An Analysis of the Music and Painting Characteristics in The Mark on the Wall15.docx
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An Analysis of the Music and Painting Characteristics in The Mark on the Wall15.docx
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AnAnalysisoftheMusicandPaintingCharacteristicsinTheMarkontheWall15
AnAnalysisoftheMusicandPaintingCharacteristicsinTheMarkontheWall
Abstract:
VirginiaWoolfstandsfirmlyamongthebestwritersofstreamofconsciousnessinthe20thcenturyforheruniqueandpenetratingideasaswellasherwritinglanguage,andhersensitivityandintelligenceprovidesherandifferentspiritualworldfromhercontemporaneousmalewriters.Inherwork,readerscouldsmellthefragranceofnature,enjoythejourneyofherfloatingminds,andappreciatethesixmovementscentoperformedbyherwords.Inherwork,writingisembeddedintopictures,andmusicisflowingamongthewords.TheMarkontheWallisconsideredthefirstrealworkofstreamofconsciousnesswrittenbyVirginiaWoolf,soitisimportanttoanalyzethecharacteristicsinthisshortstoryinordertoknowmoreaboutVirginiaWoolfandstreamofconsciousnesswriting.Infact,intheshortstory,VirginiaWoolfisnotonlywritingastoryforreaders,butalsopaintingandperforming.Baseontheanalysisofthetextandwiththehelpofsomepaintingandmusicaltheoriesandskills,thepaperaimsatexplorationandappreciationoftheshortstoryfromtheperspectiveofpaintingandmusic.
KeyWords:
TheMarkontheWall;streamofconsciousness;VirginiaWoolf;music;painting
Introduction
Afterreadingastory,readersmayhaveaclearlineabouthowthestorystarts,howitendsandmayalwaysrememberthemaincharactersorevenpainttheprotagonist'simageinmind.However,inTheMarkontheWallreaderscouldtastetheflavorofashortstorywithoutcharacter,plotandevenexactdropscene.ThesensitivefemalewriterVirginiaWoolfisoneoftheleadingwriterswhoopenedthecurtaintoanewworldinnovelwriting——streamofconsciousness,whichisanliteraltrendintheearly20thcenturyandregardedasthebeginningofthemodernistwriting.
TheshortstoryTheMarkontheWallisanexperimentalworkandconsideredthefirstrealstreamofconsciousnesswritingbyVirginiaWoolf,sincethestoryisnarratedwithoutplot,protagonist,andexactend.Intheshortstory,VirginiaWoolfisnotonlywritingastoryforreaders,butalsopaintingandperforming,sheexplorespaintingskillssuchasjuxtapositionofcolorsofImpressionism,subjectiverealityofbothliteralwritingandpaintingofPost-Impressionismin20thcentury.Additionally,VirginiaWoolfalsobuildsupabridgebetweenherwritingandmusiccomposing,andherexquisitelanguageskillsmakehercompositionapieceofcentoatthesametime.
Consequently,thestoryisnotonlyawhiteandblackstationarywriting,butalsoacolorfulvocalworkwhichislikeariverofVirginia'sfloatingmind.Wordsembodythoughtsandfeelings,andinVirginia'sTheMarkontheWall,herthoughtsandfeelingschangetheformwhichisdifferentinapproachbutequallysatisfactoryinresult.
Ⅰ.VirginiaWoolfandTheMarkontheWall
VirginiaWoolf(1882—1941),Englishnovelistandcritic,isborninLondon,andisamemberofanuppermiddle-classfamily,whichhasastronginfluenceuponherandherwriting.Virginiaiseducatedforthemostpartbyherparents,athome,andinheradolescenceVirginiaisgiventherunofherfather’slibrary.Herhoursofreadingthereareherrealeducation.VirginiaWoolf’swritingcareermaybesaidtohavebegunwhensheisnineyearsoldandstartsaweeklypaper,TheHydeParkGateNews.Fromabouttheageoffifteenshehasbeentrainingherselftowriteprofessionally,keepingjournalnotebooksinwhichshedescribsherroundofactivitiesandacquaintances.SevenofthesejournalshavebeenpublishedunderthetitleAPassionateApprentice.
Virginiamarriesthewriter,LeonardWoolfin1912whosupportsherwritingallherlife.Thecoupleshareastronginterestinliteratureandin1917foundstheHogarthPress.VirginiawroteaboutliteratureforTheNationandinanarticlepublishedinDecember,1923,attackstherealismofArnoldBennettandadvocatesamore“internalapproach”toliterature.ThisarticleisanimportantstepinthedevelopmentofwhatbecomeknownasModernism.VirginiaWoolfrejectesthetraditionalframeworkofnarrative,descriptionandrationalexpositioninproseandmakesconsiderableuseofthestreamofconsciousnesstechniquetorecordtheflowofthoughtsandfeelingsastheypassthroughthecharacter’smind.Sheconcentratesalltheeffortsondiggingintothehumanconsciousnessandpresentingafantasticpictureofthedisjointed,illogical,illusory,andmentalmotionallife.
Stream-of-consciousnesswritingisusuallyregardedasaspecialformofinteriormonologueandischaracterizedbyassociative(andattimesdissociative)leapsinsyntaxandpunctuationthatcanmaketheprosedifficulttofollow,tracingacharacter'sfragmentarythoughtsandsensoryfeelings.Instreamofconsciousnesswriting,thespeaker'sthoughtprocessesaremoreoftendepictedasoverheardinthemind(oraddressedtooneself),whichisprimarilyafictionaldevice.ThetermisfirstintroducedtothefieldofliterarystudiesfromthatofpsychologybyaphilosopherandpsychologistWilliamJames,brotheroftheinfluentialwriterHenryJames.ThisapproachisexploredinmanyofVirginia’snovelssuchasthemostfamousMrs.Dalloway(1925),TotheLighthouse(1927),andTheWaves(1931),buttheshortstoryTheMarkontheWallisconsideredthefirstrealstreamofconsciousnesswritingbyVirginia.
TheshortstoryTheMarkontheWallisanexperimentalworkandconsideredthefirstrealstreamofconsciousnesswritingbyVirginiaWoolf.AtthetimeshewriteTheMarkontheWall,VirginiaWoolfisquiteenthusiasticaboutthenewabilitytorevealtheflickeringsofthatinnerflamewhichflashesitsmessagesthroughthebrain.InsummarizingherowntechniqueinTheMarkontheWall,shedescribsthosemessagesasmyriadimpressionswhichshelistedastrivial,fantastic,evanescent,orengravedwiththesharpnessofsteel.HereffortstorecordthefloworstreamofconsciousnessistherevolutionarycomponentsofModernismwhichisontwocrucialfactors.OneistheworkofthePost-Impressionistpainters.Theotherwasthetheoreticalworkbeingdoneinparticlephysicsandquantum.VirginiawasmuchlessdirectlyfamiliarwiththelatteronesoinTheMarkontheWall,readerscouldjustnoticetheinfluencethatpaintingmakesuponVirginiaWoolf'swriting.Thefollowingpartofthepaperwillaimatexplorationandappreciationoftheshortstoryfromtheperspectiveofpaintingandmusic.
Ⅱ.ThePaintingCharacteristicsinTheMarkontheWall
A.TheGeneralViewfromthePerspectiveofPainting
ItcanbesaidthatalmosteveryoneknowstheworldfamouspainterLeonrdoDaVinci'sworldcelebratedoilpainting——MonaLisa’sSmile.Overtheyears,expertstriedhardtofindoutthearchetypeofthiswomaninordertoknowmoreabouthermysterioussmile.Someexpertssaythatobservationfromdifferentanglespresentdifferentsmiles,andevenbringaboutadoubtwhethersheissmiling.Thispaintingisfullofmysteriousstories,whichbringsitselfsuchahighreputationallovertheworld.
InMonaLisa'sSmile,atypicalpaintingskillnamed"sfumato"isused,whichmakesthisoilpaintingbecomedelusive.SfumatoisanItaliantermforthepaintingtechniquewhichoverlaystranslucentlayersofcolortocreateperceptionsofdepth,volumeandform.Inparticular,itreferstotheblendingofcolorsortonessosubtlythatthereisnoperceptibletransition.
Leonardoiscloselyassociatedwiththetechnique"sfumato",andoneofthebest-knownexamplesishisMonaLisa.CriticsandarthistorianshavearguedoverwhetherornottheMonaLisaissmiling.Thisdebateisduetotheuseofsfumatoaroundhermouth,makingitamysteryastowhethertheshadowsarearesultofasmileorwhetherthesmileisaresultoftheshadows.InVirginiaWoolf'sworkTheMarkontheWall,herwritingbutherwordshavethesameeffectaswhatthispaintingbringstothesmile.
InTheMarkontheWall,Virginiashowsherreadersamysteriousworldwithherwildimagination.Themarkisnotonlytheclueofa3000wordsstory,butalsotheclueforreaderstoappreciateVirginia'swritingtalent.Sheuseslotsof"don'tknow"toexpressheruncertainty.Everythingaboutthemarkisamystery,eventhedateforwhatshewritesatthebeginning"Inordertofixadateitisnecessarytorememberwhatonesaw”.Fromthefirstunsureness,hermindisinthewayoffloatingwhichislikethefirstlayerofcolorpaintedwiththeskillofsfumato.Onthefirstlayer,byusingallthesecolorslike"yellowlight","crimsonflag","redknights"and"theblackrock",andwiththeupanddownofthesemagicalbrushes,Virginia'swordsbecomethetinydotsofthepaintingnamedTheMarkontheWall.Herwordsgofluently,fromamarkwhichisignoredbyeveryoneeasilyslidingtoafascinateworldwhichis"anoldfancy,anautomaticfancy."(VirginiaWoolf,2006:
2)Onthefirstlayerofthispainting,readersjustobtainasmokyshapeofeverything.Then,flyingwithhervagariousimagination,thesecondlayerisgettingclosetothereaders.
Subjunctivemoodisusedtostressthathermindisswimmingandallthesethingsareunsureaswell.AccordingtoVirginiaWoolf,"ifthatmarkwasmadebyanail,itcan'thavebeenforapicture,itmusthavebeenforaminiature-theminiatureofaladywithwhitepowderedcurls,powder-dustedcheeks,andlipslikeredcarnations."(VirginiaWoolf,2006:
2)Awhitepoweredcheekwithcarnationsredlipisinfrontofthereaderswhichisalsoamysteriousportraitofalady"becauseonewillneverseethemagain,neverknowwhathappened
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