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,QWURGXFWLRQ 0DLQ3DUW$VSHFWVRI6WUXFWXUH 1DUUDWLRQDQG6\PEROLVPLQ 9LUJLQLD:RROI¶V7RWKH/LJKWKRXVH 2.1 Structure and Plot 2.2 Narration and Narrative Techniques 2.3 Language and Symbolism %LEOLRJUDSK\ 3.1 References

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Virginia Woolf’s novel 7RWKHOLJKWKRXVH is seen as one of her most experimental works and some critics call it a “tour de force”; a masterpiece. In fact, it is a very special piece of fictional prose concerning narrative techniques, plot, symbolism or language, as this paper will show. Furthermore, it will be analyzed, which effects these means and techniques have on the reader and on the novel as a whole.

The first part of the analysis will concentrate on the questions how the novel is structured and why it is structured that way. Moreover, the problem of the plot will be discussed. In the second part called ‘Narrative techniques’ it shall be focused on the different methods that are used to tell the novel, especially the stream of conscious- technique, because it offers particular possibilities, which have an effect on the characters’ portrayal and the novel’s style.

This paper’s last item examines symbolism and language and the connection between them. Especially the matter of symbolism is interesting, because it passes through the whole novel and has therefore certain importance and meaning, which is contemplated here. Virginia Woolf’s work differs from traditional novels in many points. Some of these points I chose as topics for my term paper, because I would like to show that they are part of the novel’s uniqueness. 6WUXFWXUHDQG3ORW

7RWKH/LJKWKRXVH is divided into three parts: “The Window”, “Time passes” and “The Lighthouse”. The first part of the novel, “The Window”, consists of 19 sections and is the longest of all although it only covers a period of one day. Here, the reader is introduced to nearly all of the characters and to the plot and becomes caught up in the web of relationships. Mrs. Ramsay is the most dominant character in this part and acts as connection between the other ones. Especially in the dinner-scene it becomes clear that it is Mrs. Ramsay, who is the real ‘head’ of the household and cares about everything, connects the several people and acts as a mediator. With her special gift to understand and

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unite people intuitively, she is able to create an atmosphere of pleasantness and domestic peace within the holiday house’ s microcosm.

Although being the shortest, the second major section covers a period of ten and fulfils an important task. Standing in between the first and the last part of the novel, it is not only logically the middle, but also symbolically. The reader is given a description of the house’ s decay and he gets to know that there had been considerable changes in the family’ s life, furthermore; that the family does not exist any more in the same constellation as in the chapters before. This section functions as a connection of the ‘happy days’ described in “ The Window” and the changed situation in “ The Lighthouse” ten years later, where Mr. Ramsay has overtaken his wife’ s position as the main parent. In the last section, the reader finally witnesses the journey to the lighthouse, which was promised to James at the beginning of the book. This action can be seen as a frame in the novel, because it is both the opening and the ending of the story and furthermore a symbolic act, as will be analyzed later.

This shows parallels to Lily Briscoe’ s painting, which cannot be completed at first, but in the last chapter this ambition is fulfilled. These observations underline, that the third section symbolizes and reflects the meaning of the whole book and can be regarded as a conclusion, where all conflicts come together are solved, because now the characters had reached a certain level of perception and ‘had their vision’ ¹ . Virginia Woolf set great store by formal aspects like structure, symbolism or language, therefore a plot in the conventional sense does not exist in the novel, but after an intensive analysis it can be pointed out that there are a lot of constellations and incidents, which at first glance might have been regarded as parts of a superficial action, but after all they GR construct a ‘plot’ , which is more a description of the human being’ s way towards higher perception and consciousness. Arnold Kettle explains his opinion about the plot by comparing it to art:

“ 7RWKH/LJKWKRXVH is no more symbolic than a picture by Cézanne and no more casual. (…) If one is asked ‘What is that picture about?’ one can only reply ‘It is

about itself; it is what the artist has painted.’ (…) Similarly 7RWKH/LJKWKRXVH is itself. There is nothing to do with it except read it.” 2