To the Lighthouse

To the Lighthouse
Virginia Woolf

HarperCollins is proud to present its incredible range of best-loved, essential classics.Every summer, the Ramsays visit their summer home on the beautiful Isle of Skye, surrounded by the excitement and chatter of family and friends, mirroring Virginia Woolf’s own joyful holidays of her youth. But as time passes, and in its wake the First World War, the transience of life becomes ever more apparent through the vignette of the thoughts and observations of the novel’s disparate cast.A landmark of high modernism and the most autobiographical of Virginia Woolf’s novels, To the Lighthouse explores themes of loss, class structure and the question of perception, in a hauntingly beautiful memorial to the lost but not forgotten.Chosen by TIME magazine as one of the 100 best English-language novels from 1923 to the present.

TO THE LIGHTHOUSE

Virginia Woolf

Contents

Title Page (#u2b098c5f-6657-55e3-8942-c82f22047858)

History of Collins (#u2cca2102-4ddf-59b3-84c2-fa6218645a87)

Life & Times (#u9e7784f4-0492-5abc-8331-6b59fc7f23d6)

Bibliographical Note (#u0377b3e6-44d8-5399-a393-b450bb2875a9)

Chapter 1: The Window (#u386e9c3a-7b00-52b3-8c72-635736b99a3a)

Chapter 2: Time Passes (#litres_trial_promo)

Chapter 3: The Lighthouse (#litres_trial_promo)

Classic Literature: Words and Phrases adapted from the Collins English Dictionary (#litres_trial_promo)

Copyright (#litres_trial_promo)

About the Publisher (#litres_trial_promo)

History of Collins (#ulink_a9e6a775-d37a-516f-967d-40e2b7678841)

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Life & Times (#ulink_edf60417-fb7b-5c6b-8a5d-c7e3c8cc11b9)

Mental Health and Creativity

It would be fair to say that Virginia Woolf was an intense and complex personality. Some might describe her as highly imaginative, sensitive and creative, while others might use the words high-maintenance, introspective and obsessive. In truth, she was all of the above, which meant that she was highly regarded as a novelist by many and entirely disregarded by others.

The central sticking point with the latter was that she came from a highly privileged, upper-middle-class background, yet she viewed the world in quite a negative light. Untroubled by the daily pressures of most, her time was spent in deep analysis of life – or rather, her own life and that of her friends and family. Her literature, therefore, could occasionally disconnect with the lay reader, because her concerns could be seen as self-indulgent and focused on a rarified environment to which most people were not privy.

As a human specimen, Woolf was not a very robust figure. She was prone to bouts of depression and breakdown, in part possibly brought on by the lack of any necessity to just get on with activities that were positive for her mental and physical constitution. In the absence of responsibilities to toughen the character, she lived in a world of ever-decreasing circles until, one day, her horizons closed in so tight that she chose suicide as a means of escape. She filled the pockets of her overcoat with pebbles and walked headlong into a river to drown her sorrows, quite literally. Her life was ended by her own thoughts and actions at the age of 59.

Woolf is a classic case of an artist whose creative expression was bad for their health. Had she abandoned writing in favour of an occupation that took her mind away from her obsessive thoughts, she would undoubtedly have lived a happier and more fulfilled life, but instead she became the author of her own undoing. So, a weighty question remains: was it worth all the pain and suffering? Inevitably those with similar leanings will say yes, because they are able to identify with Woolf’s desire to commit her thoughts to the written word as a kind of catharsis. Inevitably those who cannot identify will say no, because her work offers nothing to which they can relate as they have no need of therapy. It may be that there has never been a more divisive novelist in the history of English literature, and this is probably Woolf’s most interesting aspect.

Woolf’s main influence on modern literature was her ‘stream of consciousness’ approach to prose. Her novels were really vehicles for the copious current of thoughts and emotions to flow without parameters. She was an aesthete and intelligentsium, investing all of her mental capacity into understanding and disseminating the minutiae of human nature, human society, human culture and the human condition. Woolf and her set could be seen as looking down on those who chose not to analyse human existence in such microscopic detail, but realistically this was probably the result of insecurities about one’s own talent, context and significance. The one thing that is certain about belief systems is that believing things doesn’t make them true. This is certainly not to say that Woolf’s portfolio has no value – far from it – but that we do well to remember the context of the author. After all, it was precisely because she existed in her particular milieu that she produced her pioneering style of literature. Moreover, had she been born into a more typical, lower-middle or working class background, she would probably not have had the wherewithal to dissect humanity to such a level.

Mrs Dalloway and To the Lighthouse

Virginia Woolf’s prolific patch continued in 1925 and 1927, when she published Mrs Dalloway and then To the Lighthouse. In these two novels, she displays the kind of original approach to prose that would forge her reputation as a literary genius. Woolf experimented with innovative approaches to writing that set her apart from her contemporaries by largely abandoning plot in favour of psychological exploration. She made it her mission to delve into the human condition – something most people took so much for granted that they failed to consider its importance.

Of course, this approach didn’t make her books easy to read, but the whole point of the method was to challenge literary norms. Just as one needed to apply effort to understand the work of the Cubist artistic movement, which was prevalent at that time, so Woolf published literature with a similar requirement for analysis. She had turned the novel into high art. This wasn’t to everyone’s taste, but it would inevitably prove very influential. It was a sea change in defining the purpose of the novel, as the author was no longer expected to take the work to the reader. Instead, the reader was expected to do their own work and accept the challenge of interpreting a text’s meaning. It was an intellectual workout on offer, rather than an unthinking stroll. Inevitably, this catalysed a division within the realm of the novel, as it divided into the ‘literary novel’ and the ‘commercial novel’. The landscape of fiction publishing had been irreversibly altered by progress, and Woolf was at the forefront of the march to modernity.

The surface plot for Mrs Dalloway is simply that Clarissa Dalloway is preparing to host a party in the evening. But beyond the surface, Woolf explores the thought processes of Mrs Dalloway as she is prompted to reflect on her life and past events. Central to the novel is reference to the effect of World War I on British society in the post-war years and, in particular, the loss of loved ones and the altering fate of those left behind. The consequences of this included the physical and psychological damage done to those who fought and survived, as well as to those who survived despite never having set foot on the battlefield. It all adds up to an odd juxtaposition of people carrying on their lives, with parties, families and friends, while an unspoken suffering erodes their happiness.

The chronology of To the Lighthouse brackets World War I, examining the societal transformation caused by the conflict. The eponymous lighthouse is the summer home of the Ramsay family, on the Isle of Sky, in the Hebrides archipelago, off Scotland. The dynamic of the social environment inevitably changes year after year, but the war causes an abrupt change, due in part to the hiatus, but also due to three deaths – one from old age, one from combat and one from complications in childbirth. The use of the lighthouse is, of course, symbolic as a metaphorical guiding light that leads people to safety in life’s travels. Despite the turbulence that life has wrought on the surviving members of the family, they manage to maintain the notion that meeting at the island provides them with a sense of insight and contentment that their world would otherwise lack.

Woolf’s general take on society and the individual lives of her characters has an air of the upper-middle class about it, as those are the people seen to throw parties and have holiday homes, but this doesn’t detract from the weight of her prose or to remove her meaning from the reaches of other readers. This is because she uses these characters as devices to bring protagonists together in order to investigate the interaction of personality with great skill.

The Bloomsbury Set

Virginia Woolf came from a background of intellectualism, however, this was largely cemented by her family’s relocation from Kensington to Bloomsbury, where she became part of an intellectual elite known as the Bloomsbury Set. Together, they were all goldfish in the same bowl, looking out at the world around them with a similar artistic palette.

The pretentions of her social group actually allowed her to blossom as a writer, because she was given the encouragement and freedom she needed to experiment with her prose. In short, she was allowed to think of herself as an author and she was told what she wanted to hear. This was vitally important to someone with nagging self-doubt, so she developed deep and lasting bonds with those who saw and nurtured her potential. Indeed, she married one of them – Leonard Woolf – and remained devoted to him.

In time, of course, the pretentions of the Bloomsbury Set transcended into success, as they were undoubtedly intelligent, talented and well educated. This process of ascendance was, in part, aided by a number of stunts designed to draw public attention. One stunt in particular has become famous for its daring and humour: the Dreadnought Hoax. This was an elaborate plan to gain egress to the battleship HMS Dreadnought for no other reason than to have a good look around. A number of the Bloomsbury Set, including Woolf, disguised themselves as Abyssinian princes. They wore the appropriate garb of robes and turbans, but they also ‘blacked-up’ and sported fake beards. With escort and interpreter in tow, they boarded a VIP coach and took a train from Paddington to Weymouth, where they were received as genuine royalty with honour guard and allowed to inspect Royal Navy fleet. All the while, they pretended to communicate in a foreign tongue by uttering gibberish furnished with Greek and Latin, which the interpreter duly pretended to understand and translate.

Having returned to London, a photograph of the Bloomsbury Set, still in character, was sent to the Daily Mirror newspaper and the hoax was revealed. Not surprisingly, the affair turned into a scandal. The Foreign Office and the Royal Navy were the target of a great deal of finger-pointing, partly in fun and partly in seriousness for allowing such a blatant lapse in national security. The situation wasn’t helped by the fact that the Bloomsbury Set were pacifists, which only served to rub salt into the wound. When the Navy high command pushed to have the perpetrators punished, they found themselves powerless to do anything. For one thing, no laws were broken, and secondly the consensus was that they themselves should be punished for allowing themselves to be beguiled by such a lame practical joke.

Needless to say, the Dreadnought Hoax planted the Bloomsbury Set in the public consciousness once and for all, as the oxygen of publicity was theirs to breathe in and enjoy. The hoax occurred on 7 February, 1910. Woolf’s first novel was begun the same year, although she did not publish until 1915, by which time she was already a minor celebrity.

Despite her subsequent success, Woolf was never particularly contented, however, for she had such a troubled soul and indefatigable mind. Today her malady would, doubtless, be described as a bipolar condition, for she oscillated from exuberant mood highs to despairing clinical lows. In the end, she was convinced that she would never come full circle again, so she decided to cut her loses while in the grip of a crushing depression that rendered her unable to see any light at the end of the tunnel. Virginia Woolf died in 1941, leaving behind a highly respected, progressive and considerable canon of essays, critique and novels.

Bibliographical Note (#ulink_143bb4c2-3814-5efe-8812-f7418021ef2c)

The following is a list of abbreviated titles used in this edition.

MS: To the Lighthouse: The Original Holograph Draft, transcribed and ed. Susan Dick (Toronto University Press, 1982; Hogarth Press, 1983). Square brackets are used to indicate words deleted in original draft.

TL: To the Lighthouse, first British edn (Hogarth Press, 5 May 1927).

Moments of Being: Moments of Being: Unpublished Autobiographical Writings of Virginia Woolf, ed. Jeanne Schulkind (Chatto & Windus, 1976).

Diary: The Diary of Virginia Woolf, 5 vols., ed. Anne Olivier Bell (Hogarth Press, 1977; Penguin Books, 1979).

Letters: The Letters of Virginia Woolf, 6 vols., ed. Nigel Nicolson and Joanne Trautmann (Hogarth Press, 1975–80).

Essays: The Essays of Virginia Woolf, 3 vols. (to be 6 vols.), ed. Andrew McNeillie (Hogarth Press, 1986).

CE: Collected Essays, 4 vols., ed. Leonard Woolf (Chatto & Windus, 1966, 1967).