Reaching Mrs. Brown: Interiority and Typification
Character, wrote Arnold Bennett, is at the heart of the novel; yet Virginia Woolf in her prove Mr. Bennett and Mrs. Brown responded that Bennetts attempts at characterisation were pre-occupied with physical surroundings; his thirst for material description left his characters bare. Taking as her representative a putative Mrs. Brown, elderly, destitute, proud and afraid, she proposes that Bennett would, in describing her, intricately and skillfully depict the carriage, the bulging of the upholstery, and the advertisements whilst leaving Mrs. Brown herself unexplained. She writes that Bennett, whom she goes on to put describes his characters by sketching their houses, believes that Old women of course ought to be made of freehold villas and copy estates, not of the imagination. Character, says Woolf in her essay, switch overd irrevocably before the War, and a concomitant change in style of writing is necessary to reflect this. Life says Woolf of Bennetts inadequate writing, escapes.
Going on to call for freshly modes of expression to reflect this new character, in Mr. Bennett and Mrs. Brown, and also in Modern Fiction and The narrow-minded Bridge of Art, she says that in order to portray interiority as well and fully as they wish, Grammar is violated, syntax disintegrated by the Georgian writers. She goes on; Mr.
Joyces indecency in Ulysses seems to me the conscious and calculated indecency of a man who feels that in order to breathe he mustiness break windows. She asks, dramatically, for a smashing and a crashing. of literary convention. E.M. Forster agreed with her diagnosis of the paradigm shift in character, saying that psychology had split and shatter the idea of the Person and D. H. Lawrence similarly concurred, rejected what he called the old immutable ego of character, joining Woolf in search of...
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