The Passing Of Time In Virignia Woolf's To The Lighthouse

Language has been used in many writing’s to convey the authors point. In the memoirs, Virginia Woolf (1882-1941) the author uses many rhetoric in the passage such as allegory, anecdote, and rhetorical question. The author uses rhetoric to write the passage so that she can convey the last significance of the moments of her pass.

In the poem by Joy Harjo called “Eagle Poem,” Harjo talks about prayer and life and how they revolve around mother-nature. She suggests that while being one with nature, we feel we are in a place in which we haven’t imagined and the things in which we would love to do in that magnificent and calming place. After one reads the poem, he/she enjoys the lyrical type of it. This is because “Eagle Poem” sticks to one idea and extends it throughout the entire poem. For instance, it talks about prayer, nature, and animals from start to finish.

The memories in the poem maintain a cohesiveness and continuity of experience through repeated motifs such as the violets and the ‘whistling’. Memories also give us a recovered sense of life, as shown through the final line of the poem ‘faint scent of violets drifts in air’. This example of sensory imagery also creates a rhythmic drifting sense linked closely to the “stone-curlews call from Kedron Brook”. It echoes images of the speaker’s mind drifting into reflection and aurally creates transience between the present and the past.

In her memoir, Virginia Woolf discusses a valuable lesson learned during her childhood fishing trips in Cornwall, England. To convey the significance of past moments, Woolf incorporates detailed figurative language and a variety of syntax into her writing. Woolf communicates an appreciative tone of the past to the audience, emphasizing its lasting impact on her life.

Thus, through the initial impression of the man of the bird’s brave and challenging movements by the utilisation of poetic techniques, the reader is able to visualise the bird’s characteristic it inherits and gain a deeper understanding of nature and the impression of humanity distinctively.

In Virginia Woolf’s “Night and Day”, we, as the reader, can examine various feminist themes throughout the novel. Even though, “Night and Day” is one of her more conventional novels, many of the issues fly in the face of traditional values and capitalizes on the female oppression that was present in that time era. Even though, this was one of her earlier works, I believe that her conventional structure was an intentional creation, as she was trying to make a point on literary tradition and feminism. In contrast to many of her later novels, like “To The Lighthouse”, which had much anti-structure and stream of consciousness, “Night and Day”, is full of carefully written

Daldry approaches Woolf’s tunnelling technique with sensitivity and subtlety in order to unify Virginia, Laura and Clarissa. The repetitive musical score by Philip Glass creates a sense of the cyclical nature of time and is evocative of the relentlessness of time. This too creates an illusion of both time and timelessness as the regular rhythm simulates that of a clock as

In Veris late facies, after using a bird call as an introductory, a slowly rising melody depicted a reawakening from a cold winter. The sound of triangle acts like symbol of brightness.

Throughout Milton’s Paradise Lost, figures are depicted watching a view, often fluctuating, the outlines of which dissolve while they are being watched. These visual scenarios, often constructed through a Miltonic simile, include the moon observed through Galileo’s telescope (I, 287–91); Satan surveying the cosmic panorama of the created world (III, 555–73); Galileo’s telescope that reappears “less assured” (III, 588–90; V, 261–3); and finally, a man following a wandering light into the marshes (IX, 634–42). The visual allure of these similes is drawn in part by the description of a natural scene that induces an emotional response, with the human figure standing in for the reader in this emotional reaction. These similes animate human emotions in a description of mental events, as individuals attempt to relate the objective, natural world to the subjective perception of the musing subject. Such an interest in the visual image as a manifestation of an individual’s psychological condition suggests that the simile partakes in the perceptual psychology of the epic poem. However, much of the imagery in the Milton’s similes is visually unstable; that is to say, the similes disturb perception by distorting what is seen. Exploitations of perspective in the course of understanding visions and their significance engender misjudgment that represents the poem’s central concern with fallibility. To explore these ideas further, I will

Though Theodore Roethke firmly lived his life in the modernist age, his works strongly echo the transcendentalist way of writing comparable to Waldo or Emerson; however, he personalized this form of writing through his own personal experiences. The foundations of his style of writing have strong origins in his childhood, where his family’s naturalistic lifestyle inspired him and where he developed a deep connection to the natural world through the greenhouses that his family managed. Due to this, one will almost always see the use of natural imagery in his writing to express more complex ideas. As one would expect, his poem “The Waking” is no exception. In this work, Roethke uses the interaction between the speaker and the natural world in order to embody the progression of cognitive awareness throughout the span of a single human life and to depict how one understands such knowledge through the senses, experience, and thought.

When speaking of modernism in the work Virginia Woolf, scholars too readily use her innovations in style and technique as the starting point for critical analysis, focusing largely on the ways in which her prose represents a departure from the conventional novel in both style and content. To simply discuss the extent of her unique style, however, is to overlook the role of tradition in her creation of a new literary identity. In To the Lighthouse, Woolf's invention reveals itself instead as a reinvention, a recasting of the conventional through the use of the traditional. Within the text, this relationship manifests itself in Lily Briscoe's relationship with Mrs. Ramsay and the extent to which

Reading the novel To The Lighthouse by Virginia Woolf was hard labor. Every page I turned made me feel that I was in a different place at a different time. Due to the lack of its plot and entertainment, this novel, unfortunately, would immediately fail to engage teenagers, as well as other readers, who are not as interested as Virginia Woolf, to study the humans’ consciousness and the way time moves over the courses of our days.

So, as I mentioned earlier that Woolf’s “To the Lighthouse” is characterized with stream of consciousness literary techniques that is in the presence of third-person pronouns and past tense, which correspond with the form of narrative report, and on the other hand, it is also characterized with symbolic methods such as multiple point of view, use of time montage, shift of characters

And so it is with the characters in Eugene O'Neill's Long Day's Journey into Night. Time is little more than a game in which they move as checkers, if not pawns. In their repetitions and habits, the family seems to be stepping towards the same river again and again; but each time, the step falls into a different stream. In its seeming

As we read, Woolf’s novel, to the Lighthouse we see different aspects of art being used and how it is being used. Lily Briscoe plays a huge role in art in the story. She is working on a painting throughout the book but she does not want anyone to see it (Woolf 17-18). She feels that it is not good enough. However, Mrs. Ramsay, William Bankes and Charles Tansely seem to have different opinions about the painting. During Mrs. Ramsay’s dinner party, Lily realizes what she needs to do to fix her painting but does not until the end of the story. The painting itself grows and changes throughout the book, just as Lily grows and changes as a person as she lives her life (Woolf 102).