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1 Symbolism in the novel “The Light House” by Virginia Woolf
The Lighthouse symbolizes human desire, a force that pulsates over the indifferent sea of the natural world and guides people's passage across it. Yet even as the Lighthouse stands constant night and day, season after season, it remains curiously unattainable. 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. 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.Remember? In their youth, Mr. Bankes and Mr. Ramsay are walking down the road when a hen comes flying up to protect her chicks, and Mr.
Ramsay goes, "Pretty pretty." According to Mr. Bankes, that’s when their friendship stopped. The two of them were down metaphorically different roads. So what’s with the hen? Why not a tree stump or a horse? Well, a hen protecting her chicks is pretty domestic. Mr. Bankes is trying to say – and he does say it later – that Mr. Ramsay’s turn to the domestic life is what killed their friendship. And that’s expressed symbolically by the hen in the road and Mr. Ramsay saying, "Pretty pretty."
So waves do a couple things in To the Lighthouse. First, and most importantly, they are the drumbeat of Time for Mrs. Ramsay. They are usually a soothing force, but they take on a more ominous tone when they become synonymous with destruction. For Mr. Ramsay, waves are a destructive power because they are part of the vast sea of human ignorance that eats away at a little spit of land symbolizing human knowledge. We threw out the idea that waves are a negative force, but our trash guy picked it up and threw it back at us. Smart man. How can you attach a value to the rhythm of life itself? The waves represent flux – you know, ups and downs, as well as forcibly reminding Mrs. Ramsay of transience. Life, as well as waves, always goes on, but they’re never the same. So, if you didn’t pick up on it by now, the impermanent waves are a counterpoint to the permanent light from the Lighthouse. Before launching into what Virgini
W oolf might be talking about with this here Lighthouse, let's take a second to consider what a lighthouse is. (Here's a photo.The tells us that it's a "tall structure topped by a powerful light used as a beacon or signal to aid maritime navigation." So, metaphorically speaking, a lighthouse is a beacon. It's something people who are lost can look towards for guidance. And it's a "tall structure" – a big, solid, unmoving structure. But that powerful light? It does move. When the night falls, it flashes on, and when the sun rises, it shuts off. So a lighthouse works as both a symbol of stability (as a beacon) and of change (as its lights go on and off with the turning of the day).Now, about this specific Lighthouse.
We know that it's visible from the Ramsays' summer home but separated from it by a stretch of sea, because Mr. Ramsay loves to look at it (see 1.1.22). And we know that, at least at first, James Ramsay really wants to get there – so much that when Mr. Ramsay says they won't be able to sail to the Lighthouse the next day, James Ramsay contemplates murder: "Had there been an axe handy, a poker, or any weapon that would have gashed a hole in his father's breast and killed him, there and then, James would have seized it" So, why do James and Mr. Ramsay have so much invested in the Lighthouse – either in getting to it in the first place or in preventing others from going? Well, one important thing they share in common is that they're both guys. Another important thing? They're both really into Mrs. Ramsay. Sure, one's her husband and the other's her son, but they feel they have to compete with each other for her attention – remember: "most of all [James] hated the twang and twitter of his father’s emotion which, vibrating round them, disturbed the perfect simplicity and good sense of his relations with his mother" . So we don't exactly think it's far-fetched that this whole conflict over whether they'll go to the Lighthouse might be connected to the way James and Mr. Ramsay seem to be wrangling over Mrs. Ramsay.
What we're getting at, in a roundabout way, is that the Lighthouse is potentially a symbol for family structure, and especially for the authority of the father in the traditional family. Not to be crude or anything, but the lighthouse is kind of a phallic symbol, and phallic symbols in literature.James and Mr. Ramsay are squabbling over who gets power over the family: Mr. Ramsay is the authority figure, so he gets to say "No! the weather will be bad!" And James is a rebel who's all "Why do you have to ruin everything? Just as I'm getting along so well with Mom!" But in the end, James concedes that his dad always seems to wind up being right – which just makes everything worse for him. James won't get to the Lighthouse in this section of the novel, and the family power remains largely in Mr. Ramsay's hands. Their relations become more complicated in Section Three – but for more on that, see James Ramsay'sCharacters analisys."often mean that there are daddy issues coming down the pike.
Other evidence for this reading? We've got lots. Consider Charles Tansley, that unpleasant guy who's always hanging around in the first section. He looks up to Mr. Ramsay (he wants to be him, basically). He's embarrassed by his own inability to insert himself successfully into social situations. And he's oppressive when it comes to the relationship between women and artistry – he basically tells Lily Briscoe that women can't paint or write Charles is obviously concerned with maintaining the patriarchal status quo. So he takes it upon himself to tell James Ramsay that James won't be able to go to the Lighthouse the next day ). See, he's joining Mr. Ramsay in keeping the power of the Lighthouse away from the other members of the Ramsay family – because if Charles Tansley can't have patriarchal authority, no one (except, you know, Mr. Ramsay) canAnd how about Mrs. Ramsay? Here's where this gets really interesting, because Woolf loves to explore ways of thinking about family and lineage outside the traditional father-son trajectory. So motherhood is a big deal in a lot of her work. One thing that's interesting about Mrs. Ramsay is that she knows that James won't be able to get to the Lighthouse, but she doesn't want to tell him. She hides the unpleasant truth from him, just as she wraps that boar skull in her shawl so that Cam can go to sleep in Part One, Chapter Eighteen. Mrs. Ramsay makes Mr. Ramsay's domineering, oppressive ways manageable for the Ramsay kids who have to live with his bullying. She genuinely loves Mr. Ramsay and she genuinely loves her kids – and she's also what stands between Mr. Ramsay and his family to make sure that all of them can live together.Mrs. Ramsay finds Mr. Ramsay's place at the head of their traditional family necessary, natural, and inevitable, but she knows that it's hard for her children to accept. So she does her best to make everything run smoothly: that's her great talent. The Ramsays' traditional family would be impossible without her soothing influence.
The book underlines Mrs. Ramsay's own investment in the Lighthouse (and in the importance and authority of fatherhood) by emphasizing that she makes charitable donations to the Lighthouse keeper (who, apparently, has a son with a "tuberculous hip" ). She's not only looking after her own children – she's such a Supermom that she can also look after other people's kids. In a larger sense, Mrs. Ramsay's charitable work is linked to the Lighthouse because it's part of her role as a traditional mother to take care of people. If the Lighthouse symbolizes the power the dad has in the traditional family, the charity is like the mother's place in that power structure. The dad is a beacon; he's what people are imitating, while the mom takes care of everybody. Mrs. Ramsay's support for this division of labor is pretty apparent when she gets all reproving with her daughters in that internal monologue in the first section of the novel:For how would you like to be shut up for a whole month at a time, and possibly more in stormy weather, upon a rock the size of a tennis lawn? she would ask; and to have no letters or newspapers, and to see nobody [...] How would you like that? she asked, addressing herself particularly to her daughters. So she added, rather differently, one must take them whatever comforts one can. 
In other words, sure, it stinks always to be in a subordinate position in a family, but at least women don't get stuck with the lonely, difficult work of being model dads. Mrs. Ramsay gets that the patriarchy isn't great for her – but it's not great for Mr. Ramsay or the Lighthouse keeper either. She sees it as her natural job to make things better for those poor guys. Besides, Mrs. Ramsay might say, everyone has to get married anyway, right? The answer to that question belongs to Lily Briscoe: Lily doesn't have to get married because she has her work.
She can see the Lighthouse, but instead of trying to get there, instead of trying to fit herself into a traditional womanly or maternal role, she paints the scene in front of her. She uses her art to represent the essence of the Lighthouse without actually having to be part of everything it represents. Lily basically marries her art, so there's no cause for her to try to sail to the Lighthouse in Part Three: the Lighthouse doesn't offer her anything besides an attractive view and some perspective on what drives Mr. Ramsay.We've talked about the Lighthouse as a symbol for family authority and how control over getting to the Lighthouse has a lot to do with family power. But what about the whole eternal-yet-shifting thing we brought up way back in the first paragraph of this discussion?
Like the Lighthouse tower itself, the family as an institution is (or at least, seems) solid and unchanging. But individual families come and go as rapidly as a lighthouse beacon goes on and off – time changes the shape of all families (remember the loss of Mrs. Ramsay in Part Three?). As is the case in many Woolf novels, the progress of time is a major theme of To the Lighthouse. No matter how solid Family may seem as a concept, every family has its own private shape and trajectory, a tension between the ideal and lived reality that the Ramsay family certainly dramatizes. Virginia Woolf’s fifth novel To the Lighthouse, which first appeared in 1927, captures its readers with its characterisation of the Ramsay family and their guests who meet at their holiday home on the Isle of Skye, an island near the Scottish mainland. The novel is set in a ten year period with the first section taking place on a day before the First World War, a middle period in which all the action happens “off stage” during the war and a last section taking place on a day after the war.Virginia Woolf uses stream of consciousness narration which, unlike traditional linear narration, records thoughts in the order in which they arise without bringing them in a rational or chronological context. This sort of narration can make it difficult for the reader to follow the story. Therefore, the novel is structured round a series of images which help to bind the prose into coherence in the absence of a strong story. These images can be regarded as motifs, recurrent elements which assist our understanding of the novel. If certain meanings and associations cluster around them, these motifs become symbols. In this way, “external objects can become symbols for one’s own feelings. As such they become a means of investigating one’s feelings or providing a focus for them.acquiring symbolic weight; and once a symbol is
If we are alert to the imagery, frequently we will see images, as simile or metaphor, graduallyestablished, it is often possible tot race thenovel’s narrative progress through the extension and expansion of that symbol. By moving into To the Lighthouse is full of symbols which have been interpreted in many different ways by various critics. Many of those interpretations deal with the central image of the novel, the lighthouse. It has been said to represent a religious symbol by some critics, a phallic symbol by some others. It has been connected with Mr Ramsay in some essays, with Mrs Ramsay in others^] But just as James says in the novel: “Nothing is simply one thing.” As a consequence, the symbols in the novel can have several different meanings. The following paper will closely examine the major motifs and symbols in To the Lighthouse.
First of all, a short introduction will be given about Virginia Woolf’s use of motifs and symbols in her work. Then, the lighthouse image will be looked at, taking into consideration its function, its different symbolic meanings and separating it from the lighthouse beam which has a special function in the novel. As a third point, the different elements of land and sea as well as their impact on the different characters will be examined. The next chapter of this paper will then focus on the holiday residence of the Ramsay family. First of all, the function of the garden, especially of the hedge, will be analysed. After that, the focus will be on the house, especially on the most significant components of the house which are the windows. After that, the opposition between cutting objects and knitting needles and its function in the novel will be very briefly examined. Finally, the paper will look at two other important images in To the Lighthouse which have grown to symbolic potential, namely the alphabe. Symbols and motifs are very important in the writings of Virginia Woolf. “She knew how an image could grow to symbolic potential in order to carry her narrative forward; and she was sensitive to the way poetic connotations accrue to define the numerous inflections upon which the meaning of her novel would rest.”Virginia Woolf seems to have dedicated a large amount of her time and thought determining the nature and scope of symbols. In her diary as well as in her critical essays, she worked out a theory about the use of symbols.One important aspect which she stresses in one of her essays, entitled “On Not Knowing Greek”, is that “a symbol should have some similarity to the thing symbolised, which it should make splendid”^]. There must be some community between the thing symbolized and its meaning because, otherwise, it would not be a symbol but only empty imaginati.
By the bold and running use of metaphor he will amplify and give us, not the thing itself, butthe reverberation and reflection which, taken into his mind, the thing has made; close enough,to the original to illustrate it, remote enough to heighten, enlarge, and make splendid.Furthermore, Virginia Woolf states that “the intuitive realization that a symbol imparts to us should be instant, because we start doubting the real and the symbolical if we do not apprehend symbol and meaning simultaneously”By saying that “symbols should not inform but suggest and evoke”, Virginia Woolf stresses the importance of not completely working out a symbol’s meaning but leaving a part of it to the reader’s imagination.The use of symbols should be conscious, as they function “to suggest and to give insight into the ineffable in human thought and feeling, or to heighten and make splendid the desired emotions and ideas”. Thus, the symbols used by Virginia Woolf also give insight into her mind and her feelings.According to Woolf, repeated images, characters, atmosphere and actions can have symbolic value. She explains why we need symbols by stating that “words are meagre in comparison with ideas”.
She made a frequent use of symbols which was partly due to her illnesses. Virginia Woolf was a very ill person throughout her whole life and she suffered from different diseases like influenza, headaches and even hallucinations. She had some nervous breakdowns and depressions and it often took her a very long time to recover. According to Virginia Woolf, insanity lies just beneath the surface of sanity. Her long-time illnesses frequently supplied her with ideas for her literary work. Something happens in my mind. It refuses to go on registering impressions. It shuts. itself up. It becomes chrysalis. I lie quite torpid, often with acute physical pain …Then suddenly something springs … ideas rush in me; often though this is before I can control my mind or pen.One of those attacks of depression happened during her work on To the Lighthouse, making her incapable of any steady work during two months. This depression might have had some impact on her fifth novel. The lighthouse is the central image as well as the strongest and most meaningful symbol of the novel.