AP English Language Daniel

Roettger

April, 2008

Saturated with frustration of the masculine control that defined

her era, Virginia Woolf explains her true sentiments in Professions for
Women. In the speech, Woolf meticulously constructs metaphor
through her diction, designed to show the female condition in relation
to the male condition in terms of societal differences. Woolf fervently
seeks to spread the feasibility of women pursuing careers and seeks to
combat the reluctance of men to permit women into the workplace
proper.

Humble beginnings and intentions form Woolf’s introduction,

and her introductory remarks are well chosen. By conceding that "few
material obstacles" stood in her way, and that the "family peace was
not broken by the scratching of a pen," Woolf characterizes her
activities as harmless and amateur. It is noteworthy that Woolf calls
her talent "scratching," rather than something more grandiose yet
accurate: writing, for example. By mentioning that few material
obstacles impeded her path and purse, Woof is able to remove all
physical faculties from her work and progress to the mental struggles
endured by Women seeking to advance. The rigid cultural mores of
the era (and thus lack of feminine individualistic spirit) would have
served as a bridge between Woof and her audience and a medium on
which her points could pervade. This keeps her concerns tangent to
those of her audience, and furthermore to women exposed to the same
cultural oppression. This carries her argument to her true objective,
and with it comes the "Angel," the goddess of the submissive and self-
oppressed.

The "Angel" Woolf portrays is "intensely sympathetic…

immensely charming… [and] utterly unselfish," and is the apotheosis of
a woman of the era. "Every home had one," said Woolf, disgusted with
the singular social function of women – to be pure and "mindless." The
Angel is a part of all women, Woolf believed, that was instilled by
society. Though it may be what women aspire to be for acceptance, it
plagues the already socially hindered efforts of women to become
professionals rather than homemakers. Woolf explains this
phenomenon, describing how the Angel tormented her in her
profession, pleading for her not to write a grating critique, but rather a
positive, inspiring review. In order for herself – and women in general –
to overcome this demonic influence upon feminism, she had to kill the
Angel with an act of rebellion against the traditional social mores.
Woolf chose her passion – her "scratching" – to do so. Instigated by
Woolf's moans for freedom, the ensuing combat between woman and
society is laborious, and is only won by the "ink bottle," the symbol of
Woof's passion and liberty. This so-called Angel symbolizes the men's
apprehension of women's encroachment on their professional territory.
It also shows her roots – a social ploy by men to remain in power by
creating a standard that women must abide to.

A woman without the shining beauty of society's standards,

that is a woman rather than an "Angel," was an awkward concept for
Woolf's audience to contemplate. By continuing to write what she
believed, Woolf removed the Angel from her as well as the social
parameters in which to behave. Woolf is therefore a woman without
social limits; this is reflected by her writing patterns. Once using timid
and carefully chosen rhetoric, Woolf's writing transforms into one that
is looser, more flowing, and on the hole, more liberated – symbolizing
the departure of women from lives of restraint to emotion. Her
sentences become more eloquent, her vocabulary more pleasing. The
reader can feel her emotion flowing from her pen onto the paper in
beautiful, flamboyant cursive, spelling imaginative, curious sentences.
Her descriptions of a young writer, digging for inspiration, who
stumbles where "the big fish slumber" are vivid and paint an image all
to their own.

"Then there was a smash," Woolf said loudly, startling her

audience (in all probability, at least.) This young, pure woman
stumbled on an idea, void of assistance, an idea of her own life and
experience. There was a "froth" as her hand began to write feverishly,
hardly keeping pace with her racing mind, and there was a "froth" as
women, inspired by the changing times, took up their quills – their
version of artillery. Woof's brief, chaotic sentences jolt the reader, and
create a feeling of anticipation. It shows that women can feel and
report, and it shows that when women feel and report, there is a social
froth, as if society spasms whenever change knocks at the door.
Society feels that it must repress this change, to preserve the sanctity
and normalcy of society. This presents a new hurdle to Woolf and her
cause, the inability to express emotions or stories deemed obscene of
inappropriate for sharing. This "consciousness" breaks the back of
women’s artistic sprit and hampers their ability to communicate and
convey. It is a feeling felt by women of all traits, Woolf explains, but it
a feeling that must be overcome. She concedes this is a demon she
has not defeated, and it is a demon that promises great difficulty for
women everywhere. However, she says, the changing times and
standards have won women a room of their own, a room they can
furnish to their liking. It is sparse now, but after the journey they have
endured, it is beautiful. The further women fight for equality, the more
ornate the molding, the more stunning the paintings, and the better
the ink. It is a small victory, but it promises success if the campaign to
press forward continues – and it did.