Writing Style of Virginia Woolf in Mrs. Dalloway

Born as Adeline Virginia Stephen, Virginia Woolf was known as a modern, feminist novelist for her defiant writing style. She deliberately challenged traditional methods of writing in a genius, innovative way. Mrs. Dalloway, one of Virgina Woolf's most well known works, is written in an unconventional style where many important themes and ideas are presented. Virgina Woolf was suicidal for most of her life and her thoughts on life and death are eluded to in her novels, especially Mrs. Dalloway. For example, Septimus Warren Smith's thoughts of suicide can be directly linked to the thoughts Woolf had on the topic. Furthermore, his actual act of committing suicide is a reflection of Woolf's many failed attempts (she tried to throw herself out of a window like her character Septimus did)-- she succeeded in the end, however.
Virginia Woolf writes Mrs. Dalloway in the format of a continuous stream of consciousness. The characters internally explore many thoughts and their memories constantly shift from past to present. Woolf enables the readers to understand the characters through this style of writing. Through this continuous stream of thought, we are able to see the point of view of several of the characters instead of just one. This way, more of their personalities are revealed and their inner emotions on certain topics are exposed. Readers are also able to predict how the characters will react in different situations. Because the story is not told in only one omniscient point of view, readers cannot form a biased opinion on the other characters. We are exposed to these continuous thoughts from the beginning of the novel when Clarissa Dalloway is buying flowers. Her thoughts vary from childhood memories to memories about Peter Walsh to thoughts on death. (3-9)
We see this stream of consciousness in other characters as well. For example, we are able to enter Septimus Warren Smith's mind many times throughout the novel. Though Septimus is insane, he has many interesting, insightful thoughts about society, the world, life, death, etc. These opinions are presented as ludicrous, but they have a deeper meaning to them. When a car backfires in the beginning of the novel, readers delve into Septimus' mind. He thinks he is connected to trees and that they should be preserved. He goes on to think that he sees his friend, Evans, but Evans is dead. He then believes that the world is going to burst into flames. (14-15, 24-25). Later on in the story, we are exposed to Septimus' thoughts once again moments before his suicide. We can get a sense of fear and panic from Septimus' scrambled and frantic thoughts just before he kills himself. (149)
By using this stream of consciousness method, Woolf is able to shift the point of view at any point in the novel. For example, when Peter leaves Clarissa's house and is in Regent's Park, he thinks about the past and his love for Clarissa. He is wondering if he is truly in love with Daisy when he hears an old woman singing a song. This evokes pity out of Peter.(80) The point of view suddenly changes to that of Rezia, who seems to also feel sympathy for the woman. Then she begins to think about Septimus and his illness.(82) Again, the point of view shifts, this time to a removed narrator. Through this unknown individual, we are able to see the Smiths cross the street and are permitted to see Septimus' past and how he got to his present state. After this bit of information, the point of view is once again changed to Mr. Brewer, Septimus' boss. He goes into Septimus' past and remembers the potential that he once had. (85)
Woolf utilized this method of writing in a way that portray the story as web-like. All of these characters are connected in some way, either through physical confrontation, their past, or through their memories. Because the characters' point of views are mostly thoughts and memories, and because they are constantly shifting, the past and present frequently overlaps. As a result, these characters get entwined in each other's lives either in their former lives or their present ones. This is seen when Hugh Whitbread, Richard Dalloway, and Lady Bruton meet for lunch, “Peter Walsh! All three, Lady Bruton, Hugh Whitbread, and Richard Dalloway, remembered the same thing-- how passionately Peter had been in love; been rejected; gone to India; come a cropper; made a mess of things; and Richard Dalloway had a very great liking for the dear old fellow too.” (107) They are all connected through their past here, as well as their present because they are physically all in one place at once. Another example is when Peter and Clarissa physically meet (40) but are also connected through their past. We see their past connection throughout the novel, such as when Peter recalls the night Clarissa rejected him.(64 ) Other characters are also connected, such as Rezia and Peter in the park as they think almost the same thoughts! (64-65)
The structure of Mrs. Dalloway is complex and purely brilliant. Most of the novel is composed of the thoughts of the characters. Virginia Woolf creates a web of characters that continue to affect each other every day of their lives, such like a ripple effect. Each ripple spread and eventually touches off another one, as the characters do. Like a web, the characters are entangled into each other's lives through their memories and pasts and continue to be in their present lives. Furthermore, all of the characters thoughts are shown to the readers and the point of view is constantly shifting. Not only are these three elements of the novel genius in themselves, but the whole novel takes place in one day!

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Theme of Death and Life in Mrs. Dalloway

Throughout the novel, we see frequent references to life and death. Thus, it would not be accurate to say the novel is only about one or the other; it sheds light on both life and death. Woolf presents these profound ideas through the thoughts of her characters in Mrs. Dalloway. From the very beginning of the novel, we are confronted with thoughts of death from the main character, Clarissa Dalloway. When walking in the streets, she plunges into deep thoughts about her death and what would happen after it, “Did it matter then, she asked herself... that she must inevitably cease completely; all this must go on without her; did she resent it; or did it not become consoling to believe that death ended absolutely? But somehow in the streets of London, on the ebb and flow of things, here, there, she survived,...she being part... of the trees at home; of the house there, ugly, rambling, all to bits and pieces as it was; part of people she had never met; being laid out like a mist between the people she knew best...” (9).
Later on in the novel, readers are continually confronted by the characters' thoughts on life and death. Clarissa thinks about what the purpose of her parties are and what her whole meaning of her life is, “...But could any man understand what she meant either? about life?...But to go deeper, beneath what people said (and these judgments, how superficial, how fragmentary they are!) in her own mind now, what did it mean to her, this thing called life? Oh, it was very queer.” (122) Up until this point, Clarissa has been pondering her role in society and what it means to the overall value of her life. She has definitely lived her life with more regrets than she can count. She has succumbed to a life of hostessing over a life of passion and there is not one moment where she is not thinking about the choices she has made.
Another character who ponders life and death is Septimus Warren Smith, a veteran who suffers from insanity. Though he is insane, he is very conscious of the concepts of life and death and might even understand them better than others in his society. Clarissa and Septimus are seen as connected because of their similar views on life and death. He would tell his wife, Lucrezia, his thoughts on death, life, and the society in which they lived, “He would argue with her about killing themselves; and explain how wicked people were; how he could see them making up lies as they passed in the street. He knew all their thoughts, he said; he knew everything. He knew the meaning of the world, he said.” (66)
Later on in the novel, as predicted earlier on, Septimus actually commits suicide. When Holmes comes to his house, Septimus plunges into a frantic state. He is tired of living in the society that he views as “wicked” and does not want to be ordered around by the doctors anymore. Various methods of suicide quickly pass through his mind, but he ultimately chooses to throw himself out of the window, “...he considered Mrs. Filmer's nice clean bread knife... the gas fire? But it was too late now... There only remained the window... He did not want to die. Life was good. The sun hot. Only human beings-- what did they want? Coming down the staircase opposite an old man stopped and stared at him. Holes was at the door. “I'll give it to you!” he cried, and flung himself vigorously, violently down on to Mrs. Filmer's area railings.” (149). Here, Septimus ultimately chooses death over his other option-- living another day in his “wicked” society. This is how Septimus and Clarissa's thoughts on death and life differ. Clarissa is so frightened by death, she would rather live in the society in which her real sense of identity is deadened and stunted. This is seen through Clarissa's reaction when Septimus' death is even mentioned at her extravagant party, “...'A young man had killed himself. He had been in the army.' Oh! Thought Clarissa, in the middle of my party, here's death...What business had the Bradshaws to talk of death at her party?” (183-184).
As Clarissa thinks about Septimus' death, she begins to understand and respect his decision to end his own life. She realizes that he was able to keep something she lost a bit more everyday of her life, “But why had he done it?...A thing there was that mattered; a thing, wreathed about with chatter, defaced, obscured in her own life, let drop every day in corruption, lies, chatter. This he had preserved. Death was defiance. Death was an attempt to communicate; people feeling the impossibility of reaching the centre which, mystically, evaded them; closeness drew apart; rapture faded, one was alone. There was an embrace in death...The young man had killed himself; but she did not pity him...She felt somehow very like him... She felt glad that he had done it; thrown it away.” (184,186)
Septimus defied society when he committed suicide. He chose to rise above the shallow demands of society. He is able to do what Clarissa isn't, and as a result, she feels that his death is her disgrace. The theme of life and death is a strong one in the novel. The characters ultimately live their lives as a product of their beliefs on life and death. Most of the characters are eager to please society and lose their desires and identities as they conform to the norm. They constantly think about what their lives have become and how life would have been if they had only embraced their individuality. Septimus sets an example to embrace life for what it is, not for what everyone thinks it should be. He ultimately embraces life by ending it, “Fear no more.”

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Clarissa Dalloway: Just a Hostess?

Clarissa Dalloway is married to Mr. Richard Dalloway and is the protagonist of the novel. Her basic role in her community is to hold parties at her house for important individuals. However, we quickly see at the beginning of the novel that Clarissa is more than a simple hostess. Naturally, when we think of a hostess, we see a shallow, dumb-witted, featherbrained woman. In one sense, Clarissa can be viewed as this stereotypical role, especially when referring to the adjective 'shallow'. However, on the other hand, we see a deeper side to Clarissa, the more appealing side to her that she unfortunately chooses to hide from her society.
Clarissa Dalloway chose to marry Richard Dalloway over her dear friend Peter Walsh. Many years later, she still contemplates whether this decision was the right one to make. She believes she made the right choice, but at the same time, wonders whether she should have married him, “So she would still find herself arguing in St. James's Park, still making out that she had been right-- and she had too-- not marry him. For in marriage... a little independence there must be between people living together... in the same house...she had to break it with him or they would have been destroyed, both of them ruined, she was convinced...” (7,8) This “independence,” Clarissa feels, is given to her by Richard, and to Richard by her. However, is this really true? How is Clarissa truly free if she hides her thoughts, even from her own husband. Isn't she already destroyed, being that she is trapped in this superficial world that she so very much hates? Though Clarissa seems very sure of her decision in the beginning of the novel, readers see her uncertainty return, “Now of course, thought Clarissa, he's enchanting! perfectly enchanting! Now I remember how impossible it was ever to make up my mind-- and why did I make up my mind-- not to marry him? she wondered, that awful summer?” (41)
The ironic thing about Mrs. Richard Dalloway is that she is quite the thinker. She inwardly self-reflects on a daily basis and struggles to find the meaning to her life of glitz and glam. She gave up a life of passion with Peter to obtain a life of security and upper-class wealth. It persistently plagues her that she has chosen this life, especially since this is what Peter had predicted for her, “She would marry a Prime Minister and stand at the top of a staircase; the perfect hostess he called her (she had cried over it in her bedroom), she had the makings of a perfect hostess, he said.” (7) Clarissa also constantly thinks about pressing issues like society, life, aging and death. When walking in the streets, she plunges into deep thoughts about her existence, death, and what goes on after death, “Did it matter then, she asked herself... that she must inevitably cease completely; all this must go on without her; did she resent it; or did it not become consoling to believe that death ended absolutely?” (9)
Though Mrs. Dalloway is an individual of much depth and contemplation, she is viewed by others as shallow, judgmental, and critical. This is because Clarissa is too concerned with her outward appearance and others' opinions of her. She buries both her intellect and complex emotions on life's most important issues. One particular instance is shown in Peter's point of view as he remembers a dinner that took place at the Bourton in the summer of the early nineties. The guests were speaking about a neighbor who had a baby before marriage. Her reaction to the news was one of obnoxious and judgmental criticism. She unmercifully scorned the woman and was unsympathetic toward her. She poked fun at the way she dressed, “She was absurdly over-dressed, “like a cockatoo,” Clarissa had said, imitating her, and she never stopped talking. On and on she went, on and on. Clarissa imitated her. Then somebody said...before they'd married she had had a baby... He could see Clarissa now, turning bright pink; contracting; and saying, “Oh, I shall never be able to speak to her again!” Whereupon the whole table seemed to wobble. It was uncomfortable.” (59) Peter feels that this was the time of the death of Clarissa's soul, which is a very rational statement because shortly after, Clarissa rejects Peter for Richard. This situation shows how hypocritical Clarissa is; she blatantly attacks another individual so that she may boost her own appearance. Peter describes her manner as “arrogant, unimaginative, and prudish.”(59)
Will Clarissa be able to overcome her obsession with societal appearance? As of now, Clarissa still struggles to find her place in society. Does she want to continue to be Mrs. Richard Dalloway? Or will she break out of her self-restricting life and pursue her inner desires. One thing is certain, Clarissa is taking part in the oppression at the moment. Perhaps her role may soon shift...
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Dolores Haze vs. Annabel Leigh

Humbert Humbert repeatedly refers to Dolores as Annabel. When he was around the age of thirteen, he fell in love with Annabel. This was a significant relationship, for Annabel Leigh was the only female he ever loved that was his age. They were in love and explored each other's sexuality and bodies. They attempted to make love but were unsuccessful every time. This is where an interesting theory can be explored. Perhaps Humbert Humbert is attracted to young girls because he wishes to return to that time in his life to possess that girl he shamelessly loved, “We loved each other with a premature love, marked by a fierceness that so often destroys adult lives.” (18) Is this a possible explanation given by Humbert Humbert to show why he is in love with nymphets now? Is it possible that he believes there is still hope to make love to an Annabel? It seems that he as an emotional attachment to Annabel, for he still remembers her and refers to her many times throughout the novel. He never got that chance to love, to possess, Annabel before she died.
Though Dolores and Annabel existed in different time periods, they seem connected in some uncanny way. Humbert Humbert makes this connection. From the moment he meets Dolores when he goes to the Haze household, he immediately falls in love with her and cannot help but feel that she is Annabel reincarnated, “It was the same child-- the same frail, honey-hued shoulders, the same silky supple bare back, the same chestnut head of hair. A polka-dotted black kerchief tied around her chest hid from my aging ape eyes, but not from the gaze of my young memory, the juvenile breasts I had fondled one immortal day.” (39) He flashes back to that last day he had with Annabel, the last attempt they made at making love on the beach, “ I saw again her lovely indrawn abdomen where my southbound mouth had briefly paused; and those puerile hops on which I had kissed the crenulated imprint left by the band of her shorts-- that last mad immortal day behind the “Roches Roses.” The twenty-five years I have lived since then tapered to a palpitating point, and vanished.” (39)
Humbert Humbert actually speaks of this day in the beginning of the novel, “But that mimosa grove—the haze of stars, the tingle, the flame, the honey-dew, and the ache remained with me, and that little girl with her seaside limbs and ardent tongue haunted me ever since-- until at last, twenty-four years later, I broke her spell by incarnating her in another.” (15) Here, Humbert Humbert clearly expresses his thoughts of Annabel being resurrected in Dolores.
It is plain to see that Humbert Humbert makes the readers believe that Annabel and Dolores are directly connected to one another. He shows the audience that they are similar in appearance (however they may only look similar to Humbert Humbert because he wants them to). Despite similarities in appearance, the audience can see other similarities between the two nymphets. For example, Annabel had experimented with sex. She and Humbert Humbert had felt as though it was something exciting, new, curious. Dolores approaches sex in the same way, and Humbert Humbert realizes this during the first time he and Dolores has sex together. Dolores' attitude toward sex is even revealed in her accounts at camp, and how she became curious on the matter, “At first, Lo had refused to try what it was like, but curiosity and camaraderie prevailed.” (137)
Despite Humbert Humbert's thought of Dolores being Annabel reincarnated, he does acknowledge that they are quite different, “I should have understood that Lolita had already proved to be something quite different from innocent Annabel...” (124) Though he sees that they are different, he still cannot help but think of Dolores as Annabel. He is trapped in his childhood memories and is determined to return to that last day with Annabel. At one point he even tries to relive his experience with Annabel on the beach, this time with his Lolita in the beginning of Chapter 3, Part II. However, he fails, just like he did with Annabel so long ago. He refers to Dolores Haze as Annabel Haze, but he still cannot bring Annabel back.
Also, there might be an interesting point to be made here. As Humbert Humbert's and Dolores' relationship continue, Humbert Humbert notices that Dolores is becoming less and less like a nymphet. However, he realizes that he still loves her deeply. Perhaps this is because when he was in love with Annabel, he did not consider her a nymphet, “Annabel was no nymphet to me; I was her equal...” (17) When he sees her after a few years, she has lost all of her nymphetic characteristics. She is even pregnant with another man's child. However, he still loves her and does not doubt it, “You see, I loved her. It was love at first sight, at last sight, at ever and ever sight.” (270)
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Humbert Humbert: A Tragic Hero?

Since the beginning of the novel it has been quite clear that Humbert Humbert lacks the ability to distinguish between love and possession. He believes that to love someone is to possess them. He sees to feel that both love and possession cannot be separate forces. This logic is what drives Humbert Humbert to love Dolores Haze, and essentially possess her as his own. As his love for her grows, he becomes more possessive and obsessive of her. From the moment he sets eyes on her, he calls her my Lolita. (40)
This can be seen as Humbert Humbert's tragic flaw. A tragic hero is an individual who has great potential but eventually a tragic flaw leads to his or her downfall. The idea of Humbert Humbert being a tragic hero sounds ridiculous from the start. However, his scenarios is ironically altogether fitting. Because Humbert Humbert loves Lolita, he strives to possess her. As he does this, he becomes more controlling and understand Dolores less and less. As their relationship continues, it gets more strained. The more he tries to possess Lolita, the more he drives her away. In the end, he fails to possess her and, blinded by love, he kills Quilty. He loses Lolita forever and ends up in prison, alone.
Humbert Humbert's ties between love and possession originated in his childhood. His first love was Annabel, and in this relationship, he begins to show signs of this confusion, “All at once we were madly, clumsily, shamelessly, agonizingly in love with each other; hopelessly, I should add, because that frenzy of mutual possession might have been assuaged only by our actually imbibing and assimilating every particle of each other's soul and flesh.” (12) From this point forth, Humbert Humbert would only love through possession.
When Humbert Humbert first encounters Dolores Haze, he immediately falls for her. He becomes obsessed with her from the onset. He has names of affection for her, watches her every move, and writes about her in his is diary. He refers to her as “L., my darling, my sweetheart, Lo, my life, my bride.” (42, 47) Humbert Humbert clearly believes that Dolores is his, and his only. He has not professed his love to her, yet he considers her his bride. He obsesses over every part of her, from her skin to the way she moves.
After Charlotte dies, Humbert Humbert begins to move in on his Lolita. Now with Charlotte out of the way, he had Lo all to himself. In one of his schemes to possess her, Humbert Humbert rented a hotel where he drugged her so that he may fondle her. The strange thing in this act is that he never actually has sex with her while she is under this drug. He only dreams of examining her body. Is this because he genuinely loves her and wishes to keep her purity unharmed? However, this love is bound to turn into possession, for that is how, Humbert Humbert believes, loving someone is supposed to be.
As Humbert Humbert and Lolita's sexual relationship continues, Lolita becomes unsure of what to do. Due to her age, she does not understand what is taking place and even refers to it as incest (119) and rape (141). In his desire to possess her, Humbert Humbert becomes less and less understanding of Dolores and her incapacity to understand the emotions between them. He refers to her changing behavior as moods, “Somewhere at the bottom of that dark turmoil I felt the writhing of desire again, so monstrous was my appetite for that miserable nymphet... her mood might prevent me from making love to her again as soon as I found a nice country road where to park in peace.” (140) He does not realize or acknowledge that it might be hard for Dolores to comprehend this relationship with an adult who is supposed to be her stepfather. He overlooks the fact that she is mourning her mother's death, also.
Humbert Humbert and Lolita continue to travel, and as they do so, Humbert Humbert realizes that he must keep Lolita under his control, “I was clever enough to realize that I must secure her complete co-operation in keeping our relations secret...” (149) He only allows her to play with a few girls her own age, but forbids her to to interact with any boys. In order to ensure that Dolores does not accuse him of rape, Humbert Humbert constantly tells Dolores that she has nobody else besides him. He slyly threatens her by telling her that she will be placed in a correctional school, the reformatory, or the juvenile detention center, if she tells people about their relationship. (149-151) He knows exactly what he is doing “By rubbing all this in, I succeeded in terrorizing Lo...” (151)
As their relationship continues, Dolores gets more sullen. In his attempt to have her as his own, Humbert Humbert puts his own desires before hers. She cries every night and he pretends to sleep. Later, he only gives her allowance if she performs sexual favors for him. He then steals the money back because he fears that she might use her cash to run away from him, “What I feared most was not that she might ruin me, but that she might accumulate sufficient cash to run away.” (185)
These actions are what eventually lead to the demise of Dolores' and Humbert Humbert's relationship. He loses Dolores in his attempt to fully control her and have her has his own. It was the only way he knew how to love his Lolita.
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Humbert Humbert

From the outset, Humbert Humbert is anything but a simple character. The novel opens with him speaking, as he is both the narrator and main character of the novel. As we continue to read, we are exposed to Humbert Humbert's ideas and thoughts. He openly tells the audience that he is a pedophile, but he is ready to defend his case, "Ladies and gentelmen of the jury.... look at this tangle of thorns." (9) He is proud of what he is, but also hates who he is.
Early in the story, we see that Humbert cannot distinguish the difference between love and possession. It is clear that he believes that, in order to love someone, you must possess them. He expresses this idea early on in his life, around the age of thirteen, when he falls in love with Annabel. His relationship with Annabel is particularly significant, mainly because it was the only relationship in which Humbert Humbert and his partner were the same age. In this relationship, Annabel and Humbert Humbert try to make love on many occasions, each one unsuccessful. Perhaps, this is the root of Humbert Humbert's pedophilia, for maybe he wishes to return to that time in his life to possess that girl he once “madly, clumsily, shamelessly, agonizingly loved.” (11)
Humbert Humbert's eloquent and enticing language entrances the reader. We do not see him for what he is-- a pedophile who fantasizes about little girls. He is able to cradle the reader with his words, which are both beautiful and extraordinary. This is often difficult for the reader to digest. How can we accept, perhaps even like, a pedophile? In our society, criminal justice stalks after men just like Humbert Humbert. However, we cannot help but be intrigued, almost seduced, by this compelling character. He may be describing the most heinous of his actions, such as his first sexual encounter with Lolita (66), however his choice of words and tone bait the reader. Readers also find Humbert Humbert enjoyable because of his humor and self-criticizing sarcasm. He sees his lust for Lolita as pathetic (63) and sees his love life as “humiliating, sordid, and taciturn” (23). Another reason that readers may be drawn to Humbert Humbert is his valuable honesty. He does not lie about what he is and openly states what he feels and thinks. He lets the readers into his most precious and private place-- his mind.
Humbert Humbert sees himself as an intellect. He rationalizes his behavior, and even criticizes the society in which he lives, “... and soon I found myself maturing amid a civilization which allows a man of twenty-five to court a girl of sixteen but not a girl of twelve. He longs to return to a time when courting a child was acceptable” (18). He sees his pedophilia not as something disgusting and wrong, but as an art that not many have adept skill in, “You have to be an artist and a madman, a creature of infinite melancholy, with a bubble of hot poison in your loins and a super-voluptuous flame permanently aglow in your subtle spine” (17). He creates a whole science to his thinking, to his practice of weeding out the true nymphets among him. To Humbert Humbert, not all little girls are nymphets, but only special ones. This is seen in his encounter with a young prostitute girl, who he sees as “monstrously plump, sallow, and repulsively plain” (24).
Though readers may begin to like Humbert Humbert, many times he reminds readers of what he truly is. Sometimes he is not only offensive, but downright appalling. For example, after he touches Lolita for his own sexual pleasure, he blatantly states how proud he is of his action. He felt he had done nothing wrong to corrupt the child while he was still able to please himself, “I felt proud of myself. I had stolen the honey of a spasm without impairing the morals of a minor.” (62) He goes on to say that Lolita had known nothing and he had done nothing to her. Not only that, but he longs for another encounter with this twelve-year-old girl.
Furthermore, Humbert Humbert reveals what a monster his is when he tells the reader how he wishes to kill Valeria and Charlotte. When he was unhappy with Charlotte, he would fantasize about killing her in order to keep calm! Lastly, readers cannot allow themselves to trust Humbert Humbert fully because on many occasions, he lies in order to have things go his way, such as when he publishes a fake Arctic report or when he lies to the doctors about his symptoms.
One of the ironic things about Humbert Humbert is his mental history. He is checked in and out of mental facilities, but he does not seem to be psychologically unstable as he speaks. His words are both deliberate and meaningful. Everything Humbert Humbert does, he has an explanation for. He rationalizes and justifies his behavior. He plans his every move. Though he is deemed mentally unstable, he is put in charge of the psychoanalysis of those who accompany him on his trip to the Arctic. How can a man who is mentally unstable himself possibly evaluate the sanity of others?!
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