Wednesday, March 21, 2012

Mrs Dalloway

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In the aftermath of the First World War the English literature could take pride in having handed over to the universal canon the figures of J. Joyce, T.S. Eliot, D.H. Lawrence or Virginia Stephen, better known as Virginia Woolf, on whose fourth novel, Mrs Dalloway, we will turn the spotlight on this paper.

First published in 1925, it has been widely recognised ever since as one of the most outstanding achievements of the 20th century. The comedy of manners and tragedy are interwoven by means of the party that Clarissa Dalloway holds and the end of a man. It is, no doubt, an autobiographical piece of writing in which Woolf’s style appears as firmly established, but what concerns us here is to try and find if it can be thought of as a modernist novel at all.

The novel has two main narrative lines involving two separate characters such as Clarissa Dalloway and Septimus Smith; within each narrative there is a particular time and place in the past that the main characters keep returning to in their minds.

In Mrs Dalloway, all of the action, aside from the flashbacks, takes place on a day in June. It is an example of stream of consciousness storytelling: every scene closely tracks the momentary thoughts of a particular character. Woolf blurs the distinction between direct and indirect speech throughout the novel, freely alternating her mode of narration between omniscient description, indirect interior monologue, and soliloquy. The narration follows at least twenty characters in this way but the bulk of the novel is spent with Clarissa Dalloway and Septimus Smith.

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