“Oh it was a letter from her! This blue envelope; that was her hand. And he would have to read it. Here was another of those meetings, bound to be painful! To read her letter needed the devil of an effort…But it upset him. It annoyed him. He wished she hadn’t written it. Coming on top of his thoughts, it was like a nudge in the ribs.” (151)
Woolf, Virginia. Mrs. Dalloway. Harcourt, 1925.
This insight into Peter’s thoughts allows the reader to understand and connect to how he feels about Mrs. Dalloway; the reader sees that he even knows her handwriting. Peter is somewhat happy about receiving a letter, but quickly retracts those thoughts because he knows that nothing will come of it, and it adds to his pain.
“But this question of love (she thought, putting her coat away), this falling in love with women. Take Sally Seton; her relation in the old days with Sally Seton. Had not that, after all, been love?”
Woolf, Virginia. Mrs. Dalloway. New York: Harcourt Inc., 1925
Here again, as we can see it several times in the novel, it’s interesting and still surprising to see how casually an important question -if she loved a woman- followed by memories, comes to Clarissa’s mind just as she comes home and gets off her coat.
“The sounds of Big Ben striking the half-hour stuc out between them with extraordinary vigour, as if a young man, strong, indifferent, inconsiderate, were swinging dumb-bells this way and that.” (Woolf 48).
Woolf, Virginia. Mrs. Dalloway. New York: Harcourt Inc., 1925. Print.
The idea of time is so important in this passage because it humanizes “time” by describing Big Ben as a “young man” and throughout the story Big Ben disrupts people during their daily routine, reminds them of their time, and helps them become aware of their time while also pacing them. Big Ben is constantly mentioned throughout the story almost making it seem to the reader as if it was one of the main characters. It keeps reminding the characters in the story that time is important and can not be wasted.
“Through all ages — when the pavement was grass, when it was swamp, through the age of tusk and mammoth, through the age of silent sunrise, the battered woman — for she wore a skirt — with her right hand exposed, her left clutching at her side, stood singing of love — love which has lasted a million years, she sang, love which prevails, and millions of years ago, her lover, who had been dead these centuries, had walked, she crooned, with her in May; but in the course of ages, long as summer days, and flaming, she remembered, with nothing but red asters, he had gone; death’s enormous sickle had swept those tremendous hills, and when at last she laid her hoary and immensely aged head on the earth, now become a mere cinder of ice, she implored the Gods to lay by her side a bunch of purple-heather, there on her high burial place which the last rays of the last sun caressed; for then the pageant of the universe would be over.”
Peter Walsh seems to be projecting his own dissatisfaction with love onto a random battered woman in a park; in that case, this monologue might not be interior at all because it doesn’t completely belong to either character.
“The worst, he said, were the women with dead babies. You couldn’t get the women to give up their dead babies. They’d have babies dead for six days. Wouldn’t give them up. Nothing you could do about it”
E. Hemingway. In Our Time. “On the Quai at Smyrna”. New York: Scribner. 2003. Print. p.11
This passage depicts the relationship of mothers and their children. It is both a horrifying and a loving portrayal about mothers and their babies. It is horrifying because they are holding onto the body of their babies that no longer live; however, it is also loving because they cannot separate from the beings they gave life to. This was an interesting passage because it suggest such a strong bond between mothers and their children.
“Then I told the Turk the man was being sent on board ship and would be most severely dealt with. Oh most rigorously. He felt topping about it. Great friends we were.” (p.11)
E. Hemingway. In Our Time. “On the Quai at Smyrna”. New York: Scribner. 2003. Print.
This is just one of the first examples I have found in this boo about how emphasis is created through a repetition.He also uses a rhetorical device with the last sentence to portray a sense of either a point of truth or irony. (I’m not really quite sure)