Bloomsbury Group

From Wikipedia, the free encyclopedia
  (Redirected from Bloomsbury set)
Jump to: navigation, search
This article is about the historic literary group. For the contemporary publishing company, see Bloomsbury Publishing.

The Bloomsbury Group—or Bloomsbury Set—was an influential group of associated English writers, intellectuals, philosophers and artists,[1] the best known members of which included Virginia Woolf, John Maynard Keynes, E. M. Forster and Lytton Strachey. This loose collective of friends and relatives lived, worked or studied together near Bloomsbury, London, during the first half of the 20th century. According to Ian Ousby, "although its members denied being a group in any formal sense, they were united by an abiding belief in the importance of the arts".[2] Their works and outlook deeply influenced literature, aesthetics, criticism, and economics as well as modern attitudes towards feminism, pacifism, and sexuality.[3]

Detailed overview of the better and lesser known members of the Bloomsbury Group

Origins[edit]

Left to right: Lady Ottoline Morrell, Maria Nys (neither members of Bloomsbury), Lytton Strachey, Duncan Grant, and Vanessa Bell

The male members of the Bloomsbury Group, except Duncan Grant, were educated at Cambridge at either Trinity or King’s College. Most of them, except Clive Bell and the Stephen brothers, were members of "the exclusive Cambridge society, the 'Apostles'".[4][5] At Trinity in 1899 Lytton Strachey, Leonard Woolf, Saxon Sydney-Turner and Clive Bell became good friends with Thoby Stephen, and it was through Thoby and Adrian Stephen's sisters Vanessa and Virginia that the men met the women of Bloomsbury when they came down to London.[4][5]

In 1905 Vanessa began the "Friday Club" and Thoby ran "Thursday Evenings" which became the basis for the Bloomsbury Group,[6] which to some "was really Cambridge in London".[4] Thoby's premature death in 1906 brought them more firmly together[5] and they became what is now known as the "Old Bloomsbury" group who met in earnest beginning in 1912. In the 1920s and 1930s the group shifted when the original members died and the next generation had reached adulthood.[7]

The Bloomsbury Group, mostly from upper middle-class professional families, formed part of "an intellectual aristocracy which could trace itself back to the Clapham Sect".[4] It was an informal network[8][9] of an influential group of artists, art critics, writers and an economist — many of whom lived in the West Central 1 district of London known as Bloomsbury.[10] They were "spiritually" similar to the Clapham group who supported its members careers: "The Bloomsberries promoted one another's work and careers just as the original Claphamites did, as well as the intervening generations of their grandparents and parents."[11]

A historical feature of these friends and relations is that their close relationships all predated their fame as writers, artists, and thinkers.[12]

Membership[edit]

Members[edit]

The group had ten core members:[10]

In addition to these ten, Leonard Woolf, in the 1960s, listed as 'Old Bloomsbury' Adrian and Karin Stephen, Saxon Sydney-Turner, and Molly MacCarthy, with Julian Bell, Quentin Bell and Angelica Bell, and David Garnett as later additions".[13] Except for Forster, who published three novels before the highly successful Howards End in 1910, the group were late developers.[14]

There were stable marriages and varied and complicated affairs among the individual members.[11] Lytton Strachey[nb 1] and his cousin and lover Duncan Grant[15] became close friends of the Stephens sisters, Vanessa Bell and Virginia Woolf. Duncan had affairs with Maynard Keynes, James Strachey, Vanessa Bell, and Adrian Stephen. Clive Bell married Vanessa in 1907, and Leonard Woolf returned from the Ceylon Civil Service to marry Virginia in 1912. Cambridge Apostle friendships brought into the group Desmond MacCarthy, his wife Molly, and E. M. Forster.[5]

In addition to Bloomsbury, other noted locations for Bloomsbury meeting were Charleston Farmhouse,[nb 2]where Vanessa Bell and Duncan Grant moved in 1916 and Monk's House now owned by the National Trust, near Lewes in Sussex [nb 3] in Rodmell owned by Virginia and Leonard Woolf starting in 1919.[16]

Two members of the Bloomsbury Group are buried in the Ascension Parish Burial Ground, Cambridge: Sir Desmond and Lady Molly McCarthy; there are also another nine members of the Cambridge Apostles buried in the same cemetery,one of whom is the philosopher G.E. Moore who was a great influence on the Bloomsbury Group.[17][18]

Others[edit]

Much about Bloomsbury appears to be controversial, including its membership and name: indeed, some would maintain that "the three words 'the Bloomsbury group' have been so much used as to have become almost unusable".[19]

Close friends, brothers, sisters, and even sometimes partners of the friends were not necessarily members of Bloomsbury: Keynes’s wife Lydia Lopokova was only reluctantly accepted into the group,[12] and there were certainly "writers who were at some time close friends of Virginia Woolf, but who were distinctly not 'Bloomsbury': T. S. Eliot, Katherine Mansfield, Hugh Walpole".[13] Another is Vita Sackville-West, who became "Hogarth Press's best-selling author".[20] Members cited in "other lists might include Ottoline Morrell, or Dora Carrington, or James and Alix Strachey".[13]

Shared ideas[edit]

The lives and works of the group members show an overlapping, interconnected similarity of ideas and attitudes that helped to keep the friends and relatives together, reflecting in large part the influence of G. E. Moore: "the essence of what Bloomsbury drew from Moore is contained in his statement that 'one's prime objects in life were love, the creation and enjoyment of aesthetic experience and the pursuit of knowledge'".[4]

Philosophy and ethics[edit]

Through the Apostles they also encountered the analytic philosophers G. E. Moore and Bertrand Russell who were revolutionizing British philosophy at the start of the 20th century. Distinguishing between ends and means was a commonplace of ethics, but what made Moore’s Principia Ethica (1903) so important for the philosophical basis of Bloomsbury thought was Moore's conception of intrinsic worth as distinct from instrumental value. As with the distinction between love (an intrinsic state) and monogamy (a behavior), Moore's differentiation between intrinsic and instrumental value allowed the Bloomsburies to maintain an ethical high-ground based on intrinsic merit, independent of, and without reference to, the consequences of their actions. For Moore, intrinsic value depended on an indeterminable intuition of good and a concept of complex states of mind whose worth as a whole was not proportionate to the sum of its parts. For both Moore and Bloomsbury, the greatest ethic goods were "the importance of personal relationships and the private life", as well as aesthetic appreciation: "art for art's sake".[21]

Rejection of bourgeois habits[edit]

Bloomsbury reacted against current social rituals, "the bourgeois habits ... the conventions of Victorian life"[22] with their emphasis on public achievement, in favour of a more informal and private focus on personal relationships and individual pleasure. E. M. Forster for example approved of "the decay of smartness and fashion as factors, and the growth of the idea of enjoyment",[23] and asserted that "if I had to choose between betraying my country and betraying my friend, I hope I should have the guts to betray my country".[24]

The Group "believed in pleasure ... They tried to get the maximum of pleasure out of their personal relations. If this meant triangles or more complicated geometric figures, well then, one accepted that too".[25] Yet at the same time, they shared a sophisticated, civilized, and highly articulated ideal of pleasure. As Virginia Woolf put it, their "triumph is in having worked out a view of life which was not by any means corrupt or sinister or merely intellectual; rather ascetic and austere indeed; which still holds, and keeps them dining together, and staying together, after 20 years".[26]

Politics[edit]

Politically, Bloomsbury held mainly left-liberal stances (opposed to militarism, for example); but its "clubs and meetings were not activist, like the political organizations to which many of Bloomsbury's members also belonged", and they would be criticised for that by their 1930s successors, who by contrast were "heavily touched by the politics which Bloomsbury had rejected".[27]

The campaign for women’s suffrage added to the controversial nature of Bloomsbury, as Virginia Woolf represented the group in the fictional The Years and Night and Day works about the suffrage movement.[28]

Art[edit]

Roger Fry joined the group in 1910. His post-impressionist exhibitions of 1910 and 1912 involved Bloomsbury in a second revolution following on the Cambridge philosophical one. This time the Bloomsbury painters were much involved and influenced.[14][nb 4] Fry and other Bloomsbury artists rejected the traditional distinction between fine and decorative art.[29][nb 1]

These "Bloomsbury assumptions" are reflected in members' criticisms of materialistic realism in painting and fiction, influenced above all by Clive Bell's "concept of 'Significant Form', which separated and elevated the concept of form above content in works of art":[30] it has been suggested that, with their "focus on form ...Bell's ideas have come to stand in for, perhaps too much so, the aesthetic principles of the Bloomsbury Group".[31]

The establishment's hostility to post-impressionism made Bloomsbury controversial, and controversial they have remained. Clive Bell polemicized[clarification needed] post-impressionism in his widely read book Art (1914), basing his aesthetics partly on Roger Fry’s art criticism and G. E. Moore's moral philosophy; and as the war came he argued that "in these days of storm and darkness, it seemed right that at the shrine of civilization - in Bloomsbury, I mean - the lamp should be tended assiduously".[32]

World War I[edit]

Old Bloomsbury’s development was inevitably impacted on, along with just about everything else in modernist culture, by the First World War: indeed, "the small world of Bloomsbury was later said by some on its outskirts to have been irretrivably shattered", though in fact its friendships "survived the upheavals and dislocations of war, in many ways were even strengthened by them".[33] Most but not all of them were conscientious objectors, which of course added to the group’s controversies. Politically the members of Bloomsbury had liberalism and socialism leanings.[34]

Though the war dispersed Old Bloomsbury, the individuals continued to develop their careers. E. M. Forster followed his successful novels with Maurice which he could not publish because it treated homosexuality untragically. In 1915 Virginia Woolf brought out her first novel, The Voyage Out. And in 1917 the Woolfs founded their Hogarth Press, which would publish T. S. Eliot, Katherine Mansfield, and many others including Virginia herself along with the standard English translations of Freud. Then in 1918 Lytton Strachey published his critique of Victorianism in the shape of four ironic biographies in Eminent Victorians, which added to the arguments around Bloomsbury that continue to this day, and "brought him the triumph he had always longed for ... The book was a sensation".[35]

The following year came J. M. Keynes’s influential attack the next year on the Versailles Peace Treaty: "The Economic Consequences of the Peace immediately established Maynard as an economist of international eminence".[36]

Later Bloomsbury[edit]

The 1920s were in a number of ways the blooming of Bloomsbury. Virginia Woolf was writing and publishing her most widely read modernist novels and essays, E. M. Forster completed A Passage to India which remains the most highly regarded novel on British imperialism in India. Forster wrote no more novels but he became one of England’s most influential essayists. Duncan Grant, and then Vanessa Bell, had single-artist exhibitions. Lytton Strachey wrote his biographies of two Queens, Victoria then Elizabeth (and Essex). Desmond MacCarthy and Leonard Woolf engaged in friendly rivalry as literary editors, respectively of the New Statesman and the Nation and Athenaeum, thus fuelling animosities that saw Bloomsbury dominating the cultural scene. Roger Fry wrote and lectured widely on art; meanwhile, Clive Bell applied Bloomsbury values to his book Civilization (1928), which Leonard Woolf saw as limited and elitist, describing Clive as a "wonderful organiser of intellectual greyhound racing tracks".[37]

In the darkening 1930s Bloomsbury began to die: "Bloomsbury itself was hardly any longer a focus".[38] A year after publishing a collection of brief lives, Portraits in Miniature (1931),[citation needed] Lytton Strachey died;[39] shortly afterwards Carrington shot herself. Roger Fry, who had become England’s greatest art critic, died in 1934.[39] Vanessa and Clive’s eldest son, Julian Bell, was killed in 1937 during the Spanish Civil War.[6] Virginia Woolf wrote Fry’s biography but with the coming of war again her mental instability recurred, and she drowned herself in 1941.[39] In the previous decade she had become one of the century’s most famous feminist writers with three more novels, and a series of essays including the moving late memoir “Sketch of the Past”, It was also in the 1930s that Desmond MacCarthy became perhaps the most widely read – and heard – literary critic with his columns in The Sunday Times and his broadcasts with the BBC. John Maynard Keynes’s The General Theory of Employment, Interest, and Money (1936) made him the century’s most influential economist. He died in 1946 after being much involved in monetary negotiations with the United States.[citation needed]

The diversity yet collectivity of Later Bloomsbury’s ideas and achievements can be summed up in a series of credos that were done in 1938, the year of Munich. Virginia Woolf published her radical feminist polemic Three Guineas that shocked some of her fellow members including Keynes who had enjoyed the gentler A Room of One’s Own (1929). Keynes read his famous but decidedly more conservative memoir My Early Beliefs to The Memoir Club. Clive Bell published an appeasement pamphlet (he later supported the war), and E. M. Forster wrote an early version of his famous essay “What I Believe” with its choice, still shocking for some, of personal relations over patriotism: his quiet assertion in the face of the increasingly totalitarian claims of both left and right that "personal relations ... love and loyalty to an individual can run counter to the claims of the State".[40]

Memoir Club[edit]

In March 1920 Molly MacCarthy began the Memoir Club to help Desmond and herself write their memoirs; and also "for their friends to regroup after the war (with the proviso that they should always tell the truth)".[41] It met until 1956[42] or 1964.[43]

Criticism[edit]

If "the contempt or suspicion - the environment that a person or group creates around itself - is always a kind of alter ego, an essential and revealing part of the production",[44] there is perhaps much to be learnt from the (extensive) criticism that the Bloomsbury Group aroused. Early complaints focused on a perceived cliquiness: "on personal mannerisms - the favourite phrases ('ex-quisitely civilized', and 'How simply too extraordinary!'), the incredulous, weirdly emphasised Strachey voice".[45] After World War I, as the members of the Group "began to be famous, the execration increased, and the caricature of an idle, snobbish and self-congratulatory rentier class, promoting its own brand of high culture began to take shape":[32] as Forster self-mockingly put it, "In came the nice fat dividends, up rose the lofty thoughts".[46]

The growing threats of the 1930s brought new criticism from younger writers of "what the last lot had done (Bloomsbury, Modernism, Eliot) in favour of what they thought of as urgent hard-hitting realism"; while "Wyndham Lewis's The Apes of God, which called Bloomsbury élitist, corrupt and talentless, caused a stir"[47] of its own. The most telling criticism, however, came perhaps from within the Group's own ranks, when on the eve of war Keynes gave a "nostalgic and disillusioned account of the pure sweet air of G. E. Moore, that belief in undisturbed individualism, that Utopianism based on a belief in human reasonableness and decency, that refusal to accept the idea of civilisation as 'a thin and precarious crust' ... Keynes's fond, elegiac repudiation of his "early beliefs", in the light of current affairs ("We completely misunderstood human nature, including our own")".[48]

See also[edit]

Notes[edit]

  1. ^ a b Manuscripts and Woodcuts: Visions and Designs from Bloomsbury – Duke University Libraries Digital Collections Includes 12 woodcuts by Roger Fry and the manuscript of Elizabeth and Essex written in Lytton Strachey's hand with 7 miscellaneous manuscript letters.
  2. ^ See Charleston House, A Bloomsbury Home and Garden.
  3. ^ Monk's House Photograph albums at Houghton Library, Harvard University: 1863-1938, 1909-1922., 1890-1933, 1890-1947, 1892-1938 and 1850-1900.
  4. ^ Bloomsbury was also part of Fry’s extension of post-impressionism into the decorative arts with his Omega Workshops, which lasted until 1920.[14]

References[edit]

  1. ^ Fargis, p. 262
  2. ^ Ousby, p. 95
  3. ^ The Bloomsbury Group: Artists, Writers & Thinkers
  4. ^ a b c d e Blythe, p. 54
  5. ^ a b c d Gadd, p. 20
  6. ^ a b Tate, Bloomsbury timeline
  7. ^ Rosenbaum, p. 142
  8. ^ Gadd, pp. 1, 45
  9. ^ Kuper p. 224
  10. ^ a b Avery, p. 33.
  11. ^ a b Kuper, p. 241.
  12. ^ a b Clarke, p. 56
  13. ^ a b c Lee, p. 263
  14. ^ a b c Gadd, p. 103-7
  15. ^ Kuger, p. 231–232
  16. ^ Rosenbaum, pp. 208, 430-431, 437
  17. ^ Sir Desmond MacCarthy (1877 - 1952) - Find A Grave Memorial. Findagrave.com. Retrieved on 2014-04-04.
  18. ^ Lady Mary Josepha "Mollie" Warre-Cornish MacCarthy (1882 - 1953) - Find A Grave Memorial. Findagrave.com. Retrieved on 2014-04-04.
  19. ^ Lee, p. 262
  20. ^ Lee, p. 447
  21. ^ Forster, pp. 64, 96
  22. ^ Lee, p. 54
  23. ^ Forster, p. 111
  24. ^ Forster, p. 76
  25. ^ Snow, p. 84
  26. ^ Quoted in Lee, p. 268
  27. ^ Lee, pp. 263, 613
  28. ^ Koppen, p. 16.
  29. ^ Oxford University Press, p. 477
  30. ^ Ousby, p. 71
  31. ^ Tew and Murray, p. 122, 127
  32. ^ a b Lee, p. 265
  33. ^ Gadd, p. 63
  34. ^ Rosenbaum, p. 112, 393
  35. ^ Gadd, p. 133
  36. ^ Gadd, p. 124
  37. ^ Gadd, p. 112
  38. ^ Gadd, p. 191
  39. ^ a b c Rosenbaum, p. xi
  40. ^ Forster, p. 76-7
  41. ^ Lee, p. 436
  42. ^ Rosenbaum, p. xxxii
  43. ^ Spalding 1991, p. 13
  44. ^ Phillips, p. 149
  45. ^ Lee, p. 267
  46. ^ Forster, p. 65
  47. ^ Lee, pp. 612, 622
  48. ^ Lee, p. 712

Bibliography[edit]

Further reading[edit]

Books and articles
  • Quentin Bell, Bloomsbury, 1986.
  • Leon Edel, Bloomsbury : a house of lions, Philadelphia : Lippincott, c 1979
  • Paul Levy, "Bloomsbury's Final Secret". The Telegraph. 14 Mar 2005
  • Oxford Dictionary of National Biography, 2004.
  • Rindert Kromhout, "Soldaten huilen niet" (Dutch Young Adult novel about the youth of Quentin 2010)
  • Steve Moyers. "British Modernism’s Many Manners ." Humanities, March/April 2009, Volume 30, Number 2
  • Christopher Reed, Bloomsbury Rooms, 2004.
  • S. P. Rosenbaum (ed),
    • A Bloomsbury Group Reader, 1993
    • The Bloomsbury Group: A Collection of Memoirs and Commentary, revised edition, 1995
    • The Early Literary History of the Bloomsbury Group: Victorian Bloomsbury, 1987
    • Edwardian Bloomsbury, 1994
    • Georgian Bloomsbury, 2003
  • Richard Shone, Bloomsbury Portraits (1976).
Museums and libraries

External links[edit]