Tag: #MrsDalloway

Posted on Asad Hassan

Shakespeare’s Shadow in Mrs Dalloway

An illustration of a book in a spotlight, with portraits of William Shakespeare and Virginia Woolf on facing pages.
Images of Shakespeare and Woolf. (Courtesy of Vinimay Kaul).

Shakespeare looms large over Mrs Dalloway.

In the passage I selected, Septimus finds a justification for his attitude about life in the work of Shakespeare, even when this is only fiction that he has concocted himself. 

Shakespeare also draws the curtain between husband and wife: Rezia’s inability to read Shakespeare defines her as a stranger, at least in the eyes of Septimus. Ultimately, Septimus and Shakespeare become inseparable, veteran and soldier intertwined.  Rezia even wonders if she will ever have a son like Septimus— in this case, Septimus is elevated to legend, just as Shakespeare had been. In fact, we are told that the war was in part fought in the name of Shakespeare. 

Shakespeare’s shadow also extends beyond this passage.

For instance, Clarissa Dalloway clings to Shakespeare’s words and draws her strongest motivation from them. And this begins early on. When we first encounter her, Mrs. Dalloway is haunted by memories of Peter Walsh, a scene reminiscent of Antony and Cleopatra. 

Take the partying words of Antony and Cleopatra in the play: 

Sir, you and I must part, but that’s not it. 

Sir, you and I have loved, but there’s not it: 

That you know well.

(The Complete Pelican Shakespeare, 1664, 86-89).

A version of those words becomes almost a refrain on the first page of Mrs. Dalloway. “Was that it?” Mrs. Dalloway asks herself again and again as she probes her memories, particularly those involving Peter Walsh. This comparison of the pair to perhaps the best-known lovers in literature means Clarissa and Peter were also once in love, but they were kept asunder by fate. 

Mrs. Dalloway also rehashes another refrain from Shakespeare, which is even more potent than the first one:

Fear no more the heat o’ the sun

Nor the furious winter’s rages. 

(Oxford World’s Classics, Mrs Dalloway, 11).

Whenever her anxiety mounts, Mrs. Dalloway turns to this phrase. “Fear no more,” she whispers to herself. This, it must be noted, is in complete opposition to Septimus’s interpretation of Shakespeare. Hers is one of hope; his of desperation. Yet both are referencing the same poet. 

The relationship between Clarissa Dalloway and Sally Seton is also compared to the one between Othello and Desdemona. When Othello reunites with Desdemona early in the play, he breaks into extreme exaltation, declaring “if it were now to die ‘twere now to be most happy’, a line quoted in Mrs. Dalloway (44). This suggests Clarissa was also in love with Sally. 

So Clarissa, like Shakespeare’s Antony, has many relationships—Sally, Peter, and tragically, Richard. And just like Antony, she ends up in the wrong marriage. 

That is why I would argue Mrs. Dalloway is deeply influenced by Shakespeare’s tragedies. In fact, the novel can itself be considered a tragedy. This is achieved through the death of Septimus, which mimics Cleopatra’s. 

In essence, Mrs. Dalloway is a novel of failed marriages. On a smaller scale, the passage I selected illustrates this point. Rezia and Septimus are unable to understand one another. This is attributed to their temperaments: the husband is cultured; the wife is practical. From this, we can also glean the gender disparities in society. The man can afford to study Shakespeare, while the woman is expected to undertake monotonous trimming. The husband can engage in abstraction as the wife worries about having children. We can also draw a distinction between the foreigner and the veteran citizen. Rezia is unable to understand Septimus and Shakespeare both. But on a larger scale, the dualities keep multiplying and they all echo Shakespeare. This leads me to further speculate that Septimus is supposed to be an archetype for English culture, a force as great as Shakespeare’s legend. Of course this legend was deeply scarred during the war. The mapping of Septimus’s insanity is then an act of disassociation of the English culture, a commentary on what should be kept and what should be left behind.

Posted on Nicole Kresich

Surviving Isolation: A Commentary on Clarissa’s Parties in Mrs. Dalloway

“Since she was lying on the sofa, cloistered, exempt, the presence of this thing which she felt to be so obvious became physically existent; with robes of sound from the street, sunny, with hot breath, whispering, blowing out the blinds. But suppose Peter said to her, “Yes, yes, but your parties – what’s the sense of your parties?” all she could say was (and nobody could be expected to understand): They’re an offering; which sounded horribly vague… 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 she called life? Oh, it was very clear. Here was So-and-so in South Kensington; some one up in Bayswater; and somebody else, say, in Mayfair. And she felt quite continuously a sense of their existence; and she felt what a waste; and she felt what a pity; and she felt if only they could be brought together; so she did it. And it was an offering; to combine, to create; but to whom? An offering for the sake of an offering, perhaps. Anyhow, it was her gift. Nothing else had she of the slightest importance; cannot think, write, even play the piano.” (Woolf, 121-122)

The presence of the omniscient narrator in Virginia Woolf’s, Mrs. Dalloway unveils Clarissa Dalloway’s struggle to balance her innermost thoughts with the external yet intimate world of the socially elite. Coupled with the overwhelmingly sensorial imagery, Clarissa’s tendency towards introspection in the opening lines suggests a deeper purpose in organizing her party. Lying on the sofa, the isolating diction the narrator ascribes to Clarissa’s “cloistered” and “exempt” state illustrates her in private seclusion, sheltered from the outside world and the social happenings of upper-crust society (Woolf, 121). However, the “presence of this thing,” the gravity of her impending party, “became physically existent,” (Woolf, 121). In possessing knowledge about interior thoughts and emotions, Woolf’s omniscient narrator relays the tangible impact that Clarissa’s departure from isolation provoked in her sudden feeling of excitement and vivacity surrounding her nearing party. Woolf’s employment of the semicolon in this opening sentence connotes a sudden shift in tone from an overwhelming sense of solitude to a visceral stream of sensory experience. The personification of the outside world that Clarissa suddenly becomes aware of– the heat of the sun, the noise from the street, and the “blowing of the blinds”– corroborates an immediate introduction of life into the bleak space surrounding Clarissa’s position on the sofa (Woolf, 121). 

Clarissa’s preoccupation with what she presupposes as Peter’s demanding inquisition into the purpose of her parties in the dialogue of her innermost thoughts (“what’s the sense of your parties”) reiterates the internal struggle Clarissa faces with defining meaning and purpose in hosting these extravagant social events (Woolf, 121). The structural significance of the parentheses Woolf effects in Clarissa’s response to this question, “(and nobody could be expected to understand),” reveals an aside into Clarissa’s innermost thoughts, where the significance of “nobody” connotes Clarissa’s self-ostracism from exterior society (Woolf, 121). Clarissa’s tendency towards introspection in this parenthetical break recognizes that her hesitation in returning to the public eye stems from a deeper, more personal reasoning that she alone can understand. 

In positing her parties as “offerings,” the diction Clarissa manipulates suggests that her social events operate as gifts in contribution to society. The effect of proposing the party as one would describe a gift or a blessing beholds a deeper purpose in her intention. However, before we arrive at this intention, Woolf structurally interrupts with another parenthetical, “(and these judgments, how superficial, how fragmentary they are!)”, marking a return to Clarissa’s internal debate between the frivolity of her parties despite her previously excited tone (Woolf, 122). Yet, in succeeding this parenthetical with a question preoccupying her purpose in life, Clarissa refocuses on what brings her existence joy. This newfound responsibility to celebrate life conflicts with the moment of bleak isolation in the passage’s opening where the deeper purpose of Clarissa’s party is unveiled to share this joy through the community engagement that her parties offer. 

Clarissa responds to her own question with clarity: living in isolation is a “waste” and should be “pitied,” therefore her purpose in life is to bring people together (Woolf, 121). Stemming from her own experience in isolation, Clarissa questions the purpose in existing without the intimate connections formed that celebrate humanity as it should operate: together. Therefore, her “offering for the sake of an offering” occupied the highest importance, not solely for Clarissa herself, but as her social motivation and responsibility to instill the joy of human interaction and engagement with her guests (Woolf, 122). In describing her parties as “offerings” and “gifts,” Clarissa relies upon her social gatherings to provide meaning to a world that would otherwise be considered wasted. Despite the superficiality she criticizes about social events, Clarissa posits her party as a gift to both herself and those amongst her social sphere to extract the essential function in hosting: Clarissa throws parties in an attempt to draw people together and offer the community engagement essential to achieving a sense of fulfillment and belonging. 

Clarissa’s desire to achieve purpose in her rediscovery of the social world reflects the notion of rebirth experienced during this post-World War I and post-pandemic locale. Recovering from the isolating effects of quarantine herself, Clarissa’s nervousness about her reintegration into society stems from her recently having been ill with the Spanish Influenza. Woolf explores the isolating effects of the war and the pandemic on human behavior and the idea of permanence in Mrs. Dalloway. However, it is in this passage that we see Clarissa struggling with post-pandemic social anxiety, as well as a nostalgia for a world before this sense of discontinuity. Clarissa raises the question amidst her inner struggle with returning to society, “(and nobody could be expected to understand),” because none of her peers had undergone similar seclusion, uncertainty, and fear that plagued Clarissa while she was ill. As someone who had evaded death herself, Clarissa’s motivation and hesitation to refocus on life becomes clear; she suffers from the social anxiety of her isolating experience, yet has returned to the forefront intending to share her appreciation for social interaction (Woolf, 121). The tension implicated in Clarissa’s internal struggle to exist in a world following the uncertainties about the aftermath of war and influenza affirms Clarissa’s socially charming yet private and protected demeanor. The language Woolf invokes to describe Clarrisa’s party as an “offering” connotes something open to the public, yet intimately privatized with a guest list. Contextualized in a way that revives the socio-political history of the early 20th-century, this tension embodies the lived experiences and attitudes of this impacted, post-war society yet inspires a new appreciation and perspective towards human belonging.