How we cite our quotes: (Chapter.Paragraph)
Quote #1
"The time approaches when these soliloquies shall be shared. We shall not always give out a sound like a beaten gong as one sensation strikes and then another. Children, our lives have been gongs striking; clamour and boasting; cries of despair; blows on the nape of the neck in gardens." (2b.17)
This is Louis seemingly foreshadowing the fact that the six narrators' perspectives might actually be (or become) one. That's kinda-sorta romantic, in a '90s way.
Quote #2
"Having dropped off satisfied like a child from the breast, I am at liberty now to sink down, deep, into what passes, this omnipresent, general life. (How much, let me note, depends upon trousers; the intelligent head is entirely handicapped by shabby trousers.) One observes curious hesitations at the door of the lift. This way, that way, the other? Then individuality asserts itself. They are off. They are all impelled by some necessity. Some miserable affair of keeping an appointment, of buying a hat, severs these beautiful human beings once so united." (4b.3)
This observation comes from Bernard as he's watching a group of train passengers scatter after riding the night train together. In Bernard's view, sharing the ride has created some kind of union between them all that is now broken as they "assert" their own individuality. He also associates their tedious daily routines and actions with this assertion of individuality, which is interesting…
Quote #3
"Now I am drawn back by pricking sensations; by curiosity, greed (I am hungry) and the irresistible desire to be myself. I think of people to whom I could say things: Louis, Neville, Susan, Jinny and Rhoda. With them I am many-sided. They retrieve me from darkness." (4b.7)
This quote from Bernard shows how crucial Louis, Neville, Jinny, Susan, and Rhoda are to his sense of identity, and specifically his sense that he's "many-sided."
Quote #4
"And then," said Bernard, "the cab came to the door, and, pressing our new bowler hats tightly over our eyes to hide our unmanly tears, we drove through streets in which even the housemaids looked at us, and our names painted in white letters on our boxes proclaimed to all the world that we were going to school with the regulation number of socks and drawers, on which our mothers for some nights previously had stitched our initials, in our boxes. A second severance from the body of our mother." (4b.29)
Bernard thinks about how the children separated to go off to boarding school. He connects this separation from his school buddies to the separation of mother and child… abandonment issues much?
Quote #5
"There is a red carnation in that vase. A single flower as we sat here waiting, but now a seven-sided flower, many-petalled, red, puce, purple-shaded, stiff with silver-tinted leaves—a whole flower to which every eye brings its own contribution." (4b.39)
Here, Bernard observes that the seven friends assembled together make up a kind of "whole" that is symbolized by the seven-petalled flower. As they are waiting for Percival, the friends reflect that the group is not complete without their seventh member, and it is clear throughout the novel that each character's unique characteristics and personality contribute something distinct to the group. The flower shows this novel's emphasis on the multifaceted.
Quote #6
"Marriage, death, travel, friendship," said Bernard; "town and country; children and all that; a many-sided substance cut out of this dark; a many-faceted flower. Let us stop for a moment; let us behold what we have made. Let it blaze against the yew trees. One life. There. It is over. Gone out." (8b.44)
In reflecting upon the many different lives the narrators have led and the priorities they have, Bernard once again envisions the friends as a flower, this time "many-faceted" rather than "many-petalled." Here, the single flower also becomes the symbol of the "one life" that the characters have shared.
Quote #7
"But we were all different. The wax—the virginal wax that coats the spine melted in different patches for each of us. The growl of the boot-boy making love to the tweeny among the gooseberry bushes; the clothes blown out hard on the line; the dead man in the gutter; the apple tree, stark in the moonlight; the rat swarming with maggots; the lustre dripping blue—our white wax was streaked and stained by each of these differently. Louis was disgusted by the nature of human flesh; Rhoda by our cruelty; Susan could not share; Neville wanted order; Jinny love; and so on. We suffered terribly as we became separate bodies." (9b.5)
Now Bernard reflects on what made each of the narrators distinct and how those differences developed.
Quote #8
"…We saw for a moment laid out among us the body of the complete human being whom we have failed to be, but at the same time, cannot forget. All that we might have been we saw; all that we had missed, and we grudged for a moment the other's claim, as children when the cake is cut, the one cake, the only cake, watch their slice diminishing." (9b.48)
Here, Bernard addresses this thorny question of whether the different narrators have actually been separate entities all this time or not. Because Bernard says they have "failed" to be a complete human being, it kind of sounds like maybe this "six narrators-in-one" thing was metaphorical? We really wish Woolf was around to answer this one.
Quote #9
"Wait," I said, putting my arm in imagination (thus we consort with our friends) through her arm. "Wait until these omnibuses have gone by. Do not cross so dangerously. These men are your brothers." In persuading her I was also persuading my own soul. For this is not one life; nor do I always know if I am man or woman, Bernard or Neville, Louis, Susan, Jinny, or Rhoda—so strange is the contact of one with another." (9b.53)
Again, Bernard is suggesting how intertwined the lives of the narrators are and blurs the boundaries between their individual identities (and even between the categories of male and female).
Quote #10
"And now I ask, "Who am I?" I have been talking of Bernard, Neville, Jinny, Susan, Rhoda and Louis. Am I all of them? Am I one and distinct? I do not know. We sat here together. But now Percival is dead, and Rhoda is dead; we are divided; we are not here. Yet I cannot find any obstacle separating us. There is no division between me and them. As I talked I felt "I am you". This difference we make so much of, this identity we so feverishly cherish, was overcome. Yes, ever since old Mrs Constable lifted her sponge and pouring warm water over me covered me with flesh I have been sensitive, percipient. Here on my brow is the blow I got when Percival fell. Here on the nape of my neck is the kiss Jinny gave Louis. My eyes fill with Susan's tears. I see far away, quivering like a gold thread, the pillar Rhoda saw, and feel the rush of the wind of her flight when she leapt." (9b.68)
In discussing the connectedness of the narrators' lives, Bernard explicitly floats the idea that the others may have been simply facets of Bernard rather than separate characters. However, he also insists on leaving this question ambiguous, responding "I do not know" to the question of whether they are actually one and the same or not.