It is hard to examine a book as complex and avant-garde as Mrs Dalloway, but one can certainly feel the emotional repercussions after the reading. As a rare example of literature rich in symbolic and thematic meanings, Mrs Dalloway hints at much more underneath the surface meaning. Virginia Woolf uses the stream-of-consciousness techniques to expose the internal thoughts flowing in and out of the characters' minds and thus offers a panoramic viewpoint of her characters across the social statuses, portraying a representation of the macrocosm in the post-war Britain. What struck me in particular is the extraordinarily nuanced and subtle presentations of her characters. The characters in the books are not ideological abstractions but rather human beings whom one can relate to and choose to love or hate, or both. Despite the eponymous title, the book focuses equally much on other key characters such as Peter Walsh and Septimus, but Clarissa attains a somewhat more central role as the party host - nearly all the actions of other characters revolve around Clarissa's hosting the party (even Septimus can be interpreted as an antipode to Clarissa in that he contrasts with Clarissa's ignorance in matters beyond her ego). Clarissa herself is a complex character. Her motivation for marrying Richard is never made clear and it is clear that she is not completely satisfied with the marriage and still hearkens back to the old love. A better interpretation is that Clarissa acts on intuition and has subconsciously chosen the course of her life rather than following rational planning. This more subjective approach is an inherent trait in her character, making it seem mysterious (and appealing) in a sense yet hard to analyse. Nonetheless, evidence of her excessive ego which in part derives from not thinking much about those outside her league is evidence throughout the novel. It is easy on a superficial level to criticise her bourgeoisie stereotype especially in the post war setting, in which era socialist movements were challenging the conservative view points. However, by doing so one does the harm of reducing Clarissa to a caricature of a British upper class women. Her personality is more than a mere class symbol as most vividly shown in her optimistic attitudes about life. Social class for Clarissa is a guarantee of the standard of life and more importantly maintains the sense of innocence still seen in her fifties. In a sense she is protected from the harsh zeitgeist of the era and chooses to be in the present.
If we separate Clarissa from her class and related social issues, it is difficult not to empathise with her energy for life. Clarissa has depth has a character in that her psychological age does not match as may be traditionally expected with her real age. She dwells on the comfortable present as well as the cherished memories from the past. Perhaps I am biased towards her in making this point, as I myself also reside in London and am more than familiar with the many places mentioned and share memories associated with them. Virginia makes such a relatable character out of Clarissa by freely, indirectly exposing her most tender thoughts - thoughts that can be cherished for a lifetime, such as the halcyon days growing up in the country side and comfortable, melancholic romance in the youth.
Yet Clarissa feels solitary. There is something lost with the innocence gone by and never to be rediscovered in the established social circle. Something like her youth and romance that never comes back. Life bores her. She has eventually become, without her gradually noticing it, one who she had once loathed - someone mediocre. It is sad that Clarissa becomes typical housewife after all the romance and time that she has frittered away in joys and sunshine. There is something missing in her life.
And that is why she throws parties to fill the void. Why she still reminisces over Peter Walsh. Why she sees in her daughter Elizabeth a reincarnation of herself still beautiful and young.
But she is not the only to risk against all odds for the thrill. The could-be excitement only lingers in some corners of her brain and emerges from time to time before dissipating into the rhythm of life. She has chosen to accept her life as it is.
Every time I think of Clarissa, I cannot help thinking that maybe the our inaction is also an active decision to make which can impacts life in yet more powerful ways than the decisions made. Labelling Clarissa would almost certainly fail at an authentic representation by putting her into a category. She simply is. Not much to hate or love about her beyond personal preferences. But once she had thought she had every prospect to be extraordinary.
Yet the book is more than just about Clarissa. Woolf explores the history of other characters in as they wander around the city. Their interactions offer intermediate digressions from the main plot and fascinating insights into human nature. Perhaps most interestingly, Woolf presents the character's thoughts as fragmented unites and isolated from other characters. She frequently presents other characters through other eyes, sometimes to create sad irony, as in the case of Septimus, and sometimes simply for the breathtakingly beautiful mood that there is something ultimately incomprehensible, yet feeling tangible by heart and surpassing the material scope.
As in that vagabond woman's song. Maybe there is something truly soulful and intrinsic as the author implies, which does not merely exist in Peter's imagination, that spans ages and places, hearkening back to the primitive call.
As in "that the passions remain as strong as ever, but one has gained - at last! - the power which adds the flavour to existence - the power of taking hold of experience, of turning it round, slowly, in the light".
It is often the case that great literature implies what cannot be written done, which loses its glamour once being made clear.
