Katelyn Brown Engl 103 (X) – John Marsh
Woolf Response
Woolf Response
“…she paused by the open staircase window which let in blinds flapping, dogs barking, let in, she thought, feeling herself suddenly shrivelled, aged, breastless, the grinding blowing, flowering of the day, out of doors, out of the window, out of her body and brain which now failed…” Virginia Woolf does a tremendous job at addressing the serious human problem of appearance versus reality, contrasting intrapersonal attitudes, in her novel “Mrs. Dalloway”. The novel exposes many, if not all, of the character’s thoughts in opposition to what they appear to the outside world. Woolf’s characters can be seen repressing their true feelings and hiding behind the “masks”
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Dalloway, but Peter Walsh also maintains hidden feelings that are unapparent to the outside world. After reappearing some number of years after he left for India, Peter comes to the residence of Clarissa Dalloway, unknowing that he would soon be reminiscing about the past with his former love. He appears to be fine with the whole conversation about the past, however, Woolf comments, “Then, just as happens on a terrace in the moonlight, when one person begins to feel ashamed that he is already bored, and yet as the other sits silent, very quiet, sadly looking at the moon, does not like to speak, moves his foot, clears his throat, notices some iron scroll on a table leg, stirs a leaf, but says nothing – so Peter Walsh did now” (42). This feeling is hidden, however, by the fact that he decides to tell Clarissa that he has fallen in love, “And with a curious ironical sweetness he smiled as he placed her in this ridiculous way before Clarissa” (45). Peter deliberately tries to provoke a response from Mrs. Dalloway because he is trying to hide the fact that she is actually the woman that he is in love with. Peter knows, however, that he has nothing to offer Clarissa Dalloway and “she would think me a failure, which I am in their sense, he thought; in the Dalloways’ sense… compared with all this – the inlaid table, the mounted paper knife… - he was a failure!” (43). Peter is also hiding behind a “mask” by not telling Mrs. Dalloway his true feelings for her as opposed to telling her that he is “in love with a girl in India” (45). Not just the specific characters, but also the townsfolk of London are also susceptible to the label of “hidden”. The people are so caught up in trying to be something they are not, they almost forget the importance of being an individual. For example, when the mysterious car drove into sight, everyone put their daily lives on hold in order to view this spectacle, which no one really knew whether it was it was a spectacle or
As depicted by Scott F. Fitzgerald, the 1920s is an era of a great downfall both socially and morally. As the rich get richer, the poor remain to fend for themselves, with no help of any kind coming their way. Throughout Fitzgerald’s, The Great Gatsby, the two “breeds” of wealthier folk consistently butt heads in an ongoing battle of varying lifestyles. The West Eggers, best represented by Jay Gatsby, are the newly rich, with little to no sense of class or taste. Their polar opposites, the East Eggers, are signified by Tom and Daisy Buchanan; these people have inherited their riches from the country’s wealthiest old families and treat their money with dignity and social grace. Money, a mere object in the hands of the newly wealthy, is unconscientiously squandered by Gatsby in an effort to bring his only source of happiness, Daisy, into his life once again. Over the course of his countless wild parties, he dissipates thousands upon thousands of dollars in unsuccessful attempts to attract Daisy’s attention. For Gatsby, the only way he could capture this happiness is to achieve his personal “American Dream” and end up with Daisy in his arms. Gatsby’s obsession with Daisy is somewhat detrimental to himself and the ones around him; his actions destroy relationships and ultimately get two people killed.
In Mrs. Dalloway, Clarissa Dalloway undergoes an internal struggle between her love for society and life and a combined affinity for and fear of death. Her practical marriage to Richard serves its purpose of providing her with an involved social life of gatherings and parties that others may find frivolous but Clarissa sees as “an offering” to the life she loves so well. Throughout the novel she grapples with the prospect of growing old and approaching death, which after the joys of her life seems “unbelievable… that it must end; and no one in the whole world would know how she had loved it all; how, every instant…” At the same time, she is drawn to the very idea of dying, a theme which is most obviously exposed through her reaction to the news of Septimus Smith’s suicide. However, this crucial scene r...
Think about being separated from the one you love. You thought this person would be in your life forever and always. You may have spent days and weeks thinking and planning your future together, but then one day they disappear from your life. That person has moved on, and chose to live a life that no longer including you. It would be assumed in most cases that the love of your life is no longer the person they were before, so should you stick around and try to win them back? In the case of Gatsby and Daisy, Gatsby did not realize Daisy would be different, and although he still thinks he is in love with Daisy, is he in love with her for who she is now, or the idea of everything she used to be the answer may shock you, and this is all due to the unreal expectations he has for her to fill. Because Gatsby is not in love with who she is at the time they are reunited. Instead, he is caught up in the idea of who she used to be. The actions of Gatsby, how he talks about her, and the relationship between Gatsby and Daisy once they are back together again show who Gatsby is really in love with, and that is the old Daisy.
The Great Gatsby is Not The novel has no plot to mention. . The book is sensational, loud, blatant, ugly, pointless. There seems to be no reason for its existence: Harvey Eagleton (Dallas Morning News, May 10, 1925). F. Scott Fitzgerald’s The Great Gatsby is an absurd story, whether considered a romance, melodrama, or plain record of New York high life.
Women are seen from a biased point of view in pop culture as they are often criticized and portrayed in degrading ways. The Great Gatsby takes place in the early part of the 20th century which is also known as the Roaring 20's. In regards to feminism, the women in The Great Gatsby are mainly depicted as second class to men. The story gives readers an insight of the roles that gender played in past World War I America. In The Great Gatsby, the author Scott Fitzgerald shines a light on the submissiveness of females toward males during the Roaring Twenties by giving the women in the novel an unfair representation as they are often identified as passive or negative “objects”.
The physical and social setting in "Mrs. Dalloway" sets the mood for the novel's principal theme: the theme of social oppression. Social oppression was shown in two ways: the oppression of women as English society returned to its traditional norms and customs after the war, and the oppression of the hard realities of life, "concealing" these realities with the elegance of English society. This paper discusses the purpose of the city in mirroring the theme of social oppression, focusing on issues of gender oppression, particularly against women, and the oppression of poverty and class discrimination between London's peasants and the elite class.
Clarissa Dalloway and Peter Walsh are defined by their memories. Virginia Woolf creates their characters through the memories they share, and indeed fabricates their very identities from these mutual experiences. Mrs. Dalloway creates a unique tapestry of time and memory, interweaving past and present, memory and dream. The past is the key to the future, and indeed for these two characters the past creates the future, shaping them into the people they are on the June day described by Woolf. Peter and Clarissa’s memories of the days spent at Bourton have a profound effect on them both and are still very much a part of them. These images of their younger selves are not broad, all-encompassing mental pictures, but rather the bits and pieces of life that create personality and identity. Peter remembers various idiosyncracies about Clarissa, and she does the same about him. They remember each other by “the colours, salts, tones of existence,” the very essence that makes human beings original and unique: the fabric of their true identities (30).
The extensive descriptions of Mrs. Dalloway’s inner thoughts and observations reveals Woolf’s “stream of consciousness” writing style, which emphasizes the complexity of Clarissa’s existential crisis. She also alludes to Shakespeare’s Cymbeline, further revealing her preoccupation with death as she quotes lines from a funeral song. She reads these lines while shopping in the commotion and joy of the streets of London, which juxtaposes with her internal conflicts regarding death. Shakespeare, a motif in the book, represents hope and solace for Mrs. Dalloway, as his lines form Cymbeline talk about the comforts found in death. From the beginning of the book, Mrs. Dalloway has shown a fear for death and experiences multiple existential crises, so her connection with Shakespeare is her way of dealing with the horrors of death. The multiple layers to this passage, including the irony, juxtaposition, and allusion, reveal Woolf’s complex writing style, which demonstrates that death is constantly present in people’s minds, affecting their everyday
Although Clarissa Dalloway has had many men in her life and she holds high position in the society and therefore she has many people around her, she is actually very lonely, isolated from the society and therefore unhappy. She has chosen Richard Dalloway to be her husband, however she loved Peter Walsh more. During the whole novel she as if explains away why it was right not to marry with Peter Walsh: " But she had often said to him that she had been right not to marry Peter Walsh; which, knowing Clarissa, was obviously true; she wanted support. Not that she was weak; but she wanted support." She did not marry Peter Walsh...
This passage is from the great Gatsby by F. Scott Fitzgerald. It tells a story, specifically the history which Gatsby and Daisy had. Daisy promised to wait for Gatsby until the war ended. But as it is Daisy’s youth and need for love and attention has made her insecure to stay alone for so long. Soon she attended parties and dances. At one of them she met the safe and strong Tom Buchanan. Despite the fact that she loved Jay, he was not there, so she married Tom.
By exploring the various queer references in The Hours, I have untangled some, but hardly all, of the queer references that Cunningham wove into his novel by adopting, and adapting, Virginia Woolf’s Mrs. Dalloway for his own purposes. He was able to transform the reader’s view of literature and of queer narratives by reviving an old work and giving it a modern spin – replacing World War I with AIDS and exploring the sexuality of Mrs. Woolf, Mrs. Brown and Mrs. Dalloway through their respective eras.
Clarissa's relationships with other females in Mrs. Dalloway offer great insight into her personality. Additionally, Woolf's decision to focus at length on Sally Seton, Millicent Bruton, Ellie Henderson, and Doris Kilman allows the reader to see how women relate to one another in extremely different ways: sometimes drawing upon one another for things they cannot get from men; other times, turning on one another out of jealousy and insecurity. Although Mrs. Dalloway is far from the most healthy or positive literary portrayal of women, Woolf presents an excellent exploration of female relationships.
The narrative of Mrs. Dalloway may be viewed by some as random congealing of various character experience. Although it appears to be a fragmented assortment of images and thought, there is a psychological coherence to the deeply layered novel. Part of this coherence can be found in Mrs. Dalloway's psychological tone which is tragic in nature. In her forward to Mrs. Dalloway, Maureen Howard informs us that Woolf was reading both Sophocles and Euripides for her essays in The Common Reader while writing Mrs. Dalloway (viii). According to Pamela Transue, "Woolf appears to have envisioned Mrs. Dalloway as a kind of modern tragedy based on the classic Greek model" (92). Mrs. Dalloway can be conceived of as a modern transformation of Aristotelian tragedy when one examines the following: 1) structural unity; 2) catharsis; 3) recognition, reversal, and catastrophe; 4) handling of time and overall sense of desperation.
The entirety of the novel Mrs. Dalloway is focused on juxtaposing exteriority against interiority, surface against depth. The characters project selves for the world they inhabit to see, but have entirely different selves with which only they are familiar. This lines up fairly reliably with the primary tenet of modernism: a focus on the projection of surfaces and how those surfaces relate, either by confirming or contradicting, to the true nature of an object or being. In Mrs. Dalloway, Woolf uses free indirect discourse to inhabit her characters’ minds, giving the reader not only a sense of the self a given character projects to others, but also an understanding of that character’s internal being. This is especially present in the following
No one can truly know what goes on inside the head of a suicide victim before they take their own life, but in Mrs. Dalloway, Virginia Woolf depicts the suicide of Septimus Smith in a way that is painfully and powerfully informed by her own experience. Though she would live past the book’s publication, Woolf would tragically commit suicide sixteen years later. But human lives are not black and white, and there is much to be learned from Woolf’s path and her battle with mental illness through the characters in her novel. Clarissa, and Septimus, whom Woolf describes as Clarissa’s counterpart, provide insight Woolf’s own mental state, and more importantly illustrate the incredible nuances that define peoples’ individual struggles. Clarissa, Septimus,