To the Lighthouse

To the Lighthouse

- By Virginia Woolf

At a glance

To the Lighthouse, novel by Virginia Woolf, published in 1927. The work is one of her most successful and accessible experiments in the stream-of-consciousness style.

The three sections of the book take place between 1910 and 1920 and revolve around various members of the Ramsay family during visits to their summer residence on the Isle of Skye in Scotland. A central motif of the novel is the conflict between the feminine and masculine principles at work in the universe. In the first part, the reader looks at the world through Mrs. Ramsay’s eyes as she presides over her children and a group of guests on a summer holiday. In the second section of the novel, Woolf illustrates time’s passage by describing the changes wrought in the summer home over a decade. The third section relates the return of the Ramsay children, now grown, and Lily Briscoe, a painter and friend of the family.

With her emotional, poetical frame of mind, Mrs. Ramsay represents the female principle, while Mr. Ramsay, a self-centered philosopher, expresses the male principle in his rational point of view. Both are flawed by their limited perspectives. Lily Briscoe is Woolf’s vision of the androgynous artist who personifies the ideal blending of male and female qualities. Her successful completion of a painting that she has been working on since the beginning of the novel is symbolic of this unification.

Characters

1)   Mr. Ramsay

Mrs. Ramsay’s husband, and a prominent metaphysical philosopher. Mr. Ramsay loves his family but often acts like something of a tyrant. He tends to be selfish and harsh due to his persistent personal and professional anxieties. He fears, more than anything, that his work is insignificant in the grand scheme of things and that he will not be remembered by future generations. Well aware of how blessed he is to have such a wonderful family, he nevertheless tends to punish his wife, children, and guests by demanding their constant sympathy, attention, and support.

2)   Mrs. Ramsay

Mr. Ramsay’s wife. A beautiful and loving woman, Mrs. Ramsay is a wonderful hostess who takes pride in making memorable experiences for the guests at the family’s summer home on the Isle of Skye. Affirming traditional gender roles wholeheartedly, she lavishes particular attention on her male guests, who she believes have delicate egos and need constant support and sympathy. She is a dutiful and loving wife but often struggles with her husband’s difficult moods and selfishness. Without fail, however, she triumphs through these difficult times and demonstrates an ability to make something significant and lasting from the most ephemeral of circumstances, such as a dinner party.

3)   James Ramsay

The Ramsays’ youngest son. James loves his mother deeply and feels a murderous antipathy toward his father, with whom he must compete for Mrs. Ramsay’s love and affection. At the beginning of the novel, Mr. Ramsay refuses the six-year-old James’s request to go to the lighthouse, saying that the weather will be foul and not permit it; ten years later, James finally makes the journey with his father and his sister Cam. By this time, he has grown into a willful and moody young man who has much in common with his father, whom he detests.

4)   Lily Briscoe

A young, single painter who befriends the Ramsays on the Isle of Skye. Like Mr. Ramsay, Lily is plagued by fears that her work lacks worth. She begins a portrait of Mrs. Ramsay at the beginning of the novel but has trouble finishing it. The opinions of men like Charles Tansley, who insists that women cannot paint or write, threaten to undermine her confidence.

5)   Minta Doyle

A flighty young woman who visits the Ramsays on the Isle of Skye. Minta marries Paul Rayley at Mrs. Ramsay’s wishes.

6)   Paul Rayley

A young friend of the Ramsays who visits them on the Isle of Skye. Paul is a kind, impressionable young man who follows Mrs. Ramsay’s wishes in marrying Minta Doyle.

7)   Charles Tansley

A young philosopher and pupil of Mr. Ramsay who stays with the Ramsays on the Isle of Skye. Tansley is a prickly and unpleasant man who harbors deep insecurities regarding his humble background. He often insults other people, particularly women such as Lily, whose talent and accomplishments he constantly calls into question. His bad behavior, like Mr. Ramsay’s, is motivated by his need for reassurance.

8)   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.

9)   Augustus Carmichael

An opium-using poet who visits the Ramsays on the Isle of Skye. Carmichael languishes in literary obscurity until his verse becomes popular during the war.

10)           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.

11)           Jasper Ramsay - 

One of the Ramsays’ sons. Jasper, to his mother’s chagrin, enjoys shooting birds.

12)           Roger Ramsay - 

One of the Ramsays’ sons. Roger is wild and adventurous, like his sister Nancy.

13)           Prue Ramsay - 

The oldest Ramsay girl, a beautiful young woman. Mrs. Ramsay delights in contemplating Prue’s marriage, which she believes will be blissful.

14)           Rose Ramsay –

 One of the Ramsays’ daughters. Rose has a talent for making things beautiful. She arranges the fruit for her mother’s dinner party and picks out her mother’s jewelry.

15)           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.

16)           Cam Ramsay - 

One of the Ramsays’ daughters. As a young girl, Cam is mischievous. She sails with James and Mr. Ramsay to the lighthouse in the novel’s final section.

17)           Mrs. McNab –

 An elderly woman who takes care of the Ramsays’ house on the Isle of Skye, restoring it after ten years of abandonment during and after World War I.

18)           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.

19)           Macalister’s Boy –

 The fisherman’s boy. He rows James, Cam, and Mr. Ramsay to the lighthouse.

Summery

Mrs. Ramsay, Mr. Ramsay (a philosopher), their eight children, and several guests are staying at the family's summer home in the Hebrides, on the Isle of Skye, just before the start of World War I. Just across the bay is a lighthouse, which becomes a prominent presence in the family's life. James Ramsay, the youngest child, wants to go to the Lighthouse the next day, but Mr. Ramsay crushes his hopes, saying that the weather will not be pleasant enough for the trip. James resents his father for his insensitivity as well as for his emotional demands on Mrs. Ramsay, and this resentment persists throughout the novel.

The houseguests include Lily Briscoe, an unmarried painter who begins a portrait of Mrs. Ramsay; Charles Tansley, who is not very well liked; William Bankes, whom Mrs. Ramsay wants Lily to marry, but Lily never does; and Paul Rayley and Minta Doyle, who become engaged during their visit.

Mrs. Ramsay spends the afternoon reading to James as Lily watches her from the lawn, attempting to paint her portrait. Mr. Ramsay also watches her as he walks and worries about his intellectual shortcomings, afraid that he will never achieve greatness. Andrew Ramsay, Nancy Ramsay, Paul Rayley, and Minta Doyle take a walk on the beach, where Paul proposes to Minta.

For the evening, Mrs. Ramsay has planned a dinner for fifteen guests including Augustus Carmichael, a friend and poet. The dinner gets off to a shaky start as Mr. Ramsay becomes angry with Mr. Carmichael for requesting more soup and no one seems to be enjoying the conversation. However, at a certain magical moment, everyone in the room seems to connect, and Mrs. Ramsay hopes that something permanent will result from this connection. Following dinner, Mr. and Mrs. Ramsay sit together in the parlor, and Mrs. Ramsay finds that she unable to tell her husband that she loves him. Nevertheless, though their unspoken communication she is sure that he knows. The Ramsays and their guests go to sleep.

In the second section of the novel, "Time Passes," the house is abandoned for ten years, suffering the ravages of time, neglect, and decay. Mrs. Ramsay unexpectedly dies one night, as does Prue in an illness related to childbirth. Andrew is the third Ramsay to die when he is killed instantaneously in battle. Mrs. McNab goes to the house occasionally to tidy it up and restore it, but it is not until she hears word that the remaining Ramsays will be returning for the summer that she gets everything in order.

In The Lighthouse, Ramsays, as well as other guests (including Lily Briscoe), return to the summer home. Mr. Ramsay decides that he, James, and Cam Ramsay will finally take the trip to the Lighthouse, but the children are resentful of his domineering manner. He is angry about delays on the morning of the trip, and he approaches Lily for sympathy, but she is unable to feel any sympathy for him until he has already set off on the journey, when it is too late. Just as Mr. Ramsay decides to finally take this journey, Lily Briscoe decides to finally finish the painting that she started ten years ago.

On the boat, the children continue to resent their father's self-pity, yet as the ship approaches the Lighthouse, they find a new tenderness for and connection to him. As the boat reaches its destination, Lily paints the final stroke on her canvas and finally achieves her vision.

Plot construction

“The Window” opens just before the start of World War I. Mr. Ramsay and Mrs. Ramsay bring their eight children to their summer home in the Hebrides (a group of islands west of Scotland). Across the bay from their house stands a large lighthouse. Six-year-old James Ramsay wants desperately to go to the lighthouse, and Mrs. Ramsay tells him that they will go the next day if the weather permits. James reacts gleefully, but Mr. Ramsay tells him coldly that the weather looks to be foul. James resents his father and believes that he enjoys being cruel to James and his siblings.

The Ramsays host a number of guests, including the dour Charles Tansley, who admires Mr. Ramsay’s work as a metaphysical philosopher. Also at the house is Lily Briscoe, a young painter who begins a portrait of Mrs. Ramsay. Mrs. Ramsay wants Lily to marry William Bankes, an old friend of the Ramsays, but Lily resolves to remain single. Mrs. Ramsay does manage to arrange another marriage, however, between Paul Rayley and Minta Doyle, two of their acquaintances.

Paul proposes to Minta, Lily begins her painting, Mrs. Ramsay soothes the resentful James, and Mr. Ramsay frets over his shortcomings as a philosopher, periodically turning to Mrs. Ramsay for comfort. That evening, the Ramsays host a seemingly ill-fated dinner party. Paul and Minta are late returning from their walk on the beach with two of the Ramsays’ children. Lily bristles at outspoken comments made by Charles Tansley, who suggests that women can neither paint nor write. Mr. Ramsay reacts rudely when Augustus Carmichael, a poet, asks for a second plate of soup.

The joy, however, like the party itself, cannot last, and as Mrs. Ramsay leaves her guests in the dining room, she reflects that the event has already slipped into the past. Later, she joins her husband in the parlor. The couple sits quietly together, until Mr. Ramsay’s characteristic insecurities interrupt their peace. He wants his wife to tell him that she loves him. Mrs. Ramsay is not one to make such pronouncements, but she concedes to his point made earlier in the day that the weather will be too rough for a trip to the lighthouse the next day. Mr. Ramsay thus knows that Mrs. Ramsay loves him. Night falls, and one night quickly becomes another.

Time passes more quickly as the novel enters the “Time Passes” segment. War breaks out across Europe. Mrs. Ramsay dies suddenly one night. Andrew Ramsay, her oldest son, is killed in battle, and his sister Prue dies from an illness related to childbirth. The family no longer vacations at its summerhouse, which falls into a state of disrepair: weeds take over the garden and spiders nest in the house. Ten years pass before the family returns. Mrs. McNab, the housekeeper, employs a few other women to help set the house in order. They rescue the house from oblivion and decay, and everything is in order when Lily Briscoe returns.

In “The Lighthouse” section, time returns to the slow detail of shifting points of view, similar in style to “The Window.” Mr. Ramsay declares that he and James and Cam, one of his daughters, will journey to the lighthouse. On the morning of the voyage, delays throw him into a fit of temper. He appeals to Lily for sympathy, but, unlike Mrs. Ramsay, she is unable to provide him with what he needs. The Ramsays set off, and Lily takes her place on the lawn, determined to complete a painting she started but abandoned on her last visit. James and Cam bristle at their father’s blustery behavior and are embarrassed by his constant self-pity. Still, as the boat reaches its destination, the children feel a fondness for him. Even James, whose skill as a sailor Mr. Ramsay praises, experiences a moment of connection with his father, though James so willfully resents him. Across the bay, Lily puts the finishing touch on her painting. She makes a definitive stroke on the canvas and puts her brush down, finally having achieved her vision.

Important Symbols

1.     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.

2.     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.

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.

3.     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.

4.     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.

5.     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.

Theme of the Drama

1.     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.

2.     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.”

3.     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.

4.     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.

#Famous_literary_creations, #Calcutta_University, #Kalyani_University, #Delhi_University,  #Vidyasagar_University,  #English_Literature, 

Read More