Mrs. Dalloway; the Hours Michael

Mrs. Dalloway; The Hours

Michael Cunningham's The Hours is a tribute to the novel Mrs. Dalloway by Virginia Woolf. While the novels' settings differ in terms of time and location, several parallels can be drawn between characters and themes. This is especially so of Woolf's Clarissa Dalloway and her namesake in The Hours, Clarissa Vaughan. Both characters are representative of the concerns and obsessions of their respective settings. They furthermore influence and are influenced by the characters and the problems around them. Characterization then also occurs to a great extent by means of other character's opinions of the two "Clarissas." In both novels, other elements of characterization is accomplished by the Clarissa's actions and reactions to people and events around her, and to a lesser extent through descriptions by the authors. The character of Clarissa in each novel will then be considered individually, after which they are compared and contrasted in terms of their traits as well as their setting.

Mrs. Dalloway by Virginia Woolf

The setting in Woolf's novel is London during the 1920's. Clarissa Dalloway, the main character, is depicted through a single important day in her life: she is preparing a party for the social elite of the city. The party, at the beginning a symbol of superficiality, later takes on a deeper meaning as the reader is led to a deeper understanding of Clarissa's character. Clarissa polarity lies in both her shallowness and her depth. In her shallowness, she depicts the upper-class society of London during the time. Her depth on the other hand forms a polarity that is evident throughout the novel. Superficiality in the end exists only to hide the deeper problems that society as a whole and the characters individually are unable to face. In this capacity, Clarissa is characterized through her connections with society in general and the other characters individually.

Firstly the element of the party for which Clarissa is preparing, and the importance she attaches to it, appears superficial and empty. The party is the central image of the novel, around which every other event revolves. Clarissa puts a large amount of thought and effort into her preparations. She derives intense pleasure from the fact that she is providing society with a high profile event where they can gather. She happily takes over the "work" usually allocated to servants, including buying flowers (Woolf 5). She views this as an extremely important part of exercising her independence. Woolf also allocates the space of an entire novel to only the day on which the party occurs. At first this appears to be a comment on Clarissa's own shallow superficiality, which provides her connection with society.

This connection is established by Clarissa's childhood. Her parents are typical of the empty society that Woolf criticizes. They disapprove of anyone (such as Peter and Sally) who do not adhere to their view of proper behavior (Woolf 47). This upbringing is demonstrated by an episode from Clarissa's past. Clarissa dines with her friends, Peter and Sally, and the discussion focuses on a housemaid, who married the neighboring squire after giving birth to a child out of wedlock. While Sally and Peter are tolerant and understanding of the maid's behavior, Clarissa reflects her parents' attitude. She prudishly and coldly condemns the girl's improper actions.

The upper-class values cultivated in Clarissa since childhood survives into her adulthood. While she is at the florist, a car backfires suddenly. The event immediately gains added importance when someone hints at an important face seen in the car. Clarissa joins the community outside and makes every effort to see who it could be. Here the importance that both Clarissa and her society attaches to British figureheads and symbols is highlighted. Indeed, Clarissa surrounds herself with many such empty symbols. The car brings a feeling of magic to the day, although it is a powerless enchantment.

In her individual relationships, Clarissa also displays a large amount of superficiality. On her way to the florist for example, she looks for a book to bring Evelyn. While it is a caring gesture, her motive is somewhat shallow: Clarissa's concern is for Evelyn's approval. Her concern for approval and status is furthermore brought to light by means of her reaction to those she perceives as important in society. Lady Bruton is one such person. Although Clarissa does not like her, she nevertheless feels snubbed when only her husband is invited to lunch. Her personal feelings towards the Lady do not matter to Clarissa as much as that she was not invited to a supposedly "amusing" event. Her reaction to this is hurt and loneliness.

Clarissa's concerns for the empty values of society is also depicted through the eyes of those who observe and know her in their capacity as friends, acquaintances and rivals. Before she met Richard, her husband, Peter Walsh proposed to her. She however rejected him on the grounds that he would not give her the independence she so highly prizes. He reenters Clarissa's life on the day of the party. Although they are happy to see each other, Peter observes less than pleasant qualities in her. Together with Richard, Peter dislikes and criticizes Clarissa's parties, although he does not blame her for enjoying them (Woolf 54). Nonetheless, he experiences her older self as somewhat hard. He does not like her introducing her daughter as "my Elizabeth," viewing it as insincere and pretentious, like the society in which Clarissa lives. Despite their friendship, and the fact that he is desperately in love with her, Peter is by no means blind to Clarissa's flaws.

Clarissa also proves herself to be somewhat shallow and hard in terms of her own views. This element of hardness is reminiscent of the episode regarding the maid. In terms of her party, Clarissa's chilly behavior extends particularly towards Ellie Henderson. Ellie was neither important in social rank nor an interesting person in Clarissa's view. Nonetheless, a person for whose status Clarissa does care, Mrs. Marsham, requests that Ellie be invited. Clarissa is left with little choice.

Clarissa also lets her home- and society-induced coldness slip into her closer family relationships. Her relationship with her husband is for example rather distant (Woolf 132). He has not told her he loved her in years. When he is finally moved to buy her roses and to at least make an attempt at the words, he still cannot do it. Clarissa's superficiality also stands in the way of her relationship with her daughter, Elizabeth. Symbolic of the emotional distance is the physical dissimilarity between the girl and her parents. It is noted more than once that she does not look like either Clarissa or Richard. Her oriental quality gives Elizabeth a foreign and unapproachable air. The relationship with her mother is typified first in Clarissa's introduction of her daughter to Peter. More significant perhaps is Elizabeth's relationship with Miss Kilman, her history tutor. Miss Kilman is very negatively disposed towards Clarissa, whom she sees as superficial and vain. Clarissa in turn is also very negative towards Miss Kilman. Clarissa is fiercely jealous of Kilman's relationship with her daughter (Woolf 145).

Perhaps the strongest case for Clarissa's superficial character is made by her need for people to be reminded of her party. In this way the party as impersonal force appears to replace for Clarissa the depth that lacks in her family relationships. As Peter and Elizabeth leaves her company on respective occasions, Clarissa runs after each, reminding them to come to the party. Peter walks away without responding, and Elizabeth does not hear. This suggests that neither cares for Clarissa's parties as much as she does. Nor does it take for them the same significance as for her.

The servants however do become enthralled with the spirit of the party as the guests begin to arrive. At this event Clarissa further demonstrates her connection to the surface values of her society. The party is the culmination of the previously established values that Clarissa holds dear. The ritual of the party itself is superficial and insincere. Clarissa for example greets every guest with the words "How delightful to see you!." Her more negative feelings for certain guests are then hidden behind the light friendliness of the greeting. The guests act as is expected of them. Ellie Henderson, true to her previously established character, stands in a corner. She is quiet and shy and does not share in the spirit of the party. In contrast to her, the Prime Minister arrives. He is the most highly honored of the guests. Yet he looks surprisingly ordinary, upsetting the expectations of most guests. Clarissa spends a large amount of the evening with him.

Friendship and Suffering

Despite her many flaws and mainly superficial character, Clarissa also displays a depth that becomes increasingly apparent as her day progresses. She suffers from a heart-related illness not long before the day of the party. The suffering of this, along with Peter and Sally, her best friends, brings a surprising depth to her character. These elements of suffering and true friendship contribute to Clarissa's ultimate spiritual survival, despite her society and her own tendency towards flippancy.

Clarissa's illness brings with it a number of results. Her personality and outlook become altogether deeper than might be expected. She for example surprises the reader with her awareness of her own flawed nature. Perhaps her illness has brought her into contact with the flaws of the society around her and consequently the flaws that she has inherited.

She is for example deeply aware of the lack of depth in her regard for societal rank. This is awareness is partly the result of her illness and partly due to the opinions of people she cares about. Peter for example things that she is a snob, while Richard finds her and the parties she enjoys childish. Furthermore it appears to Clarissa that Richard has many worthy causes for which he works. She on the other hand cares more for roses than the human suffering Richard's endless committee meetings are meant to alleviate. Clarissa demonstrates depth of character by being aware of this flaw and feeling bad about it. On the other hand, she seems unable to help caring about apparently shallow things such as social rank and status symbols. It is however ironic that Richard in truth cares no more for the causes he champions than Clarissa does. This is demonstrated by the fact that he cannot remember whether his meeting concerns Armenians or Albanians. What he sees as his duty to society thus carries no more depth than Clarissa's parties.

The party itself also brings to light the contrast between Clarissa's depth and apparent lack thereof. While she adheres to the surface qualities and status she holds in such high regard, this makes her begin to feel hollow as she continues to greet each guest in the same manner. She also realized that the parties that used to fulfill her in the past has become less satisfying as she grows older. This is also indicative of the inner growth Clarissa experiences during her illness. There is however also another side effect that Clarissa becomes aware of after being ill.

There is a hatred inside Clarissa that she had never experienced before falling ill. The main subject of this feeling is Miss Kilman, the above-mentioned history tutor for Elizabeth. Clarissa experiences her hatred as monstrous and frightening. She is fully aware of it, but also unable to change it, like her adherence to the social values of her time. This is also manifest at the party. While finding herself less fulfilled by her social role, she also becomes aware of the burning hatred within herself (Woolf 203). The hatred is again sparked by thinking of Miss Kilman. Clarissa also becomes aware that while parties have become less fulfilling, her negative feelings have become more so.

Nonetheless, Clarissa is capable of kindness, as shown by Miss Pym at the florist's. This change in Clarissa also manifests itself physically. She is no longer happy with her appearance, and Peter imagines her falling to the floor and dying. This phantom death can be viewed as a symbol of the change and growth that Clarissa experiences. Part of her dies to be replaced by something new, which is at times frightening, but also valuable.

The duality that Clarissa discovers within herself is further embodied by her friend, Sally. Sally provides Clarissa with a depth of vision that would otherwise have been lacking. Despite the fact that her parents disapproved of both Peter and Sally, Clarissa nonetheless remains their friend. Part of her growth can then be ascribed to these people. Sally is a free spirit, but surprises all her acquaintances by marrying a rich man. This was a social expectation of the time, and neither Sally's outlook nor her actions during early adulthood adhered to society's norms. She therefore acts as the opposite of Clarissa, whose growth and change entails a movement away from the surface values of society. Sally nonetheless retains her basic spirit and personality, as Clarissa retains many of her socially induced values.

Most indicative of Clarissa's hidden depths is her views of people in general, as well as issues concerning life and death. Beyond her petty dislike of socially unacceptable people and issues, Clarissa nonetheless displays a remarkable tolerance. Because she feels at one with the world and everything in it, Clarissa is inclined (in most cases) not to be judgmental. She tends not to label or define people by age or circumstances. Her duality is once again evident here, as she obviously does label and define people to a great extent. Ellie Henderson and Miss Kilman are examples of this. Her friendship with Peter and Sally in the face of her parents' disapproval on the other hand shows that she does have a more tolerant quality than might at first be expected.

The most profound evidence of Clarissa's depth is perhaps her views on life and death. She appreciates life, and lives it from moment to moment. She takes as much enjoyment from her life, work and environment as possible. Philosophically death does not bother her, as she believes that a part of her remains wherever she goes. Her immortality is thus ensured. Clarissa's vivacity and happiness stems mainly from this basis, even though she is unable to articulate it early in the novel. When Peter questions her motivation for giving parties, she can only respond that it is an "offering." She is aware of the inadequacy of this answer, but is herself not yet quite in touch with the true depth and meaning of what she offers. The joy she derives from her social connections and status is merely a cover for the deeper satisfaction she derives. In view of this then, her earlier angry emotion towards Miss Kilman gives Clarissa satisfaction perhaps because it is sincere. It bothers her because she is not yet aware of the balance provided by her sincerity in another, more positive way.

The polarity in the novel then, like Clarissa's nature, extends beyond the superficial juxtaposition of social status vs. all "lower" forms of appreciation. It is a novel regarding how some have the strength to survive the rigors of socially imposed superficial values and their resulting issues of repression. This juxtaposition is presented in the persons of Clarissa and Septimus, the mentally ill survivor of World War I. The War has damaged him to the extent that he is unable to integrate into a society that does not cater for or even understand his needs. Septimus' illness has made of him an outcast, completely disconnected from society.

Clarissa's party here then takes a deeper meaning than merely a fashionable gathering of the time. It provides its patrons with the very basis of life in the face of death. It provides human connection and companionship against the forces of isolation. This is Clarissa's offering to her world. She wants people to be themselves (even those she reluctantly invites). She wants them, like her, to understand that labels and definitions are flexible and to be used sparingly. She wants everybody, like her, to enjoy life for the beauty it offers in every living moment.

This is the true depth that Clarissa offers her society, although she herself is not always aware of it. Her own socially induced values often override her deeper and more ponderous personality. Yet she does not allow this to detract from her purpose. Her illness and her resultant solitude are elements that she fights in order to derive greater enjoyment of life. This is a fight that Septimus loses and Clarissa wins. Repression, especially in the sense of sexuality, plays an especially significant role in Clarissa's personal war.

Clarissa's Repression

Clarissa is repressed in various ways by the society in which she lives. She accepts it readily, as she accepts most of the values imposed upon her. This acceptance is shown in her marriage to Richard. She forsakes her feelings for both Sally and Peter in order to better serve her society. The best way in which she can retain her independence is to marry Richard, himself a somewhat insincere and sterile product of his world. Only through her marriage to Richard is Clarissa able to offer her society the companionship of her party.

Sally, and to a lesser extent Peter, are however the personification of Clarissa's attempt to rebel against the empty values of society. She cares very much about Peter's opinion of her (Woolf 46). Sally again stirs passions in her that are forbidden by society, but that nonetheless contribute to her passionate enjoyment of each moment in life. Her closeness to Sally is thus an anchor in the face of the social repression placed upon her.

The alienation that Clarissa suffers is to a large degree attributed to her illness. It is her illness more than any other element that contributes to Clarissa's preference for solitude. This is also directly related to her sexual repression or even sterility, as often hinted at in the novel. When she for example returns from her errands for the party, Clarissa welcomes the cool isolation of the house (Woolf 33). It is her sanctuary, rather than the symbol of loneliness for her. Since her illness Clarissa had also taken to sleeping alone in the attic, separating herself from relations with her husband. The symbolism of the white sheets and the almost religious terms in which the solitary interior of the house is described points to a virginal and isolated innocence in Clarissa.

This isolation is taken to the extreme in the character of Septimus, whom it ultimately destroys. Clarissa's party then takes on even more significance, as it is the antidote to this kind of loneliness. There is nobody in society who understands Septimus or the nature of his illness. Indeed, he has met with only denial for the greater part of his post-war life. Clarissa on the other hand retains her social connections by means of her apparent superficiality. She uses this in order to create a deeper meaning and connection with other human beings through her party. Her gift to society is thus not merely a gathering, but an antidote to the progression from illness to isolation to death.

Virginia Woolf's Clarissa thus proves herself to be a person of enough depth to be aware of her own flaws as well as those of society. In contrast to Septimus however, she works with these flaws to remain connected with society. Even in her self-imposed isolation, she understands that this is a manifestation of illness. Health can only result by reconnection with other human beings, however painful the resulting negative emotions may be.

Septimus' inability to reconnect with society after the trauma of war results in his suicide. The fact that this happens during Clarissa's party reinforces the contrast between the characters as representative of life and death. Septimus proves that perpetual isolation means death. Clarissa shows how reestablishing a connection with society, however flawed or shallow, can also mean a reconnection to one's own deeper concerns for meaning and life. The same is true to a great extent of Cunningham's Clarissa Vaughan in The Hours.

The Hours by Michael Cunningham

There are many similarities between the works of Cunningham and Woolf. Not least of these are the basic concerns that each novel addresses. The society of the respective time periods, for example, imposes its own values and concerns upon the characters involved. The Clarissa in both novels is representative of using the forces of society in order to indulge the desire for continued life. Each lady also has a contrasting counterpart signifying illness and debilitating isolation. These concerns are depicted in much the same way as Woolf structures her novel; a single day in the lives of each character is depicted in detail. The similarities in the novels are more pertinent than the contrasts, which are mainly the result of the different time settings the characters find themselves in.

The society depicted by Cunningham forms a sharp contrast with the repressive environment in which Woolf's characters live. Almost everyone in the novel is for example homosexual. This is the accepted lifestyle of the time. Clarissa's world particularly is set in current Manhattan, New York. Like Clarissa and Richard in Woolf's novel, the parallel characters in The Hours are prominent members of their society, although not as such part of the super-rich upper classes. Each character is involved in the arts, which is an important part of their society, as is the social concerns and figureheads of British society.

The roles of the characters in each other's lives also vary according to Cunningham's modernized setting. Lovers leave each other's lives as easily as entering them. Furthermore it is not a question of marriage as much as living in a committed relationship. In this way there are fewer sexual repression issues in this novel. Repression issues are however replaced by relationship complications and a sense of confusion resulting from sexual freedom.

Richard is for example an ex-lover of Clarissa's. The latter has been given the choice that she was not allowed in Woolf's novel. She now lives in a committed relationship with her partner, also named Sally. Clarissa Dalloway finds a degree of satisfaction in the parties she arranges and attends. She derives little emotional or physical fulfillment in her relationship with her husband, but does through him retain her vital connection with life around her. Thus she uses the tools at her disposal to ultimately survive.