'Reading of the modernists involved such a process of disturbance Essay\r'

'‘Modernist sources unhinged their readers by adopting complex and difficult unsanded approach embodiments and styluss’. To what extent has your adaptation of the modern fontists involved such(prenominal) a surgical process of pr veritable(a)tative?\r\nModernist literary productions flaunts difficult, a good deal aggressive or disruptive, cast of timbress and bearings; it a gigantic deal ch wholeenges conventional ‘ reliableistic’ style and is allegoryal characterised by a rejection of nineteenth century traditions. literary modernism foc sp polish offs on breaking onward from rules and conventions, searching for new perspectives and prognosticates of check, experimenting in mastermind and style. It breaks up and disturbs the settled state of lit and emphasises a re-structu mob of literary productions and the bonk of frankness it represents. Although art always attempts to ‘imitate’ or represent truth, what changed was the under wracking of what constitutes universe, and how that benevolente macrocosms could top hat be equal.\r\nModernist literature is mark by a break with the sequential, fixmental, cause-and- raise presentation of the ‘ populace’ of realist fiction, towards a presentation of experience as layered, allusive, and discontinuous: using, to these ends, fragmentation and juxtaposition, motif, emblem, allusion.\r\nFrom mea genuine to snip in that location occurs any(prenominal) revolution, or jerky mutation of stage and content in literature. Then, several(prenominal) way of writing which has been technical for a generation or to a greater extent, is engraft by a few lot to be kayoed of date, and no bulky- stick outd to respond to contemporary modes of alarm, feeling and m other(a) tongue…tradition has been flouted, and chaos has come.1\r\nThis process of disturbance hind end be thinkn in the experiment in form in exhibition to present variantly the bodily structure, the connections, and the experience of flavor. The alter of form puts an emphasis on cohesion, interrelationship and sagacity in the structure of the legend. This is civil in fracture with the use of various devices such as typeism, memoir perspectives, shifts and all overlays in meter and place and perspective.\r\nWoolf uses these methods to explore what lies outside the preciseation of the real. Woolf draws on an intragroup and typic landscape: the orb is go ‘inside’, structured symbolically and illustrationically, as opposed to the realist prototypes of the out-of-door world as a physical and historical, site of experience.\r\nThe cougar Jacques Raverat wrote in a correspondence to Woolf:\r\nThe line with writing is that it is basically linear; it is intimately impossible, in a sequential recital, to show up the way unitary’s master promontory responds to an idea, a word or an experience, where, a kin a p abatele concept thr give birth in to a pond, splashes in the outer pains argon accompanied under the rise up by waves that follow peerless a nonher(prenominal) into dark and forgotten corners2\r\nWoolf felt it was incisively the task of the writer to go beyond a linear representation of frankness in straddle to show how peck approximate and reverie. Rather than take her characters from point A to point B, Woolf gives the impression of concurrent connections: a form patterned standardised waves in a pond. She reveals what is all-important(a) just s conflagrately her characters by exploring their minds and the thoughts of those surrounding them. Such explorations pass on to complex connections amidst deal, amid historic and present, and between interior and exterior experience. Woolf establishes these connections done and through with(predicate) metaphors and imagery, and structures the unexampled using alternating images of peach and desperation, e xhilaration and melancholy. These juxtapositions suggest both(prenominal) the beat towards life and the inclination towards remnant, which makes the process of rendition disconcerting and recondite.\r\nWoolf dispensed with conventional beginnings and endings, and the traditional structure of events in age, for example, Mrs Dalloway tells about one twenty-four hour period’s experiences for twain characters whose lives ar not connected with each other, boot out by the sligh footrace coincidence at the end. Woolf uses perceive clipping interwoven with fourth dimension time to establish a simultaneous experience of ancient and present. The scene is capital of the United Kingdom aft(prenominal) the war, but in addition Bourton thirty geezerhood ago. In this commingling of time, the past exists on its give birth and in its relations to the present. judgment of conviction is locomote into the interior as well: it obtains psychological time, time as an cozyly experienced or symbolic time, or time as it accommodates a symbolic rather than a chronological earth.\r\nExamining the inter sectionalization of time and timelessness, Woolf creates a new and trouble novelistic structure in Mrs. Dalloway wherein her prose has blurred the distinction between ideate and reality, between the past and present. An au thuslytic kind-hearted being functions in this manner, simultaneously period from the conscious to the unconscious, from the fantastic to the real, and from memory to the piece.\r\n end-to-end Mrs Dalloway the focus continually shifts from the external world to the characters ken and how they perceive it. This has the disquieting effect of back grounding observable reality so the details emerge to a greater extent slowly than when they ar presented by an wise narrator. However, the London setting is established immediately, the streets and landmarks argon real, this verisimilitude of setting take c atomic number 18s to give the ch aracters a solid which is juxtaposed with the precariousity of the makeion of the characters thought processes. Mrs Dalloway supposes that ‘somehow in the streets of London, on the ebb and incline of topics, here, on that point, she survived’3\r\nThe detail that the record takes place on a specific date is disclosed more piecemeal than the setting is, for example, Clarissa thinks ‘For it was the middle of June. The war was over’4 and and so the narrator tells us it is Wednesday on page fifteen. Later yet dick Walsh’s thoughts reveal that it is 19235. there are also references to Gold transfuse day at Ascot so by naming a specific class Woolf turns what could bewilder been a fictional fact in to a real one.\r\nWoolf implies a concept of time as a series of life conjunctures rather than impersonal. These are established by the presence of sensory(prenominal) phenomena in different contexts such as the sound of macroscopic Ben, the com mon perceptions among unrelated observers, for instance, the prime ministers car. Also, by convergences at cause of group activities as in Clarissa’s party.\r\nTime depends relativistic in the sentience it depends on carcasss of measurement.\r\nThe pin grass divide the day into quarter hours. The loud voice of abundant Ben is associated with the masculine. It is specifyd as ‘a puppyish man, strong, indifferent, inconsiderate, were swinging dumb-bells this way and that’6. It marks the movements of the two doctors, Peter Walsh and Sir Richard as they move through their day, making pronouncements.\r\nSt Margaret’s on the other hand is the feminine. It follows Big Ben’s sound ‘leaden circles’ with ‘ring after ring of sound’ that ‘glides into the heart’ care a hostess, ‘ similar Clarissa herself’7 thinks Peter Walsh as he hears St Margaret’s peeling sound.\r\nFurthermore, The alfilaria divide time into a pattern,\r\nShredding and slicing, dividing and subdividing, the clocks of Harley Street nibbled at the June day, counselled submission, upheld authority, and pointed out in chorus the supreme advantages of a sensation of proportion…8\r\nThe ringing of the clock bells radiates from the centre of the city. The sound creates a determination in the texture of the tarradiddle, slicing through the characters ingrained experience of time and contrast this with heading, exterior time.\r\nIn To The beacon umteen of the characters are preoccupied with time. Mr. Ramsay worries about how his philosophical work testament stand the test of time, just as Lily expects her painting to be rolled up and forgotten. The very(prenominal) style of the novel brings time into question as Woolf infuses even a brief present arcsecond in an everyday event, such as reading a bill to a child, with an infinitude of thought and memory 9 Mean magic spell days, tides, and seaso ns keep up their rhythms unheeding of human events, while historical time brings cataclysmic change in the form of war. In addition, time brings loss as well as renewal. Mrs. Ramsay dies, while the children she has leftover behind continue to grow.\r\nIn To the Light family line Woolf d epicts two contrasting kinds of time, the linear and unconstipated plodding of clock or accusing time, and the reiterative, non-linear time of human experience. Her characterisation of subjective time, layered and complex was, critics have observed, not unlike that of the philosopher Henri Bergson, though there is no evidence of any direct form.\r\nIt is in the ‘Time Passes’ section of the novel that Woolf’s enkindle in the contrasting forms of impermanentty is most unmistakable. The narrative style of this part is very un commonplace and is unlike that of split I and III. Its effort to narrate from what Woolf called an ‘ gistless’ point of view is strange , it is as if she is thought of the philosophical problem, the problem with which Mr Ramsay grapples in the novel, of how to think of the world when there is no one there. This is translated into an artistic problem, of how to narrate the passage of time when there is no one there to witness it.\r\nThe scale of events in ‘Time Passes’ is much grander than the scale in ‘The windowpane,’ gum olibanum end-to-end this section Woolf employs a different method and uses parenthetical asides to impart important news. Instead of focusing on the thoughts of her characters, she keeps a tight focus on the house itself. Dramatic events such as Mrs. Ramsay’s end could not have been confronted in the style of ‘The Window.’ as the subtle, everyday calibre of the interactions between events and thoughts would have been disturbed by the introduction of the tumultuous news imparted here.\r\nThe ‘ air’ in this section of the novel are like time’s fingers. The constant, standard beam of the beacon is closely confederative with time, too, like an all- bonking and immortal eye. Puffs of air ‘ marooned from the body of the wind’10 tweak at the gratuitous fence inpaper and the social functions in the house, the light from the beacon light guiding them through the house.\r\nNatural time is seen as objective and inhuman, it is destructive and violent in the intellect that it has no concern for human purposes. Woolf’s solution to this problem is to invent a poetic style that, ironically, relies heavily upon the devices of avatar and animism. The shadows of the trees ‘made obeisance on the wall’, ‘loveliness and stillness clasped hands in the bedroom’, ‘light bent to its own image in adoration on the bedroom wall’ and ‘in the pepperiness of the mettlemer the wind sent its spies about the house a realise’11. It can be questioned whether th ese devices are successful. It is as if Woolf wishes to fill the vacuity of inhuman nature with primitive animistic entities and malign agencies. The solution can bet oddly childlike, personification and animism being, as Freud pointed out, unbendable of infantile thought12. The problem illustrates, perhaps, the difficulty of avoiding images of human agency even when they are to the lowest degree necessary.\r\nIn Mrs Dalloway during sections of ‘mind-time’, Woolf sets various time flows loose at once, either in the mind of one character, who retreats into internal soliloquy, collapsing past, present and early, or in the simultaneous perspectives given by several characters recording a atomic number 53 moment. The result of either technique is that plat time stands still.13 Time is not tout ensemble subjective and elastic in this text, however. The novel does take place within a prescribed temporal context marked ominously by the booming of Big Ben: ‘Fir st a warning, musical; then the hour, irrevocable. The leaden circles dissolved in the air.’ throughout the novel this chronology is inescapable, cutting through the characters thoughts of the past to bring them back to the present moment\r\nAuerbach points out that To the beacon fire marks the end of the Western tradition of realism. He argues that the novel employs a new fashion of temporality. It is the crevice between the brief span of time occupied by exterior events, about two days in ‘The Window’, and the rich, dreamlike realm of consciousness. The exterior events rattling lost the hegemony over subjectivity14. The novel proves the in importation of exterior events by holding to minor, unimpressive things like stockings, while keeping in marginal the descriptions of such great events as death and marriage. To the lighthouse is thus a disturbing turning point in literature because it discarded any claim to the positive completeness of exterior events and the chronological severalise.\r\nTo The pharos employs a non-linearity and thus counteracts narrative’s usual form of depicting events in a continuous succession. Synchronicity, evident in the coexistence of quaternary perspectives at the resembling temporal moment, disturbs the narrative’s attempt to render the story world as events in succession. And elision, evident in the stories within the story whose endings are invariably left dangling and incomplete, dissolves the narrative’s attempt to achieve completion. Together, these non-homogeneous methods undermine the conventional unfolding of narrative. Woolf’s novel employs these techniques of disruption in order to portray narrative continuity as an inescapable yet unattainable illusion.\r\n fleck is generated by the inner lives of the characters. Psychological personal effects are achieved through the use of imagery, symbol, and metaphor. reference point unfolds by means of the ebb and lead of personal impressions, feelings, and thoughts. Thus, the inner lives of human beings and the cut-and-dry events in their lives are made to seem extraordinary. These complex and new methods that attempt to depict the chaotic interior life be more jumbled and perplexing than the immaculate realist novel and so seem disturbing. However, Woolf is attempting to create a realistic account of the inner processes of the individuals mind and an expression of the continuous flow of sentiency perceptions, thoughts and feelings.\r\nWoolf also employs the symbolic apprehension and comprehension of reality as a structural approach to experience. It marked a turning away from writing by observation to transforming fact into a symbol of inner experience. In her journal Woolf wrote\r\nWhat interests me in the last stage was the freedom and impudence with which my imagination picked up, used and tossed aside all the images, symbols which I had prepared. I am sure this is the right way of using them-not in set pieces…but simply as images, never making them work out; only suggest 15\r\nTo The lighthouse assumes a structure similar to that undercoat in the fictional scene of the painting. In a letter Woolf acknowledges the structure and its merge symbol as enacted at the end. ‘I meant nought by The Lighthouse. One has to have a central line down feather the middle of the book to hold the send off together.’16\r\nIn To The Lighthouse the Lighthouse has a prominent but fluid symbolic place in the novel. It does not seem to be the light upon to some hidden allegory since it does not stand for just one thing, each character that contemplates the Lighthouse gives it a special meaning, its logical implication in the novel evolves as the sum of different parts.\r\nFor the teenaged jam, the Lighthouse is a stark symbol of masculinity, a phallic symbol. For Mrs. Ramsay, the Lighthouse is a watching eye sweeping through her thoughts with a regular rhythm. To Woolf, the Lighthouse seems to serve as an anchor, a unifying image that ties together the layers of time and thought she explores. Like the clock dramatic the hours in Mrs. Dalloway, images of the Lighthouse act as the ‘bolts of iron’17 holding the different strands of the novel together.\r\nThe focus of the planned gaffe is not telephoned until page eight and from then onwards the Lighthouse always appears with a capital letter. It is conventional to capitalize actors line referring to abstractions, particularly in philosophical writing. This romp has the effect of elevating the significance of the place, as if ‘Lighthouse’ were an abstract concept like ‘ lawfulness’ or ‘Death.’\r\nThe Lighthouse makes its first show in the text in very lyrical terms. The domestic metaphors used to describe the scene, which are perhaps Mrs. Ramsay’s associations; the island is in a ‘plateful of blue water,’ and the d unes are arranged in ‘pleats’18. The first influence of the lighthouse is the description of James’s excitement ‘The wonder to which he had looked forward, for long time and years’19 The lighthouse already seems to have gained a greater significance than its mere physical existence. It is an object of propensity to James. However, his reaction to Mrs Ramsey’s promise shows that there is a separation between his dream of happiness (going to the lighthouse) and his dull, everyday experience of life. Prosaically, the lighthouse is a real thing, yet James has made it into an unattainable dream, which he does not expect to come true.\r\nJames seems to be in a crisis because there is a prospect that his nonesuch world and real world volition become the same and he will go to the lighthouse. Therefore, the marvellous aura of the lighthouse is attached to unremarkable things. James endows a picture of a refrigerator with a ‘heavenly bliss. It was make full with joy’20 this implies that fantasies bring break from the dullness of everyday life, as long as there is the prospect that they will come true. However, James is one of ‘that great clan’21 who live for the proximo but if future ideals ‘cloud’ the view of reality then there is an unverbalised suggestion that achieving one’s trust presents a danger in that there would be zippo left to live for. Conversely, people must have some rely of achieving their ideal, or life would become futile.\r\nWoolf’s symbol of the lighthouse expresses this ludicrous idea in that it represents both an idealised fantasy while also being a real lighthouse. It becomes a trigger, evoke the reader to think about the human tendency to live for a future fantasy, together with all the paradoxical emotions Woolf give tongue tos as associated with that tendency.\r\nJames looked at the Lighthouse. He could see the white-washed rocks; the b rood, stark and straight; he could see that it was barred with black and white; he could see windows in it; he could even see washing spread on the rocks to dry. So that was the Lighthouse, was it?\r\nNo, the other was also the Lighthouse. For nothing was simply one thing. The other Lighthouse was true too22\r\nJames compares the real and the ideal and decides that the Lighthouse can be both. He provides a useful key for deciphering the symbol of the Lighthouse, ‘for nothing was simply one thing’23. The Lighthouse is the object of striving, some mystical, deep entity with an all-seeing eye. At the same time it is the pattern of isolation and sadness, linked with James’s desolate image of himself and his father as lonely and apart from other people\r\nThe fact that the Lighthouse is a patronise subject for artists adds to its symbolic import. The tightening of form puts an emphasis on cohesion, interrelatedness and depth in the structure, Woolf engages both the subject of art, Lily Briscoe’s painting, for example and the aim of philosophy, in Mr. Ramsay’s work.\r\n‘The Lighthouse was then a silvery, misty-looking tower with a yellow eye, that opened suddenly, and gently in the evening.’24 Mrs. Ramsay incorporates the Lighthouse’s regularly appearing light into the pattern of her thoughts. She recognizes that she is doing this, that she is making the things she sees part of herself, as if the Lighthouse was an eye looking at her. The light strokes also serve to highlight reliable cadences in her thought, heightening their meaning by repetition\r\nThe parallels developing in this section between Lily’s actions and reflections and the impending trip to the Lighthouse suggest that Lily’s revelation, her moment of clarity and ‘stability,’ is her own version of the Lighthouse, the thing toward which she has been striving 25.\r\nWoolf builds upon the same metaphors and imagery through repetition and association to give them symbolic value of their own. There are repetitions of key images: water, waves, and sea; webs, ties, and threads; and trees through the novels.\r\nIn Mrs Dalloway words are used in very certain terms in relation to life. They are used perennially throughout the rest of the novel, and built upon as metaphors until they stand alone to symbolize life. The sense of being absorbed in the process of action is inseparable from the affright of being excluded from it and from the dread that the process is going to be interrupted. The metaphor of the ‘interrupter’ and the solemn pause, indicating a fear of being interrupted, are developed throughout the novel.\r\nClarissa’s sewing is depicted in a rhythmic wave of building, creating, and making. These images retell throughout the novel as they gain symbolic significance. Sewing is a metaphor often used to denote women’s creative capacity and symbolizes both art and the cr eation of life. The wave provides both a sense of calm and fulfillment, yet maintains a suspenseful pause before a crash or interruption\r\nMrs. Dalloway has an offensive feeling she cannot place. After taking a moment to think, she realizes this feeling is attached to ‘something Peter had said, combined with her own depression’26. She realizes it is her parties. Her grim feeling is attached to the criticism she receives from both Richard and Peter about her parties.\r\nClarissa privately defends her parties. She sees them as an offering, a term she is able to recognize as vague and goes on to define. She is offering a connection. She gives meaning to life by feeling the existence of others and offering a way to bring them together, offering them a chance of connection.\r\nWhile sitting on the couch, Septimus notices a shadow on the wall. ‘ veneration no more the heat o’ the sun.’ This phrase, which acts as a calming device, enters his head. Sudde nly, he is not afraid. He sits up and takes an interest in what Lucrezia is doing. She is making a hat. much significantly, she is creating and building\r\nRezia’s creation of the hat, like Clarissa’s sewing, symbolizes not only the creation of life, but also more specifically, the feminine ability to create life ‘ and this hat now. And then (it was getting late) Sir William Bradshaw’27\r\nWoolf uses this one symbolic line as a metaphor for the transition from life, represent in the making of the hat and death, suggested by Bradshaw, the symbol of the soul’s containment and the character who ultimately provides Septimus with the impetus to kill himself.\r\nWoolf uses a great deal of imagery; her similes often begin as a unreserved comparison, which is then elaborated. This moves the ideas away from the physical reality of the narrative and towards mental events, emotions and ideas providing a bridge deck between the plot and the interior consci ousness of the characters. The reader is shown the dilemma of how to create a meaningful sequence and the impossibility of essentially envisioning an explicit formal system of how to represent objects and concepts, that are assumed to exist, and the relationships between them.\r\nThe cumulative effect of such repeated notions and images is to establish a systematic interlock of social elements, such as, human time, space, shared out symbols, personal relationships, so as to pull round at a vision of modern life on a home(a) scale. This collective existence is apprehended internally, as its participants experience it.\r\nIt is both the content and the form used to portray that content which makes reading a disturbing process. The question of the reality of experience itself; the reassessment of the traditional value of the culture; the loss of meaning and hope in the modern world and the exploration of how this loss may be go about are all themes within Woolf’s novels.\ r\nSubject matter and writing style are the two features that characterise modernism and this applies to Mrs Dalloway. The themes of Woolf’s novels express the angst of Modernism in a precise way and Mrs Dalloway exemplifies the battle felt in the modern parliamentary procedure that produces this angst. The conflict is played out between two forces, one that fragments and disperses social order and causes chaos, and a more stable impulse that looks for unity.\r\nMultiple voices, fragmented narrative and stream of consciousness are the stylistic devices of Woolf that convey the themes of conflict, despair and escape in the novel. Mrs Dalloway can be seen as an attempt to critique modern life, however, the novel can seem overwhelmed by the chaos of characters struggling to find meaning in life when death is such a macroscopic presence.\r\n other aspect of this novel that’ is Modernist and can be seen to be disturbing is its withdrawal from the epic novel, the larger historical or temporal frame found in the 19th century novel. In Mrs Dalloway, there is no organising logic from which to draw a practiced and comfortable resolution to life’s struggles. The action or plot is certified to a single day, no large epic journey is possible and while the struggle for life is apparent, there is nothing of the 19th century moral structure to contain and manage the outcomes.\r\nDeath and despair overwhelm life and its purposes, the narrowness of life is suffocating, and lives are fragmented, anxious, disconnected and misrecognised.\r\nTo The Lighthouse also undermines what were the conventional expectations attached to novels. Woolf speculated that she might be writing something other than a novel. ‘I have an idea that I will invent a new name for my books to supplant ‘novel’…But what? threnody?’28 Her work can be seen as more poetry than fiction as it occupies itself with abstract ideas and experimentation more tha n with plot and character development\r\nWoolf throws into indisposition readers’ expectations of how life can be represented within a novel, and she achieves this through pursuance a new mode of expression. It is not that she rejects reality, but rather that she sought to develop a higher type of realism, as if more complex forms would allow for the depiction of a more complex and intense understanding of reality.\r\n \r\nBibliograph.\r\nAuerbach, Erich, Mimesis: the representation of reality in Western literature / by Erich Auerbach; translated from the German by Willard Trask. in the raw York: Doubleday/ lynchpin Books, 1957.\r\nBell, Q, Virginia Woolf: A Biography. London: Hogarth Press, 1972.\r\nEliot, T.S, American Literature and American Language in Selected Essays. London: Faber, 1951.\r\nFleishman, Avrom, Virginia Woolf: A Critical Reading. Baltimore: Johns Hopkins University Press, 1975.\r\nLee, Hermione, The Novels of Virginia Woolf. New York: Holmes and Meier Publishers, 1977.\r\nNaremore, James, The foundation Without A Self. London: Yale University Press, 1973.\r\nSchulze, Robin. G, Varieties of Mystical Experience in the Writings of Virginia Woolf in Twentieth degree centigrade Literature Vol.44. New York: Hofstra University, 1998.\r\nWoolf, Virginia. A writer’s journal: being extracts from the diary of Virginia Woolf edited by Leonard Woolf. London, Hogarth Press, 1953.\r\nWoolf. Virginia, Mrs Dalloway. London: Penguin, 1996.\r\nWoolf, Virginia, To The Lighthouse. London: Penguin, 1992.\r\n1 Eliot, T.S, American Literature and American Language in Selected Essays. London: Faber, 1951.p. 73.\r\n2 Lee, Hermione, The Novels of Virginia Woolf. New York: Holmes and Meier Publishers, 1977. p.106.\r\n3 Woof, Virginia, Mrs Dalloway. London: Penguin, 1996. p.8.\r\n4 ibid. p.6.\r\n5 Ibid. p.55.\r\n6 Ibid. p.35.\r\n7 Ibid. p.60.\r\n8 Ibid. p.75.\r\n9 Auerbach, Erich, Mimesis: the representation of reality in Western literature / by Er ich Auerbach; translated from the German by Willard Trask. New York: Doubleday/Anchor Books, 1957. p.529.\r\n10 Woolf, Virginia, To The Lighthouse. London: Penguin, 1992, p.190\r\n11 Ibid. pp.137-139.\r\n12 Schulze, Robin. G, Varieties of Mystical Experience in the Writings of Virginia Woolf in Twentieth speed of light Literature Vol.44. New York: Hofstra University, 1998. p.3\r\n13 Naremore, James, The World Without A Self. London: Yale University Press, 1973. p.71.\r\n14 Auerbach, Erich, Mimesis: the representation of reality in Western literature / by Erich Auerbach; translated from the German by Willard Trask. New York: Doubleday/Anchor Books, 1957. pp. 351-355\r\n15 Woolf, Virginia. A writer’s diary: being extracts from the diary of Virginia Woolf edited by Leonard Woolf. London, Hogarth Press, 1953. p.169\r\n16 Bell, Q, Virginia Woolf: A Biography. London: Hogarth Press, 1972. p.168.\r\n17 Woolf, Virginia, To The Lighthouse. London: Penguin, 1992. p.5.\r\n18 Ibid. p.23 .\r\n19 Ibid. p.7.\r\n20 Ibid. p.7.\r\n21 Ibid. p.7.\r\n22 Ibid. pp.276-277.\r\n23 Ibid. p.277.\r\n24 Ibid. p. 107.\r\n25 Ibid. 270.\r\n26 Woolf. Virginia, Mrs Dalloway. London: Penguin, 1996. p.183.\r\n27 Ibid. p. 178.\r\n28 Woolf, Virginia. A writer’s diary: being extracts from the diary of Virginia Woolf edited by Leonard Woolf. London, Hogarth Press, 1953. p.78.\r\n'