Orlando: A Biography
 1st edition cover | |
| Author | Virginia Woolf |
|---|---|
| Country | United Kingdom |
| Language | English |
| Publisher | Hogarth Press |
Publication date | 11 October 1928 |
| Pages | 134 |
| ISBN | 978-0-15-670160-0 |
| OCLC | 297407 |
Orlando: A Biography is a novel by Virginia Woolf, first published on 11 October 1928. A high-spirited romp inspired by the tumultuous family history of Woolf's partner, the aristocratic poet and novelist Vita Sackville-West, it is arguably one of Woolf's most popular and accessible novels: a history of English literature in satiric form. The book describes the adventures of a poet who changes sex from man to woman and lives for centuries, meeting the key figures of English literary history. Considered a feminist classic, the book has been written about extensively by scholars of women's writing and gender and transgender studies.
There have been several adaptations: in 1989 director Robert Wilson and writer Darryl Pinckney collaborated on a theatrical production. A film adaptation was released in 1992, starring Tilda Swinton as Orlando. Another stage adaption by Sarah Ruhl premiered in New York City in 2010.
Plot
The eponymous hero is born as a male nobleman in England during the reign of Elizabeth I. He undergoes a mysterious change of sex at the age of about 30 and lives on for more than 300 years into modern times without aging perceptibly.
As a teenaged boy, the handsome Orlando serves as a page at the Elizabethan court and becomes "favorite" of the elderly queen. After her death he falls deeply in love with Sasha, an elusive and somewhat feral princess in the entourage of the Russian embassy. This episode, of love and ice skating against the background of the celebrated Frost Fair held on the frozen Thames River during the Great Frost of 1608, when "birds froze in mid air and fell like stones to the ground", inspired some of Virginia Woolf's most bravura writing:
Great statesmen, in their beards and ruffs, despatched affairs of state under the crimson awning of the Royal Pagoda ... Frozen roses fell in showers when the Queen and her ladies walked abroad ... Near London Bridge, where the river had frozen to a depth of some twenty fathoms, a wrecked wherry boat was plainly visible, lying on the bed of the river where it had sunk last autumn, overladen with apples. The old bumboat woman, who was carrying her fruit to market on the Surrey side, sat there in her plaids and farthingales with her lap full of apples, for all the world as if she were about to serve a customer, though a certain blueness about the lips hinted the truth.[1]
The melting of the ice coincides with Sasha's unfaithfulness and sudden departure for Russia. The desolate Orlando returns to writing The Oak Tree, a long poem started and abandoned in his youth. He meets and hospitably entertains an invidious poetaster, Nicholas Greene, who proceeds to find fault with Orlando's writing. Later Orlando feels betrayed on learning that he has been lampooned in one of Greene's subsequent works. A period of contemplating love and life leads Orlando to appreciate the value of his ancestral stately home, which he proceeds to furnish lavishly. There he plays host to the populace.
Ennui sets in and the harassment of a persistent suitor, the tall and somewhat androgynous Archduchess Harriet, leads Orlando to look for a way to flee the country. He is appointed by King Charles II as ambassador to Constantinople. Orlando performs his duties well, until a night of civil unrest and murderous riots. He falls asleep for a period of days, resistant to all efforts to rouse him. Upon awakening he finds that he has metamorphosed into a woman – the same person, with the same personality and intellect, but in a woman's body. Although the narrator of the novel professes to be disturbed and befuddled by Orlando's change, the fictional Orlando complacently accepts the change. From here on, Orlando's amorous inclinations change frequently although she stays biologically female.
The now Lady Orlando covertly escapes Constantinople in the company of a Gypsy clan. She adopts their way of life until its essential conflict with her upbringing leads her to head home. Only on the ship back to England, with her constraining female clothes and an incident in which a flash of her ankle nearly results in a sailor's falling to his death, does she realize the magnitude of becoming a woman. She concludes it has an overall advantage, declaring "Praise God I'm a woman!" Back in England, Orlando is hounded again by the archduchess, who now reveals herself to be a man, the Archduke Harry. Orlando evades his marriage proposals. She goes on to live switching between gender roles, dressing alternately as both man and woman.
Orlando soon becomes caught up in the life of the 18th and 19th centuries, holding court with the great poets (notably Alexander Pope). Critic Nick Greene, apparently also timeless, reappears and promotes Orlando's writing, promising to help her publish The Oak Tree.
Orlando wins a lawsuit over her property and marries a sea captain, Marmaduke Bonthrop Shelmerdine. Like Orlando, he is gender non-conforming, and Orlando attributes the success of their marriage to this similarity. In 1928, she publishes The Oak Tree, centuries after starting it, and wins a prize. The novel ends as Orlando's husband's ship returns and, in the aftermath of her success, she rushes to greet him.
Inspiration
Woolf and Vita Sackville-West were both members of the Bloomsbury Group, which was known for its liberal views on sexuality. The two began a sexual and romantic relationship that lasted for a decade, and continued as a friendship long after that. Notably, this inspiration is confirmed by Woolf herself, who noted in her diary the idea of Orlando on 5 October 1927: "And instantly the usual exciting devices enter my mind: a biography beginning in the year 1500 and continuing to the present day, called Orlando: Vita; only with a change about from one sex to the other"[2]
Nigel Nicolson, Vita Sackville-West's son, wrote, "The effect of Vita on Virginia is all contained in Orlando, the longest and most charming love letter in literature, in which she explores Vita, weaves her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her."[3]
Influence and recognition
Orlando was a contemporary success, both critically and financially, and guaranteed the Woolfs financial stability.[4] It was generally viewed not just as high literature, but as a gossipy novel about Sackville-West. However, the New York Times review of the book acknowledged the importance of the work as an experiment into new forms of literature.[5]
The work has been the subject of numerous scholarly writings, including detailed treatment in multiple works on Virginia Woolf.[6] An "annotated" edition has been published to facilitate critical reading of the text.
The novel's title has also come to stand in some senses for women's writing generally, as one of the most famous works by a woman author that directly treats the subject of gender.[7] For example, a project on the history of women's writing in the British Isles was named after the book.[8]
The skating party on the Thames was featured in Simple Gifts, a Christmas collection of six animated shorts shown on PBS TV in 1977.
The novel has been adapted for theatre and film. In 1989 the American director, Robert Wilson, and writer Darryl Pinckney collaborated on a theatrical production. A British film adaptation was released in 1992, starring Tilda Swinton as Orlando and Quentin Crisp as Queen Elizabeth I. A second theatre adaptation by Sarah Ruhl premiered in New York 2010.[9]
A similar character named Orlando, ageless and with varying sex and gender through the ages, is featured in Alan Moore and Kevin O'Neill's graphic novels The League of Extraordinary Gentlemen: Black Dossier, and The League of Extraordinary Gentlemen, Volume III: Century.
Notes
- ↑ Same Jordison, "Winter reads: Orlando by Virginia Woolf", The Guardian, December 5, 2011.
- ↑ Woolf, Virginia (2012). Delphi Complete Works of Virginia Woolf. Delphi Classics. ISBN 9781908909190.
- ↑ Blamires, Harry (1983) A Guide to twentieth century literature in EnglishRoutledge, p. 307, ISBN 978-0-416-36450-7.
- ↑ "Virginia Woolf's Orlando: The Book as Critic". www.tetterton.net. Retrieved 2016-05-07.
- ↑ "Mrs. Woolf Explores the "Time" Element in Human Relationships". www.nytimes.com. Retrieved 2016-05-07.
- ↑ See, e.g., Alice van Buren, The Novels of Virginia Woolf: Fact and Vision Chicago: University of Chicago Press, 1973.
- ↑ For example: Jacqueline Harpman, Orlanda, Paris: Grasset, 1997.
- ↑ "Orlando: Women's Writing in the British Isles from the Beginnings to the Present". orlando.cambridge.org.
- ↑ New York Times Review
External links
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Wikiquote has quotations related to: Orlando |
- Virginia Woolf's Orlando by Ted Gioia (Conceptual Fiction)
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