AD ALTA
JOURNAL OF INTERDISCIPLINARY RESEARCH
TRILOGY OF EXISTENCE: A STUDY OF VIRGINIA WOOLF'S MRS. DALLOWAY
a
HAMID FARAHMANDIAN,
b
SHAO LU
Sun Yat-sen University, School of Foreign Languages, 135,
Xingang Xi Road, Guangzhou, 510275, P. R. China
email:
a
FarahmandianH@gmail.com,
b
shaolu@mail.sysu.edu.cn
The authors wishes to acknowledge the support from the China National Social
Sciences Young Researchers Fund Project “On Geographical Features and
Contrastive Study of C-E Parallel Texts of Novels by Alai in View of Cognitive
Stylistics”(14CYY002) in the writing up of this article.
Abstract: This paper aims to analyze the trilogy of existence revealed by Virginia
Woolf in Mrs. Dalloway from the perspective of the theory of existentialism.
Focusing on the subjective individual, Søren Kierkegaard divides life into three
existence spheres: the aesthetic, the ethical and the religious. The first two parts of
this paper deal with two main characters of Mrs. Dalloway "Richard Dalloway" as the
representative of aesthetics and "Clarissa" as the representative of ethics in this novel.
Finally, the possibility of religion is to be investigated which is divided into three
parts based upon Kierkegaard's philosophy: The religious A, the Religious B and
death as the brightest point of religion. The outcome suggests the limitations of each
sphere for human being. Furthermore, it shows that the characters in Mrs. Dalloway
cannot get any salvation by focusing on just one sphere and overlooking the others
spheres.
Keywords: Virginia Woolf, Mrs. Dalloway, Existentialism, Søren Kierkegaard
1 Introduction
Virginia Woolf (1882–1941) wrote experimental novels notable
for their expressive form and poetic language. "While her
primary reputation is that of an experimental novelist, her
collected essays and her two book-length essays, A Room of
One’s Own (1929) and Three Guineas (1938), establish her
importance as a feminist and cultural critic" (Shaffer 401). Her
experimental aesthetic, her founding of the Hogarth Press (along
with her husband, Leonard Woolf), and her membership in the
Bloomsbury Group, placed her at the center of British
modernism in the first 40 years of the twentieth century. The
form of Mrs. Dalloway (1925), Woolf’s second experimental
novel, makes use of focalization that is handed off like a baton
in a relay between characters who hear the same sounds or view
the same sights over a single day in London. In this way, the
novel formally echoes the thematic balance between the
intimacy of love and friendship that connects individuals with
both the necessity and the ache of isolation. In her diary, Woolf
wrote, "I want to give life and death, sanity and insanity; I want
to criticise the social system, and to show it at work, at its most
intense" (Woolf 2: 248).
Mrs. Dalloway offers a narrative structure that employs multiple
voices through which it tends also to foreground ontological
issues such as "What is the mode of existence of a text? and
what happens when different types of world are placed in
confrontation?" (Smith 149) Focusing on the subjective
individual, Søren Kierkegaard divides life into three existence
spheres: the aesthetic, the ethical and the religious. "What he is
trying to communicate through his doctrine, however, is that
there are only a finite number of values in human life. So while
people may live their lives, their values, systems are uniquely,
distinctly tailored to their own personalities and lifestyles, there
are only a limit number of fundamental values Commitments
and organized ideas" (Valone 10). The relation of these there
spheres to each other is hierarchical, with the individual striving
to move from the esthetic, where "life is typified by the figure of
dandy or seducer to ethical which is best observed in the kind of
serious commitment one might make in marriage" (Abrams
215), and on to the highest stage, the religious. In the move to
the religious sphere, as in Either/Or, "The stage is achieved
when the individual personality finally chooses itself or receives
itself" (Kierkegaard 181). This paper at first two parts will deal
with two main characters of Mrs Dalloway "Richard Dalloway"
as the representative of aesthetics and "Clarissa" as the
representative of ethics in this novel. Finally, the possibility of
religion is to be investigated which will be divided into three
parts based upon Kierkegaard's philosophy: The religious A, the
Religious B and Death as the brightest point of religion.
2 The Aesthetic Sphere
The aesthetic life is defined by pleasures, and to live the
aesthetic life to the fullest one must seek to maximize those
pleasures. Francis Lescoe states that "One having no fixed
principles, except that he means not to be bound to anything. He
has but one desire, which is to enjoy the Sweetest of life,
whether it is purely sensual Pleasure or more refined" (34).
However, the aesthetic life-view is characterized by
subjectivism, hedonism, and nihilism. It seeks personal pleasure,
but lacks any integrating narrative or ultimate meaning. "The
paradoxical round-robin of characters in Mrs. Dalloway creates
a “ghostly” quality in the way that it applies indirect
communication" (DeMeester 651). Thoughtless traditionalism
and unthinking political conservativism of Richard Dalloway–
as the central character of aesthetics in this novel– reveal that he
is actually a ghost-of-a-man in relation to both political world
and his wife. He is a man driven primarily by convention and
appearances, not a man of action. Therefore, natural state of the
aesthetic sphere of Richard Dalloway in this section is to be
analyzed in his public and private lives and to be compared with
his love rival Peter Walsh.
The first relationship to be investigated is that of Richard
Dalloway in relation to the public sphere (his political life).
Specifically, though one might think that Richard’s position as
political figure would place him in an emblematic role within
the ethical sphere– the sphere associated with duty and social
obligations– Richard Dalloway’s thoughtless traditionalism and
unthinking political conservativism reveal that he is actually a
ghost-of-a-man in relation to both the political world and his
wife. His lack of traction in life places him into the company of
those who fail to exhibit "the courage to be as a part" (Tillich
84). He is a man driven primarily by convention and
appearances, not a man of action, thus, his profession of
political discourse is highly ironic. Insofar as he "shrinks from
devoting [himself] to [the ethical sphere]," (Kierkegaard 112)
Richard Dalloway is a character that resembles an individual
who remains confined to the aesthetic sphere. This resemblance
finds "representation in his public life by way of his politics
tinged with self-interest" (Zwerdling 71). An example of this
sort of collectivist thinking occurs when Richard Dalloway
hears from Dr. Bradshaw of the suicide of Septimus Smith.
Richard’s response is not one of compassion toward the man or
his family; Richard instead resembles one acting within the
aesthetic sphere, addressing the issue by refracting it through
politics: he refracts the issue through an abstract conversation
about a "provision in [a] Bill…concerning the effects of shell
shock," (Woolf 200) one of which is the suicide of Septimus
Smith, who was a person, not an abstract effect.
With regard to the tensions within the narrative voices of the
novel, Richard’s distance from Septimus Smith in his tragedy
stands in counter-point to his distance from Clarissa in her
tragedy. Thus, Richard Dalloway’s ghostly nature is represented
further by his failure in the personal sphere. His spectacular
moment in the novel is his failure to say “I love you” to
Clarissa. Richard Dalloway’s presence in the life of Clarissa and
in the lives of those around him is most notable as an absence—
he is a ghost-of-a-man. Julia Watkin notes, Kierkegaard believes
that the person in "unconscious despair is for a time,
superficially happy in a life directed toward temporal goals such
as making money or achieving political power. When the goals
begin to fail to satisfy, that person tries to deal with the problem
as something external needing to be fixed" (Watkin 65). In the
sense that he fails to see the significance of his place in the life
of Clarissa, Richard Dalloway resembles the individual who in
unconscious despair occupies himself with trivial details and
fails to consider deeper issues relevant to the ethical-religious
possibilities.
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