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Sound and Time in Mrs. Dalloway - Literature Essay Samples

Elsewhere some Hindus were drumming he knew they were Hindus, because the rhythm was uncongenial to him. (E.M. Forster, A Passage to India)While writing and revising Mrs. Dalloway, Virginia Woolf was corresponding with E.M. Forster, who was working on A Passage to India. In September of 1921, she records in her diary: A letter from Morgan [Forster] this morning. He seems as critical of the East as of Bloomsbury, sits dressed in a turban watching his Prince dance (Diary 2.138). His novel came out well before she finished hers; she read it and noted, Morgan is too restrained in his new book perhaps (Diary 2.304). A note of the Anglo-Indian society that dominates A Passage to India resonates in Mrs. Dalloways background, sounded in part by the returning Indian traveler, Peter Walsh, but also heard and overheard in conversations and oblique references scattered throughout the narrative. Reinforcing its literal presence in the novel, an echo of India appears in Mrs. Dalloways narrative rhythms. Like the intricate percussion of the Indian tabla, the fabric of Woolfs narrative comprises a polyrhythmic texture that subtly undermines Londons booming metronome: Big Ben.The beautiful and complex narrative of Mrs. Dalloway seems to defy readers powers of description. David Dowlings Mapping Streams of Consciousness promotes a sense that one must reconstruct the text in order to understand it. In a section entitled A Reading, Dowling dissects the novel into neat structural packages so the reader can easily study its anatomy. He includes maps of London showing various characters movements and intersections, an hourly chronology of the day of Clarissas party, character sketches condensed from details scattered in the text, and, in the appendix, a kind of miniature concordance that provides counts for some 32 words (India appears 25 times).Other studies of Mrs. Dalloway are less detailed but serve as well to illustrate the difficulties of describing its narrative patterns. In Metaphor, Metonymy, and Ideology: Language and Perception in Mrs. Dalloway,: Teresa L. Ebert discusses binary structures counterpointing visions (Ebert 152) in the novels language. Building on Nancy Topping Bazins Virginia Woolf and the Androgynous Vision, she explores how female and male polarities in the text are resolved in images of androgyny. Instead of metaphor and metonymy, Caroline Webb examines the anti-allegorical nature of the text (Webb 279). In Life After Death: The Allegorical Progress of Mrs. Dalloway, she argues that the narrative invites us to look for a hidden story, but ultimately frustrates our expectations (Webb 279). Focusing on the narrator as a specifically created presence in the work, Sharon Stockton refers to classical physics and phenomenology to show Woolf deconstructing the conventions of authoritarian representation (Stockton, Turbulence in the Text: Narrative Complexity in Mrs. Dalloway 51).The novels narrative has also been described specifically in terms of its metrical effects. In On the Floor of the Mind: Sentence Shape and Rhythm in Mrs. Dalloway, Elizabeth Dodd explicates the poetic qualities of Woolfs prose. She not only points out relationships between sentence rhythm and specific characters thought patterns, she also shows that Woolf turned to poetry for literary inspiration while revising Mrs. Dalloway. Calling the readers attention to Woolfs June 21, 1924 diary entry the same one in which Woolf commented on Forsters A Passage to India (above) Dodd shows the extent to which poetry was on the writers mind: I think I grow more more poetic (Diary 2.304).Undoubtedly, poetry does inform Woolfs work, and Dodds argument to that effect is convincing. While the sentences in Mrs. Dalloway are metrical, however, poetic alone does not encompass the full rhythmic force of the narrative. Eberts term counterpoint and Stocktons metaphor of turbulence both evoke kinds of rhythmic structures as well, but in very different contexts . Indeed, Woolf consciously draws influence across diverse media in her quest to [throw] away the method in use at the moment (Woolf, Character in Fiction 432). Robin Gail Schulze points to Woolfs use of tonal music to show how she breaks with literary tradition in her novels, but she concludes that Mrs. Dalloway, by Woolfs definition, remains a conventional novel (Schulze 8). I suggest, however, that Mrs. Dalloways chronology, the poetic meter of its sentences, its turbulence and counterpoint, are all vectors in the intricate matrix of its polyrhythmic structure.Borrowed from the field of musicology, polyrhythmic describes a percussive structure unfamiliar to many Westerners. Because it is not based on regular repetitive patterns marked by even measures, polyrhythmic percussion may sound chaotic to the unaccustomed ear. These characteristically non-Western rhythms are somewhat analogous to several different metronomes, each generating a different pattern based on a different downbe at. The rhythms generated by these metronomes would bear mathematic relationships to each other; the downbeats will intersect in various combinations and, at long but regular intervals, all metronomes will sound their downbeats simultaneously. In Drumming at the Edge of Magic, percussionist Mickey Hart calls this sudden unity of seemingly chaotic structures The One.Multiple metronomes, though, only superficially capture the complexity of Indian and other non-Western percussion traditions. Indian classical music is based on rhythmic variation and elasticity of tempo almost never heard in Western music. The tabla, one of the most common Indian percussion instruments, consists of two small drums of different size, shape, material, pitch, and timbre. The drummer uses one hand for each drum and all the fingers on both hands to produce almost minimal, often rippling and intricate, accompaniment to a droning sitar or reed-like human voice. Forster describes the effect of this kind of percu ssion in A Passage to India:Godbole said a word to the drummer, who broke rhythm, made a thick little blur of sound, and produced a new rhythm. This was more exciting, the inner images it evoked more definite, and the singers expressions became fatuous and languid. They loved all men, the whole universe, and scraps of their past, tiny splinters of detail, emerged for a moment to melt into the universal warmth. (286)Whether or not she used Forster as a conscious model, I think this distinctively polyrhythmic music provides a surprisingly descriptive analogy for Virginia Woolfs narrative technique in Mrs. Dalloway.The swirling, divergent, colliding, sometimes intersecting and synchronous rhythms of Mrs. Dalloway manifest themselves in the text in various ways and on numerous levels. Rhythm emerges in the novel in literal prose references to percussive sounds, in the sound of the words themselves, and in the overarching narrative structure of the work its pace, its pauses and plunges, its movement through time, and its movement through and around characters minds. Like Forsters drummer, Woolfs prose breaks rhythm, makes thick little blurs of sound, and produces a new rhythm; it evokes inner images; and it ultimately melts scraps of the past and tiny splinters of detail into a final unified downbeat of universal warmth.One of the elemental components in the polyrhythmic voicing of Mrs. Dalloway is the percussive sound-scape Woolf creates in the novels background. As Clarissa crosses the street at the beginning of the novel, she plunges into a cacophony punctuated by the percussive tramping and jingling of people and traffic:In peoples eyes, in the swing, tramp, and trudge; in the bellow and the uproar; the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands; barrel organs; in the triumph and the jingle and the strange high singing of some aeroplane overhead was what she loved; life; London; this moment of June. (4)As Clarissa continues through town to the flower shop, the din begins to shape itself into rhythm. When an enigmatically important-looking car appears, its effects ripple and vibrate and echo through the street:The car had gone, but it had left a slight ripple which flowed through glove shops and hat shops and tailors shops on both sides of Bond Street. When the sentence was finished something had happened. Something so trifling in single instances that no mathematical instrument, though capable of transmitting shocks in China, could register the vibration; yet in its fulness rather formidable and in its common appeal emotional. In a public house in a back street a Colonial insulted the House of Windsor which led to words, broken beer glasses, and a general shindy, which echoed strangely across the way. For the surface agitation of the passing car as it sunk grazed something very profound. (18)After the ripple crests to a general shindy and then dissipates, another important sound, which may su btly evoke Indian music, enters the scene. Above the rhythmic sounds of life drones the strange high singing of some aeroplane (4), boring into the ears of all people in the mall (18), like the drone of a sitar or chanter whom the tabla accompanies.A similar percussive surface agitation ripples throughout the novel in clicks, taps, flicks, and drips; we hear it in voices chattering, twigs cracking, and in pulses and thuds. Woolf gives us the cadence of Peter Walsh speaking to himself rhythmically, in time with the flow of the sound (48). Septimus Warren Smith experiences thunder-claps of fear, and remembers the sound of Rezia and her sisters making hats: he could hear them; they were rubbing wires among coloured beads in saucers. Scissors were rapping on the table. Still, scissors rapping, girls laughing (87). The effect of these (and numerous other) sounds in the prose is subtle but significant. They not only add an important sensory dimension to the readers experience of the text, they give us percussive accents to reinforce the novels rhythmic pace.Complimenting these sounds in the prose are words and sentences that, if read aloud, convey a sense of rhythm and percussion. A passage that nicely illustrates both sound in the prose and the sound of the prose appears when Peter Walsh is walking to the park after leaving Clarissas house:A patter like the patter of leaves in a wood came from behind, and with it a rustling, regular thudding sound, which as it overtook him drummed his thoughts, strict in step, up Whitehall, without his doing. Boys in uniform, carrying guns, marched with their eyes ahead of them, marched, their arms stiff, and on their faces an expression like the letters of a legend written round the base of a statue praising duty, gratitude, fidelity, love of England. (51)The words patter, rustling, and thudding are onomatopoeic, simultaneously referring to and embodying sound, while drummed specifically evokes the percussive patterns that pervade the passage. Alliterative pairs of words, like rustling regular, strict in step, Whitehall without, and written round, and the triplet like the letters of a legend sound when spoken like strokes on the skin of the drum. Similar structures can be heard throughout the novel, especially in Septimus Smiths hallucinations:The earth thrilled beneath him. Red flowers grew through his flesh; their stiff leaves rustled by his head. Music began clanging against the rocks up here. It is a motor horn down in the street, he muttered; but up here it cannoned from rock to rock, divided, met in shocks of sound which rose in smooth columns (that music should be visible was a discovery) and became an anthem, an anthem twined round now by a shepherd boys piping (Thats an old man playing a penny whistle by the public-house, he muttered) which, as the boy stood still came bubbling from his pipe. (68)The onomatopoeia and alliteration appear here as well, but the rhythm is noticeably different. Instead o f the quick, crisp pattering of the passage above, Septimuss has a slower and less regular tempo. The repetition of the h sound and the greater distance between some alliterative words contrasts with the military precision of Peter Walshs perceptions.Of course, these are not isolated passages in the text; they merely illustrate some ways Woolf infuses her prose with sonic elements that contribute to the novels overarching polyrhythmic structure. These important stylistic elements this surface agitation add texture to the fabric of the narrative. But the predominant rhythms in the novel follow a larger pattern. In a sense, Mrs. Dalloways disparate rhythmic voices follow closely the Streams of Consciousness David Dowling seeks to map (above). Each character in the novel has her or his own narrative rhythm. These rhythms emerge and retreat, diverge and intersect, approach chaos and then resolve. We could take the primary components of narrative rhythm to be time and space. Using Dowl ings map diagrams and chronological chart as guides (Dowling 51-57), we could follow the separate time/space rhythms of Septimus, Clarissa, Peter, Richard, and Elizabeth through the day of Clarissas party. Hence, we could reconstruct these elements of narrative and plot these splinters of detail in a way that would be hostile to the text. In a sense, we would insist that the tabla submit to the authority of a single metronome.Time and space are important metrical components in the text, but through elastic polyrhythmic tempos and voicings, Woolf shows they are subjective components, not rigid authoritarian constants. Like Forsters description of the effects of ritual Indian drumming, Woolf shows us scraps of her characters pasts as real parts of the present moment this moment of June. In A Passage to India the new rhythm brings memories and images together to form a spiritual completeness in the moment:Godbole remembered an old woman he had met in Chandrapore days. Chance brought her into his mind while it was in this heated state, he did not select her, she happened to occur among the throng of soliciting images, a tiny splinter, and he impelled her by his spiritual force to that place where completeness can be found. Completeness, not reconstruction. (286)In Mrs. Dalloway the narrator does not merely describe these moments of completeness; she creates them for us. The narrative rhythm melts past and present together for Clarissa in the first paragraphs of the novel. As Clarissa steps into the street in front of her house, her past is suddenly with her:What a lark! What a plunge! For so it had always seemed to her, when, with a little squeak of the hinges, which she could hear now, she had burst open the French windows and plunged at Bourton into the open air. How fresh, how calm, stiller than this of course, the air was in the early morning; like the flap of a wave; the kiss of a wave; chill and sharp and yet (for a girl of eighteen as she then was) solem n, feeling as she did, standing there at the open window, that something awful was about to happen (3).In a manner that she will sustain throughout the novel, the narrator conveys memory and present action to us simultaneously and ambiguously. Which she could hear now refers, ostensibly, to the squeak of the hinges at Bourton in Clarissas memory. Yet now implies the moment of her plunge into the street, suggesting either a kind of reverie as in, I can almost hear it now or that the doors through which she now plunges also squeak. The later phrase, for a girl of eighteen as she then was is similarly disorienting. It locates the time of Clarissas bursting open the windows of Bourton, but it also implies that, through her memory, she has become eighteen again. The then contrasts with the earlier now, but neither refers concretely to its own relative time.Where Forster tells his reader that the rhythm impelled Godbole to an experience of completeness, not reconstruction, Woolfs narrat or causes us to experience completeness of two times with Clarissa. Studying the passage, we may feel compelled to disentangle the threads of time in order to reconstruct chronological plot. Dowling reprints diagrams other readers have used to chart chronology in the novel one builds pyramids labeled with algebraic letters and numbers to signify time frames and characters, another draws zig-zags connecting characters to each other (Dowling 71). But Dowling is forced to conclude, despite the patterning in the novel, then, it remains essentially disorganized (Dowling 73). If we try to hear the narrative with a Western ear, to mark off the measures and count out the beats, the novel will confound us. Whatever tools we use, our attempts to reconstruct will negate the sense of completeness the narrators rhythm impels us to.Clarissas plunge into the street and into the air of Bourton does, however, show a specific consciousness of the simultaneous time frames: the air at Bourton was stil ler than this, of course. Rather than comparing the past to the present, Clarissa, through the narrator, compares the air at Bourton to this. Past and present are still contained simultaneously in the text, but their rhythms diverge briefly. As the passage continues into memory, we retain with Clarissa a vague consciousness of the present moment:looking at the flowers, at the trees with the smoke winding off them and the rooks rising, falling; standing and looking until Peter Walsh said, Musing among the vegetables? was that it? I prefer men to cauliflowers was that it? He must have said it at breakfast one morning when she had gone out on to the terrace Peter Walsh. He would be back from India one of these days, June or July(3-4).Within the memory narrative, Clarissas present emerges in the repeated was that it? and the past becomes muted, indefinite, speculative: he must have said it The narrative recenters on the present as Clarrisa thinks of Peter, but it mirrors the pasts a mbiguity: one of these days, June or July. As Dowling writes, the text oscillates rhythmically between memories and this day in June (73). Past and present compliment and complicate each other. The narrator gives us a thick little blur of sound and then resolves into a new rhythm.Of course, the rhythm of Clarissas plunge is not conveyed by memory and moment alone. The meter of the prose transmits what Elizabeth Dodd calls a visceral rendition of an emotional and intellectual concern (279). Like the meter of passages explicated above, the text here contains accents, repeated patterns, alliteration and assonance. Begining with an accented down beat What a Lark! What a plunge! the passage squeaks with the window, flaps like a wave, winds with smoke off the trees, rises and falls with the rooks. In its sound and in its pace, in its plunges and its pauses, this intermingling of past and present, this little blur of sound, establishes the polyrhythmic patterns that will wash over the re ader throughout the novel. For Clarissa, the rhythm of the past at Bourton becomes as relevant to this moment of June as her preparations for her party.Similar to how it oscillates rhythmically between memories and this day in June, the text taps through and around Septimuss hallucinations. When Rezia returns to his side in the park after taking a needed but brief rest from him, the narrative cadence passes from her to him. As it does, it moves from real detail to his fantastic improvisations on reality:Why, when she sat by him, did he start, frown at her, move away, and point at her hand, take her hand, look at it terrified? Was it that she had taken off her wedding ring? My hand has grown so thin, she said, I have put it in my purse, she told him.He dropped her hand. Their marriage was over, he thought, with agony, with relief. The rope was cut; he mounted; he was free, as it was decreed that he, Septimus, the lord of men, should be free; alone (since his wife had thrown away her wedding ring; since she had left him), he, Septimus, was alone, called forth in advance of the mass of men to hear the truth, to learn the meaning, which now at last was to be given whole to To whom? he asked aloud. (67, second elipses in original)As she passes into Septimuss mind, the narrator blurs the distinction between herself and him. Grammatically, their marriage was over is the narrators third person comment; however, he thought attributes it to him. The narrator thus blends her rhythm with the characters, only to diverge again with he asked aloud. Employed throughout the novel, this structure allows the text to oscillate rhythmically between real time the chronological trajectory from Clarissas plunge into the street to the final moments of her party and what Robin Gail Schulze calls mind-time. Schulze writes,During segments of mind-time, Woolf sets various time streams loose at once, either in the mind of one character, who retreats into internal soliloquy, collapsing pa st, present and future, or in the simultaneous perspectives given by several characters recording a single moment. The result of either technique is that plot time stands still. (Schulze 8)Through these retreats from the novels chronological trajectory, and through the attending metrical nuances of the language, Woolf achieves the elasticity of tempo and meter characteristic of polyrhythmic percussion.Time is not entirely subjective and elastic in this text, however. The novel does take place within a prescribed temporal context marked ominously by the booming of Big Ben: First a warning, musical; then the hour, irrevocable. The leaden circles disolved in the air. Schulze finds this chronology inescapable, and bases her conclusion that Mrs. Dalloway is finally a traditional novel largely on her reading of Big Bens authority in it (Schulze 8). In fact, the metronomic images of clocks in the novel do represent an almost over-powering rhythmic structure that imperils the non-Western po lyrhythmic narrative force. The danger is such that Woolf titled early working drafts The Hours. I think, however, that the narrative ultimately subverts Big Bens bluster to the rhythms he threatens to quash; his metronomic authority is absorbed into and subsumed by a unified downbeat at the end of the novel that promises to launch into new polyrhythmic complexities.Woolf specifically inscribes Big Ben in the novel as a malevolent force. Immediately before Peter Walsh leaves Clarissas house, the clock strikes the half hour: The sound of Big Ben striking the half-hour stuck out between them with extraordinary vigour. As Peter leaves, the clock can still be heard:Peter! Peter! cried Clarissa, following him out on to the landing. My party to-night! Remember my party to-night! She cried, having to raise her voice against the roar of the open air, and overwhelmed by the traffic and the sound of all the clocks striking, her voice crying Remember my party to-night! sounded frail and thin a nd very far away as Peter Walsh shut the door. (48)By coming between them with extraordinary vigour and then threatening to drown out Clarrisas party invitation, Big Ben imperils the kind of human connection the intersections and combinations of rhythms that stave off the potential chaos of life.In contrast to Clarrissas perception, Peter Walsh, the returning Anglo-Indian, seems impressed by the clocks rhythm:Remember my party, remember my party, said Peter Walsh as he stepped down the street, speaking to himself rhythmically, in time with the flow of the sound, the downright sound of Big Ben striking the half-hour. (The leaden circles dissolved in the air.) (48)As he steps in time with the flow of sound, he becomes flushed with self-importance:And there he was, this fortunate man, himself, reflected in Victoria Street. All India lay behind him; plains, mountains; epidemics of cholera; a district twice as big as Ireland; decisions he had come to alone he, Peter Walsh For he had a turn for mechanics; had invented a plough in his district, had ordered wheel-barrows from England, but the coolies wouldnt use them, all of which Clarissa knew nothing whatever about. (48-49)But when his confidence suddenly flags, Big Bens rhythm fails him:As a cloud crosses the sun, silence falls on London; and falls on the mind. Effort ceases. Time flaps on the mast. There we stop; there we stand. Rigid, the skeleton of habit alone upholds the human frame. Where there is nothing, Peter Walsh said to himself; feeling hollowed out, utterly empty within. (49)As it flaps on the mast, time is simultaneously elevated and reduced to a symbol. Like a flag, it is an abstract icon of an ideal that failed imperialists like Peter Walsh can only hollowly salute out of the skeleton of habit.While Peter mourns his emptiness and thinks of Clarissa, a very different clock makes her voice heard: Ah, said St. Margarets, like a hostess who comes into her drawing-room on the very stroke of the hour a nd finds her guests there already. I am not late (49). Unlike the irrevocable voice of Big Ben, her voice, being the voice of the hostess, is reluctant to inflict its individuality. Some grief for the past holds it back (49). Appropriately, St. Margarets ring of sound (50), coming sometime after Big Bens announcement of the same hour, reminds Peter of Clarissa:It is Clarissa herself, he thought, with a deep emotion, and an extraordinarily clear, yet puzzling, recollection of her, as if this bell had come into the room years ago, where they sat at some moment of great intimacy, and had gone from one to the other and had left, like a bee laden with honey, laden with the moment. (50)Even for Peter, this reluctant voice becomes part of the mingling rhythms of past and present, in contrast to the impetuous rhythm of chronology.Like the voice of St. Margarets, Clarissa quietly resists Big Bens authoritative voice. When we first hear Big Ben, his relationship to Clarissas sense of time see ms tenuous:One feels, Clarissa was positive, a particular hush, or solemnity; an indescribable pause; a suspense (but that might be her heart, affected, they said, by influenza) before big Ben strikes. There! Out it boomed. First a warning, musical; then the hour, irrevocable. (4)Rather than impelling time forward, the passage implies, Big Ben causes it almost to stop. Further, the clock endangers Clarissas biological rhythm, threatens to suspend her heart. Not surprisingly, the narrator later tells us Clarissa feared time itself how year by year her share was sliced (30).As the novel progresses through the day, however, Big Bens threat to Clarissa seems to diminish. When he interupts her talk with Peter, he seems more like a common bully than a serious force to be reckoned with: The sound of Big Ben striking the half-hour stuck out between them with extraordinary vigour, as if a young man, strong, indifferent, inconsiderate, were swinging dumb-bells this way and that. Swinging his dumb-bells, flexing his muscle, the clock is inconsiderate, but also somewhat silly-looking. As the clock strikes three, the sound seems irritating to Clarissa, but not dangerous: The sound of Big Ben flooded Clarissas drawing-room, where she sat, ever so annoyed, at her writing-table; worried; annoyed (117).We eventually see Clarissa subvert Big Bens bullying rhythm, as if his rules dont apply to her:But here the other clock, the clock which always struck two minutes after Big Ben, came shuffling in with its lap full of odds and ends, which it dumped down as if Big Ben were all very well with his majesty laying down the law, so solemn, so just, but she must remember all sorts of little things besides Mrs. Marsham, Ellie Henderson, glasses for ices all sorts of little things came flooding and lapping and dancing in on the wake of that solemn stroke. (128)Clarissa will follow her own tempo, regardless of Big Bens hollow authority. The rhythm of the prose here again evokes the non-W estern structures that Big Ben would assimilate. The other rhythm comes shuffling, flooding and lapping and dancing on the wake of Londons insistent metronome.Where Clarissa resists linear time, Septimus Smith decontructs it. Stockton reminds us that observation and perception are subjective relative to the position of the observer. Hence, we are irrevocably within our universe, and the authority that would have enabled us to speak of it in terms of truth or fact has been undermined (Stockton 48). Septimuss insanity stems, according to Sir William Bradshaw, from his not having a sense of proportion (96). Unfortunately for him, Septimus understands that the observing scientist-god, outside the system and predicting/controlling with the useful tools of lawfulness and determinism, is an archaic fiction within the new narratives of chaos (Stockton 49). Septimus will not submit to the Doctors authority (What power had Bradshaw over him? 147), he will not adhere to the fixed and eternal r eferentiality of language (He was attaching meanings to words of a symbolical kind. A serious symptom 96), nor is he bound by the shredding and slicing, dividing and subdividing metronomes of time.Septimus sees and celebrates a relationship between time and language. Like words, time is dynamic, symbolic, and potentially expressive:It is time, said Rezia.The word time split its husk; poured its riches over him; and from his lips fell like shells, like shavings from a plane, without his making them, hard white, imperishable words, and flew to attach themselves to their places in an ode to Time; an immortal ode to Time. He sang. Evans answered from behind the tree. The dead were in Thessaly, Evans sang, among the orchids. (70)The word time is not a signifier for a single fixed truth. It is pregnant with riches with moment and memory, present, past, and future, even with Evans and with death. In order to pour its riches over Septimus, however, time must become sub-linguistic. The word has to split its husk, then new, better, imperishable, autonomous words can attach themselves to an immortal ode.Autocratic language and time, the sense of proportion Sir Bradshaw would have Septimus submit to, is explicitly imperial. The narrator rails at length against divine proportion, in service of whom Bradshaw made not only himself but made England prosper, secluded her lunatics, forbade childbirth, penalised despair, made it impossible for the unfit to propagate their views until they, too, shared his sense of proportion (99). But the advantages of proportion are not limited to England:Proportion has a sister, less smiling, more formidable, a Goddess even now engaged in the heat and sands of India, the mud and swamp of Africa, the purlieus of London, wherever in short the climate or the devil tempts men to fall from the true belief which is her own is even now engaged in dashing down shrines, smashing idols, and setting up in their place her own stern countenance. Convers ion is her name (100)England exports Proportion and Conversion to its imperial outposts through people like Peter Walsh, whose wheel-barrows and plough the coolies wouldnt use. Like Big Bens inconsiderate attempts to prescribe time, the Empire tries to prescribe its industrial culture to India. Imperialists like Peter cannot hear Indias drums because they are too busy listening to their own voices, the clank of industry, the flick of a pocket knife, the leaden circles of Big Ben.Below the surface, though, people like Clarissa and Septimus see the frailty of authority. They hear the more organic rhythms of India as an undercurrent flooding into post-war London in spite of Bradshaw and Holmes and Big Ben. Though the novel starts at a certain moment in June, the intricate rhythms of the narrative have long been plunging and pausing, intersecting and diverging. Clarissa and Septimus each present powerful rhythms in the text, hers building to her party, his plunging to his death. In the moments preceding his suicide, Septimuss life shapes itself into pleasant peaceful rhythms. Sewing, Rezia makes a sound like a kettle on the hob; bubbling, murmuring (143); her words bubbled away drip, drip, drip, like a contented tap left running (144); and suddenly, his life seems real: it was so real, it was so substantial (144). But into their warm place, this pocket of still air comes Holmes. Septimus cannot submit to proportion, but neither will he be allowed to live in this world without it. Dancing away his last moments, he finds his only option:hopping indeed from foot to foot It was their idea of tragedy, not his or Rezias (for she was with him). Holmes and Bradshaw like that sort of thing But he would wait till the very last moment. He did not want to die. Life was good. The sun hot. Only human beings what did they want? Ill give it you! he cried, and flung himself vigorously, violently down on to Mrs. Filmers area railings. (149)Septimuss death is not final, however; hi s rhythm pauses but does not fully subside. Clarissas theory of immortality is fulfilled in the text.It ended in a transcendental theory that since our apparitions, the part of us which appears, are so momentary compared with the other, the unseen part of us, which spreads wide, the unseen might survive, be recovered somehow attached to this person or that, or even haunting certain places after death. (153)When Clarissa learns of Septimuss death, his unseen part attaches itself to her. As Stockton points out, Clarissa and Septimus merge into one character at the end, connected not through language, but extrasensory vision (Stockton 50). But the extrasensory vision is conveyed through the narrators language by its rhythm:He had killed himself but how? Always her body went through it first her dress flamed, her body burnt. He had thrown himself from a window. Up had flashed the ground; through him, blundering, bruising, went the rusty spikes. There he lay with a thud, thud, thud in h is brain. (184)The passage is wrapped in percussive, alliterative language, and concludes with the onomatopoeic thudding of Septimuss rhythm transferring to Clarissa. She does not feel her new rhythm, however, until the clock strikes. In the midst of Septimuss death, Clarissa has a vision of life going on, of the old woman across the street quite quietly, going to bed (186). Suddenly, for her, the clock becomes another rhythm of life, and Septimuss rhythm merges with hers:The clock began striking. The young man had killed himself; but she did not pity him; with the clock striking the hour, one, two, three, she did not pity him, with all this going on. There! The old lady had put out her light. She must go back to them. But what an extraordinary night! She felt somehow like him the young man who had killed himself. She felt glad that he had done it; thrown it away. The clock was striking. The leaden circles dissolved in the air. He made her feel the beauty; made her feel the fun. Bu t she must go back. She must assemble. She must find Sally and Peter. (186)The striking clock is part of all this going on. The rhythm of life did not stop with Septimuss death; Clarissa must go back and assemble.The narrator of Mrs. Dalloway plunges us into a complex web of rhythms at the beginning of the novel. The rhythm of Clarissas past mingles with that of her present and sends her into the future. The polyrhythmic structure of the novel concludes with a new downbeat that unifies Clarissa, Peter, and Sally with their memories and their present moment and promises to launch into new rhythmic complexities. The mingling of all the disparate rhythms at Clarissas party builds to a little blur of sound that announces the coming of a new rhythm. We feel the expectation, the terror and ecstasy, the danger of chaos before the resolution of the one in the narrators final words:What is this terror? what is this ecstasy? What is it that fills me with extraordinary excitement?It is Clariss a, he said.For there she was.Works CitedBazin, Nancy Topping. Virginia Woolf and the Androgynous Vision. New Brunswick: Rutgers UP, 1973.Dodd, Elizabeth. On the Floor of the Mind: Sentence Shape and Rhythm in Mrs. Dalloway. The Midwest Quarterly 36:3 (1995): 275-288.Dowling, David. Mrs. Dalloway: Mapping Streams of Consciousness. Boston: Twayne Publishers, 1991.Ebert, Teresa. Metaphor, Metonymy, and Ideology: Language and Perception in Mrs. Dalloway. Language and Style 18:2(1985): 152-164.Forster, E.M. A Passage to India. San Diego, New York, London: Harcourt Brace Jovanovich, 1924.Hart, Mickey. Drumming at the Edge of Magic: A Journey Into the Spirit of Percussion. San Francisco: Harper, 1990.Schulze, Robin Gail. Design in Motion: Words, Music, and the Search for Coherence in the Works of Virginia Woolf and Arnold Schoenberg. Studies in the Literary Imagination 25:2 (1992): 5-22.Stockton, Sharon. Turbulence in the Text: Narrative Complexity in Mrs. Dalloway. New Orleans Review 18:1 (1991): 46-55.Webb, Caroline. Life After Death: The Allegorical Progress of Mrs. Dalloway. Modern Fiction Studies 40:2 (1994): 279-298.Woolf, Virginia. Mrs. Dalloway. San Diego, New York, London: Harcourt Brace Jovanovich, 1925..The Diary of Virginia Woolf: Volume Two, 1920-1924. Ed. Anne Oliver Bell. New York and London: Harcourt Brace Jovanovich, 1978.

Biography of Golda Meir, First Female Prime Minister of Israel

Golda Meirs deep commitment to the cause of Zionism determined the course of her life. She moved from Russia to Wisconsin when she was eight; then at age 23, she emigrated to what was then called Palestine with her husband. Once in Palestine, Golda Meir played vital roles in advocating for a Jewish state, including raising money for the cause. When Israel declared independence in 1948, Golda Meir was one of the 25 signers of this historic document. After serving as Israel’s ambassador to the Soviet Union, minister of labor, and foreign minister, Golda Meir became Israels fourth prime minister in 1969. She was also known as Golda Mabovitch (born as), Golda Meyerson, Iron Lady of Israel. Dates: May 3, 1898 — December 8, 1978 Early Childhood in Russia Golda Mabovitch (she would later change her surname to Meir in 1956) was born in the Jewish ghetto within Kiev in Russian Ukraine to Moshe and Blume Mabovitch. Moshe was a skilled carpenter whose services were in demand, but his wages were not always enough to keep his family fed. This was partly because clients would often refuse to pay him, something Moshe could do nothing about since Jews had no protection under Russian law. In late 19th century Russia, Czar Nicholas II made life very difficult for the Jewish people. The czar publicly blamed many of Russias problems on Jews and enacted harsh laws controlling where they could live and when — even whether — they could marry. Mobs of angry Russians often participated in pogroms, which were organized attacks against Jews that included the destruction of property, beatings, and murder. Goldas earliest memory was of her father boarding up the windows to defend their home from a violent mob. By 1903, Goldas father knew that his family was no longer safe in Russia. He sold his tools to pay for his passage to America by steamship; he then sent for his wife and daughters just over two years later, when he had earned enough money. A New Life in America In 1906, Golda, along with her mother (Blume) and sisters (Sheyna and Zipke), began their trip from Kiev to Milwaukee, Wisconsin to join Moshe. Their land journey through Europe included several days crossing Poland, Austria, and Belgium by train, during which they had to use fake passports and bribe a police officer. Then once on board a ship, they suffered through a difficult 14-day journey across the Atlantic. Once safely ensconced in Milwaukee, eight-year-old Golda was at first overwhelmed by the sights and sounds of the bustling city, but soon came to love living there. She was fascinated by the trolleys, skyscrapers, and other novelties, such as ice cream and soft drinks, that she hadn’t experienced back in Russia. Within weeks of their arrival, Blume started a small grocery store in the front of their house and insisted that Golda open the store every day. It was a duty that Golda resented since it caused her to be chronically late for school. Nevertheless, Golda did well in school, quickly learning English and making friends. There were early signs that Golda Meir was a strong leader. At eleven years old, Golda organized a fundraiser for students who could not afford to buy their textbooks. This event, which included Goldas first foray into public speaking, was a great success. Two years later, Golda Meir graduated from eighth grade, first in her class. Young Golda Meir Rebels Golda Meirs parents were proud of her achievements but considered eighth grade the completion of her education. They believed that a young womans primary goals were marriage and motherhood. Meir disagreed for she dreamed of becoming a teacher. Defying her parents, she enrolled in a public high school in 1912, paying for her supplies by working various jobs. Blume tried to force Golda to quit school and began to search for a future husband for the 14-year-old. Desperate, Meir wrote to her older sister Sheyna, who by then had moved to Denver with her husband. Sheyna convinced her sister to come to live with her and sent her money for train fare. One morning in 1912, Golda Meir left her house, ostensibly headed for school, but instead went to Union Station, where she boarded a train for Denver. Life in Denver Although she had hurt her parents deeply, Golda Meir had no regrets about her decision to move to Denver. She attended high school and mingled with members of Denvers Jewish community who met at her sisters apartment. Fellow immigrants, many of them Socialists and anarchists, were among the frequent visitors who came to debate the issues of the day. Golda Meir listened attentively to discussions about Zionism, a movement whose goal it was to build a Jewish state in Palestine. She admired the passion the Zionists felt for their cause and soon came to adopt their vision of a national homeland for Jews as her own. Meir found herself drawn to one of the quieter visitors to her sisters home — soft-spoken 21-year-old Morris Meyerson, a Lithuanian immigrant. The two shyly confessed their love for one another and Meyerson proposed marriage. At 16, Meir was not ready to marry, despite what her parents thought, but promised Meyerson she would one day become his wife. Return to Milwaukee In 1914, Golda Meir received a letter from her father, begging her to return home to Milwaukee; Golda’s mother was ill, apparently partly from the stress of Golda having left home. Meir honored her parents wishes, even though it meant leaving Meyerson behind. The couple wrote each other frequently, and Meyerson made plans to move to Milwaukee. Meirs parents had softened somewhat in the interim; this time, they allowed Meir to attend high school. Shortly after graduating in 1916, Meir registered at the Milwaukee Teachers Training College. During this time, Meir also became involved with the Zionist group Poale Zion, a radical political organization. Full membership in the group required a commitment to emigrate to Palestine. Meir committed in 1915 that she would one day immigrate to Palestine. She was 17 years old. World War I and the Balfour Declaration As World War I progressed, violence against European Jews escalated. Working for the Jewish Relief Society, Meir and her family helped raise money for European war victims. The Mabovitch home also became a gathering place for prominent members of the Jewish community. In 1917, news arrived from Europe that a wave of deadly pogroms had been carried out against Jews in Poland and Ukraine. Meir responded by organizing a protest march. The event, well-attended by both Jewish and Christian participants, received national publicity. More determined than ever to make the Jewish homeland a reality, Meir left school and moved to Chicago to work for the Poale Zion. Meyerson, who had moved to Milwaukee to be with Meir, later joined her in Chicago. In November 1917, the Zionist cause gained credibility when Great Britain issued the Balfour Declaration, announcing its support for a Jewish homeland in Palestine. Within weeks, British troops entered Jerusalem and took control of the city from Turkish forces. Marriage and the Move to Palestine Passionate about her cause, Golda Meir, now 19 years old, finally agreed to marry Meyerson on the condition that he move with her to Palestine. Although he did not share her zeal for Zionism and didnt want to live in Palestine, Meyerson agreed to go because he loved her. The couple was married on December 24, 1917, in Milwaukee. Since they didn’t yet have the funds to emigrate, Meir continued her work for the Zionist cause, traveling by train across the United States to organize new chapters of the Poale Zion. Finally, in the spring of 1921, they had saved enough money for their trip. After bidding a tearful farewell to their families, Meir and Meyerson, accompanied by Meirs sister Sheyna and her two children, set sail from New York in May 1921. After a grueling two-month voyage, they arrived in Tel Aviv. The city, built in the suburbs of Arab Jaffa, had been founded in 1909 by a group of Jewish families. At the time of Meirs arrival, the population had grown to 15,000. Life on a Kibbutz Meir and Meyerson applied to live on Kibbutz Merhavia in northern Palestine but had difficulty getting accepted. Americans (although Russian-born, Meir was considered American) were believed too soft to endure the hard life of working on a kibbutz (a communal farm). Meir insisted on a trial period and proved the kibbutz committee wrong. She thrived on the hours of hard physical labor, often under primitive conditions. Meyerson, on the other hand, was miserable on the kibbutz. Admired for her powerful speeches, Meir was chosen by members of her community as their representative at the first kibbutz convention in 1922. Zionist leader David Ben-Gurion, present at the convention, also took notice of Meirs intelligence and competence. She quickly earned a place on the governing committee of her kibbutz. Meirs rise to leadership in the Zionist movement came to a halt in 1924 when Meyerson contracted malaria. Weakened, he could no longer tolerate the difficult life on the kibbutz. To Meirs great disappointment, they moved back to Tel Aviv. Parenthood and Domestic Life Once Meyerson recuperated, he and Meir moved to Jerusalem, where hed found a job. Meir gave birth to son Menachem in 1924 and daughter Sarah in 1926. Although she loved her family, Golda Meir found the responsibility of caring for children and keeping the house very unfulfilling. Meir longed to be involved again in political affairs. In 1928, Meir ran into a friend in Jerusalem who offered her the position of secretary of the Womens Labor Council for the Histadrut (the Labor Federation for Jewish workers in Palestine). She readily accepted. Meir created a program for teaching women to farm the barren land of Palestine and set up childcare that would enable women to work. Her job required that she travel to the United States and England, leaving her children for weeks at a time. The children missed their mother and wept when she left, while Meir struggled with guilt for leaving them. It was the final blow to her marriage. She and Meyerson became estranged, separating permanently in the late 1930s. They never divorced; Meyerson died in 1951. When her daughter became seriously ill with kidney disease in 1932, Golda Meir took her (along with son Menachem) to New York City for treatment. During their two years in the U.S., Meir worked as the national secretary of Pioneer Women in America, giving speeches and winning support for the Zionist cause. World War II and Rebellion Following Adolf Hitlers rise to power in Germany in 1933, the Nazis began to target Jews — at first for persecution and later for annihilation. Meir and other Jewish leaders pleaded with heads of state to allow Palestine to accept unlimited numbers of Jews. They received no support for that proposal, nor would any country commit to helping the Jews escape Hitler. The British in Palestine further tightened restrictions on Jewish immigration to appease Arab Palestinians, who resented the flood of Jewish immigrants. Meir and other Jewish leaders began a covert resistance movement against the British. Meir officially served during the war as a liaison between the British and the Jewish population of Palestine. She also worked unofficially to help transport immigrants illegally and to supply resistance fighters in Europe with weapons. Those refugees who made it out brought shocking news of Hitlers concentration camps. In 1945, near the end of World War II, the Allies liberated many of these camps and found evidence that six million Jews had been killed in the Holocaust. Still, Britain would not change Palestines immigration policy. The Jewish underground defense organization, Haganah, began to rebel openly, blowing up railroads throughout the country. Meir and others also rebelled by fasting in protest of British policies. A New Nation As violence intensified between British troops and the Haganah, Great Britain turned to the United Nations (U.N.) for help. In August 1947, a special U.N. committee recommended that Great Britain end its presence in Palestine and that the country is divided into an Arab state and a Jewish state. The resolution was endorsed by a majority of U.N. members and adopted in November 1947. Palestinian Jews accepted the plan, but the Arab League denounced it. Fighting broke out between the two groups, threatening to erupt into full-scale war. Meir and other Jewish leaders realized that their new nation would need money to arm itself. Meir, known for her passionate speeches, traveled to the United States on a fund-raising tour; in just six weeks she raised 50 million dollars for Israel. Amid growing concerns about an impending attack from Arab nations, Meir undertook a daring meeting with King Abdullah of Jordan in May 1948. In an attempt to convince the king not to join forces with the Arab League in attacking Israel, Meir secretly traveled to Jordan to meet with him, disguised as an Arab woman dressed in traditional robes and with her head and face covered. The dangerous journey, unfortunately, did not succeed. On May 14, 1948, British control of Palestine expired. The nation of Israel came into being with the signing of the Declaration of the Establishment of the State of Israel, with Golda Meir as one of the 25 signers. First to formally recognize Israel was the United States. The next day, armies of neighboring Arab nations attacked Israel in the first of many Arab-Israeli wars. The U.N. called for a truce after two weeks of fighting. Rise to the Top Israel’s first prime minister, David Ben-Gurion, appointed Meir as ambassador to the Soviet Union (now Russia) in September 1948. She stayed in the position only six months because the Soviets, who had virtually banned Judaism, were angered by Meirs attempts to inform Russian Jews about current events in Israel. Meir returned to Israel in March 1949, when Ben-Gurion named her Israels first minister of labor. Meir accomplished a great deal as labor minister, improving conditions for immigrants and armed forces. In June 1956, Golda Meir was made a foreign minister. At that time, Ben-Gurion requested that all foreign service workers take Hebrew names; thus Golda Meyerson became Golda Meir. (â€Å"Meir† means â€Å"to illuminate† in Hebrew.) Meir dealt with many difficult situations as foreign minister, beginning in July 1956, when Egypt seized the Suez Canal. Syria and Jordan joined forces with Egypt in their mission to weaken Israel. Despite a victory for the Israelis in the battle that followed, Israel was forced by the U.N.to return the territories they had gained in the conflict. In addition to her various positions in the Israeli government, Meir was also a member of the Knesset (Israeli parliament) from 1949 to 1974. Golda Meir Becomes Prime Minister In 1965, Meir retired from public life at the age of 67 but had only been gone a few months when she was called back to help mend rifts in the Mapai Party. Meir became secretary general of the party, which later merged into a joint Labor Party. When Prime Minister Levi Eshkol died suddenly on February 26, 1969, Meirs party appointed her to succeed him as prime minister. Meirs five-year term came during some of the most turbulent years in Middle Eastern history. She dealt with the repercussions of the Six-Day War (1967), during which Israel re-took the lands gained during the Suez-Sinai war. The Israeli victory led to further conflict with Arab nations and resulted in strained relations with other world leaders. Meir was also in charge of Israel’s response to the 1972 Munich Olympics Massacre, in which the Palestinian group called Black September took hostage and then killed eleven members of Israel’s Olympic team. The End of an Era Meir worked hard to bring peace to the region throughout her term, but to no avail. Her final downfall came during the Yom Kippur War, when Syrian and Egyptian forces waged a surprise attack on Israel in October 1973. Israeli casualties were high, leading to a call for Meirs resignation by members of the opposition party, who blamed Meirs government for being unprepared for the attack. Meir was nonetheless re-elected but chose to resign on April 10, 1974. She published her memoir, My Life, in 1975. Meir, who had been privately battling lymphatic cancer for 15 years, died on December 8, 1978, at the age of 80. Her dream of a peaceful Middle East has not yet been realized.