Assignment: The Modernist Literature

 

Ø Name:- Sanjaykumar N Jogadiya.

Ø Subject:- The Modernist Literature

Ø Paper No.09

Ø Topic:- The psychological reality in the lighthouse

Ø  Part:- M.A. Sem-3

Ø RollNo.24,   

Ø EnrollmentNo:-2069108420200017

Ø  Email Id:- snjogadiya@amail.com

Ø  Submitted:- Smt. S.B. Gardi Department of  English  MK Bhavnagar  University.

 

v Introduction:-

Virginia Woolf's Theory Literature has been discussed in detail and has also been expanded from the famous essay of contemporary literature for our purpose. Mrs. Wolfe has clearly expressed her opinion that older novelists failed to portray life because they were immersed in the plunge outside and rarely led to the colonel of life. Presenting the story chronologically, they divorced themselves from life, which is the same as human consciousness and consciousness, modern psychology proved, as one knows from one's own experience, not moving in a straight line. In fact, it is a fluid present simultaneously on many points of a person’s whole experience. For Virginia Wolf, 'Life is a bright halo, a semi-transparent envelope around us from the end of consciousness.' And then she admired and admired Joyce of England and Proust of France, as she embraced something in the novelty that would help her realize her own ideal. For him Wells and Bennett are materialistic, while Joyce and Prost are spiritual as they try to capture the ephemerality of life.

v The flow of the technique of consciousness:-

When Virginia Woolf realized that the traditional storytelling technique was not suitable for expressing her opinion on life, she had to adopt a more appropriate new technique for her purpose. He therefore had to adapt to the flow of consciousness technology by freely exploiting the internal monopoly of the various characters presented in the lighthouse. We are able to see each of his important characters through his own thoughts and actions as well as through the consciousness of different characters. We see pictorial consciousness serving as the screen on which the content of this novel is presented. The awareness of Mrs. Ramsay's portrayal, therefore, enables us to understand the true character of Mr. Ramsay, Lily Briscoe or Charles Tensley. In the same way, the flow of consciousness of Lily Brisco shows us the beauty and shadows of the characters of Mr. and Mrs. Ramsay or the strange and tainted personality of Tensley. External action or violent action is very rare; Instead, there are internal aggregations and fluid mental states.

 

v Mrs. Ramsay is focused

 

In the lighthouse, we experience only two days of outdoor time, and much more, indoor time. The scene where Rich Ramsay is stocking up for the lighthouse keeper's little boy is a few minutes of outdoor time, though it involves a great deal of understanding of Ramsay's inner mind. Is representative of the great contradiction of this period in terms of both the flow of time and the flow of the mind; Mrs. Ramsay considers both her home, her husband, her children, books, the Swiss maid, the weather, and her own vision of herself and how she perceives herself by others, stocking at James' feet in a small moment? Time seems to close within his inner mind or flow very slowly, while his thoughts appear fragmented but flow from the subject to the sublime, in the sublime sense of being natural. As Eric Erb Rabech describes in his classical analysis of this very scene, "External events have really lost their dominance, they serve to liberate and interpret internal events ... This is also evident in the chaos and contingency of the external event, which Reveals a much more significant process: Mrs. Ramsay's inner mind becomes central as opposed to external events; these external events disrupt the flow of the inner mind and highlight their effect on external events. Mrs. Ramsay's thoughts are distressed by her son's extremes, and Once immersed in her inner mind and in external events, the result is that she is intense with it. Have been shaken in reality.

 

v Form and pattern

 

After that, in the lighthouse, we no longer find the sequence of events leading to the climax. Virginia Woolf also abandoned the convention of storytelling for the same reason, as she left the convention to draw the character, as life could not be expressed as she saw it. The events recorded by him are not immediate causes or consequences of other events in his book. In fact, its importance is based on its effect on the consciousness of its creatures rather than on their actions in its plot. And its main purpose was to record how life feels for living beings and then to make an impression on one person by another. So there is no conspiracy construction in the sense of a logical arrangement of events and phenomena, which according to the chronology leads to disaster or condemnation.

 

v Conclusion:-

The mental reality in the wolf up to the lighthouse is not only to clearly approach or try but to fully realize. The representation of her inner mind is surprisingly accurate, and undoubtedly a modernist not only in the flow of her genre of consciousness but what she has chosen to present: Focus on the inner psychology of the character, which can be fragmented, far from novels. Just looking to tell the story. The lighthouse is supposed to tell a really successful story, but it also tells the story of the human mind, all its glory or lack thereof. Virginia Woolf shows us a bright halo. Now it can be emphatically said that ‘Flow of Consciousness’ is definitely a novel for Lighthouse, but with one difference. A closer study of the novel makes it clear that the character’s consciousness, the author’s comments, and one character’s point of view on the other are simultaneously weaving caution. So it's not as chaotic or inconsistent as most novels in this genre for the lighthouse - it's more subtly arranged and effective than anything else Virginia Woolf wrote. In fact, her fictional theory is very nicely revealed in this great novel. Elizabeth Drew's comments on this issue are noteworthy and we can conclude by quoting her appropriate comment.