Ut musica poesis. Odniesienia muzyczne w życiu i twórczości Virginii Woolf
Ut musica poesis. Music references in the life and work of Virginia Woolf

Summary/Abstract: The idea behind writing this article was to emphasise the role of musical references in Virginia Woolf’s literary output as well as drawing attention to the connections between the writer and some selected composers and recipients of music. Despite the fact that Woolf’s poetic prose is considered to be of interdisciplinary character, abundantly drawing from the realm of the sister arts, painting in particular, the issue of the writer’s connections with music seems to have been neglected thus far. Woolf did not possess any musical theoretical background, nor did she play any musical instru- ment. Nonetheless, music played a significant role in her life. She was brought up being surrounded by the sounds of music, particularly thanks to her stepsister, Stella. She was also a regular at the musical events, both in London and abroad. The strongest influence upon shaping her musical sen- sitivity and preferences, however, was exerted on her by her intimates: Saxon Sydney-Turner and Ethel Smythe, the composer. The traces of convergence of music and literature can be found not only in her essays and novels, but also in her journalism. Woolf’s literary technique underwent the process of constant evolution and redefinition. Consequently, she avidly referred to the idiom of musical terminology and in so doing enriched the repertoire of the lexical and stylistic devices applied in her writing. Among her favourite composers were J.S. Bach, W.A. Mozart and L. van Beethoven. But, her particular attention was focused on R.Wagner, the attitude to the music of whom in the mature phase of her literary activity was considerably redefined. Although Woolf’s prose is predominantly of psychological character, its value is significantly enhanced by its aesthe- tic qualities, which to a great extent was achieved by the application of musical references.

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