Mrs. Dalloway 
by Virginia Woolf

Virginia Woolf

Virginia Woolf's Mrs. Dalloway follows one day in the life of Clarissa Dalloway and those whose lives brush up against hers--from Peter Walsh, whom she spurned years ago, to her daughter Elizabeth; the girl's angry teacher, Doris Kilman, and war-shocked Septimus Warren Smith, who is sinking into madness.  In the novel, Woolf explores the inner lives of all her characters, and the relationship between women and men, and women and women.

As Mrs. Dalloway prepares for the party she is giving that evening, a series of events intrudes on her composure. Her husband is invited, without her, to lunch with Lady Burton. Meanwhile, Peter Walsh appears, recently from India, to criticize and confide in her. His sudden arrival evokes memories of a distant past, the choices she made then, and her wistful friendship with Sally Seton. While Clarissa is transported to past afternoons with Sally, and as she sits mending her green dress, Warren Smith catapults desperately into his delusions. Although his troubles form a tangent to Clarissa's web, they undeniably touch it, and the strands connecting all these characters draw tighter as evening deepens.

Virginia Woolf (1882-1941) was a prolific novelist and essayist, publishing several books and more than 500 essays. Woolf was part of the Bloomsbury group. In "A Room of One's Own" (1929), she wrote, "A woman must have money and a room of her own if she is to write fiction." Woolf committed suicide in 1941. Read more about Virginia Woolf.

1. In Mrs. Dalloway Virginia Woolf combines interior with omni-scient descriptions of character and scene. How does the author handle the transition between the interior and the exterior? Which characters' points of view are primary to the novel; which minor characters are given their own points of view? Why, and how does Woolf handle the transitions from one point of view to another? How do the shifting points of view, together with that of the author, combine to create a portrait of Clarissa and her milieu? Does this kind of novelistic portraiture resonate with other artistic movement”s of Woolf s time?
2. Woolf saw Septimus Warren Smith as an essential counterpoint to Clarissa Dalloway. What specific comparisons and contrasts are drawn between the two? What primary images are associated, respectively, with Clarissa and with Septimus? What is the significance of Septimus making his first appearance as Clarissa, from her florist's window, watches the mysterious motor car in Bond Street?
3. What was Clarissa's relationship with Sally Seton? What is the significance of Sally's reentry into Clarissa's life after so much time? What role does Sally play in Clarissa's past and in her present?
4. What is Woolf s purpose in creating a range of female characters of various ages and social classes—from Clarissa herself and Lady Millicent Burton to Sally Seton, Doris Kilman, Lucrezia Smith, and Maisie Johnson? Does she present a comparable range of male characters?
5. Clarissa's movements through London, along with the comings and goings of other characters, are given in some geographic detail. Do the patterns of movement and the characters' intersecting routes establish a pattern? If so, how do those physical patterns reflect important internal patterns of thought, memory, feelings, and attitudes? What is the view of London that we come away with?
6. As the day and the novel proceed, the hours and half hours are sounded by a variety of clocks (for instance, Big Ben strikes noon at the novel's exact midpoint). What is the effect of the time being constantly announced on the novel's structure and on our sense of the pace of the characters' lives? What hours in association with which events are explicitly sounded? Why? Is there significance in Big Ben being the chief announcer of time?
7. Woolf shifts scenes between past and present, primarily through Clarissa's, Septimus's, and others' memories. Does this device successfully establish the importance of the past as a shaping influence on and an informing component of the present? Which characters promote this idea? Does Woolf seem to believe this holds true for individuals as it does for society as a whole?
8. Threats of disorder and death recur throughout the novel, culminating in Septimus's suicide and repeating later in Sir William Bradshaw's report of that suicide at Clarissa's party. When do thoughts or images of disorder and death appear in the novel, and in connection with which characters? What are those characters' attitudes concerning death?
9. Clarissa and others have a heightened sense of the "splendid achievement" and continuity of English history, culture, and tradition. How do Clarissa and others respond to that history and culture? What specific elements of English history and culture are viewed as primary? How does Clarissa's attitude, specifically, compare with Septimus's attitude on these points?
10. As he leaves Regent's Park, Peter sees and hears "a tall quivering shape,... a battered woman" singing of love and death: "the voice of an ancient spring spouting from the earth" singing "the ancient song." What is Peter's reaction and what significance does the battered woman and her ancient song have for the novel as a whole?
11. Clarissa reads lines from Shakespeare's Cymbeline (IV, ii) from an open book in a shop window:

Fear no more the heat o' the sun

Nor the furious winter's rages.

Thou thy worldly task hast done,

Home art gone and ta'en thy wages:

Golden lads and girls all must,

As chimney-sweepers, come to dust.

These lines are alluded to many times. What importance do they have for Clarissa, Septimus, and the novel's principal themes? What fears do Clarissa and other characters experience?

12. Why does Woolf end the novel with Clarissa as seen through Peter's eyes? Why does he experience feelings of "terror," "ecstasy," and "extraordinary excitement" in her presence? What is the significance of those feelings, and do we as readers share with them?