Mrs Dalloway Mrs Dalloway (Clarissa) Quotes

[…] she, too, loving it as she did with an absurd and faithful passion, being part of it, since her people were courtiers once in the time of the Georges, she, too, was going that very night to kindle and illuminate; to give her party. (1.6)

Clarissa identifies very closely with all of the material objects – the "stuff" of British society. The fact that her family has been important for generations is something she thinks reflects well upon her.

She had the oddest sense of being herself invisible; unseen; unknown; there being no more marrying, no more having of children now, but only this astonishing and rather solemn progress with the rest of them, up Bond Street, this being Mrs Dalloway; not even Clarissa any more; this being Mrs Richard Dalloway. (1.18)

Clarissa feels that as she’s aged, that she has become invisible. Youth is behind her and now she’s known as the wife of Richard Dalloway and not as Clarissa.

[…] Hugh, intimating by a kind of pout or swell of his very well-covered, manly, extremely handsome, perfectly upholstered body (he was almost too well dressed always, but presumably had to be, with his little job at Court) […]. (1.9)

Hugh takes Britishness to the extreme. He embodies the absurdities of making his identity all about the customs. Basically, he tries too hard. We all know the type.

Year in year out she wore that coat; she perspired; she was never in the room five minutes without making you feel her superiority, your inferiority; how poor she was; how rich you were; how she lived in a slum without a cushion or a bed or a rug or whatever it might be, all her soul rusted with that grievance sticking in it, her dismissal from school during the War – poor embittered unfortunate creature! (1.21)

Miss Kilman is defined by feeling rejected by society. She considers herself to always be on the outside – resentful, impoverished, and inferior.

Sally it was who made her feel, for the first time, how sheltered the life at Bourton was. She knew nothing about sex – nothing about social problems. (2.12)

Sally Seton changes Clarissa’s life by making her aware that there’s more going on than tea parties at Bourton. Before Sally, Clarissa was very sheltered. Do you think she's any different after her relationship with Sally?

Then somebody said – Sally Seton it was – did it make any real difference to one's feelings to know that before they'd married she had had a baby? (In those days, in mixed company, it was a bold thing to say.) He could see Clarissa now, turning bright pink; somehow contracting; and saying, "Oh, I shall never be able to speak to her again!" (4.12)

Sally’s views are shocking to Clarissa’s family – and to Clarissa. When she hears that someone has had a baby out of wedlock, Clarissa vows never to speak to that person again.

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. (1.2)

In this moment, the mere sound of a squeaky hinge transports Clarissa back in time. It makes her recall her youth at Bourton, her family’s country home.

For having lived in Westminster – how many years now? over twenty, – one feels even in the midst of the traffic, or waking at night, 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. The leaden circles dissolved in the air. (1.5)

Part of Clarissa’s everyday life is the sound of Big Ben. She has come to anticipate (and be comforted while also disturbed by) the chiming of the bells.

[…] perhaps at midnight, when all boundaries are lost, the country reverts to its ancient shape, as the Romans saw it, lying cloudy, when they landed, and the hills had no names and rivers wound they knew not where – such was her darkness. (1.69)

For all of its tradition, England also has something timeless to it. Clarissa imagines that at night, all of London’s busy streets disappear and the city looks like it did way back during the Roman Empire.

[…] one must pay back from this secret deposit of exquisite moments […]. (2.2)

Though Clarissa has a general fear of time, she cherishes individual moments. She feels that pleasure isn’t free: one must appreciate and "pay back" those who help provide such things.

[…] but she feared time itself, and read on Lady Bruton's face, as if it had been a dial cut in impassive stone, the dwindling of life; how year by year her share was sliced […]. (2.8)

To Clarissa, Lady Bruton represents the British past, customs, and tradition. Her face wears time in a frightening way though, as her aging reminds Clarissa of her own inevitable death.

Then, for that moment, she had seen an illumination; a match burning in a crocus; an inner meaning almost expressed. But the close withdrew; the hard softened. It was over – the moment. Against such moments (with women too) there contrasted (as she laid her hat down) the bed and Baron Marbot and the candle half-burnt. (2.10)

Clarissa recalls some of the moments of profound beauty in her life. Though she’s had these special moments, they always fade as quickly as they arrive.

Clarissa (crossing to the dressing-table) plunged into the very heart of the moment, transfixed it, there – the moment of this June morning on which was the pressure of all the other mornings, seeing the glass, the dressing-table, and all the bottles afresh, collecting the whole of her at one point (as she looked into the glass), seeing the delicate pink face of the woman who was that very night to give a party; of Clarissa Dalloway; of herself. (2.24)

Clarissa reflects on herself, thinking of how time has changed her. She’s still <em>Clarissa</em> at her essence, but she thinks that important events such as her party might be reflected in the way she looks.

The sound of Big Ben striking the half-hour struck out between them with extraordinary vigour, as if a young man, strong, indifferent, inconsiderate, were swinging dumb-bells this way and that. (2.92)

Big Ben has such a prominent role in the novel that the clock is almost a character. Big Ben disrupts, reminds, and comforts those who hear its hourly reminders.

[…] chill and sharp and yet (for a girl of eighteen as she then was) solemn, feeling as she did, standing there at the open window, that something awful was about to happen […]. (1.3)

Even before the war, Clarissa experienced deep anxiety on a daily basis. Even the simplest actions stir her fear of death now. Because she doesn't connect to other people, she has to deal with this anxiety on her own, which only exacerbates the problem.

And there is a dignity in people; a solitude; even between husband and wife a gulf; and that one must respect, thought Clarissa […] for one would not part with it oneself, or take it, against his will, from one's husband, without losing one's independence, one's self-respect – something, after all, priceless. (5.23)

Clarissa is comforted by the fact that Richard gives her space that Peter never would have. Peter’s love is oppressive and needy, but Richard respects that they’re two different people.

What business had the Bradshaws to talk of death at her party? A young man had killed himself. And they talked of it at her party – the Bradshaws, talked of death. He had killed himself – but how? (6.85)

Clarissa immediately feels some strange connection to Septimus. Though repulsed by the mention of his death, she’s still intrigued.

Those ruffians, the Gods, shan't have it all their own way, – her notion being that the Gods, who never lost a chance of hurting, thwarting and spoiling human lives were seriously put out if, all the same, you behaved like a lady. That phase came directly after Sylvia's death – that horrible affair. (4.69)

Clarissa witnessed her own sister being crushed by a tree – an accident that was apparently her father’s fault. Like Septimus’ reaction to the loss of Evans, Clarissa moves on and behaves "properly" (meaning stoically) in the face of trauma. Clearly that doesn’t help anything.

She had a perpetual sense, as she watched the taxi cabs, of being out, out, far out to sea and alone; she always had the feeling that it was very, very dangerous to live even one day. (1.15)

Clarissa has two very different mindsets: one is her belief in beauty and life’s precious moments, and the other (deep beneath that) is a fear of death and isolation. This second feeling she holds deep inside, but it’s always there.

It rasped her, though, to have stirring about in her this brutal monster! to hear twigs cracking and feel hooves planted down in the depths of that leaf-encumbered forest, the soul. (1.22)

Clarissa tries to control her feelings of deep hatred for Miss Kilman. She doesn’t want Miss Kilman to get the better of her by showing that she’s affected by her – but, of course, she is.