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51 pages 1 hour read

Virginia Woolf

Three Guineas

Nonfiction | Essay / Speech | Adult | Published in 1938

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Part 2 (Pages 57-78)Chapter Summaries & Analyses

Part 2

Summary: Pages 57-63

Woolf writes another hypothetical letter to the treasurer of the society. This time, she says that she has decided to donate money to the society, but only if its members will “practice those professions in such a way as to prevent war” (56).

Imagining a view from a bridge over the Thames, Woolf describes a “procession of the sons of educated men” (57); they are generations of successful men who have passed through the institutions of power and have done nothing to disrupt the dominant mode of thought. But now, at the “tail end of the procession” (57), there are also women. Woolf asks “do we wish to join the procession, or don’t we?” (59), and, if so, on what terms and where is it going?

To answer these questions, Woolf refers to “the books on your library shelves” (60). Every biography, she notes, “is largely concerned with war” (60), and all professions (except, it seems, for literature) are engaged in some kind of war. Not all of these are physical battles, but “a battle that wastes time is as deadly as a battle that wastes blood” (60), as is the case for a battle that wastes money or youth.

Many of these battles seem to have been fought by the “same combatants” (61), which is to say the professional men versus their sisters and daughters. Woolf uses the example of Sophia Jex-Blake to illustrate her point. Jex-Blake fought against the patriarchal institution of the country’s doctors. Men, including her father, fought to keep her out of the medical profession. This battle was one of many, fought by the same combatants: “almost the same daughters ask almost the same brothers for almost the same privileges. Almost the same gentlemen intone almost the same refusals for almost the same reasons” (62).

As a result of these battles, one of the conditions Woolf attaches to her donation to the school is that the treasurer “shall swear that you will do all in your power to insist that any woman who enters any profession shall in no way hinder any other human being, whether man or woman, white or black, provided that he or she is qualified to enter that profession, from entering it; but shall do all in her power to help them” (63).

Summary: Pages 64-69

The letter continues, noting that, if women are to support the system associated with the procession, then they will eventually transform from critics into supporters. In doing so, “we may change our position from being the victims of the patriarchal system […] to being the champions of the capitalist system” (64). There is some “glamour” (64) to the idea, Woolf admits, as a successful woman could provide all the funding the school needs and win many political victories, such as “equal pay for equal work” (64). But the question of war means that “it is necessary to haggle and to bargain over conditions” (65).

The inherent problems of the capitalist system may therefore be a reason to object to women’s involvement. Woolf highlights the extreme gulf between the rich and the poor, which would only continue if women simply bought into the existing system. If women are to join the procession, Woolf explains, they will have to “accept the same conditions” of involvement (66). As a warning, she cites “the lives of professional men” (66), highlighting what they have had to do in order to perpetuate this system. They work long hours, miss the richness of life, experience soul-destroying work, and sell themselves into “slavery” in exchange for more money to spend (67). Eventually, such people have “lost sight, and sound, and sense of proportion” (68).

Modern man, Woolf suggests, has made advances in science but has slowed to a halt in terms of literary advances. In addition, she quotes a man who claims that women’s values are “indisputably different from that of a man” (69) but that women waste their opportunity to “build a new and better world” (69) by conducting a “slavish imitation of men” (69). To believe women can build a new and better world with only £250 a year would be to suggest that women have “divine” (69) powers, Woolf charges: This is a “great compliment” (70), even if it is unhelpful.

Summary: Pages 70-78

Women are caught in a difficult position “between the devil and the deep sea” (70). The private world shuts women away from the avenues of power, while the public world forces women to acquiesce to the patriarchal system. But there may be another solution, Woolf suggests, found in the historical accounts of the dead. If women must earn money in the professions, even if they seem “highly undesirable” (70), Woolf asks, can women “enter the professions and yet remain civilized human beings; human beings, that is, who wish to prevent war?” (70).

This time, Woolf turns to historical biographies of women, particularly professional women to find an answer. But there is a gap in the library where these biographies should appear, as there were “no professional women […] to have their lives written of them,” until recently, aside from governesses (71). The accounts of those governesses reveal women who were desperate to learn more but were restricted by the patriarchal society, though “the nineteenth-century women were not without ambition” (71). One woman, Josephine Butler (who successfully ran numerous political campaigns), refused to have her biography written down, as did the women who helped her. A lack of egotism separates these Victorian women from their male counterparts.

More examples of women are found “between the lines” (72) of their husbands’ biographies. By combining these stories with “the other hints and fragments” (73) found elsewhere, Woolf believes she can find an answer. She touches on the idea of an “unpaid-for education” (73), the idea that women in this time had four teachers: poverty, chastity, derision, and “freedom from unreal loyalties” (73). An unpaid-for education prepared the women for unpaid-for professions.

Thus, Woolf suggests, the four teachers of women, when combined with “some wealth, some knowledge, and some service to real loyalties” (74), might allow women to enter the professions yet remain “civilized human beings” (74). Therefore, Woolf will donate her guinea to the society on the condition that they help “all properly qualified people, of whatever sex, class or color, to enter your profession; and further on condition that in the practice of your profession you refuse to be separated from poverty, chastity, derision and freedom from unreal loyalties” (74). She then defines these conditions further, using Sophocles’ characters from Antigone to illustrate her point.

Woolf finishes her letter by stating that the conditions attached to her guinea are (with the exception of the first) “comparatively easy to fulfill” (77). Following these conditions, Woolf says, the treasurer (and women in general) “can join the professions and yet remain uncontaminated by them” (77). Thus, they will be able to help prevent war.

Part 2 finishes with Woolf addressing, once again, her unnamed correspondent. She explains that the letter is essential, as “those daughters cannot possess an independent and disinterested influence with which to help you to prevent war” without following the conditions she has outlined (78). 

Analysis: Pages 57-78

One of the most notable metaphors employed by Woolf in Three Guineas is the procession of the professionals. “The procession of the sons of educated men” (57) is described a great deal in the sections above; their professions cover the most highly coveted, best-paid, and most influential positions in British society. The image is a resoundingly male one, full of brothers, sons, and fathers: Men march through London toward their jobs, their procession a metaphor for the middle-class patriarchy Woolf rallies against.

The procession she describes seems inevitable. It repeats every day and, because no individual face is described or recognized, it becomes timeless, as though it has been proceeding for centuries and will—unless something is done to alter its course—continue without change. Every day, the same institutions flex their muscles and extol their power, symbolized by the endless procession moving through the streets of London.

The one hint of change Woolf notes is the appearance of a few straggling women at the rear of the column, but it is not a hopeful note. Even though they are few, these women of the procession are an important factor in Woolf’s argument. These are the women who join the professions uncritically, who further the patriarchal structure for their own personal benefit. They might be successful, but their success only emboldens the institution and ensures that it continues. By placing these women at the rear of the procession when constructing her image, Woolf heightens the metaphor: The women are trailing in the wake of the men, nowhere near the head of the line. Those few women who are permitted to follow the men must cow to their institutions. This, she suggests, is not an acceptable way to fight for equality, nor a viable way to prevent war

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