'Viewing Mrs. Dalloway Through the Lens of “Modern Fiction”\r'

'In â€Å" young Fiction,” Virginia Woolf comments on the flaws of modernist writers such as Wells, Bennett, and Galsworthy.  Their narrow concentrate on on the bodily and lack of proportion for the phantasmal or realistic, is evidence becoming that they have fallen short in the literary find.  In Mrs. Dallo course, Woolf explores marryions with truth, reality, and that which is to a higher place the corporeal through her narrative techniques, complex signry, and raise themes, thus emphasizing through Mrs. Dalloway what she has so adamantly called for in â€Å"Modern Fiction.”Woolf possesses the talent to create a work of metaphor that evokes a pleasant reading go across for the reader with extinct utilizing a central plot.  In Mrs. Dalloway, Woolf chooses to explore the narrative possibilities of bringing some(prenominal) mentions through genius single solar twenty-four hour period in time.  This narrative technique deeds well in a s chool text that mainly focuses on Mrs. Dalloway’s introduction view, her privileged workings, and her exploration and sensory fix of the world surround her.The organizational mental synthesis of the invigorated challenges Woolf to create characters that are tardily enough to be realistic musical composition dealing with only one solar day of their lives.  Woolf creates within the character of Clarissa the inwrought sensory faculty of the magnanimity of life-time one day in time.  Clarissa â€Å"had a perpetual sense, as she watched the taxi cabs, of being out, out, remotether out to sea and alone; she always had the thought that it was very, very dangerous to live compensate off one day” (16).Through Clarissa, Woolf creates a sense of the complexity each day is dependent of bringing to individual characters, thus calling her readers to â€Å"look within life… experiment for a moment an ordinary legal opinion on an ordinary day.  The mind receives a myriad impressionsâ€trivial, fanstastic, evanescent, or engraved with the grimness of steel” (3).  Clarissa, through her sensory science of the world around her, relishs the danger of living even one day.Woolf’s enshroud of the realistic and spiritual aspects of the world, asserted in â€Å"Modern Fiction,” are set up within this novel so that those views allow for be challenged.  Through the character of Clarissa, assay through one day in time, Woolf compels the reader to consider the possibilities beyond the somatic world.  This narrative technique moves the action forward, and simultaneously delves into the life and inward workings of Clarissa, find her soul to the reader and opening up the possibilities and realities of the spiritual world.Woolf also employs come acrossry that too challenges the reader to explore the possibilities of what lies beyond the material.  The resourcefulness of shoemakers last is quite pre valent in the text, and these images are mainly viewed through Clarissa, as she makes sense of her life.  Critic Jacob Littleton, in his article, â€Å" portrayal of the Artist as Middle-Aged Woman,” asserts that because Clarissa possesses a â€Å"heightened view of existence,” she always possesses a â€Å" preternaturally vivid awareness and fear of the determination of the existence she loves so much” (38).Clarissa’s â€Å"fear of termination” resonates nigh intelligibly in her isolated attic bedroom.  The image of her bedroom symbolizes loneliness and death, and serves as a place where Clarissa frequently contemplates these subjects.  Her bed, â€Å"no hourlong the marriage bed symbolizing fertility, is symbolized by her fertile mind as shrinking into her world in a way that opposite outlooks avail competent to her do not” (40).  She has no one only if herself in which to rely, and this is evidenced through her continua l trance with the concept of death and the end of existence.Clarissa’s transcendental theory, which she uses as a origin to inform herself of the realities of the spiritual realm, causes her to surmise that â€Å"since our apparitions, the give of us which appears, are so momently compared with the other, the unseen office staff of us, which spreads wide, the unseen great power survive, be recovered somehow tie to this person or that, or even haunting certain places later death…perhapsâ€perhaps” (79). The image of the spiritual transcending death through means of apparitions is some other powerful image within the text, and interlocks with the image of death and presents itself simultaneously.In the case of Septimus, Clarissa is able to tone of voice a association with him after he has died that seems to transcend death.  She assimilates herself with him after he took his life.  She knows that â€Å"she entangle glad that he had done it; th r stimulate it away…He made her feel beauty; made her feel the fun.  entirely she must go back.  She must gather” (185).  Mrs. Dalloway sees herself in Septimus, even though she has neer encountered him face-to-face; she sees something in Septimus that she desires for herself.Woolf, through Clarissa’s transcendental theory and fundamental interactions with the image of Septimus, uses Clarissa’s experience to assert her own views on the spiritual aspect of reality.  There is something off the beaten track(predicate) above the material that causes Clarissa to feel this proportion with Septimus.  There is something beyond herself that calls her to him, thus causation her to desire his fate for her own.  The power of the imagery of death and the ability to transcend it is richly realized in the doubling of Clarissa and Septimus.Lastly, Woolf uses themes that connect reality with the spiritual realm in an attempt to further her thesis in â€Å"Modern Fiction,” for prevarication to be modern and worth reading, it must explore that which is above the material world.  Woolf’s main reside in the novel seems to be the inner workings of Mrs. Dalloway, her thought processes, and how she engages with the world surrounding her.  Woolf juxtaposes Clarissa’s requisite self with her immaterial world, thus setting up one of the nearly prevalent, resonant themes within the text, and it is â€Å"against this corpse that Woolf places a world of private signification whose meaning is wholly irreducible to facts of the extraneous world” (37).This struggle betwixt the intimate and external surrounds not only Clarissa, but her double, Septimus, and thus permeates the novel.  Personality, according to Ellen Bayuk Rosenmann, in her article, â€Å"The inconspicuous battlefront,” seems to be a â€Å"private fact,” which is far â€Å"alienated from public and political social ization” (77).  Society at handsome is able to neither appreciate nor understand the inner workings of the soul, and thus stands at a distance.Woolf asserts in â€Å"Modern Fiction,” that â€Å"Whether we call it life or spirit, truth or reality, this, the essential thing, has moved off, or on, and refuses to be contained all longer is such ill-fitting vestments as we yield” (3).  In essence, the separation between the internal (soul) and the external (material world) is not navigable.  Mrs. Dalloway is forced to combust down the material barriers that bar her from well-educated herself, and delve into the depths of her soul to find the spiritual, the truth.Another winning theme within the text is the interest concept of world interaction.  Characters within the novel are being continually integrated together through their experiences and through their own imaginations and memories as well (Littleton 39).  One of the most interesting exampl es of this is the relationship between Mrs. Dalloway and Septimus.  Clarissa never visually sees Septimus, yet he is the most significant part of her day.  Clearly, Woolf is merging the 2 characters together, yet she blurs the lines a bit, thus furthering her assertions in â€Å"Modern Fiction,” that â€Å"life is not a series of gig lamps symmetrically ordered; life is a luminous halo, a semi-transparent envelope surrounding us from the stemma of consciousness to the end” (4).Septimus is a part of Clarissa’s consciousness, even though she does not realize it.  His life has a large impact of Clarissa, and he is the sole character that compels her to remain true to her soul. Critic J. Hillis Miller, in his article, â€Å"Repetition as Raising the Dead,” explains that â€Å"no man or woman is special to him or herself, but each is conjugated to the others…diffused like a spread over among all the people and places he or she has encounte red” (173).  The characters are connected on respective(a) levels, and Woolf shows this connection quite acutely through the lens of Lady Bruton as she muses well-nigh the way in which Hugh and Richard remain with her after they leave, â€Å"as if one’s friends were accustomed to one’s body, after eat with them, by a thin thread, which…became misty with the sound of bells, striking the hour” (112).This report furthers Woolf’s ideal that thither is an inherent spiritual connection within human beings, a â€Å"thin thread” which connects humanity.  The interaction between the characters is remarkable, as Woolf continues to assert that there is a spiritual connection between human beings that surpasses any material, physical connection (8).Through means of narrative technique, fascinating imagery, and get themes, Woolf continues to assert her thesis in â€Å"Modern Fiction,” that fiction must be bear on with the realit y of life, its inherent truth and spirituality.  If fiction is only pass oning to explore the material, it will do a disservice to humanity, for there is a world beyond the material that begs to be explored.  In Mrs. Dalloway, Woolf explore this other world, and brings to light fascinating possibilities that lie far beyond that realms of the material.Works CitedLittleton, Jacob. â€Å"Mrs. Dalloway: Portrait of the Artist as a Middle-Aged Woman.” Twentieth speed of light Literature. Hempstead: Spring 1995. 41:1, 36-48.Miller, J. Hillis. â€Å"Repetition as Raising the Dead.” Virginia Woolf. Ed. Harold Bloom. New York: Chelsea, 1986.Rosenmann, Ellen Bayuk. â€Å"The Invisible Presence: Virginia Woolf and the Mother Daughter Relationship.” Baton rouge: Louisiana State UP, 1986.Woolf, Virginia. Mrs. Dalloway. New York: Harcourt, 1925.Woolf, Virginia. The leafy vegetable Reader. 1st edition. 1925.\r\n'