Mrs. DallowayMrs. Dalloway

Virgina WoolfVirgina Woolf

Virgina WoolfVirgina Woolf 1882: 1882: Born in London, namedBorn in London, named Adeline Virginia Stephen. Adeline Virginia Stephen. 1895: 1895: Mother died; suffered herMother died; suffered her first mental breakdown.first mental breakdown. 1904: 1904: had a second breakdown for the had a second breakdown for the death of her father. death of her father. Bloomsbury Group formedBloomsbury Group formed 1912: 1912: married to Leonard Woolf. married to Leonard Woolf. 1913: 1913: her third serious breakdown;her third serious breakdown; finished her first novel, finished her first novel, The VoyageThe Voyage

Out. Out.

1917: 1917: Bought a hand printing press, Hogarth Bought a hand printing press, Hogarth House. First published a couple of House. First published a couple of experimental short stories; ex: experimental short stories; ex: The Mark on The Mark on the Wallthe Wall & & Kew Gardens.Kew Gardens.

1922: 1922: Jacob’s RoomJacob’s Room published. Met published. Met

Mrs. Harold Nicolson – Vita Sackville Mrs. Harold Nicolson – Vita Sackville

West. West. 1925: 1925: Mrs. DallowayMrs. Dalloway 1927: 1927: To the LighthouseTo the Lighthouse 1931: 1931: The WavesThe Waves 1941: Committed suicide by drowning1941: Committed suicide by drowning

herself in the River Ouse.herself in the River Ouse.

Writing StyleWriting Style::

Virginia rebelled against what she Virginia rebelled against what she called the “materialism” novelists called the “materialism” novelists and sought a more delicate and sought a more delicate rendering of those aspects of rendering of those aspects of consciousness in which she felt that consciousness in which she felt that the truth of human experience really the truth of human experience really lay. After two novels, lay. After two novels, The Voyage The Voyage OutOut and and Night and DayNight and Day, cast in , cast in traditional form, she developed her traditional form, she developed her own style. own style.

These technical experiments helped revolutionize These technical experiments helped revolutionize fictional technique and perfected a form of fictional technique and perfected a form of interior monologueinterior monologue in her novels. The in her novels. The publication of publication of To theTo the LighthouseLighthouse (1927) and (1927) and OrlandoOrlando (1929) established Virginia as a major (1929) established Virginia as a major novelist. She explores not only subtlety problems novelist. She explores not only subtlety problems of personal identity and personal relationships but of personal identity and personal relationships but also a great deal of social criticism, such as the also a great deal of social criticism, such as the reflection on the position of women. Her strong reflection on the position of women. Her strong support of women’s rights can be viewed in a support of women’s rights can be viewed in a series of lectures published as series of lectures published as A Room of One’s A Room of One’s OwnOwn (1929) and in a collection essays, (1929) and in a collection essays, Three Three GuineasGuineas (1938). (1938).

Stream of Stream of ConsciousnessConsciousness

DefinitionDefinition “……“……to describe the unbroken flow of thought and to describe the unbroken flow of thought and

awareness in the waking mind; it has since been awareness in the waking mind; it has since been adopted to describe a narrative method in modern adopted to describe a narrative method in modern fiction. Long passages of introspection, describing fiction. Long passages of introspection, describing in some detail what passes through a character’s in some detail what passes through a character’s mind,…”mind,…”

“… “… the continuous flow of a character’s mental the continuous flow of a character’s mental process, in which sense perceptions mingle with process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, conscious and half-conscious thoughts, memories, expectations, feelings, and random associations.expectations, feelings, and random associations. “ “

Woolf's goal is to move steadily Woolf's goal is to move steadily away from traditional forms of away from traditional forms of fiction, to come "closer to life," to fiction, to come "closer to life," to capture the moments of life, even capture the moments of life, even though those times make life both though those times make life both terribly wonderful and completely terribly wonderful and completely unbearable.unbearable.

Main Themes:Main Themes: The sea as symbolic of life:The sea as symbolic of life: The ebb The ebb

and flow of life. and flow of life. Doubling:Doubling: Many critics describe Many critics describe

Septimus as Clarissa's doppelganger, Septimus as Clarissa's doppelganger, the alternate persona, the darker, more the alternate persona, the darker, more internal personality compared to internal personality compared to Clarissa's very social and singular Clarissa's very social and singular outlook. The doubling portrays the outlook. The doubling portrays the polarity of the self and exposes the polarity of the self and exposes the positive-negative relationship inherent positive-negative relationship inherent in humanity. in humanity.

The intersection of time and The intersection of time and timelessness:timelessness:

Woolf creates a new novelistic Woolf creates a new novelistic structure in Mrs. Dalloway wherein structure in Mrs. Dalloway wherein her prose has blurred the her prose has blurred the distinction between dream and distinction between dream and reality, between the past and reality, between the past and present. present.

Social commentary:Social commentary: Woolf also strived to illustrate the vain artificiality Woolf also strived to illustrate the vain artificiality

of Clarissa's life and her involvement in it. Even of Clarissa's life and her involvement in it. Even though Clarissa is effected by Septimus' death and though Clarissa is effected by Septimus' death and is bombarded by profound thoughts throughout is bombarded by profound thoughts throughout the novel, she is also a woman for whom a party is the novel, she is also a woman for whom a party is her greatest offering to society. The thread of the her greatest offering to society. The thread of the Prime Minister throughout, the near fulfilling of Prime Minister throughout, the near fulfilling of Peter's prophecy concerning Clarissa's role, and Peter's prophecy concerning Clarissa's role, and the characters of the doctors, Hugh Whitbread, the characters of the doctors, Hugh Whitbread, and Lady Bruton as compared to the tragically and Lady Bruton as compared to the tragically mishandled plight of Septimus, throw a critical mishandled plight of Septimus, throw a critical light upon the social circle examined by Woolf. light upon the social circle examined by Woolf.

The world of the sane and the The world of the sane and the

insaneinsane

The critic, Ruotolo, excellently develops The critic, Ruotolo, excellently develops the idea behind the theme: "Estranged the idea behind the theme: "Estranged from the sanity of others, ‘rooted to the from the sanity of others, ‘rooted to the pavement,' the veteran [Septimus] asks pavement,' the veteran [Septimus] asks ‘for what purpose' he is present. Virginia ‘for what purpose' he is present. Virginia Woolf's novel honors and extends his Woolf's novel honors and extends his question. He perceives a beauty in question. He perceives a beauty in existence that his age has almost totally existence that his age has almost totally disregarded; his vision of new life... is a disregarded; his vision of new life... is a source of joy as well as madness. source of joy as well as madness.

a study of insanity and suicide; life a study of insanity and suicide; life and deathand death

With this book, Woolf wrote that With this book, Woolf wrote that she wanted "to give life and death, she wanted "to give life and death, sanity and insanity." Truths are sanity and insanity." Truths are subjective and changeable, as the subjective and changeable, as the plot streams back and forth in plot streams back and forth in space and time.space and time.

Uncertainty of life and Uncertainty of life and isolation isolation

Life suddenly seems meaningless to Life suddenly seems meaningless to both Septimus and Mrs. Dalloway. both Septimus and Mrs. Dalloway. They are alone; the people who love They are alone; the people who love them are alone. They exist in a place them are alone. They exist in a place apart, though really the same, as the apart, though really the same, as the rest of the people of London. They rest of the people of London. They are outsiders. are outsiders.

If Mrs. Dalloway is haunted by her invisibility, Septimus is If Mrs. Dalloway is haunted by her invisibility, Septimus is haunted by ghosts of a different sort. Drawing from her own haunted by ghosts of a different sort. Drawing from her own bouts of insanity, Woolf paints Septimus. He is a troubled war bouts of insanity, Woolf paints Septimus. He is a troubled war hero, who has returned from war only to discover that he hero, who has returned from war only to discover that he can't forget, that the voices of his dead comrades continue to can't forget, that the voices of his dead comrades continue to haunt him, and that "the world itself is without meaning."haunt him, and that "the world itself is without meaning."

Then, what is the difference between Mrs. Dalloway and Then, what is the difference between Mrs. Dalloway and Septimus? They are both lonely; they both feel disconnected. Septimus? They are both lonely; they both feel disconnected. Why does one commit suicide, while the other survives to Why does one commit suicide, while the other survives to plan another party?plan another party?

Questions for Questions for Discussion: Discussion:

1. 1. In In Mrs. DallowayMrs. Dalloway, Virginia Woolf combines , Virginia Woolf combines interior interior with omniscient with omniscient descriptionsdescriptions of character and scene. of character and scene. How does the author handle How does the author handle the transitionthe transition between between the interior and the exterior? Which characters' points the interior and the exterior? Which characters' points of view are primary to the novel; which minor of view are primary to the novel; which minor characters are given their own points of view? Why, characters are given their own points of view? Why, and how does Woolf handle the transitions from one and how does Woolf handle the transitions from one point of view to another? How do point of view to another? How do the shifting points the shifting points of viewof view, together with that of the author, combine to , together with that of the author, combine to create a portrait of Clarissa and her milieu? Does this create a portrait of Clarissa and her milieu? Does this kind of novelistic portraiture resonate with other artistic kind of novelistic portraiture resonate with other artistic movement's of Woolf's time? movement's of Woolf's time?

2. 2. Woolf saw Septimus Warren Smith as Woolf saw Septimus Warren Smith as an essential counterpoint to Clarissa an essential counterpoint to Clarissa Dalloway. What specific comparisons Dalloway. What specific comparisons and contrasts are drawn between the and contrasts are drawn between the two? What primary images are two? What primary images are associated, respectively, with Clarissa associated, respectively, with Clarissa and with Septimus? What is the and with Septimus? What is the significance of Septimus making his first significance of Septimus making his first appearance as Clarissa, from her appearance as Clarissa, from her florist's window, watches the mysterious florist's window, watches the mysterious motor car in Bond Street? motor car in Bond Street?

3. 3. What was Clarissa's relationship with What was Clarissa's relationship with Sally Seton? What is the significance of Sally Seton? What is the significance of Sally's reentry into Clarissa's life after so Sally's reentry into Clarissa's life after so much time? What role does Sally play in much time? What role does Sally play in Clarissa's past and in her present? Clarissa's past and in her present?

4. 4. What is Woolf's purpose in creating a What is Woolf's purpose in creating a range of female characters of various ages range of female characters of various ages and social classes--from Clarissa herself and and social classes--from Clarissa herself and Lady Millicent Burton to Sally Seton, Doris Lady Millicent Burton to Sally Seton, Doris Kilman, Lucrezia Smith, and Maisie Johnson? Kilman, Lucrezia Smith, and Maisie Johnson? Does she present a comparable range of Does she present a comparable range of male characters?male characters?

5. 5. Clarissa's movements through London, Clarissa's movements through London, along with the comings and goings of along with the comings and goings of other characters, are given in some other characters, are given in some geographic detail. Do the patterns of geographic detail. Do the patterns of movement and the characters' movement and the characters' intersecting routes establish a pattern? If intersecting routes establish a pattern? If so, how do those physical patterns reflect so, how do those physical patterns reflect important internal patterns of thought, important internal patterns of thought, memory, feelings, and attitudes? What is memory, feelings, and attitudes? What is the view of London that we come away the view of London that we come away with? with?

6. 6. As the day and the novel proceed, As the day and the novel proceed, the hours and half hours are sounded the hours and half hours are sounded by a variety of clocks (for instance, Big by a variety of clocks (for instance, Big Ben strikes noon at the novel's exact Ben strikes noon at the novel's exact midpoint). What is the effect of the time midpoint). What is the effect of the time being constantly announced on the being constantly announced on the novel's structure and on our sense of novel's structure and on our sense of the pace of the characters' lives? What the pace of the characters' lives? What hours in association with which events hours in association with which events are explicitly sounded? Why? Is there are explicitly sounded? Why? Is there significance in Big Ben being the chief significance in Big Ben being the chief announcer of time? announcer of time?

7. 7. Woolf shifts scenes between past Woolf shifts scenes between past and present, primarily through and present, primarily through Clarissa's, Septimus's, and others' Clarissa's, Septimus's, and others' memories? Does this device memories? Does this device successfully establish the importance successfully establish the importance of the past as a shaping influence on of the past as a shaping influence on and an informing component of the and an informing component of the present? Which characters promote present? Which characters promote this idea? Does Woolf seem to believe this idea? Does Woolf seem to believe this holds true for individuals as it this holds true for individuals as it does for society as a whole? does for society as a whole?

8. 8. Threats of disorder and death recur Threats of disorder and death recur throughout the novel, culminating in throughout the novel, culminating in Septimus's suicide and repeating later Septimus's suicide and repeating later in Sir William Bradshaw's report of in Sir William Bradshaw's report of that suicide at Clarissa's party. When that suicide at Clarissa's party. When do thoughts or images of disorder and do thoughts or images of disorder and death appear in the novel, and in death appear in the novel, and in connection with which characters? connection with which characters? What are those characters' attitudes What are those characters' attitudes concerning death?concerning death?

9. 9. Clarissa and others have a heightened Clarissa and others have a heightened sense of the "splendid achievement" and sense of the "splendid achievement" and continuity of English history, culture, and continuity of English history, culture, and tradition. How do Clarissa and others tradition. How do Clarissa and others respond to that history and culture? What respond to that history and culture? What specific elements of English history and specific elements of English history and culture are viewed as primary? How does culture are viewed as primary? How does Clarissa's attitude, specifically, compare Clarissa's attitude, specifically, compare with Septimus's attitude on these points?with Septimus's attitude on these points?

10. 10. As he leaves Regent's Park, As he leaves Regent's Park, Peter sees and hears "a tall Peter sees and hears "a tall quivering shape, . . . a battered quivering shape, . . . a battered woman" singing of love and death: woman" singing of love and death: "the voice of an ancient spring "the voice of an ancient spring spouting from the earth . . ." singing spouting from the earth . . ." singing "the ancient song." What is Peter's "the ancient song." What is Peter's reaction and what significance does reaction and what significance does the battered woman and her the battered woman and her ancient song have for the novel as a ancient song have for the novel as a whole? whole?

11. 11. Clarissa reads lines from Shakespeare's Clarissa reads lines from Shakespeare's CymbelineCymbeline (IV, ii) from an open book in a (IV, ii) from an open book in a shop window: "Fear no more the heat o' the shop window: "Fear no more the heat o' the sun / Nor the furious winter's rages./Thou sun / Nor the furious winter's rages./Thou thy worldly task hast done, / Home art gone thy worldly task hast done, / Home art gone and ta'en thy wages: / Golden lads and girls and ta'en thy wages: / Golden lads and girls all must, / As chimney-sweepers, come to all must, / As chimney-sweepers, come to dust." These lines are alluded to many dust." These lines are alluded to many times. What importance do they have for times. What importance do they have for Clarissa, Septimus, and the novel's principal Clarissa, Septimus, and the novel's principal themes? themes?

What fears do Clarissa and other characters What fears do Clarissa and other characters experience? experience?

What is Shakespeare’s role in this novel? What is Shakespeare’s role in this novel? Which plays are cited, and how? How do Which plays are cited, and how? How do

different characters “use” Shakespeare, different characters “use” Shakespeare,

and what does this tell us about and what does this tell us about them?them?

12. 12. Why does Woolf end the novel Why does Woolf end the novel with Clarissa as seen through with Clarissa as seen through Peter's eyes? Why does he Peter's eyes? Why does he experience feelings of "terror," experience feelings of "terror," "ecstasy," and "extraordinary "ecstasy," and "extraordinary excitement" in her presence? What excitement" in her presence? What is the significance of those is the significance of those feelings, and do we as readers feelings, and do we as readers share them? share them?

13.13. Maureen Howard asserts that “If Maureen Howard asserts that “If ever there was a work conceived in ever there was a work conceived in response to the state of the novel, a response to the state of the novel, a consciously ‘modern’ novel, it is consciously ‘modern’ novel, it is MrsMrs. . DallowayDalloway…The novel, [Woolf] knew, …The novel, [Woolf] knew, had only to be re-imagined, an had only to be re-imagined, an enormous task, but what a grand and enormous task, but what a grand and immediate occasion” (viii). How immediate occasion” (viii). How exactly is this novel “modern”--exactly is this novel “modern”--consciously or unconsciously? consciously or unconsciously?

14. 14. The Foreword cites Woolf’s essay in The Foreword cites Woolf’s essay in The The Common ReaderCommon Reader: “In the vast catastrophe of the : “In the vast catastrophe of the European war our emotions had to be broken up for European war our emotions had to be broken up for us, and put at an angle from us, before we could us, and put at an angle from us, before we could allow ourselves to feel them in poetry or fiction” allow ourselves to feel them in poetry or fiction” (xiii). In discussing the loss of romance in (xiii). In discussing the loss of romance in A Room of A Room of One’s OwnOne’s Own, Woolf asks “Shall we lay the blame on , Woolf asks “Shall we lay the blame on the war?…But why say ‘blame’? Why, if it was an the war?…But why say ‘blame’? Why, if it was an illusion, not praise the catastrophe, whatever it was, illusion, not praise the catastrophe, whatever it was, that destroyed illusion and put truth in its place?” that destroyed illusion and put truth in its place?” (15). How does World War I function in (15). How does World War I function in MrsMrs. . DallowayDalloway? Is it a catastrophe to be blamed? Has it ? Is it a catastrophe to be blamed? Has it destroyed illusions? destroyed illusions?