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Novel
The Female Victims Of The War In Mrs
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This seemingly well constructed duality; however, has
a paradoxical hidden implication
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The bond between Se rims and Clarissa should be understood as
common sense of victimization by the war and by patriarchal values
...

Clarissa is also connected with other victims of the war, Lucrezia
Smith and Doris Kilman
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Lucrezia is one of the war brides who were, brought to Britain as a
symbol of male triumph power, egotism, and romanticism
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Worse, she cannot express her anger,
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frustration and depression because she is oppressed as a woman and as a
foreigner
...
Kilman lost her job
during the war because she could not tell lies but told her true opinions
about the Germans; she is confronted with her long-suppressed self
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Under the male-dominated Victorian and
Edwardian society, women could not openly express their anger and
agony; woman’s true emotions were untold and unknown, the war is one
of the factors of patriarchy
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The war therefore embodies
patriarchy, which oppresses woman’s true selves and deprives them of
their voice
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Dalloway depicts Clarissa’s reentry into society, which is
symbolized by her party, after her recovery from heart disease
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Evenif the war was over it had inflicted a psychological wound
on the people who were left
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Clarissa is one who inhabits the town house as-a politician's Richard
Dalloway is a Norfolk 'gentleman and Clarissa's father owned the country
house at Bourton
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' Clarissa is, however, still deeply involved in the female
status of mistress of the house and of hostess of the party
...

The political hostess, however, has played an important part In the
British political world throughout its history
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Margaret’s in Mrs
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St
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When Peter Walsh listens to St
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Peter now discovers the reality of
Clarissa’s and understands her agony behind it
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Margaret has played an
important role throughout British history, a political “hostess” as is
Clarissa
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Margaret's, however has been ignored and-forgotten under the
shadow of the abbey
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St
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Margaret's history is, like that
of Westminster-itself
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Thus, since the seventeenth
century, St
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Lucrezia, a twenty four year old Italian who has been married to
Septimus for five years, is described as “a little woman and “an Italian girl”
(21) and recognized as “seeming foreign” by Maisie Johnson
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Lucrezia, in her marriage gave up her country for her love of
Septimus
Septimus confessed than he "had married his 'wife without ` loving
her; had lied to her; seduced her"
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During the first eighteen months of the
war, about 2
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Those soldiers met difficulty at the front because they had been
appealed to by patriotic sentiment yet knew little of the hardship of battle
...

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Septimus, like this wounded soldier, needed spiritual comfort and
psychological security, which he sought from an Italian woman, Lucrezia
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Lucrezia’s agony is closed within herself and she repeats "1 am
unhappy" to herself
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Her simple inner voice however, is strong and honest enough to tell
the truth rather than 'to try to transcend the absence of communicative
possibility in English life," as Paul suggests
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English because 'he was brought to Britain, while Septimus cannot speak
Italian and does not know even simple Italian word
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In her
notebook Wolf wrote that Lucrezia is '"to be a real character" “Why Should
she suffer?” “Why should she be exposed?” it is because she is a woman
and an outsider
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On the other hand, Lucrezia cannot even cry but is allowed only to
feel that she must stop people in the street” just to say to them “I am
unhappy”
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This is Lucrezia’s cumulative voice of anxiety
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It is interesting to note that
Clarissa had not a baby until she was thirty-five years old even though she
married young probably just after she met Richard at Bourton at eighteen
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In spite of Lucrezia’s revelation of her true emotions, Septimus has
never understood her and what is worse he cannot even feel for her inner
conflict
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These words, however represent Lucrezia can
“say anything to him” as she used to beyond the language barrier, she feels
“perfectly happy”
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She
is now confronted with the difficulty of returning to Italy, which was
already under Mussolini’s fascist control
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Kilman represents the most dangerous and unpleasant woman for
men of that era because she does not mindlessly serve “the international
metaphor of Belgian humiliation
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Marcus point out in “The Nice of a Nun” that
Woolf was influenced by her Quaker aunt, Caroline Emelia Stephen, to
connect Women’s gaining of freedom, sisterhood, and pacifism
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She is however, a highly educated woman
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As Kilman represents women’s higher education among middle class
women, Septimus represents the mass new-school type that began to
appear in the late nineteenth century and became common in the early
twentieth century
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He is “one of those half-educated self educated men”
Septimus is an example of one who received the national secondary
education which was between the low elementary education and college
education
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His job, clerical work, is a, new job to which those young "half
educated" men can be assigned
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Septimus is admittedly excellent as a clerk, but he cannot trans
nd the barrier of the British public education system
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The pictures and cartoons in Punch show
the stereotype of the severe-looking feminists and highly educated
women
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Women had in the early twentieth century
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Single women after the war were confronted with the difficulty of
finding husband
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It is reported that in 1920, 63 percent of the female
population
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There was a severe shortage of would be husbands after the Great
War
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Single middle-class and upper middle class women, especially, had
neither husband nor economic independence
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Literary realism in Mrs Dalloway, To the Lighthouse,
Orlando and the Waves
Throughout Mrs
...
As a result, the
details which ground the narrative in observable reality often emerge
more slowly than they do when presented by an omniscient narrator
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The London streets and landmarks are among the real, as opposed to
the fictional, facts in the narrative
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Although the events in the narrative take place on a specific
date, that fact is disclosed more slowly than is the sating
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The War was over' IP
...
A few pages later the narrator tells us it
is Wednesday
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By naming a specific year, Woolf turns what could have been a fictional
fact into a real one
...
This design is
further complicated by the continual ships from an omniscient
perspective to one tied to a particular character, shifts that often take us
from 'actual time' into 'mind time two modes which are not, as our own
experience tells us, measured on the same scale
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Dalloway seem to me the most complex that Woolf ever wrote
...
She does not specify the time, but later events indicate that it must
be ten o'clock
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Soon after the appearance of the plane, the narrator, looking at the
sky, tells us the time: 'in this extra ordinary silence and peace, in this
pallor, in this purity, bells struck clever rimes
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'Look, look,' Rezia says IP
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We last see it flying over St Paul's
and Ludgate Circus

10

We know from the narrator's description of the bells that the plane
was in this vicinity shortly after eleven o'clock ' Her question also reminds
us of Rezia's admonition to Septimus to look at the plane, thus linking him
again with Clarissa
...

In the next scene, Clarissa has already dealt with some domestic
matters and begun to mend her dress when Peter
...
Clarissa's
reference to the time is probably meant to be general rather than specific,
scenic no chiming clock confirms it and since Peter's visit, which ends as
clocks strike eleven-thirty
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When he reaches Trafalgar Square, a walk of at
least five minutes, he refers vaguely to the time
Leaving the park he passes Rezia and Septimus just as a dock strikes
a quarter to twelve
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Woolf wants Peter
to see the Smiths since his misperception of them as a young couple
having a lover’s spat is deeply ironic
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From this point on, Woolf is
more selective in her representation of time Asti lacks strike noon, the

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Warren Smith walked down Harley Street and Clarissa lays her green
dress on her bed
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Rezia hears a clock striking six just after Septimus
kills himself and Peter who has heard the ambulance responding to this
event, arrives at his hotel to find a letter from Clarissa
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Dalloway Clarissa, Sally and Peter
all assert their vitality in the face of increasing age
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`She had, just broken into her fifty second year, Sally is
'fifty-five, in body,' she later tells Peter, 'but her heart was like a girl of
twenty’
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Then he tells Clarissa of his engagement she thinks, he's six months
older than I am, which would make him fifty-one or fifty-two, an age
consistent, with his thought a moment earlier that he was only just past
fifty'
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Finally, when he tells Sally he is fifty-two to be precise’ we cannot be
sure whether he is shaving a year off his age or Woolf has made a mistake
...


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With the exception of Richard, whose age is not mentioned, the ages of the
other main characters are given just once and from reliable points of
View
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”This method
is highly economical;' for white we, are being told about a character's
appearance, we are also teaming about the perceiving character
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Physical appearance is pan of the surface of life
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Both Clarissa and
Peter celebrate their place in this world: both enjoy dressing well, eating
well, walking in London, and gossiping at panties
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“I leant over the edge of the boat
and fell down,' he thinks,'
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Pan of his role in the book is to show what it is like to be unable to
find stability in the familiar world
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In that scene, Rezia urges Septimus to look at things in the park, for
Dr
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He knows, however, bow
the world should look
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As he prepares to jump, he thinks, 'He did not want to die
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The sun hot'
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'Even taste Rezia liked
ices, chocolates, sweet things had no relish to him, he could not taste, and
he could not feel
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Lady Bruton’s elegant Luncheon, Doris Kilman’s
comically intense tea with Elizabeth at the Army and Navy Stores, Peter’s
solitary dinner at his hotel, and the Dalloway pre-party dinner whose
menu is described, all contribute to the detailed depiction of everyday life
in Mrs
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