INTRODUCTION:

Virginia Woolf (1882-1941) stands as one of the most influential and innovative writers of the 20th century, renowned for her profound contributions to modernist literature. Dissatisfied with the conventional narrative techniques of her Edwardian predecessors, such as Arnold Bennett, H.G. Wells, and John Galsworthy, Woolf sought to revolutionize the novel by capturing the elusive, fleeting aspects of human experience often overlooked in traditional Victorian fiction. In 1908, she resolved to "re-form" the novel, creating a more holistic and introspective literary form that reflected the complexities of inner life and the fluidity of consciousness. A pioneer of the stream-of-consciousness technique, Woolf's writing is celebrated for its poetic prose, psychological depth, and exploration of the subjective nature of reality. Her groundbreaking works, including Mrs. Dalloway (1925) and To the Lighthouse (1927), exemplify her ability to blend the external world with the internal, crafting narratives that resonate with artistic sincerity and integrity. Woolf's novels are characterized by their focus on the "fugitive" moments of life, the poetization of the English novel, and a distinct feminization of the literary form, which challenged and expanded the boundaries of storytelling.

Through her innovative approach, Virginia Woolf not only redefined the novel but also left an indelible mark on the literary landscape, inspiring generations of writers and readers alike. Her legacy endures as a testament to her visionary artistry and unwavering commitment to capturing the essence of human existence. The early 20^th century was a period of profound upheaval, marked by World War I, rapid technological advancements, and shifting social norms. These changes prompted writers to question traditional narrative forms and explore new ways of representing human experience. Modernist literature, characterized by its experimentation with form and focus on subjectivity, sought to capture the fragmented and often disorienting nature of modern life. Virginia Woolf emerged as a leading voice in this movement, challenging conventional notions of time and narrative. In both these novels, Woolf reimagines time as a fluid, subjective experience, shaped by memory, perception, and consciousness.

DISCUSSION:

Virginia Woolf’s legacy as a modernist pioneer is deeply rooted in her transformative approach to the novel, which redefined the genre as a medium for exploring the intricacies of the human mind and the subjective nature of reality. As Auerbach claims:

The essential characteristic of the technique represented by Virginia Woolf is that we are given not merely one person whose consciousness (that is, the impressions it receives ) is rendered, but many persons, with frequent shifts from one to the other – in our text, Mrs. Ramsay, "people," Mr. Bankes, in brief interludes James, the Swiss maid in a flash-back, and the nameless ones who speculate over a tear. The multiplicity of persons suggests that we are here after all confronted with an endeavor to investigate an objective reality. […] The design of a close approach to objective reality by means of numerous subjective impressions received by various individuals (and at various times) is important in the modem technique which we are here examining. It basically differentiates it from the unipersonal subjectivism which allows only a single and generally a very unusual person to make himself heard and admits only that one person's way of looking at reality. (AUERBACH 536)

Her work represents a radical departure from the linear, plot-driven narratives of traditional fiction, instead embracing the fluidity and fragmentation of human consciousness. By prioritizing the inner lives of her characters over external events, Woolf captured the ephemeral, often chaotic nature of thoughts, emotions and perceptions, offering readers a more intimate and authentic portrayal of human experience. Gillies claims; “Woolf’s major concern is to capture not the external qualities of the series of moments that constitute a life, but to capture the invisible inner moments in which most important living occurs” (109). This claim brings us to her concept of “moments of being” and “moments of non-being” which are related to the perception of time: According to Woolf, the latter constitute the vast majority of our life; she referred to living in this state as being like “cotton wool” (“A Sketch” 70), something that muffles the senses and prevents a feeling of being alive. Moments of being are much rarer, said Woolf, and also much more valuable. During these brief moments one becomes alive: aware of one’s immediate surroundings and also aware of one’s place in history. (Gillies 109)

Central to Woolf’s innovation was her mastery of the stream-of-consciousness technique, which she employed to mirror the way thoughts flow through the mind. This technique, evident in novels like Mrs. Dalloway (1925) and To the Lighthouse (1927), allowed her to delve into the psychological depths of her characters, revealing their fears, desires and memories in a way that felt immediate and real. Her lyrical prose further elevated this approach, blending poetic beauty with profound philosophical insights. Her writing is not merely descriptive; it is evocative, inviting readers to engage with the text on a deeply emotional and intellectual level. Woolf’s commitment to artistic authenticity was unwavering. She rejected the conventions of Edwardian literature, which she found overly materialistic and superficial, and instead sought to create a form of fiction that reflected the complexities and ambiguities of life. Her essays, such as Modern Fiction (1919), articulate her belief that the novel should capture the "myriad impressions" of everyday existence, no matter how trivial or fleeting they might seem. This philosophy underpins her work, making her novels not just stories but profound explorations of the human condition.

Mrs Dalloway takes place over the course of a single day in June, yet through the use of stream-of-consciousness narration, Woolf expands this narrow temporal frame to encompass the characters’ memories, reflections and anticipations. The chiming of Big Ben serves as a recurring motif, marking the passage of external, clock time, while the characters’ inner lives unfold in a more fluid, subjective temporality.

As they looked [at the aeroplane] the whole world became perfectly silent, and a flight of gulls crossed the sky, first one gull leading, then another, and in this extraordinary silence and peace, in this pallor, in this purity, bells struck eleven times, the sound fading up there among the gulls. (Woolf 17)

The protagonist, Clarissa Dalloway, is acutely aware of the tension between external time and her inner experience. As she prepares for her evening party, her thoughts drift between the present and the past, particularly her memories of her youth and her relationship with Peter Walsh. These moments of memory are not presented as static recollections but as vivid, living experiences that shape her present consciousness. Sometimes they interrupt the stream of consciousness or the stillness of the moment to remind everyone of the sameness, the infinity, and the unstoppability of time which creates the desire to enjoy life as well as the fear of aging and death: There! Out it boomed. First a warning, musical; then the hour, irrevocable. The leaden circles dissolved in the air (Woolf 03). This is how Clarissa perceives time at the beginning of the story. She is aware of the passing of time. She feels the freshness of each moment and hopes that her party will be perfect, but she is worried about meeting Peter again. “Thus passes internal time, pulled back by memory and thrust ahead by expectation” (Ricoeur 105).

Similarly, the character of Septimus Warren Smith, a shell-shocked war veteran, experiences time in a fragmented, non-linear way. His traumatic memories of the war disrupt his sense of the present, leading to a breakdown of temporal coherence. Through Septimus, Woolf explores the psychological impact of time, particularly the ways in which past trauma can distort one’s perception of reality.

“Look, look, Septimus!” she [Rezia] cried. For Dr. Holmes had told her to make her husband (who had nothing whatever seriously the matter with him but was a little out of sorts) take an interest in things outside himself. 25 So, thought Septimus, looking up, they are signalling to me. (Woolf 17) … and Mrs. Dalloway as well: “What are they looking at?” said Clarissa Dalloway to the maid who opened her door. (Woolf 23)

Despite Septimus’s death, the sad suicide, the striking of the clock goes on. No matter what happens, time is constantly passing. The unexpected news about Septimus’s suicide, the man who did not belong to the circle of Clarissa but was treated by Bradshaw who came to the party, “allows the plot to reach its culmination” (Ricoeur 102), and reveals the deep connection between his and Clarissa’s fates. In a certain way, Septimus is Clarissa’s “double” as is the old woman in the room across the street. “Clarissa never actually meets either of her doubles [but] she is able to enter into their lives and learn from them something that allows her a greater degree of self-knowledge” (Gillies 116). Septimus’s and Clarissa’s voices join when she states: Death was defiance. Death was an attempt to communicate; people feeling the impossibility of reaching the centre which, mystically, evaded them; closeness drew apart, rapture faded, one was alone. There was an embrace in death. (Woolf 151)

After hearing the news of Septimus’s suicide, the striking of the clock reminds again the continuous flow and eternity of time, and the fact that although one life ended the others continue:

The clock began striking. The young man had killed himself; but she did not pity him; with the clock striking the hour, one, two, three, she did not pity him, with all this going on. There! The old lady put out her light! 30 The whole house was dark now with this going on, she repeated, and the words came to her, Fear no more the heat of the sun6 . (Woolf 152)

In To the Lighthouse, Woolf’s treatment of time becomes even more experimental. The novel is divided into three sections—“The Window,” “Time Passes,” and “The Lighthouse”—each of which explores different dimensions of time. The first section, “The Window,” takes place over the course of a single afternoon and evening, focusing on the Ramsay family and their guests at their summer home. Like Mrs Dalloway, this section uses stream-of-consciousness narration to delve into the characters’ inner lives, blending past, present, and future in a seamless flow. In “The Window”, Mrs. Ramsay wills to stop the passing of time. “She wills it, in the first place, emotionally: because she wants the world of her children and her family never to pass away” (Blackstone 110):

Oh, but she [Mrs. Ramsay] never wanted James to grow a day older! or Cam either. These two she would have liked to keep forever just as they were, demons of wickedness, and angels of delight, never to see them grow up into long-legged monsters. (Woolf 56)

In this novel Woolf used various symbols signalizing the passing of the chronological time as well. Here, the reader could perceive the aging of human beings as well as of inanimate things. As for human beings, it is Mrs. Ramsay who is most aware of inevitable aging: When she looked in the glass and saw her hair grey, her cheek sunk, at fifty, she thought, possibly she might have managed things better – her husband; money; his books. (Woolf 06)

Although Mrs. Ramsay is physically absent in the final section, she remains alive in the thoughts and emotions of her family. The journey to the lighthouse, which began with her, continues even without her direct involvement. This highlights Woolf’s belief that memory defies the constraints of time—those who are gone still shape the lives of the living. In the last part, “The Lighthouse”, Lily, a painter, re-creates the picture of Mrs Ramsay by memories of her: Mrs Ramsay sat silent. She was glad, Lily thought, to rest in silence, uncommunicative; to rest in extreme obscurity of human relationships. Who knows what we are, what we feel? (Woolf 163)

The middle section, “Time Passes,” represents a radical departure from traditional narrative structure. Spanning a period of ten years, this section condenses the passage of time into a series of brief, impressionistic vignettes. The Ramsays’ house, left empty and decaying, becomes a symbol of the relentless march of time and the impermanence of human existence. Woolf’s use of parentheses to narrate key events, such as the deaths of Mrs Ramsay and her son Andrew, underscores the insignificance of individual lives in the face of cosmic time.

The final section, “The Lighthouse,” returns to the Ramsay family, now reunited at their summer home. The journey to the lighthouse, which had been postponed in the first section, serves as a metaphor for the characters’ attempts to reconcile the past with the present. Despite this return to the image of Mrs. Ramsay, the situation has changed. Lily’s act of remembrance is not a simple recreation of the past but an acknowledgment of its transformation. Her painting, like her memory, captures an essence but cannot restore what has been lost. Similarly, James’s childhood longing to visit the lighthouse has faded, and the journey that once symbolized his mother’s promise has now become more about Mr. Ramsay’s assertion of control. This shift underscores Woolf’s central idea: time alters perceptions, desires, and relationships. While memory can preserve and reimagine the past, it cannot halt change. Blackstone claims, time in the last section of the novel “proceeds in contrary motion” (101). “[While] Mr. Ramsay sails with Cam and James into the future, to the lighthouse, […] Lily Briscoe, sitting on the lawn in front of the house, allows her thoughts to wander back into the past until the figure of Mrs Ramsay is re-created” (Blackstone 101).

The novel’s ending brings the story full circle by returning to Mrs. Ramsay, but in a new context. She is no longer physically present, but she remains a defining presence in the minds of those left behind. The journey to the lighthouse is completed, yet it is no longer driven by the same emotions that once made it so significant. This illustrates Woolf’s nuanced understanding of time—not as a simple linear progression but as interplay of past and present, presence and absence, continuity and change. Central to Woolf’s treatment of time is her concept of “moments of being”—intense, vivid experiences that stand out in memory. Baróthy points out that in A Sketch of the Past Woolf explained how, according to her point of view, the past affects the present:

The past only comes back when the present runs so smoothly that it is like the sliding surface of a deep river. Then one sees through the surface to the depths. In those moments I find one of my greatest satisfactions, not that I am thinking of the past; but that it is then that I am living most fully in the present. For the present when backed by the past is a thousand times deeper […]. (98)

These moments, which Woolf contrasts with the mundane “moments of non-being,” serve as focal points in her novels, illuminating the characters’ inner lives and their relationship to time. In Mrs Dalloway, Clarissa’s memories of her youth and her relationship with Peter Walsh are moments of being that shape her present consciousness. Similarly, Septimus’s traumatic memories of the war are moments of being that disrupt his sense of time and reality. In To the Lighthouse, Lily Briscoe’s epiphany as she completes her painting is a moment of being that transcends the limitations of time. Through her art, Lily captures the essence of Mrs Ramsay, creating a timeless representation of her presence. By challenging the linear, clock-bound understanding of time, Woolf redefined the novel as a medium for capturing the complexities of human experience. Her work continues to resonate with readers and scholars, offering new ways of understanding the relationship between time, memory, and identity.

CONCLUSION:

Virginia Woolf’s Mrs Dalloway and To the Lighthouse represent a radical reimagining of time in modern English literature. Through her use of stream-of-consciousness narration, non-linear structures, and moments of being, Woolf captures the fluid, subjective nature of human experience, challenging traditional notions of time and narrative. By situating her work within the broader context of modernist literature and philosophical ideas of time, this study highlights Woolf’s innovative contributions to the reimagining of time in fiction. Her novels remain a testament to the enduring power of literature to illuminate the complexities of the human condition.

REFERENCES:

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3. Blackstone, Bernard. Virginia Woolf. A commentary. London: Hogarth Press, 1949.

4. Bradbury, Malcolm, and James McFarlane. Modernism: A Guide to European Literature. 1890–1930. Penguin, 1976.

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6. Hussey, Mark. Virginia Woolf A to Z. A Comprehensive Reference for Students, Teachers, and Common Readers to Her Life, Work, and Critical Reception. Facts on File, 1995.

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Received on 28.03.2025 Revised on 23.04.2025

Accepted on 15.05.2025 Published on 20.08.2025

Available online from September 02, 2025

Res. J. of Humanities and Social Sciences. 2025;16(3):203-207.

DOI: 10.52711/2321-5828.2025.00034

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