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By David Dowling

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Extra info for Bloomsbury Aesthetics and the Novels of Forster and Woolf

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This is how he struggled to put it at the end of his essay on Freud: It is not a mere recognition of order and inter-relation; every part, as well as the whole, becomes suffused with an emotional tone. Now, from our definition of this pure beauty, the emotional tone is not due to any recognizable reminiscence or suggestion of the emotional experiences oflife; but I sometimes wonder if it nevertheless does not get its force from arousing some very deep, very vague, and immensely generalized reminiscences.

Proust brings the past into the present and creating a shape not in space but in time . . situations unfold themselves not like flowers even but like tunes. 40 The musical analogy was the more likely one to be used by Bell, perhaps because of his 'purer' aesthetic tastes. One of his favourite descriptive terms was 'rhythm', while for Fry 'plasticity' with its spatial references was more important. In their appreciation of the two Bloomsbury painters Vanessa Bell and Duncan Grant, these predilections of Bell and Fry are also manifest.

4 In the summer of 1925 Fry joined his intellect with Mauron's at the Decades de Pontigny, an annual seminar of ideas, and he described the results delightedly in a letter: Saturday was the day when at last Mauron and I had our innings and brought things down from the abstract. I elaborated a good deal on my empiricism .... Then Mauron 29 D. Dowling, Bloomsbury Aesthetics and the Novels of Forster and Woolf © David Dowling 1985 30 Bloomsbury Aesthetics and Forster and Woolf read an essay on literary beauty which was by far the most creative and masterly contribution.

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