Orlando: A Biography

Orlando: A Biography

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by Virginia Woolf, Barbara Rosenblat
     
 

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Virginia Woolf is one of the greatest novelists of the twentieth century and Orlando is one of her most unique and fantastic works. The protagonist, Orlando, begins the novel as a young sixteenth century aristocrat and a favorite of Queen Elizabeth I. She gives him an estate and orders him never to grow old.See more details below

Overview

Virginia Woolf is one of the greatest novelists of the twentieth century and Orlando is one of her most unique and fantastic works. The protagonist, Orlando, begins the novel as a young sixteenth century aristocrat and a favorite of Queen Elizabeth I. She gives him an estate and orders him never to grow old.

Editorial Reviews

Library Journal
Three of Woolf's top works get annotated by individual scholars, who also supply introductions and additional reading lists. Other extras include a chronology of the author's life and illustrations. Copyright 2006 Reed Business Information.
From the Publisher
"This publisher's critical editions of the major works of Virginia Woolf offer an important expansion of textual resources for Woolf readers and scholars. An essential addition to any Woolf collection."
Choice

Product Details

ISBN-13:
9781556909078
Publisher:
Recorded Books, LLC
Publication date:
09/28/1993
Edition description:
Unabridged

Read an Excerpt

Orlando (Annotated)

A Biography
By Woolf, Virginia

Harvest Books

Copyright © 2006 Woolf, Virginia
All right reserved.

ISBN: 0156031515

CHAPTER ONE
HE--FOR THERE could be no doubt of his sex, though the fashion of the time did something to disguise it--was in the act of slicing at the head of a Moor which swung from the rafters. It was the colour of an old football, and more or less the shape of one, save for the sunken cheeks and a strand or two of coarse, dry hair, like the hair on a cocoanut. Orlando's father, or perhaps his grandfather, had struck it from the shoulders of a vast Pagan who had started up under the moon in the barbarian fields of Africa; and now it swung, gently, perpetually, in the breeze which never ceased blowing through the attic rooms of the gigantic house of the lord who had slain him.
Orlando's fathers had ridden in fields of asphodel, and stony fields, and fields watered by strange rivers, and they had struck many heads of many colours off many shoulders, and brought them back to hang from the rafters. So too would Orlando, he vowed. But since he was sixteen only, and too young to ride with them in Africa or France, he would steal away from his mother and the peacocks in the garden and go to his attic room and there lunge and plunge and slice the air with his blade. Sometimes he cut the cord so that the skull bumped on the floor and he had to string it up again,fastening it with some chivalry almost out of reach so that his enemy grinned at him through shrunk, black lips triumphantly. The skull swung to and fro, for the house, at the top of which he lived, was so vast that there seemed trapped in it the wind itself, blowing this way, blowing that way, winter or summer. The green arras with the hunters on it moved perpetually. His fathers had been noble since they had been at all. They came out of the northern mists wearing coronets on their heads. Were not the bars of darkness in the room, and the yellow pools which chequered the floor, made by the sun falling through the stained glass of a vast coat of arms in the window? Orlando stood now in the midst of the yellow body of an heraldic leopard. When he put his hand on the window-sill to push the window open, it was instantly coloured red, blue, and yellow like a butterfly's wing. Thus, those who like symbols, and have a turn for the deciphering of them, might observe that though the shapely legs, the handsome body, and the well-set shoulders were all of them decorated with various tints of heraldic light, Orlando's face, as he threw the window open, was lit solely by the sun itself. A more candid, sullen face it would be impossible to find. Happy the mother who bears, happier still the biographer who records the life of such a one! Never need she vex herself, nor he invoke the help of novelist or poet. From deed to deed, from glory to glory, from office to office he must go, his scribe following after, till they reach what ever seat it may be that is the height of their desire. Orlando, to look at, was cut out precisely for some such career. The red of the cheeks was covered with peach down; the down on the lips was only a little thicker than the down on the cheeks. The lips themselves were short and slightly drawn back over teeth of an exquisite and almond whiteness. Nothing disturbed the arrowy nose in its short, tense flight; the hair was dark, the ears small, and fitted closely to the head. But, alas, that these catalogues of youthful beauty cannot end without mentioning forehead and eyes. Alas, that people are seldom born devoid of all three; for directly we glance at Orlando standing by the window, we must admit that he had eyes like drenched violets, so large that the water seemed to have brimmed in them and widened them; and a brow like the swelling of a marble dome pressed between the two blank medallions which were his temples. Directly we glance at eyes and forehead, thus do we rhapsodise. Directly we glance at eyes and forehead, we have to admit a thousand disagreeables which it is the aim of every good biographer to ignore. Sights disturbed him, like that of his mother, a very beautiful lady in green walking out to feed the peacocks with Twitchett, her maid, behind her; sights exalted him--the birds and the trees; and made him in love with death--the evening sky, the homing rooks; and so, mounting up the spiral stairway into his brain--which was a roomy one--all these sights, and the garden sounds too, the hammer beating, the wood chopping, began that riot and confusion of the passions and emotions which every good biographer detests. But to continue--Orlando slowly drew in his head, sat down at the table, and, with the half-conscious air of one doing what they do every day of their lives at this hour, took out a writing book labelled "AEthelbert: A Tragedy in Five Acts," and dipped an old stained goose quill in the ink. Soon he had covered ten pages and more with poetry. He was fluent, evidently, but he was abstract. Vice, Crime, Misery were the personages of his drama; there were Kings and Queens of impossible territories; horrid plots confounded them; noble sentiments suffused them; there was never a word said as he himself would have said it, but all was turned with a fluency and sweetness which, considering his age--he was not yet seventeen--and that the sixteenth century had still some years of its course to run, were remarkable enough. At last, however, he came to a halt. He was describing, as all young poets are for ever describing, nature, and in order to match the shade of green precisely he looked (and here he showed more audacity than most) at the thing itself, which happened to be a laurel bush growing beneath the window. After that, of course, he could write no more. Green in nature is one thing, green in literature another. Nature and letters seem to have a natural antipathy; bring them together and they tear each other to pieces. The shade of green Orlando now saw spoilt his rhyme and split his metre. Moreover, nature has tricks of her own. Once look out of a window at bees among flowers, at a yawning dog, at the sun setting, once think "how many more suns shall I see set," etc., etc. (the thought is too well known to be worth writing out) and one drops the pen, takes one's cloak, strides out of the room, and catches one's foot on a painted chest as one does so. For Orlando was a trifle clumsy. He was careful to avoid meeting anyone. There was Stubbs, the gardener, coming along the path. He hid behind a tree till he had passed. He let himself out at a little gate in the garden wall. He skirted all stables, kennels, breweries, carpenters' shops, wash-houses, places where they make tallow candles, kill oxen, forge horseshoes, stitch jerkins--for the house was a town ringing with men at work at their various crafts--and gained the ferny path leading uphill through the park unseen. There is perhaps a kinship among qualities; one draws another along with it; and the biographer should here call attention to the fact that this clumsiness is often mated with a love of solitude. Having stumbled over a chest, Orlando naturally loved solitary places, vast views, and to feel himself for ever and ever and ever alone.
So, after a long silence, "I am alone," he breathed at last, opening his lips for the first time in this record. He had walked very quickly uphill through ferns and hawthorn bushes, startling deer and wild birds, to a place crowned by a single oak tree. It was very high, so high indeed that nineteen English counties could be seen beneath, and on clear days thirty, or forty perhaps, if the weather was very fine. Sometimes one could see the English Channel, wave reiterating upon wave. Rivers could be seen and pleasure boats gliding on them; and galleons setting out to sea; and armadas with puffs of smoke from which came the dull thud of cannon firing; and forts on the coast; and castles among the meadows; and here a watch tower; and there a fortress; and again some vast mansion like that of Orlando's father, massed like a town in the valley circled by walls. To the east there were the spires of London and the smoke of the city; and perhaps on the very sky line, when the wind was in the right quarter, the craggy top and serrated edges of Snowden herself showed mountainous among the clouds. For a moment Orlando stood counting, gazing, recognising. That was his father's house; that his uncle's. His aunt owned those three great turrets among the trees there. The heath was theirs and the forest; the pheasant and the deer, the fox, the badger, and the butterfly.
He sighed profoundly, and flung himself--there was a passion in his movements which deserves the word--on the earth at the foot of the oak tree. He loved, beneath all this summer transiency, to feel the earth's spine beneath him; for such he took the hard root of the oak tree to be; or, for image followed image, it was the back of a great horse that he was riding; or the deck of a tumbling ship--it was anything indeed, so long as it was hard, for he felt the need of something which he could attach his floating heart to; the heart that tugged at his side; the heart that seemed filled with spiced and amorous gales every evening about this time when he walked out. To the oak tree he tied it and as he lay there, gradually the flutter in and about him stilled itself; the little leaves hung; the deer stopped; the pale summer clouds stayed; his limbs grew heavy on the ground; and he lay so still that by degrees the deer stepped nearer and the rooks wheeled round him and the swallows dipped and circled and the dragon-flies shot past, as if all the fertility and amorous activity of a summer's evening were woven web-like about his body.
Copyright 1928 by Virginia Woolf
Copyright renewed 1956 by Leonard Woolf
Annotated Edition copyright 2006 by Harcourt, Inc.
Preface copyright 2005 by Mark Hussey
Introduction copyright 2006 by Maria DiBattista
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher.

Continues...

Excerpted from Orlando (Annotated) by Woolf, Virginia Copyright © 2006 by Woolf, Virginia. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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