Bloomsbury Aesthetics and the Novels of Forster and Woolf by David Dowling

By David Dowling

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35 20 Bloomsbury Aesthetics and Forster and Woolf In his introduction, Fry claimed the book was written so that I might let some or all those variegated, vivid, and odd impressions run themselves clear on to paper before they became part of the vague mist of blurred images which move like ghosts in the dim world of the past. It has been botched together from scraps written . . whenever or wherever, in short, the chance of crystallizing some of these haunting images in words presented itself to a capricious and unmethodical mind.

It has been botched together from scraps written . . whenever or wherever, in short, the chance of crystallizing some of these haunting images in words presented itself to a capricious and unmethodical mind. 36 The emphasis of both Fry and his 'editor' was on the structure of the book ('shape', 'construction'), which has no mathematical balance but follows spontaneously the weight of each moment. It is reminiscent of Sterne's Sentimental Journey, which Woolf was quoting from two years earlier injacob's Room and whose creator Fry and Woolf enjoyed together.

The fact remains suspended while we watch it gradually changing its shape, its colour, its consistency . . Proust brings the past into the present and creating a shape not in space but in time . . situations unfold themselves not like flowers even but like tunes. 40 The musical analogy was the more likely one to be used by Bell, perhaps because of his 'purer' aesthetic tastes. One of his favourite descriptive terms was 'rhythm', while for Fry 'plasticity' with its spatial references was more important.

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