TO THE LIGHTHOUSE is a haunting psychological portrait of the Ramsay family and their friends who gather for a brief vacation in the Ramsay summer home on the Hebrides Isle of Skye. There is talk of a boating trip to the lighthouse at the island's end. But the year is 1914, a World War...
Mrs. Ramsay: Mrs. Ramsay emerges from the novel’s opening pages not only as a woman of great kindness and tolerance but also as a protector. Indeed, her primary goal is to preserve her youngest son James’s sense of hope and wonder surrounding the lighthouse. Though she realizes (as James himself does) that Mr. Ramsay is correct in declaring that foul weather will ruin the next day’s voyage, she persists in assuring James that the trip is a possibility. She does so not to raise expectations that will inevitably be dashed, but rather because she realizes that the beauties and pleasures of this world are ephemeral and should be preserved, protected, and cultivated as much as possible. So deep is this commitment that she behaves similarly to each of her guests, even those who do not deserve or appreciate her kindness. Before heading into town, for example, she insists on asking Augustus Carmichael, whom she senses does not like her, if she can bring him anything to make his stay more comfortable. Similarly, she tolerates the insufferable behavior of Charles Tansley, whose bitter attitude and awkward manners threaten to undo the delicate work she has done toward making a pleasant and inviting home. As Lily Briscoe notes in the novel’s final section, Mrs. Ramsay feels the need to play this role primarily in the company of men. Indeed, Mrs. Ramsay feels obliged to protect the entire opposite sex. According to her, men shoulder the burden of ruling countries and managing economies. Their important work, she believes, leaves them vulnerable and in need of constant reassurance, a service that women can and should provide. Although this dynamic fits squarely into traditional gender boundaries, it is important to note the strength that Mrs. Ramsay feels. At several points, she is aware of her own power, and her posture is far from that of a submissive woman. At the same time, interjections of domesticated anxiety, such as her refrain of “the bill for the greenhouse would be fifty pounds,” undercut this power. Ultimately, as is evident from her meeting with Mr. Ramsay at the close of “The Window,” Mrs. Ramsay never compromises herself. Here, she is able—masterfully—to satisfy her husband’s desire for her to tell him she loves him without saying the words she finds so difficult to say. This scene displays Mrs. Ramsay’s ability to bring together disparate things into a whole. In a world marked by the ravages of time and war, in which everything must and will fall apart, there is perhaps no greater gift than a sense of unity, even if it is only temporary. Lily and other characters find themselves grasping for this unity after Mrs. Ramsay’s death.
Mr. Ramsay: Mr. Ramsay stands, in many respects, as Mrs. Ramsay’s opposite. Whereas she acts patiently, kindly, and diplomatically toward others, he tends to be short-tempered, selfish, and rude. Woolf fittingly describes him as “lean as a knife, narrow as the blade of one,” which conjures both his physical presence and suggests the sharpness (and violence) of his personality. An accomplished metaphysician who made an invaluable contribution to his field as a young man, Mr. Ramsay bears out his wife’s philosophy regarding gender: men, burdened by the importance of their own work, need to seek out the comforts and assurances of women. Throughout the novel, Mr. Ramsay implores his wife and even his guests for sympathy. Mr. Ramsay is uncertain about the fate of his work and its legacy, and his insecurity manifests itself either as a weapon or a weakness. His keen awareness of death’s inevitability motivates him to dash the hopes of young James and to bully Mrs. Ramsay into declaring her love for him. This hyperawareness also forces him to confront his own mortality and face the possibility that he, like the forgotten books and plates that litter the second part of the novel, might sink into oblivion.
Lily Briscoe: Lily is a passionate artist, and, like Mr. Ramsay, she worries over the fate of her work, fearing that her paintings will be hung in attics or tossed absentmindedly under a couch. Conventional femininity, represented by Mrs. Ramsay in the form of marriage and family, confounds Lily, and she rejects it. The recurring memory of Charles Tansley insisting that women can neither paint nor write deepens her anxiety. It is with these self-doubts that she begins her portrait of Mrs. Ramsay at the beginning of the novel, a portrait riddled with problems that she is unable to solve. But Lily undergoes a drastic transformation over the course of the novel, evolving from a woman who cannot make sense of the shapes and colors that she tries to reproduce into an artist who achieves her vision and, more important, overcomes the anxieties that have kept her from it. By the end of the novel, Lily, a serious and diligent worker, puts into practice all that she has learned from Mrs. Ramsay. Much like the woman she so greatly admires, she is able to craft something beautiful and lasting from the ephemeral materials around her—the changing light, the view of the bay. Her artistic achievement suggests a larger sense of completeness in that she finally feels united with Mr. Ramsay and the rational, intellectual sphere that he represents.
James Ramsay: A sensitive child, James is gripped by a love for his mother that is as overpowering and complete as his hatred for his father. He feels a murderous rage against Mr. Ramsay, who, he believes, delights in delivering the news that there will be no trip to the lighthouse. But James grows into a young man who shares many of his father’s characteristics, the same ones that incited such anger in him as a child. When he eventually sails to the lighthouse with his father, James, like Mr. Ramsay, is withdrawn, moody, and easily offended. His need to be praised, as noted by his sister Cam, mirrors his father’s incessant need for sympathy, reassurance, and love. Indeed, as they approach the lighthouse, James considers his father’s profile and recognizes the profound loneliness that stamps both of their personalities. By the time the boat lands, James’s attitude toward his father has changed considerably. As he softens toward Mr. Ramsay and comes to accept him as he is, James, like Lily, who finishes her painting on shore at that very moment, achieves a rare, fleeting moment in which the world seems blissfully whole and complete.
Minta Doyle: A flighty young woman who visits the Ramsays on the Isle of Skye. Minta marries Paul Rayley at Mrs. Ramsay’s wishes.
William Bankes: A botanist and old friend of the Ramsays who stays on the Isle of Skye. Bankes is a kind and mellow man whom Mrs. Ramsay hopes will marry Lily Briscoe. Although he never marries her, Bankes and Lily remain close friends.
Andrew Ramsay: The oldest of the Ramsays’ sons. Andrew is a competent, independent young man, and he looks forward to a career as a mathematician.
Charles Tansley: A guest of the Ramsays, he is working on a dissertation and admires Mr. Ramsay tremendously.
Macalister: The fisherman who accompanies the Ramsays to the lighthouse. Macalister relates stories of shipwreck and maritime adventure to Mr. Ramsay and compliments James on his handling of the boat while James lands it at the lighthouse.
Nancy Ramsay: One of the Ramsays’ daughters. Nancy accompanies Paul Rayley and Minta Doyle on their trip to the beach. Like her brother Roger, she is a wild adventurer.
Prue: A daughter to Mr and Mrs Ramsay. Very pretty.
“Life is not a series of gig lamps arranged; life is a halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end.”
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Mrs. Ramsay—she pitied men always as if they lacked something—women never, as if they had something.
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as if her beauty bored her and all that men say of beauty, and she wanted only to be like other people, insignificant.
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but most of all he hated the twang and twitter of his father's emotion which, vibrating round them, disturbed the perfect simplicity and good sense of his relations with his mother.
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because distant views seem to outlast by a million years (Lily thought) the gazer and to be communing already with a sky which beholds an earth entirely at rest.
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how life, from being made up of little separate incidents which one lived one by one, became curled and whole like a wave which bore one up with it and threw one down with it, there, with a dash on the beach.
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The extraordinary irrationality of her remark, the folly of women's minds enraged him.
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She bore about with her, she could not help knowing it, the torch of her beauty;
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She would paint that picture now. It had been knocking about in her mind all these years.
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But that any other eyes should see the residue of her thirty-three years, the deposit of each day's living mixed with something more secret than she had ever spoken or shown in the course of all those days was an agony. At the same time it was immensely exciting.
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It meant to him the annihilation of womanhood, and dirt and disorder, and servants leaving and beds not made at mid-day—all the things he most abhorred.
The Fruit Basket: Rose arranges a fruit basket for her mother’s dinner party that serves to draw the partygoers out of their private suffering and unite them. Although Augustus Carmichael and Mrs. Ramsay appreciate the arrangement differently—he rips a bloom from it; she refuses to disturb it—the pair is brought harmoniously, if briefly, together. The basket testifies both to the “frozen” quality of beauty that Lily describes and to beauty’s seductive and soothing quality. The basket also seems to be a reference to Cézanne's immensely famous still-lifes of the same subject, and thus establishes one out of the many links between written art and visual art which Woolf establishes in the novel. In fact, the way in which Woolf constructs the novel and paints reality with words is very similar to the architecture of colors which Cézanne uses to achieve the same (as the art critic Roger Fry suggested, they both use "planes receding in space" to create a sense of depth both in space and time - Cézanne's planes are patches of colors, Woolf's are the interweaving patches of reality which we see as focalized through various character's viewpoints).
The Boar’s Skull: After her dinner party, Mrs. Ramsay retires upstairs to find the children wide-awake, bothered by the boar’s skull that hangs on the nursery wall. The presence of the skull acts as a disturbing reminder that death is always at hand, even (or perhaps especially) during life’s most blissful moments.
The Sea: References to the sea appear throughout the novel. Broadly, the ever-changing, ever-moving waves parallel the constant forward movement of time and the changes it brings. Woolf describes the sea lovingly and beautifully, but her most evocative depictions of it point to its violence. As a force that brings destruction, has the power to decimate islands, and, as Mr. Ramsay reflects, “eats away the ground we stand on,” the sea is a powerful reminder of the impermanence and delicacy of human life and accomplishments.
The Ramsays’ House: The Ramsays’ house is a stage where Woolf and her characters explain their beliefs and observations. During her dinner party, Mrs. Ramsay sees her house display her own inner notions of shabbiness and her inability to preserve beauty. In the “Time Passes” section, the ravages of war and destruction and the passage of time are reflected in the condition of the house rather than in the emotional development or observable aging of the characters. The house stands in for the collective consciousness of those who stay in it. At times the characters long to escape it, while at other times it serves as refuge. From the dinner party to the journey to the lighthouse, Woolf shows the house from every angle, and its structure and contents mirror the interior of the characters who inhabit it.
Lily’s Painting: Lily’s painting represents a struggle against gender convention, represented by Charles Tansley’s statement that women can’t paint or write. Lily’s desire to express Mrs. Ramsay’s essence as a wife and mother in the painting mimics the impulse among modern women to know and understand intimately the gendered experiences of the women who came before them. Lily’s composition attempts to discover and comprehend Mrs. Ramsay’s beauty just as Woolf’s construction of Mrs. Ramsay’s character reflects her attempts to access and portray her own mother.The painting also represents dedication to a feminine artistic vision, expressed through Lily’s anxiety over showing it to William Bankes. In deciding that completing the painting regardless of what happens to it is the most important thing, Lily makes the choice to establish her own artistic voice. In the end, she decides that her vision depends on balance and synthesis: how to bring together disparate things in harmony. In this respect, her project mirrors Woolf’s writing, which synthesizes the perceptions of her many characters to come to a balanced and truthful portrait of the world.
The Lighthouse: Lying across the bay and meaning something different and intimately personal to each character, the lighthouse is at once inaccessible, illuminating, and infinitely interpretable. As the destination from which the novel takes its title, the lighthouse suggests that the destinations that seem surest are most unobtainable. Just as Mr. Ramsay is certain of his wife’s love for him and aims to hear her speak words to that end in “The Window,” Mrs. Ramsay finds these words impossible to say. These failed attempts to arrive at some sort of solid ground, like Lily’s first try at painting Mrs. Ramsay or Mrs. Ramsay’s attempt to see Paul and Minta married, result only in more attempts, further excursions rather than rest. The lighthouse stands as a potent symbol of this lack of attainability. James arrives only to realize that it is not at all the mist-shrouded destination of his childhood. Instead, he is made to reconcile two competing and contradictory images of the tower—how it appeared to him when he was a boy and how it appears to him now that he is a man. He decides that both of these images contribute to the essence of the lighthouse—that nothing is ever only one thing—a sentiment that echoes the novel’s determination to arrive at truth through varied and contradictory vantage points.
Brackets: In “Time Passes,” brackets surround the few sentences recounting the deaths of Prue and Andrew Ramsay, while in “The Lighthouse,” brackets surround the sentences comprising Chapter VI. Each set of sentences in brackets in the earlier section contains violence, death, and the destruction of potential; the short, stabbing accounts accentuate the brutality of these events. But in Chapter VI of “The Lighthouse,” the purpose of the brackets changes from indicating violence and death to violence and potential survival. Whereas in “Time Passes,” the brackets surround Prue’s death in childbirth and Andrew’s perishing in war, in “The Lighthouse” they surround the “mutilated” but “alive still” body of a fish.
The Differing Behaviors of Men and Women: As Lily Briscoe suffers through Charles Tansley’s boorish opinions about women and art, she reflects that human relations are worst between men and women. Indeed, given the extremely opposite ways in which men and women behave throughout the novel, this difficulty is no wonder. The dynamic between the sexes is best understood by considering the behavior of Mr. and Mrs. Ramsay. Their constant conflict has less to do with divergent philosophies—indeed, they both acknowledge and are motivated by the same fear of mortality—than with the way they process that fear. Men, Mrs. Ramsay reflects in the opening pages of the novel, bow to it. Given her rather traditional notions of gender roles, she excuses her husband’s behavior as inevitable, asking how men can be expected to settle the political and economic business of nations and not suffer doubts. This understanding attitude places on women the responsibility for soothing men’s damaged egos and achieving some kind of harmony (even if temporary) with them. Lily Briscoe, who as a -single woman represents a social order more radial and lenient than Mrs. Ramsay’s, resists this duty but ultimately caves in to it.
The Restorative Effects of Beauty: At the beginning of the novel, both Mr. Ramsay and Lily Briscoe are drawn out of moments of irritation by an image of extreme beauty. The image, in both cases, is a vision of Mrs. Ramsay, who, as she sits reading with James, is a sight powerful enough to incite “rapture” in William Bankes. Beauty retains this soothing effect throughout the novel: something as trifling as a large but very beautiful arrangement of fruit can, for a moment, assuage the discomfort of the guests at Mrs. Ramsay’s dinner party.Lily later complicates the notion of beauty as restorative by suggesting that beauty has the unfortunate consequence of simplifying the truth. Her impression of Mrs. Ramsay, she believes, is compromised by a determination to view her as beautiful and to smooth over her complexities and faults. Nevertheless, Lily continues on her quest to “still” or “freeze” a moment from life and make it beautiful. Although the vision of an isolated moment is necessarily incomplete, it is lasting and, as such, endlessly seductive to her.
The Subjective Nature of Reality: Toward the end of the novel, Lily reflects that in order to see Mrs. Ramsay clearly—to understand her character completely—she would need at least fifty pairs of eyes; only then would she be privy to every possible angle and nuance. The truth, according to this assertion, rests in the accumulation of different, even opposing vantage points. Woolf’s technique in structuring the story mirrors Lily’s assertion. She is committed to creating a sense of the world that not only depends upon the private perceptions of her characters but is also nothing more than the accumulation of those perceptions. To try to reimagine the story as told from a single character’s perspective or—in the tradition of the Victorian novelists—from the author’s perspective is to realize the radical scope and difficulty of Woolf’s project.
Art as a Means of Preservation: In the face of an existence that is inherently without order or meaning, Mr. and Mrs. Ramsay employ different strategies for making their lives significant. Mr. Ramsay devotes himself to his progression through the course of human thought, while Mrs. Ramsay cultivates memorable experiences from social interactions. Neither of these strategies, however, proves an adequate means of preserving one’s experience. After all, Mr. Ramsay fails to obtain the philosophical understanding he so desperately desires, and Mrs. -Ramsay’s life, though filled with moments that have the shine and resilience of rubies, ends. Only Lily Briscoe finds a way to preserve her experience, and that way is through her art. As Lily begins her portrait of Mrs. Ramsay at the beginning of the novel, Woolf notes the scope of the project: Lily means to order and connect elements that have no necessary relation in the world—“hedges and houses and mothers and children.” By the end of the novel, ten years later, Lily finishes the painting she started, which stands as a moment of clarity wrested from confusion. Art is, perhaps, the only hope of surety in a world destined and determined to change: for, while mourning Mrs. Ramsay’s death and painting on the lawn, Lily reflects that “nothing stays, all changes; but not words, not paint.”
The Transience of Life and Work: Mr. Ramsay and Mrs. Ramsay take completely different approaches to life: he relies on his intellect, while she depends on her emotions. But they share the knowledge that the world around them is transient—that nothing lasts forever. Mr. Ramsay reflects that even the most enduring of reputations, such as Shakespeare’s, are doomed to eventual oblivion. This realization accounts for the bitter aspect of his character. Frustrated by the inevitable demise of his own body of work and envious of the few geniuses who will outlast him, he plots to found a school of philosophy that argues that the world is designed for the average, unadorned man, for the “liftman in the Tube” rather than for the rare immortal writer.Mrs. Ramsay is as keenly aware as her husband of the passage of time and of mortality. She recoils, for instance, at the notion of James growing into an adult, registers the world’s many dangers, and knows that no one, not even her husband, can protect her from them. Her reaction to this knowledge is markedly different from her husband’s. Whereas Mr. Ramsay is bowed by the weight of his own demise, Mrs. Ramsay is fueled with the need to make precious and memorable whatever time she has on earth. Such crafted moments, she reflects, offer the only hope of something that endures.
This book exploring at least four bold themes; the transience of life and work; art as a means of preservation; the subjective nature of reality; the restorative effects of beauty through the The differing behaviors of men and women, brackets motif. It's not for the beginner reader.
Book Review: Perhaps those at the time didn’t know what they had, that they would never have anything like it again. That could be a line from To the Lighthouse, in fact, could be a line from nearly any of Virginia Woolf’s novels, with the depths of discovery never quite leading to where the characters think they might, but always, below the surface, lurking behind with what could be possible. But I’m not speaking of the novel itself, or even Woolf and her talent specifically. Instead there is the whole breadth of stream-of-consciousness, of exquisite modernism, perhaps the most difficult of all literary styles. It did not begin in the 1920′s, for Joyce’s Portrait of the Artist is the crown prince work that came before he was crowned the king of modernism with Ulysses. But in the course of one decade, we saw the best of Joyce and Woolf, Proust and Faulkner, modernist styles from different sides of the Atlantic, from different cultures and languages and with the shadow of the war hanging over so many of them.
Wikipedia Article: To the Lighthouse is a 1927 novel by Virginia Woolf. A landmark novel of high modernism, the text, which centers on the Ramsays and their visits to the Isle of Skye in Scotland between 1910 and 1920, skillfully manipulates temporal and psychological elements. To the Lighthouse follows and extends the tradition of modernist novelists like Marcel Proust and James Joyce, where the plot is secondary to philosophical introspection, and the prose can be winding and hard to follow. The novel includes little dialogue and almost no action; most of it is written as thoughts and observations. The novel recalls childhood emotions and highlights adult relationships. Among the book's many tropes and themes are those of loss, subjectivity, and the problem of perception.
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