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The lives and works of the group members show an overlapping, interconnected similarity of ideas and attitudes that helped to keep the friends and relatives together, reflecting in large part the influence of G. E. Moore: "the essence of what Bloomsbury drew from Moore is contained in his statement that 'one's prime objects in life were love, the creation and enjoyment of aesthetic experience and the pursuit of knowledge'".[12]
Bloomsbury reacted against the social rituals, "the bourgeois habits... the conventions of Victorian life"[13] - its valorisation of the public sphere - in favour of a more informal, private-oriented focus upon personal relationships and individual pleasure: E. M. Forster lauded for example "the decay of smartness and fashion as factors, and the growth of the idea of enjoyment".[14] His famous (or infamous) assertion that "if I had to choose between betraying my country and betraying my friend, I hope I should have the guts to betray my country"[15] belongs here.
The Group "believed in pleasure...They tried to get the maximum of pleasure out of their personal relations. If this meant triangles or more complicated geometric figures, well then, one accepted that too".[16] Yet at the same time, theirs was a sophisticated, civilized, and highly articulated shared ideal of pleasure: as Virginia Woolf put it, their "triumph is in having worked out a view of life which was not by any means corrupt or sinister or merely intellectual; rather ascetic and austere indeed; which still holds, and keeps them dining together, and staying together, after 20 years".[17]
Politically, Bloomsbury held mainly left-liberal stances (opposed to militarism, for example); but its "clubs and meetings were not activist, like the political organizations to which many of Bloomsbury's members also belonged", and they would be criticised for that by their 1930s successors, who by contrast were "heavily touched by the politics which Bloomsbury had rejected".[18]
Their convictions about the nature of consciousness and its relation to external nature, about the fundamental separateness of individuals that involves both isolation and love, about the human and non-human nature of time and death, and about the ideal goods of truth, love and beauty – all these were largely shared[ citation needed ]. These "Bloomsbury assumptions" are also reflected in members' criticisms of materialistic realism in painting and fiction, influenced above all by Clive Bell's "concept of 'Significant Form', which separated and elevated the concept of form above content in works of art":[19] it has been suggested that, with their "focus on form...Bell's ideas have come to stand in for, perhaps too much so, the aesthetic principles of the Bloomsbury Group".[20]
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