The twentieth century 1900-45
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348 The twentieth century: 1900-45
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474 The twentieth century: 1945 to
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544 Timelines 802 Egbert of Wessex
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546 Timelines 1189 Accession of Kin
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548 Timelines became King Henry VI
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550 Timelines 1513 Niccolo Machiave
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552 Timelines 1578 Opening of The T
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554 Timelines 1685 Death of Charles
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556 Timelines 1811-12 The campaign
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558 Timelines the USA expanded towa
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560 Timelines USA, which demanded t
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562 Timelines conceded. The phrase
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564 Timelines policy, with enormous
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Acknowledgements W.H. AUDEN, Their
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568 Acknowledgements D.H. LAWRENCE,
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Select bibliography The following b
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572 Select bibliography Dollimore,
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574 Select bibliography Miner, Earl
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576 Select bibliography Burrow, J.W
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578 Select bibliography Sinfield, A
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580 Index Ballantyne, R(obert) M(ic
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582 Index Cockburn, Alison (c.1712-
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584 Index Gaskell, (Mrs) Elizabeth
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586 Index Keats, John (1795-1821) 1
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588 Index Morris, William (1834-96)
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590 Index Seneca, Lucius Annaeus (c
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592 Index Waugh, Evelyn (1903-66) 3
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