Another of my essays for the MOOC course on Modernism. Title: Compare the approach to the ordinary in Emerson and Woolf.
The word ‘ordinary’ is somewhat Janus-faced. It can stand for the conventional, which Ralph Waldo Emerson (born 1803) raved against, and it can suggest the ‘unspoilt’ and ‘the unexceptional’ which Virginia Woolf took as her raw material. In this essay, I explore how Emerson and Woolf encompass some of these meanings.
The very title of one of Emerson’s essays, Self-Reliance, signals his revolt against convention. He writes,
Let us affront and reprimand the smooth mediocrity and squalid contentment of the times. . .
A paragraph later he wonders why we attach so much importance to royalty and the aristocracy. This is the familiar Enlightenment denunciation of privilege which came to a head in the American and French Revolutions.
Kingdom and lordship, power and estate, are a gaudier vocabulary than private John and Edward in a small house and common day’s work; but the things of life are the same to both. Why all this deference to Alfred and Scanderberg and Gustavus?
In other words we are all subject to birth, disease and death on the one hand and moments of happiness on the other hand. It makes little difference whether we are kings or commoners. (Although historians often point out that those born in poverty have had a huge handicap. Anyway, Emerson was attacking the upper end of the social strata in this paragraph.)
Emerson’s view of the innate goodness of humankind can also remind us of Rousseau’s ‘noble savage.’ He writes:
What is the aboriginal Self on which a universal reliance may be grounded? [. . .] We note this primary wisdom as intuition, whilst all later teachings are tuitions.
In calling upon us to be self-reliant Emerson is pointing to the opposite state of affairs; that we are mostly slaves of convention and the ideas of others. He describes us as weak figures in contrast to what exists in nature:
Man is timid and apologetic. He is no longer upright. He dares not say ‘I think, I am,’ but quotes some saint or sage […] These roses under my window make no reference to former roses. . . there is no time to them. There is simply the rose; it is perfect in every moment of its existence.
Along with Kant, Hegel, Diderot and Voltaire, he recognises the challenge of thinking for oneself. Remember Kant’s Sapere aude! – ‘Dare to find out.’ In this sense, the ‘ordinary’ is conflated with consensus thinking; with the dead weight of historicism. Like Rousseau he wants us to have the courage to be ‘ahistorical’ – to act from the ‘divine spark’ within. (Yes, Emerson believed in God; albeit his was a pantheistic belief.)
And truly it demands something godlike in him who has cast off the common motive of humanity, and has ventured to trust himself for a task-master.
He downgraded the tendency to seek virtue from past exemplars:
Whenever a mind is simple and receives divine wisdom, then old things pass away – means, teachers, texts, temples fall; it lives now and absorbs past and future into the present hour. [. . .] The centuries are conspirators against the sanity and majesty of the soul.
Virginia Woolf not only embraced ‘the ordinary’ but, like a Zen Master, elevated it to ‘the extraordinary.’ In one of her last diary entries, written in 1941, she more than hints at her technique of writing fiction:
I mark Henry James’ sentence – observe perpetually. Observe the outcome of age. Observe greed. Observe my own despondency. I find that it’s seven and I must cook dinner, haddock and sausage meat. I think it is true that one gains a certain hold on sausage and haddock by writing them down.
Other lexical relatives of the word, ‘ordinary’ include, mundane, humdrum and routine. The repetitive, oppressive nature of life has been humorously portrayed in the film, Groundhog Day and more chillingly in Albert Camus’s essay, Sisyphus. Woolf’s evocation of the extraordinary amongst mundane, transient phenomena can be regarded as her revolt against the temporal and the tendency to ‘package’ experience as ‘this’ or ‘that.’ Woolf often achieves this expansive view of life by describing details in a decidedly mystical tone. Here in The Waves:
You hear me breathe. You see the beetle too carrying off a leaf on its back. It runs this way, then that way, so even your desire while you watch the beetle, to possess one single thing must waver, like the light in and out of the beach leaves. . .
One of the chief characteristics of modernism is its abandonment of religious faith and moral certainties. Lily, in To the Lighthouse, expresses it well:
The great revelation had never come. The great revelation perhaps never did come. Instead there were little daily miracles, illuminations, matches struck unexpectedly in the dark; here was one.
In the novel Lily’s painting is symbolic of the aesthetic outlook; to make something permanent within the impermanent:
In the midst of chaos there was shape; this eternal passing and flowing (she looked at the clouds going and the leaves shaking) was struck into stability.
To bring some of these themes up to date: to live without a ‘comfort blanket’ belief in God is not difficult today. But to live a life of self-reliance and scepticism towards all consensus thinking requires inner resolution and courage. To resist rampant consumerism and negotiate a path through fake news and outright lies tests one’s faith in humankind. What can we rely on, apart from our own moral compass amidst today’s cultural convulsions? In the ordinary course of life we too easily think that what we have is permanent; status, health, possessions, relationships and so on. It can come as a shock that nothing we have is permanent. Woolf portrays this aspect of contemporary life vividly in her novels.
Emerson had a bulkhead against modernist angst – he had a religious faith. Woolf, on the other hand is more representative of modernism’s uncertainties and shifting sands. Her ‘despondency’ ended in suicide.
The etymological roots of the word ‘ordinary’ include the verb ‘to order’ in the sense of to arrange. Woolf’s existential/secular independence resulted in a modest, limited solution to the challenges of existence. She selected and ‘ordered’ words in paragraphs to create a fictional world which reflected the fragmentary, subjective world revealed by science, psychology and politics in the twentieth century.
All Things Creative 