Departing from the nineteenth century formalities of literary realism, Virginia Woolf pioneered, along with James Joyce and William Faulkner, the stream-of-consciousness technique employed in To the Lighthouse. Composed of three discrete but intimately related sections, the novel provides a poetic examination of English Victorian domesticity and social roles.
Woolf stealthily weaves through her characters’ psyches to reveal realities that are not necessarily apparent in either their actions or their speech. Section 1, aptly entitled “The Window,” invites the reader’s observation of the Ramsays’ summer household. Mrs. Ramsay sits by the window with James. She has promised him that they will sail to the lighthouse tomorrow to take provisions to the lighthouse keeper and his son. When Mr. Ramsay, backed by Charles Tansley, insists that the weather will prevent their journey, an angry Mrs. Ramsay offers a more optimistic forecast. It is Mr. Ramsay’s pursuit of Truth without any regard for people’s feelings that so upsets her. Although Mr. Ramsay repeatedly offends Mrs. Ramsay, she remains the dutiful Victorian wife, accepting his word over hers, accompanying him on silent strolls, and making him feel needed although she is the one who truly rules the house.
Standing at her easel a distance from the window, Lily Briscoe works to capture Mrs. Ramsay and James on canvas. William Bankes lounges nearby. Mrs. Ramsay invites...
(The entire section is 563 words.)