To the Lighthouse is considered to be a semi-autobiographical text which recollects family holidays which Woolf took with her family at St. Ives, Cornwall, although the novel is set in the Hebrides.

"The Window" is the first of the novel's three sections. It is the longest and describes in detail a summer day on which Mr. and Mrs. Ramsay along with their eight children and several guests are on holiday. Among these favored guests are the poet Augustus Carmichael, the painter Lily Briscoe and the academic Charles Tansley. On this holiday, there is much family anxiety as James, the youngest child, wants to visit the lighthouse in spite of his father's desire to thwart his attempts to do so. This section of the text resolves around a dinner party as Mrs. Ramsay reflects on change.

"Time Passes" follows with the death of Mrs. Ramsay and of her son, Andrew, who is killed in the War. Woolf's lyricism flows throughout this section as the family home is abandoned and is ostensibly renewed during the postwar period with the arrival of Lily Briscoe and Mr. Carmichael. "The Lighthouse" sees Lily Briscoe successfully complete a revelation o( shape-in-chaos which she believes she owes to Mrs. Ramsay, and the pilgrimage of Mr. Ramsay, Camilla, and James to the lighthouse explores the rivalry and loss which torment them.

Woolf's concerns here are both personal and social: She represents in her novel the pain of grieving and the weight of the past, either real or imagined, and the effects of both on the individual. There is, through the comparisons and contrasts made through the central figures of Mrs. Ramsay and Lily Briscoe, a discussion of women's sexuality, creativity, and subjectivity which draws out Woolf's analysis if masculine and feminine texts and of the gendering of modes of perception.

War
In To the Lighthouse, the Great War takes place during the "Time Passes" section. The structure of the novel reflects the impact of World War I on European society. Part One is set in the golden haze of prewar innocence and love. Mr. Ramsay entertains himself by reciting Lord Tennyson's poem "The Charge of the Light Brigade," a poem about death during the Crimean War, which valorizes the heroism of the then-unprecedented loss of a cavalry unit. Tennyson's celebration of patriotism and glorious death would be rejected by the traumatized survivors of the Great War who had witnessed death on a scale unimaginable to the Victorian poet. As Wilfred Owen wrote, World War I ended "that great lie—Dulce et decorum est pro patria mori [it is sweet and proper to die for one's country]." Owen himself would not make it home from the war.

During the middle section of Woolf's novel, the scarifying time period of 1914 to 1918 is represented by the death that comes to many of the characters, including Mrs. Ramsay and Andrew, who is killed in combat by a shell. Part Two is concerned with survivors, with a shell-shocked culture attempting to come to terms with its losses. The war marks an end to many of the old ways of life, a change in social climate and the first rumblings of collapse for the British institutions so important to the older characters, especially the Indian Empire. Britain would not grant control to India until 1947, but as Woolf s novel shows, the younger, postwar generation was already beginning to question the culture of empire building.

Philosophy
Debates about philosophy, particularly theories about visual reality, figure prominently in To the Lighthouse. In the first section of the novel, "The Window," Mr. Ramsay, an Oxford philosopher, does his work on the three main philosophers of British empiricism, John Locke, George Berkeley, and David Hume. The basic argument of Empiricism is that human concepts and beliefs apply to a world outside oneself, and that it is by way of the senses that this world acts upon the individual. The question that is debated is just how much the mind itself contributes to the task of processing its sensory input. One of the points that Mr. Ramsay's philosophy debates is whether or not a person can be empirically certain that objects have a distinct and continued existence apart from our perceptions of them. Andrew Ramsay sums this philosophy up to Lily in mundane, domestic terms, saying "Think of a kitchen table then … when you're not there."

Throughout the novel, the characters reflect on objects and people that are "not there," especially Mrs. Ramsay. Mrs. Ramsay's effect on everyone and everything is like the imaginary "kitchen table" of Andrew's explanation. Her continuing impact even after death is contrasted with the cold logic of Mr. Ramsay's philosophy, which denies these kinds of connections between reality, mind and personality. Lily's painting style shows a different kind of reality in which objects and perception can be different for every person. As she explains to William Bankes, her view of Mrs. Ramsay does not look like its subject because it is abstract. However, it is still "like" Mrs. Ramsay because she is trying to paint the emotional and spatial impact of the woman.

Like Woolf's stream of consciousness narrative style, Mrs. Ramsay's reality changes depending on how she is feeling—making William Bankes either a tyrant or a pitiful person according to her emotions at the time. While Mr. Ramsay blindly wrestles with skepticism on masculine philosophical grounds, Mrs. Ramsay and Lily show maternal and painterly domestic eyes at work, creating a distinctly female "epistemology"—or theory about the nature and limits of human knowledge.

Freudian Psychology
The character of James Ramsay is central to the narrative impetus of To the Lighthouse. His desire to go on the trip, and the conflicting reactions of parents form the structure and title of the novel, and are drawn in patterns established by Freudian theories. As a child, James is very hostile to his father and adores his mother. His mother promises that the day will be pleasant enough for them to sail, while his father promises that it will rain and make sailing impossible. James wishes for an "axe ..., or a poker, any weapon that would have gashed a hole in his father's breast and killed him, there and then." Every time that his father distracts Mrs. Ramsay's attention from him, James feels similar homicidal urges.

This desire to kill his father to keep his mother's attention corresponds to Freud's Oedipal complex. This famous theory is based on the Greek myth of Oedipus, who accidentally murdered his father and wed his mother. Freud said that all males go through an Oedipal stage in which they want to kill their fathers and marry their mothers. In order to grow to emotional maturity, they must get over this impulse and embrace their fathers, as James eventually does.

Perception and Consciousness
In To the Lighthouse Woolf uses a "decorated process of thought" in which the physical world around a character takes on their form of thought. As a result, the world that surrounds the characters has a symbolic status with different and specific meanings for each character. Throughout the novel, the personality and consciousness of each person expresses itself in the way that the world seems when they stand in it. The most important symbol of the book is the Lighthouse itself. Just as it dominates the bay, the Lighthouse dominates Woolf's novel, both physically and symbolically. The characters each see it differently, depending on their emotions and needs.

For Mrs. Ramsay, the Lighthouse represents her isolation as well as warmth and comfort, an integral part of the rhythm of her days that allows her to nurture and be nurtured. The Lighthouse is not just a building, it is "something immune which shines out." For Lily Briscoe, the true "lighthouse" of the novel is Mrs. Ramsay herself—a beacon that casts an organizing light on the whole family and continues to illuminate and connect them even after her death. Mr. Ramsay's presence makes the Lighthouse a "stark tower on a bare rock," which symbolizes his unemotional logic. For James, the Lighthouse is a shifting symbol that seems to represent his mother, even as it is representative of the stark rationalism of his father. His analysis of the situations sums up the thematic point: "So that was the Lighthouse, was it? No the other was also the Lighthouse. For nothing was simply one thing."