The war and its effects were far from over in June 1923; they were simply forgotten by the upper classes to return to a sense of pre-war normality. Furthermore, the problems that caused the war still permeate Mrs. Dalloway's society with an unquestionable resonance. These problems manifest themselves repeatedly in Mrs. Dalloway and her guests, and although they arise from a variety of factors, the problems for London in 1923 largely stem from superficial attitudes held in society. However, behind the superficiality of an extremely classist London there are brief “moments” and subtle indications that society recognizes the problems and that change has happened and will continue to come. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The attitude held in society before going to war still continues to dominate Clarissa's life. His last name, Dalloway, has implications for the word dally, and "dally" eloquently describes the way he leads his life. She tells us in her internal monologue at the beginning of the novel that she "had a passion for gloves" and "Bond Street fascinated her" indicating the materialism that envelops her world. Furthermore, his verbal exchanges with the characters are inevitably full of falsehoods, such as the note written to Peter Walsh in extremely exaggerated language, "godly to see you", which lacks any sincerity. His exchange with Hugh Whitbread in the park near the government buildings is equally false. Rather than listen to what Hugh Whitbread says, she is "aware? of his hat." Hugh's description of Evelyn's continuing illness in the same paragraph contrasts with Clarissa's thoughts and also makes us aware of his "apparent" superficiality. Peter Walsh, although biased, comments twice that Clarissa is "not sincere". Her response to Lady Brunton at her party that she was "perfectly well" is equally false and she only gives this response because "Lady Brunton detested illness in politicians' wives". in Clarissa" further suggesting a lack of true compassion. The novel develops around Clarissa's party and the stream of consciousness in her internal monologue throughout the party focuses on people's names and locations rather than actual human emotions. '"Portuguese Ambassador" and the "Prince of Wales" are only significant for what they represent in terms of society and Clarissa does not even once consider them emotional human beings but rather positions in society. Likewise the "Prime Minister" is left without name, further emphasizing the importance to Clarissa of position in society rather than actual "human qualities". The repeated mention of "Prime Minister" twenty-nine times in Clarissa's thoughts in one day is a repeated and poignant reminder of the emphasis she places. to positions in class and society. Likewise, the names given to those surrounding Mrs. Dalloway are intended to amuse and poke fun at the pomp and superficiality of Clarissa's life in the upper classes of high society. The names "Willie Titcomb", "Milly Brush" and "Lady Needham" all serve to detract from their lofty and rather old-fashioned attitudes and actions. When we arrive at Clarissa Dalloway's party we have no doubt that all of Virginia Woolf's characters are, to varying degrees, victims of the class attitude that continues to reign supreme in Mrs. Dalloway's post-Victorian London. However, the novel's focus on Clarissa makes her seem the most affected. Even before the party, its class-based superficiality is made more obvious by the mention of "Lords,Ascot" and "Ranelagh", all of which are typically upper class events. His sentiment that he "felt nothing for the Albanians, or was it the Armenians? But she loved her roses" helps to suggest that she really is as fake as she seems because of the contrast between something that is internationally influential and a bunch of unremarkable roses. The narrative focuses on colors in the first description of Clarissa Dalloway, mentioning "white ", "blue-green" and "pink". Mentioning her appearance (especially in terms of colors) instead of focusing on emotion or thought helps to further symbolize Clarissa's superficiality. Early descriptions of Clarissa as "very straight " and "lively" reinforce our feeling towards a superficial and selfish woman because the lack of a real emotional description means that we are unable to imagine her in an emotional sense. Furthermore, her description is often given to the reader in a rather animalistic way page four we feel that there is "a touch of the bird about her" and adjectives such as "collected" and "permeated", which lack any human qualities, are used to describe her actions and suggest that she is emotionless. We are introduced to a main character who shows all the signs of being a victim of the war and the superficiality that caused it. However, it's not just Clarissa who seems patently superficial. Peter Walsh is irreverent in his obsession with "news from India". However, Peter Walsh eloquently illustrates and symbolizes the problems within the Empire as well as the social problems inherent in Mrs. Dalloway's society. He describes himself in highly exaggerated imagery as "tortured" and believes that Clarissa hated "the wretched, the weak, the failures, like him supposedly." The use of alliteration hits home his apparent lack of self-esteem, which he hides behind an outer shell. The choice of the word "frump", which is normally reserved for women and fogeys, which implies an older person, helps to further heighten our awareness of the depth of Peter Walsh's self-loathing. His pocket knife takes on the role of a quasi-weapon against his emotional wounds and insecurities. Additionally, his pocket knife is described to the reader on the first page and from then on every time he thinks of Clarissa "her pocket knife pops up in your head." We realize from the moment we first meet Peter Walsh that, although he was not present during the war, he was struck by the superficiality that surrounds it. Richard Dalloway serves to demonstrate and symbolize the political snobbery and frivolous nature of London in 1923. The description of his "humble reforms" and the repeated emphasis that his name was "at the end of letters to the Times" illustrate the lack of real substance and sincerity from Richard Dalloway, the Conservative government and the world of politics it represents. The fact that Richard is not mentioned in the novel for the first twenty pages, despite his near-important role in politics and his role as the protagonist's husband, further suggests that he is not as important as he sees himself. Peter Walsh's often misleading insights into London life in 1923 are astonishingly accurate as far as Richard Dalloway is concerned. He comments that Dalloway has in him "much of the public spirit, of the British Empire, of the tariff reform governing girl spirit". Richard's actions inevitably support this sentiment, and it becomes increasingly clear that, like Clarissa and Peter Walsh, Richard Dalloway is a victim of the superficial, class-based snobbery that caused the war and continues to dominate society. You could "know to some extent what Richard thought by reading the Morning Post." Likewise, in stark termscontrasted with Septimus's considered opinions on Shakespeare, Richard Dalloway glibly states "that no decent man should read Shakespeare's sonnets for it was like listening through a keyhole". Similarly, Richard's insistence on sleeping after lunch simply "because a doctor once ordered him to" is commented on, further suggesting that Richard has been given these views and that he doesn't really know how to think for himself . He continues to use old-fashioned language, such as "lunch", and this adds to the air of pomp and falseness that his character creates as he has clearly learned these words to impress rather than learning them naturally. Bourton's line in which Peter and Sally imitate his voice ("my name is Dalloway") reinforces our view that Mr. Dalloway, like his wife and Peter Walsh, is simply a victim of the superficial attitude of the society of era. Similarly, Elizabeth's line The Victoria Street Omnibus Adventure hints at an escape from the restrictions of a superficial society. She realizes that she "much preferred to be left alone to do what she liked in the country" and that "she was delighted to be free." Furthermore, the absence of Big Ben or any mention of time in this passage creates a less oppressive tone in the section and we are given a glimpse of a less superficial society, where deadlines and class politics are no longer relevant. The Strand is the setting for Elizabeth's walk and this contrasts with the conformist Westminster which emphasizes that she is attempting to escape being the victim of conforming to the materialism that dominates society. However, Elizabeth's freedom from the social mores imposed by the society around her is short-lived and she quickly returns to the feeling that she "had to go to parties". It is evident that a banal dilettante attitude engulfs his thought processes in a similar way to all the other characters in the novel. Ill-advised comments such as "he could be a doctor. He could be a farmer. Animals are often sick" reinstate the suggestion that, in common with most of the novel's older characters, she lives life and will continue to be trapped in mores societies that surround it. However, it is not only the central characters who suffer from this extreme superficiality. Significantly, in the first pages, when "The car stopped? In front of the Mulberry store" and "everyone looked"; it is obvious that social expectations control English society. The car and its mysterious occupant are used to highlight the fact that everyone is very curious about something unimportant. Furthermore, the car is symbolic of the English people looking at it in that it has a shiny exterior but the interior of the car (like the inner selves of most of Virginia Woolf's characters) is hidden from the world. Reiza suggests “the English people?…admired in a way” when he looks at the people staring at the car, his tone and situation pushing the reader into an even more skeptical view of London society. The use of purposeful, intricate details such as “boys on bicycles (who) jumped off” and the repeated use of phrases and words such as “veil-like,” “curious,” and “whose face was that?” highlight the interest aroused by something so unimportant. Even as he drove towards Piccadilly he "kept ruffling faces on both sides of the road". Equally blas as Dr. Holme? Septimus's attitude towards bomb shock implicates the medical profession in a role in a superficial and thoughtless London, suggesting that Septimus is 'in a panic'. This is a completely unprofessional and undocumented claim, but one Holmes firmly believes he hasreason. The fact that Dr. Holmes refers to Septimus as "the coward" indicates the hollowness of his professional opinions. Furthermore, the ironic name given to him by Virginia Woolf, with its Sherlock Holmes-like implications and the greatness that accompanies the detective, belittles the doctor and underlines that he is clearly a victim of superficiality. Doris Kilman becomes the symbol of the superficiality of the teaching profession and is described as a predatory character who "touches the last two inches of a chocolate puff" in a very animalistic way. She is depicted in a physically grotesque manner to suggest her pomposity and falseness. Parts of his body are highlighted, and we are told that he "projected his chin," "the large fingers curled inward," and "the large hand opened and closed." All these sinister physical images help to suggest important distinctions such as the fact that "she had her degree" and that "her knowledge of modern history was more than respectable", which placed her in a certain class are negative and materialistic factors that continue to dominate the company. It repeatedly seems that wherever Virginia Woolf's impressionistic depiction of London in June 1923 focuses, we are confused by images, suggestions and direct references to the flaws of London society and it becomes clear that all the characters are victims of extremely superficial and classy behavior. socially oriented company. However, there are brief moments when it is evident that change, away from social etiquette and snobbery, has occurred and will continue to occur. The novel uses three different perspectives to examine change. Clarissa and her surroundings, the role of Septimus Warren-Smith and the use of clocks and time. Big Ben continually reminds us of the inexorable movement of time and the clock increasingly becomes the symbol of the change that is taking place in society. The subtle way in which "Big Ben strikes" continuously in the background reflects the impetus for change in society, moving away from the current class-based society. The different descriptions of the sound of the clock help us to see that change is currently taking place and will "unquestionably" continue to take place. The first description of Big Ben ("Behold! Outside it boomed. First a warning musical; then the hour irrevocable.") suggests through the inclusion of the word "irrevocable" that it cannot be undone and that change will continue to occur. However, there is an air of reckless and exaggerated grandeur in the description of the watch: the words "boomed" and "irrevocable" give a much grander image than the watch rightly deserves. This reflects the people in Mrs. Dalloway's circle exactly in the sense that they are overly inflated and superficial. Furthermore, one of the last descriptions of Big Ben, "loudly" and "trembling", is a more thoughtful description. We realize that as the description of Big Ben becomes more thoughtful, real and accurate and loses its overly inflated description, the upper class people of London begin to see that they are superficial and false. It is clear that the way Big Ben is seen is symbolic of the changing attitude in London. Furthermore, the "Harley Street Clocks" and the "Commercial Clock, suspended above a shop in Oxford" both parallel the symbol of Big Ben and suggest that the change we see in Big Ben is a universal change throughout London. . The inclusion of other clocks gives a more universal sense of change and helps to understand the change that is taking place in London society. In particular, Clarissa begins to realize that she is a victim of the falsities and superficialities of her society. During dinner he finally notices"an air of false composure" and that simply being "nice" wasn't as important as he'd thought earlier in the day. The description of the party through Clarissa's eyes is both belittling and slightly derogatory. This is in contrast to how Peter Walsh still sees the party and this contrast heightens our awareness of Clarissa's changing perspective and suggests to the reader that she is emerging from the superficial attitude she previously held. The use of the word "small" repeatedly instills a sense of belittling to Clarissa's party. The syntax of the sentence places emphasis on “Small Service,” highlighting his departure from a society he has always embraced. The repetition of the "small tables" three times consolidates this feeling. The word "small" is mentioned seven times in three pages and the use of other words such as "subterranean" and "gluttonously" reinforce the feeling that Clarissa is preparing to embrace change because she is no longer a victim of society's superficialities and glitz . . However, the culmination of Clarissa's self-realization does not occur until her reflection on the old lady during her party. The reader can only be fully aware of Clarissa's realization once she herself compares her life to that of the lady and realizes the implications of this comparison. Even before the party Clarissa shows signs of moving away from her past. The past for Clarissa becomes increasingly tenuous, undefined and speculative. He continually thinks, “Was it like this?” and "she must have said it" indicating that she has moved on from her past. Furthermore, as Clarissa becomes more aware of the fact that she is a victim of society's rules, Virginia Woolf's description of her becomes more in tune with her surroundings. For example, at the beginning of the novel we are introduced to a "very white" lady, who has been going through an "illness" and this contrasts strongly with the "mass of carnations" and "bouquets of lilacs" in the florists as well as the "young men who twirling and girls laughing" in the park. Its description is almost the antithesis of the environment in which it is placed and the month. In contrast, at the end of the novel, she is described with words like "passionately" and "devoted", suggesting a tendency in Clarissa towards real emotions rather than keeping up appearances as she did before. Furthermore, Septimus Warren-Smith is symbolic of a tendency to move away from social values ​​in Mrs. Dalloway's society. Although "apparently" insane due to shell shock, he has a greater understanding of humanity's real values ​​than most other characters and is not under the same "deep delusion". His statements about Shakespeare, although wrong, ("how Shakespeare hated humanity") have been carefully thought out and this is indicated by the fact that he actually reads the plays in contrast to both Richard and Peter Walsh's flippant comments on the sonnets and on the works of Shakespeare. Furthermore, unlike the other main characters, his level of self-realization is significantly greater. He accepts that he is "too weak to kill himself" and realizes that he cannot "feel" at all and can only "reason". Avoid a "social varnish" lacquer to hide these apparent imperfections. He has no time for the same materialistic sentimentality that Clarissa displays when she says: "he had a passion for gloves" and in stark contrast "he didn't like ice cream, chocolates and sweet things". Ironically, Septimus is much more level-headed and genuinely more insightful than his "healthy" counterparts, and his name Septimus Smith, which combines an old, out-of-date and rarely heard name with perhaps the more common English surname, helps solidify this feeling of poise and sincerity. . Also..