Dwyer 1

Dillon Dwyer
Dr. John Nelson
Intro Criticism
11/23/14
The Disillusionment of Center: A Deconstructionist Examination of the Sanity/Insanity Binary
Present in the Relationship between the Characters of Septimus Smith and Sir William Bradshaw
in Mrs. Dalloway
Western ideologies, dating back to the time of Plato, have long held the assumption of an
ultimate truth. Most of western thinking has commonly held the belief that there is a fixed center
of truth that everything else can obtain a correct meaning from based on how an object or idea is
positioned next to this universal center of truth. Such a rigidly structured ideology was turned
inside out by Jacques Derrida, a French philosopher and the father of deconstructionism. In
1966, Derrida began to develop the foundation for deconstructionist criticism. He would come to
question the validity of the idea that there was one ultimate truth that functioned as a
transcendental signified, or external point of reference that allowed people to understand reality
through a single correct perspective. This logocentrism, or desire for a unified center of meaning,
lead to the development of an either-or way of thinking that allows for only one correct view
of reality. Because of this either-or way of thinking, binary oppositions are created that give
rise to ideas like right and wrong (Bressler). By following Derridas deconstructionist approach
to analyzing a text and decentering oneself from the text, through the examination of the validity
of both sides of a binary opposition, a novel like Virginia Woolfs Mrs. Dalloway can attain
meaning and be perceived from multiple individualized centers of truths.

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A key binary opposition, which presents itself as an excellent starting point for
deconstruction in Mrs. Dalloway, is present in the tension between the characters of Septimus
Smith and Sir William Bradshaw. Septimus, as a character, comes to represent a certain freedom
in thought, action and choice. In opposition to that freedom, Sir William Bradshaw represents a
level of restraint, or proportion as Bradshaw describes it in the novel, in thought, action and
choice. While both characters are at extreme ends of the same spectrum, the logocentrism of the
casual reader might privilege Bradshaw as having the more correct perspective. For those readers
who perceive Septimus as being mentally ill, Bradshaw can assume a positon as the binary
opposite of mental illness and lay claim to sanity. On the other side of that perspective, Virginia
Woolf, and readers in tune and empathic to her real life situation, might argue that it is in fact
Bradshaw who is insane for wishing to place his controlling ideology of proportion onto those
who would think differently and more freely than his own mind could perceive. In accords with
deconstructionist criticism, it is not the purpose of this essay to position which perspective is
right or more correct. It is the goal of this essay to offer up that both perspectives are from
different frames of reference, or centers of truth, and are both valid within the text.
In the mind of a casual reader, one whose center of truth is based around Septimus being
dangerous because of his perceived insanity, the relationship that exists as a binary of insanity
and sanity between Septimus and Bradshaw can be explored and be used to provide meaning to
the text. Evidence of Bradshaws sanity can be gained from the text presenting Septimus as being
unpredictable, and having a distracted demeanor and distraught worldview. Septimus standing
directly in the way of a car is one of the first instances of him in the text and provides readers
with a glimpse of one of the potential dangers that concern Bradshaw. Readers can see
Septimuss dangerously oblivious nature in this excerpt pulled directly from the text, It is I who

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am blocking the way, he thought (Woolf 15). Septimus will again presents himself as dangerous
when he tells Rezia that they should both kill themselves because of how horrible the people
around them appear to him. Displayed in the text as, He would argue with her about killing
themselves; and explain how wicked people were; how he could see them making up lies as they
passed in the street (Woolf 65). Though, the ultimate act of proof that can be presented as
evidence of Bradshaws sanity and Septimuss insanity is given when Septimus commits suicide.
In taking his own life, Septimus essentially does what Bradshaw was aiming to prevent from
happening. Armed with these instances from the text, a reader can make an argument for the
view that Septimus is insane and dangerous and Bradshaw is sane and being proactive in wanting
to remove Septimus from society.
In the mind of Virginia Woolf, and readers who emphatically view the world in the same
light as her, another center of truth can be found in the text. Readers can view Bradshaw as the
insane character and Septimus as being the sane one. Evidence of this perspective can be found
by looking at how characters react to the presence and ideology of Bradshaw. When Rezia and
Septimus first meet Bradshaw to discuss Septimuss condition, both view Bradshaw as having
his own personal agenda that neither of them agree with. Here is how the text describes
Septimuss feelings about his visit with Bradshaw:
Once you fall, Septimus repeated to himself, human nature is on you. Holmes and
Bradshaw are on you. They scour the desert. They fly screaming into the
wilderness. The rack and the thumbscrew are applied. Human nature is
remorseless. (Woolf 95)
The text then goes on to describe how Rezia feels about the situation, Never, never had Rezia
felt such agony in her life! She had asked for help and been deserted! He had failed them! Sir

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William Bradshaw was not a nice man. (Woolf 96). The text continues along the same lines of
thought in reference to how Rezia feels about Bradshaw a few pages later:
He swooped; he devoured. He shut people up. It was this combination of decision
and humanity the endeared Sir William so greatly to the relation of his victims.
But Rezia Warren Smith cried, walking down Harley Street, that she did not like
that man. (Woolf 99)
Again though, as was the case with the opposite perspective, the ultimate proof that can be
presented as evidence of Bradshaws insanity and Septimuss sanity can be found in Septimuss
suicide. In choosing to kill himself instead of submitting to Bradshaws treatments, Septimus
demonstrates that he would rather be free to his own thoughts than be forced to think and act
according to Bradshaws standards, which being forced upon him resulted in Septimuss choice
of suicide. Armed with these pieces of evidence, an argument for a view where Septimus is sane
and Bradshaw is insane can be made just a validly as the reverse argument.
Ultimately, the interpretation of the binary opposition that places either Bradshaw or
Septimus as sane or insane is relative to how the reader interprets evidence that presents itself in
the text. By examining how potentially dangerous Septimuss condition can be, readers can
center themselves and view the sanity binary in a way that positions Septimus as being insane.
On the flip side of that position, by examining how controlling Bradshaw is and how unhappy he
makes people feel, readers can center themselves from that point and view Bradshaw as the
insane one for wanting to take away peoples free wills. Neither position is more correct than the
other position. Both positions present themselves with evidence from the text. By abolishing
logocentrism, through the examination of opposing sides of the sanity binary present in Mrs.

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Dalloway, readers can come to terms with the fact that there are multiple interpretations of the
text each valid from their own vantage points.

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Works Cited
Bressler, Charles E. Literary Criticism: An Introduction to Theory and Practice. Boston:
Pearson, 2011. Print
Woolf, Virginia. Mrs. Dalloway. New York: Harcourt, 2005. Print.