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. (1.3)
Judging from this passage, young Orlando is a good writer but not a great one – his writing definitely sounds formulaic and unoriginal.
But there, sitting at the servant's dinner table with a tankard beside him and paper in front of him, sat a rather fat, shabby man, whose ruff was a thought dirty, and whose clothes were of hodden brown. He held a pen in his hand, but he was not writing. He seemed in the act of rolling some thought up and down, to and fro in his mind till it gathered shape or momentum to his liking. His eyes, globed and clouded like some green stone of curious texture, were fixed. He did not see Orlando. For all his hurry, Orlando stopped dead. Was this a poet? Was he writing poetry? 'Tell me', he wanted to say, 'everything in the whole world'--for he had the wildest, most absurd, extravagant ideas about poets and poetry--but how speak to a man who does not see you? Who sees ogres, satyrs, perhaps the depths of the sea instead? (1.9)
Despite the man’s physical appearance, Orlando is entranced by the poet's intellectual capabilities. This is the first of many instances that we see Orlando fascinated by the writing process and those who undergo it– only to be shocked by the actual physical appearance of the writer himself.
All he could say, he concluded, banging his fist upon the table, was that the art of poetry was dead in England.
How that could be with Shakespeare, Marlowe, Ben Jonson, Browne, Donne, all now writing or just having written, Orlando, reeling off the names of his favourite heroes, could not think.
Greene laughed sardonically. Shakespeare, he admitted, had written some scenes that were well enough; but he had taken them chiefly from Marlowe. Marlowe was a likely boy, but what could you say of a lad who died before he was thirty? As for Browne, he was for writing poetry in prose, and people soon got tired of such conceits as that. Donne was a mountebank who wrapped up his lack of meaning in hard words. The gulls were taken in; but the style would be out of fashion twelve months hence. As for Ben Jonson--Ben Jonson was a friend of his and he never spoke ill of his friends. (2.18 – 2.21)
Greene is best as a critic of others. This tirade further reflects his rather dour and pessimistic personality.
By this time Orlando had abandoned all hope of discussing his own work with the poet; but this mattered the less as the talk now got upon the lives and characters of Shakespeare, Ben Jonson, and the rest, all of whom Greene had known intimately and about whom he had a thousand anecdotes of the most amusing kind to tell. Orlando had never laughed so much in his life. These, then, were his gods! Half were drunken and all were amorous. Most of them quarrelled with their wives; not one of them was above a lie or an intrigue of the most paltry kind. Their poetry was scribbled down on the backs of washing bills held to the heads of printer's devils at the street door. (2.24)
You know that huge, giant pedestal where Orlando has put writers and poets? Nick Greene takes a machete to that pedestal and exposes writers as ordinary drunkards. Yet these men are actually geniuses. As we will see later in the novel with Pope, having genius doesn’t make someone an extraordinary person. Rather, it makes an ordinary person who happens to have an extraordinary gift.
Thus, at the age of thirty, or thereabouts, this young Nobleman had not only had every experience that life has to offer, but had seen the worthlessness of them all. Love and ambition, women and poets were all equally vain. Literature was a farce. The night after reading Greene's Visit to a Nobleman in the Country, he burnt in a great conflagration fifty-seven poetical works, only retaining 'The Oak Tree', which was his boyish dream and very short. (2.33)
Greene’s satire forces Orlando to take a cold hard look at his amateur efforts; after this incident he focuses his writing and matures quite a lot.
So then he tried saying the grass is green and the sky is blue and so to propitiate the austere spirit of poetry whom still, though at a great distance, he could not help reverencing. 'The sky is blue,' he said, 'the grass is green.' Looking up, he saw that, on the contrary, the sky is like the veils which a thousand Madonnas have let fall from their hair; and the grass fleets and darkens like a flight of girls fleeing the embraces of hairy satyrs from enchanted woods. 'Upon my word,' he said (for he had fallen into the bad habit of speaking aloud), 'I don't see that one's more true than another. Both are utterly false.' And he despaired of being able to solve the problem of what poetry is and what truth is and fell into a deep dejection. (2.38 – 2.39)
Here’s another indication that literature and nature hold antagonistic positions in Orlando. Nature defies being captured by literature.
'Oh! if only I could write!' she cried (for she had the odd conceit of those who write that words written are shared). She had no ink; and but little paper. But she made ink from berries and wine; and finding a few margins and blank spaces in the manuscript of 'The Oak Tree', managed by writing a kind of shorthand, to describe the scenery in a long, blank version poem, and to carry on a dialogue with herself about this Beauty and Truth concisely enough. This kept her extremely happy for hours on end. (3.51)
Even in remote settings, Orlando’s love of literature wins through.
And she heaved a deep sigh of relief, as, indeed, well she might, for the transaction between a writer and the spirit of the age is one of infinite delicacy, and upon a nice arrangement between the two the whole fortune of his works depends. Orlando had so ordered it that she was in an extremely happy position; she need neither fight her age, nor submit to it; she was of it, yet remained herself. Now, therefore, she could write, and write she did. She wrote. She wrote. She wrote. (6.11)
One can write well only after first negotiating for a place in society – and achieving that place without sacrificing individuality.
'A manuscript!' said Sir Nicholas, putting on his gold pince-nez. 'How interesting, how excessively interesting! Permit me to look at it.' And once more, after an interval of some three hundred years, Nicholas Greene took Orlando's poem and, laying it down among the coffee cups and the liqueur glasses, began to read it. But now his verdict was very different from what it had been then. It reminded him, he said as he turned over the pages, of Addison's "Cato". It compared favourably with Thomson's "Seasons". There was no trace in it, he was thankful to say, of the modern spirit. It was composed with a regard to truth, to nature, to the dictates of the human heart, which was rare indeed, in these days of unscrupulous eccentricity. It must, of course, be published instantly. (6.33)
Finally Orlando is about to achieve literary success! This indicates her maturation as a writer and as a person – see other quotes and thoughts for more details.
For still the old credulity was alive in her; even the blurred type of a weekly newspaper had some sanctity in her eyes. So she read, lying on her elbow, an article by Sir Nicholas on the collected works of a man she had once known--John Donne. […]Life? Literature? One to be made into the other? But how monstrously difficult! (6.40)
Despite all her centuries of life, Orlando has maintained a respect and awe for literature. She still reads and attempts to understand the arguments of her time.
I don't think I could, she continued, considering the article from this point of view, sit in a study, no, it's not a study, it's a mouldy kind of drawing-room, all day long, and talk to pretty young men, and tell them little anecdotes […] Though I'm spiteful enough, I could never learn to be as spiteful as all that, so how can I be a critic and write the best English prose of my time? (6.40)
Being a literary critic and being a writer require two very different sets of skills. What does this imply for the differences in character between Nick Greene and Orlando?
She was reminded of old Greene getting upon a platform the other day comparing her with Milton (save for his blindness) and handing her a cheque for two hundred guineas. She had thought then, of the oak tree here on its hill, and what has that got to do with this, she had wondered? What has praise and fame to do with poetry? What has seven editions (the book had already gone into no less) got to do with the value of it? Was not writing poetry a secret transaction, a voice answering a voice? […] What could have been more secret, she thought, more slow, and like the intercourse of lovers, than the stammering answer she had made all these years to the old crooning song of the woods… (6.85)
For Orlando, writing is a private conversation between her and nature; it has nothing to do with anyone or anything else.