The opening declarative sentence: “Mrs. Dalloway said she would buy the flowers herself.” The question remains, “to whom did she say this?” From the beginning, performance of the self is highlighted, how we comport ourselves within restricted fields to determinate others. Also, after the lark and the plunge (exaltation of larks is the term of venery…connect with Yeats discourse on birds), the field of phenomena is presented by way of clauses separated by semi-colons, a formal feature characteristic of Woolf. Think of the semi-colon as somewhere between the (Joycean) colon and the more traditional comma—granting relative autonomy to clauses, but binding them into some sort of narrative that makes the part more than the whole. Bring together with Hulmean-Bergsonian reflections on stasis and movement—how to render movement in an instant..-to render becoming more fundamental than being, etc. Further, a good example of what she calls the cotton-wool of daily life, how the myriad impressions (along with certain social roles such as wife, host, etc.) become constitutive of the self. Clarissa actually feels herself becoming “invisible, unseen; unknown” (11).
THE URBAN IN WOOLF: as opposed to Joyce, in which Bloom sifts and sorts through a barrage of commodities and advertisements, the Woolfean character sees the reflected back in the objects that we confront in our daily rounds: So while Clarissa might “slice like a knife through everything,” opening up an absence consonant with her subjective shrinkage, she also recognizes in “the ebb and flow of things,” the survival of a history she has already brought into being. CRUCIAL: the temporal present of everyday experience is punctuated by a history that is never suppressed by habit; rather, it is disclosed through habit. At times, the self seems to dissolve: individuals are united into loose collectivities when they see the figure aristocratic god passing in the carriage, or the new god of advertising appearing in the sky–much like in Wandering Rocks. This points forward to the experiments with the multiple self in The Waves.
Contextualize this reading of the ordinary within her distinction of being and non-being in “Sketch of the Past.” It is somehow as if non-being is exactly those trivial facts of life that we always overlook, but which fiction must labor to unveil. How this intersects with her notion of the trivial in “Modern Fiction” is up for debate. One can at least say that the play between being and non-being is not immediately conscripted into Hegelian becoming, but non-being seems able to exist as an autonomous field. Relate this to the Time Passes section in To the Lighthouse. Also, worth contrasting the various modes of habit that characterize Proust, Beckett, Beckett on Proust, and Woolf. For Beckett, habit makes like possible…but it also circumscribes life within its tight loop of repetition. For Woolf (and for Proust, too), habit is precisely that which evades representation because it is so close to the very mechanism of memory itself. Elucidating habit, outside of the scope of habit, is precisely the task they set for themselves.
And then contrast Dalloway’s phenomenology with that of Septimus Harding, who is, in some sense, a too perfect reader of modernist literature (“susceptibility to impressions had been his undoing”)…that is, his psyche has undergone the same forms of fragmentation that lead to the arbitrary collection “anarchy and futility” of daily life. He is not capable of making new wholes, in the Eliotic sense. Rather, he finds beauty in the advertisement in the sky, “
bestowing upon him in their inexhaustible clarity and laughing goodness one shape after another of unimaginable beauty and signaling their intention to provide him, for nothing, for ever, for looking merely, with beauty, more beauty! Tears ran down his cheeks. (22)
Can relate this to Benjamin’s theory of aura and the commodity. In some sense, he has understood too exactly the mechanism of the modern artwork. But Clarissa is attuned to the social coordinates that are in fact ordering this fragmentation. Like the viceregal calvalcade in Wandering Rocks, the carriage draws together and orders the perceptual fields of the myriad characters in the opening passage. But even them, Clarissa must stand in front of mirror to constitute to herself a coherence of the self. Talk about this mirror in terms of the many other mirrors: the cracked looking glass in Wilde and Stephen’s Telemachus chapter; the pool in Nausicaa; deKoven in Rich and Strange; Mill on the Floss; Lady of Shallot; etc. Peter also has his own idea of beauty, on that inheres within the furniture of drawing rooms, piano, gramophone and corridor, the glimpse of the social as it is revealed in the sudden moment of seeing a dinner party through a window (163)
The not entirely arbitrary imposition of unity in the form of the bell tolling from Big Ben: Contrast this with the Eliot-Joyce mythical method. Also contrast with the bell ringing in Murphy, how Murphy’s “internal” clock is impossibly aligned with such tolling. Such devices are common, present even in Gabriel Oak’ watch that has a minute hand but no hour hand. Talk about Bergson. Spetimus has a different relationship to Time: it engulfs him, its splits it husk, poured its riches over him (cf. Baudelaire: “Le Temps m’engloutit minute par minute”). SO TIME: on the one hand, can become overwhelming if not ordered, if it becomes overly subjective (as in the case of Septimus), but it’s overly objective ordering (in the form of Big Ben) can be equally harmful.
Sally Seton and the kiss. Established as an alternative pre-history. In general, talk about how the past punctuates the present. Contrast the shock of the past in Septimus, to the healthy sublimation of the past in someone like Clarissa. Also crucial spatial aspect: her memory is located in the pastoral countryside, while Spetimus’ memory is dislocated from that landscape…on the battlefield (Evans appears with frightening immediacy).
Peter, at the end, feels ecstasy and terror (much like “terrible beauty” of “Easter 1916”) at the “presenting” of Clarissa Dalloway. Read Peter as a Prufrock of sorts, an educated professional class on longer valued in terms of land, blood and money, but in terms of functional work within the system of Imperialism. Compare to Cecil in Passage to India…the product of an England that has dissolved (in contrast to Whitbread, Bradshaw, Richard Dalloway, etc.)