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Master of Arts
by
Layla Earnest
May 6, 2011
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Abstract
The nineteenth-century female writer had to contend with a male dominated profession that
illusion of a unified self. Especially potent is the absent mother trope. The death of the
mother and her absence she left behind often acted as a catalyst that helped the protagonist
gain a better, unified vision of self. Within literature and within the nineteenth and twentieth-
century understanding of identity formation and language acquisition, the mothers only
power is her silence and absence. In order to understand how the female writer was able to
appropriate masculine, patriarchal language and change literature, I analyze and discuss
Mary Shelleys Frankenstein and Virginia Woolfs To the Lighthouse using Julia Kristevas
concept of the semiotic and symbolic processes in language. When examined in this way,
Shelleys Frankenstein acts as a critique of the patriarchal unified self that male Romantic
literature often tried to illustrate through the use of the organic imagination. Woolfs To the
Lighthouse also recognizes patriarchys need for an, although more shattered and broken,
unified masculine self during the era of Modernism. In Frankenstein, Victor Frankensteins
mother dies a self-sacrificial death and forces Frankenstein to confront the semiotic (defined
as loss of boundaries and definition associated with the pre-symbolic stage and the mother-
child relationship before language acquisition). Through Mrs. Ramsays absence, Woolfs
characters confront the semiotic in To the Lighthouse. Because Frankenstein and the men in
To the Lighthouse live within a patriarchal society that divides the feminine into the
domestic, private sphere and the masculine into the economic, political, public sphere and
allows no fluidity or flexibility to gender identity, men repress and deny the semiotic process
in identity formation and language. As a result, the semiotic in Frankenstein becomes abject,
iii
and Frankenstein creates a monster. Abjection encompasses the threat that the semiotic space
poses to rigid and fixed definitions of self and language. Embroiled in a classic, epic battle,
Frankenstein and his monster attempt to deny and repress any semiotic or feminine notions.
To the Lighthouses male characters, particularly Mr. Ramsay, constantly deny the semiotic
aspect of language and, instead, constantly seek sympathy from Mrs. Ramsay in order fulfill
their own sense of fixity and stability. However, Woolfs To the Lighthouse suggests that by
exposing both the dangers and potential power of the absent mother, the female writer/artist,
from the daughters position, is able to recognize both the feminine/semiotic and
masculine/symbolic process in language. Lily, from the position of the daughter-artist finds
iv
Acknowledgements
I want to thank the professors of the English department for helping me view
literature and the world from different and varying unique perspectives. Every ENMU
English class I took exposed me to interesting and provocative literature and helped me to
question and critique my former ideas about society, gender, and the individual.
Specifically, I would like to thank my thesis committee. Dr. Nina Bjornsson was an
immense help and an incredibly supportive chair. Our meetings and discussions helped me
better understand my own thinking and writing process and how to successfully and critically
engage in the literature I examined in this thesis. She helped me develop the female voice I
searched for in my thesis, and she helped me make sure that voice could be clearly heard.
Dr. Carol Erwin has also been an incredible support through the writing process of my thesis.
Whenever I felt stuck in textual chaos, she would help me reflect and remain calm and
organize my thoughts so that I could find my voice. Dr. Erwin played a pivotal role in
helping me develop self confidence in my own writing ability. I am also very indebted to Dr.
Linda Sumption for helping me through the whole thesis process. She has been very patient
and supportive and has always been able to ask seemingly simple questions that have helped
Lastly, I need to extend many thanks to my husband Rick and my three daughters;
Winter, Asia, and Devin. My husband, Rick, has been incredibly supportive and has always
attentively listened to my newly forming ideas. He asked me multiple questions and kept me
engaged in the critical thinking process. My daughters have been the inspiration beneath
many of the concepts, theories, and ideas I explore throughout this thesis. Without them, I
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would have never been able to write this thesis, and it is for my daughters I wrote about the
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Table of Contents
Page
Abstract iii
Acknowledgements. v
Introduction. 1
Chapter
Notes 64
Works Cited. 66
vii
Introduction
I bid my hideous progeny to go forth and prosper Mary Shelleys Preface to Frankenstein
For we think back through our mothers if we are women Virginia Woolf
And the phantom was a womanI called herThe Angel of the HouseAnd when I came to
write I encountered her with my very first wordsI turned upon her and caught her by the
throat. I did my best to kill herhad I not killed her she would have killed meShe was
always creeping back when I had thought I had dispatched her Virginia Woolf
Absent mothers are central to both Mary Shelleys Frankenstein and Virginia
Woolfs To the Lighthouse. Several critics note that Frankenstein was very much influenced
by Shelleys influential mother, Mary Wollstonecraft, who died shortly after giving birth to
Mary Shelley. Other critics suggest that To the Lighthouse was an exploration of Woolfs
memories of childhood and her mother, Julia Stephens, who died when Woolf was only
thirteen years old. Sandra M. Gilbert and Susan Gubars The Madwoman in the Attic notes
that while female writers find it necessary to write through our mothers, they must also
kill the aesthetic ideal through which they themselves have been killed into art. And
similarly, all women writers must kill the angels necessary opposite and double, the
monster in the house, whose Medusa-face also kills female creativity (17). However,
Shelleys and Woolfs quotes attest to the complex and contradictory relationship the female
writer has to mother tropes that act as aesthetic ideals that precede them. Rather than killing
the monster, Shelley bids her Frankenstein monster to go forth and prosper. Similarly,
before she necessarily kills The Angel in the House in her novel To the Lighthouse, Woolf
contemplates and mourns her loss and attempts to identify new artistic representation through
her death.
2
Shelley and Woolf, as female writers in the nineteenth and early twentieth centuries,
rely on idealized mother figures, because they wrote within the confines of patriarchal culture
that created a literary relationship of sonship that excluded the female writer by reducing
her to extreme stereotypes [angel, monster] (Gilbert and Gubar 7). They had to contend
with feminine representations that exclude them as writers, in order to appropriate and
subvert the paternal literary tradition. Shelley and Woolf follow a long, patriarchal tradition
of using the absent mother trope that has been a part of literature at least as far back as
Beowulf. The representation of the absent mother has continued throughout English and
American literary history in the canonical works of writers, such as Shakespeare, Austen, and
Disney films such as Bambi and Cinderella. Gilbert and Gubar have noted that the female
figure, including that of the mother, has often been killed in literature in order to provide an
Shelleys and Woolfs marginal position within patriarchy as female writers, and because of
their unique mother/daughter relationship, their use of the absent/dead mother acts as a
Psychoanalytic theory posits that the mother, as the feminine principle, has
traditionally been the place of loss, the object that men and women must escape in order to
define themselves as separate entities, as speaking subjects, and as writers with voice.
However, Julia Kristeva continues to critique the contradictory relationship between the
absent mother and the female writer when she posits that language is a negotiation of a
childs relationship to their mother and father. She questions the Freudian and Lacanian
premise of psychoanalysis that placed the primary meaning making process of identity and
3
language within the realm of patriarchy or the father and calls attention to the semiotic
process in language. Semiotics in language acts as the music underlying the symbolic order
of language. Most psychoanalysts ignored the importance of the pre-Oedipal stage, yet
Kristeva argues that both the semiotic and symbolic (the mother and father) processes
working together are necessary for speaking subjects. However, within a patriarchal system,
the daughters relationship is closer to the semiotic process in language, and the daughters
ego boundaries are less stable than a sons (Black Sun). As a result, a female voice within
literature has the ability to subvert and resist the privileging of the masculine.
In Frankenstein, Shelley begins by illustrating the dangers, the haunting, and the
impossibility of constructing identity through the loss of the idealized mother. The lost
object, Victors dead mother, constantly haunts the texts, and nearly all of male characters
motives and actions are a frantic attempt to subdue and silence the mother. While Shelley
questions and examines the potential dangers of seeking identity in idealized loss, she also
examines its potential through abjection. Not only is the idealized absent mother desired, she
is feared. While the search for the lost object is desirable, the possibility of finding it is
terrifying. The return of absent mother figure as a semiotic force creates the potential for loss
of the self, the loss of boundaries that separate the self from the other, and, in effect, death
of the self. As Kristeva explains in Powers of Horror, abjection is a reaction of disgust and
fear to the threatened breakdown and loss of distinction between the self and others.
identity formed as a result of Victors mothers absence and subsequent return. As a result,
the monster becomes an abject object, and Victor suddenly begins to become fearful and
4
disgusted by his creation. Additionally, once the monster recognizes the absence of the
mother and the inability of the father to fulfill that loss and desire, he repeatedly kills any
surrogate mothers that attempt to replace Frankensteins mother. As a result, Victor not only
represses any notions of the mother, but he also represses any evidence of the monster. The
monster acts as a representation of a new identity that is created when the absent mother is
allowed to return when the mothers presence, not her absence (or her presence of
absence), becomes an integral part of new identity formation. As a result, it is not simply the
object loss that creates identity, but it is also its possible and haunting return that
continuously needs to be repressed. It is that repression that Shelley questions throughout her
text.
However, while Frankenstein explores the abjection of the absent mother, To the
Lighthouse explores both the resistance to and the desire to go back to the semiotic stage and
collapse the boundaries between the self and mother. Mrs. Ramsey, the mother, acts as the
unifying power within the novel, and Woolfs characters, whether female or male, are
mysteriously in love with her. However, Woolf also recognizes the impossibility of complete
fusion and reliance on loss. Rather than constantly seeking to fulfill that loss, Lily Briscoe,
understanding and escaping the supposed destructive power of the absent mother by
recognizing her as something different than loss through the process of mourning. Woolf
questions absence and uses its haunting presence to attempt to transcend the patriarchal
obstacle that keeps women from creating art. However, Woolf does not merely kill the trope
of the mother. She examines her, points out her flaws, questions her purity, and attempts to
locate her presence and change the way she exhibits power.
Chapter I Mary Shelleys Frankenstein and the Abject
character must come to terms with an absent mother. The novel begins with a series of
letters Walton writes to his sister, his only family connection, because they are orphans.
Frankensteins mother, Caroline, must take care of her father alone, because her mother dies
when she is a girl. Victor Frankensteins cousin, Elizabeth, is sent to the Frankenstein house
after the loss of her mother. Although his father is mentioned, Shelley fails to provide any
famously motherless, left only in search of his father. The De Laceys mother is mysteriously
absent. While every other member of the immediate De Lacey family is accounted for
(father, daughter, son), the mother is never mentioned. Even Safie, the Arabic woman the De
Laceys seek to rescue from her demanding father mourns the loss of her mother at a young
age, and the Frankenstein family employs Justine as a servant to their household after she
loses her mother in death. The only mother to survive the Frankenstein text is, surprisingly,
Waltons sister, a character who is never explicitly part of the text and only acts as an absent
Aside from Waltons sister, Mrs. Saville, Frankensteins mother is the only mother
who lives, at least for a short time, in the novel, and it is only her death that resides in the
text. The death and disappearance of every other mother is unaccounted for and lies beyond
the text. The multiple maternal disappearances and deaths in Frankenstein call into question
why Shelley felt compelled to erase nearly every mother from her text, and why a monster is
Several literary critics of Frankenstein call attention to Shelleys own conflicted and
Gothic novel, Ellen Moers suggests that Frankenstein is a birth myth, and one that was
lodged in the novelists imagination ...by the fact that she herself was a mother (Critical
Norton 216). She situates the terror of Frankenstein in its strength as a phantasmagoria of
the nursery, and focuses her critique on the death of Shelleys mother, Mary Wollstonecraft,
from puerperal fever shortly after Shelleys birth and Shelleys own experiences of
miscarriage, infant deaths, and motherhood. 1 As a result, many critics have read
Frankenstein as a way for Shelley to come to terms with absence of her own mother and her
own ambiguous feelings about her own motherhood. However, because a ghostly absent
mother constantly hovers over the text, the pivotal action in the novel begins after the only
present mother, Frankensteins mother, becomes absent, and the novel centers around a birth
As Susan Winnett points out in Coming Unstrung, while Shelley may be a female
writer, her main character, Frankenstein, is a male mother (508). Rather than using a
traditional Gothic female heroine, as her predecessor Ann Radcliffe does, among the multiple
absent mothers in Frankenstein, Shelley purposefully explores the notion of man as mother.
strictly divided gender dichotomy, calls into question the Romantic imagination that relies on
an unmovable, masculine I, and illustrates the disastrous effects caused when men isolate
and mistakenly attempt to create a utopian vision when they can face and ultimately deny
abjection in order to create an essential masculine whole within a patriarchal society. As the
child of a male mother, the infamous monster in Shelleys Frankenstein acts as the jettisoned
7
object that continuously challenges his master. The monster undermines any of
Frankensteins assumptions about his own distinct self and, thereby, becomes a threat not
only to Frankenstein, but to patriarchy, the Romantic ego, language as a monologism that
relies solely on the symbolic, and hierarchical difference. However, in order to better
understand how Shelley is able to accomplish this, the way Romanticism responded to the
Shelleys Frankenstein 2 both begins and ends in a voyage to the icy waters of the
North Pole. Robert Walton, the English explorer who relates Victor Frankensteins tale to his
sister, Mrs. Saville, is determined to reach a utopian place that presents itself to [his]
imagination as the region of beauty and delightwhere the sun is for ever visible; its broad
disk just skirting over the horizon, and diffusing a perpetual splendoura land surpassing in
wonders and in beauty every region hitherto discovered on the habitable globe (7). Of
course, he instead only finds Victor Frankenstein embroiled in a fatal struggle with the
monster he created while in search of his own utopian ideal and most imminent peril (150).
Walton encompasses both the spirit of the imperialist attitude held by Western Europe
during the Romantic period and the fears associated with rapid and shifting social change that
occur when facing the unknown. As Terry Eagleton asserts, the Romantic period is one of
revolution (16). Frankensteins hostile relationship with his monster illustrates the
consequences Western Europe was forced to face when the region began to reach the height
of its own imperialistic endeavors. Rather than finding an idyllic utopia, Western Europe
faced the declining power of the aristocracy and the rise of the capitalist marketplace, the
8
Industrial Revolution, the French and American Revolution, as well as, the complications of
Nancy Armstrong explains that the split between the female domestic private sphere
and the public economic public sphere was an attempt to maintain old patriarchal traditions
Europe sought to return to a utopian place that would both uphold Western imperialistic
ideals and erase the upheaval and dissolution caused by its failure. Armstrong argues that
literature remained a masculine endeavor and isolated the female writer outside of the public
literary tradition. Gilbert and Gubar argue that the male poet attempted to enclose her in
definitions of her person and her potential which, by reducing her to extreme stereotypes
(angel, monster) drastically conflict with her own sense of selfand her own identity as a
writer (48). Within this system, Shelley not only had to inject her own voice within a
masculine discourse, she had to fight against the patriarchal insistence that as a woman she
cannot write but must act as a muse. If a woman does write, she can only write through the
patriarchal voice. Following Armstrongs assertions, Devin Hodges agrees that any type of
female voice was restricted to hiding the contradiction between new and old forms of
Shelley also manipulates the patriarchal voice in order to critique the female position within
it.
century literature sought to find the sublime and mystical in nature through what Coleridge
9
called an organic imagination which was capable of unifying disparate and even
contradictory elements into a complex whole (qtd in Murfin 417). Eagleton notes that the
untrue, but is also of course an evaluative term, meaning visionary or inventive (16). In
line with the imperialistic spirit, the Romantic imagination sought to create a new utopian
poetry in opposition to chaotic and unstable culture. Imagination allowed literary work
aspects of the novel give a conventionally feminine twist to the argument that individuals
disrupts and challenges the masculine concept of the organic imagination throughout the
text in Frankenstein. Many of the lapses and ambiguity in Frankenstein that critics have
pointed out are also defiant breaks from the traditional, symbolic, patriarchal structure. Most
notably, the plots left with loose ends, the overly formal language within private settings, and
the seemingly irrelevant story lines and characters all act as an interrogation of the patriarchal
text the structure of written language. 3 The power of Frankenstein lies in its ambiguous
elements and in its refusal to answer and signify. The reader is left hanging. Why does Ernest
live? Why does Frankenstein hate his creation once it is made? Why does he misunderstand
the monster when he states that he will be there on his wedding night? Does the monster
really die? In fact, the 1818 version of the novel was published anonymously, forcing
10
readers to remain undecided about the gender of the author until 1831 when Shelley reveals
society. When viewing the dialectic nature of language between the semiotic and symbolic,
Julia Kristeva situates the abject within the semiotic, the pre-symbolic/pre-language space
associated with the mother. In masculine Romantic literature, the abject is found in the
disparate and contradictory elements the organic imagination seeks to unify. The abject is a
The complete loss of signifying boundaries enacts a sort of unity the organic
imagination seeks. It is a desire for the return to the semiotic stage when the child has not yet
fully isolated him/herself as a self and whose identity is partly fused with the mothers
body. As a result, in literature, abjection threatens the seemingly, unmovable I that the
Romantic poets sought to exemplify and collapses both the feminine and masculine through
the fusion of the son and mother. In Powers of Horror, Kristeva writes that the abject as a
jettisoned objectis radically excluded and draws me toward the place where meaning
collapsesit lies outside, beyond the set, and does not seem to agree with a [superegos]
rules of the gameand yet, from its place of banishment, the abject does not to cease
challenging its master (2). Overall, Kristeva argues that a language is always a negotiation
between the boundary and the collapse of boundary. It seeps through language and
constantly threatens to question the subjects feeling of completeness, of distinction from the
11
Other. The abject embodies both the fear of losing self-distinction and a desire for a loss of
self.
revolts from the abject helps explain how Shelleys position as a woman in a male dominated
profession allows her voice to be heard and enacts what Kristeva calls a revolution in poetic
imagination because it exposes the patriarchal insistence to long for an impossible, past,
them. Victor Frankensteins mother, Caroline Beaufort, fulfills all the expectations of the
Virginia Woolf and, later, Gilbert and Gubar call the Angel in the House. Above all, the
mysteriously motherless Caroline was self-sacrificing. She attended to her father with the
greatest tenderness until her father died in her arms, leaving her an orphan and a beggar,
until she committed herself to Victors father Alphonse Frankenstein (Shelley 18, 19). In
the tradition of Romantic poetry, Caroline then dies a sacrificial death. Against the urging of
her family members, Caroline enters Elizabeths (Victors cousin, adopted sister, and future
wife) chambers while she is still recovering from scarlet fever, long before the danger of
infection was past (24). Three days later she died calmly; and her countenance expressed
affection even in death (25). Through her death, Caroline immortalizes the Angel in the
House.
12
While Shelley maintains the Romantic trope of the ideal domestic mother,
affection takes on a new, powerful, and dangerous meaning, and the significance of
Frankensteins mother is also reinforced by the multiple dead mothers throughout the
Frankenstein text. Because nearly every character in the text is motherless, the reader is
reminded of Frankensteins absent mother every time they encounter another character. Her
death is not the catalyst that allows Victor to establish a better connection to nature or the
ability to be united within the organic imagination. Rather, her death is the catalyst that
Marie Mulvey-Roberts notes in The Corpse in the Corpus that the abject hovers on
the borders of the Frankenstein text in which the monster can be read as a spectre of the
maternal body as well as Frankensteins monstrous child (199). As a result, the death of
Frankensteins mother becomes the pivotal point in the text when Frankenstein confronts the
loss of the mother and the recognition of the semiotic in identity and language. However,
because Victor Frankenstein ultimately reads the semiotic as abjection, the text questions all
signifying boundaries. Frankensteins masculine identity and his own motives and desires are
Shelley explains in her preface to the 1831 Frankenstein text that she attempted to
explore horror and terror that would speak to the mysterious fears of our nature, and awaken
thrilling horror one to make the reader dread to look around, to curdle the blood, and
13
quicken the beatings of the heart (171). Shelley twists the traditional Gothic horror novel by
disrupting the traditional roles played out in the Gothic genre and forces her readers to face
abjection. Moers notes that rather than relying on a young woman who is simultaneously
persecuted victim and courageous heroine, Shelley brought a new sophistication to literary
terrorwithout a heroine, without even an important female victim (Norton Critical Edition
216). Instead, she argues that it is the central male characters reaction to his dead mother
that causes fear. While Frankenstein may have helped Shelley explore her own experiences
as a mother and daughter, her novel explores abjection because Shelley ultimately decides to
She creates a male mother character who has never had to deal with a marginal
position in society that requires him to be both the persecuted victim and the courageous
heroine. Once he is placed in the mother role, the boundaries of his ego are constantly
threatened, thereby creating abjection, and Frankenstein eventually dies just like his mother.
Rather than just reading the Frankenstein text as a text about Shelleys own feminine fears
of being subsumed by the identity of the mother, Frankenstein can also be read as a critique
of the masculine fear of the abject within a patriarchal society (199). As a result, he lacks the
experience of being a mother and must face the semiotic and the loss of boundaries.
implicit critique of [Romantic] ideology for its exclusive emphasis on oedipal politics, and
that it most accurately represents the condition of both men and women under the
predominantly oedipal forms of Byronic and Shelleyan Romanticism (99). Rather than
following the same patterns of Romanticism that suggest wholeness and unity, one that is
only shared by the Romantic male poet, Frankenstein forces the reader to recognize semiotic
14
forces breaking through language. Hodges writes that perhaps by adopting a male voice, the
woman writer is given the opportunity to intervene from within, to become an alien presence
that undermines the stability of the male voice (157). The alien voice in the novel seeps
through the multiple narrations, through Victor Frankensteins mothers death, through the
monster that Frankenstein feels compelled to create, and through nature itself.
Facing Abjection
secluded and domestic and enter into the public world of school. Rather than facing the loss
and longing for his mother after her death, Victor propels himself into the masculine public
sphere. Confined to the public sphere, Victor longs for the private, domestic space he was
part of as a child. However, his mothers death acts as a reminder that within patriarchal
society, the mother always acts as the lost site of the semiotic that is essential to his identity
as a man. However, because of Victors longing for his mother and his inability to cope with
her loss, he begins to face the abject. Because Victor is forbidden to confront the semiotic
space within patriarchy, the semiotic becomes abject. Within the public sphere, Victor
figures out that in scientific pursuit there is continual food for discovery and wonder (29).
After developing an almost supernatural enthusiasm, Victor squarely faces the abject and
realizes that to examine the causes of life, we must first have recourse to death (30). He is
fixed on natural decay, and on bodies deprived of life, which, from being on the seat of
beauty and strength, had become food for the worm (30). Because of his intense desire for
the semiotic place his mother inhabits after her death, Frankenstein seeks her by facing
abjection.
15
with the abject forces him to reach the edge of the border of science, identity, and language.
He paused examining and analyzing all the minutiae of causation, as exemplified in the
change from life to death, and death to life, until from the midst of this darkness a sudden
light broke in upon me a light so brilliant and wondrous, yet so simple (30). Victor
Frankenstein discovers the secret to creating an Other (the monster) by entering into a state
of jouissance 4 where the object of desire bursts with the shattered mirror where the ego
gives up his image in order to contemplate itself in the Other, having become alter ego, drops
so that I does not disappear in it but finds, in that sublime alienation, a forfeited existence
(Powers of Horror 9). By creating the monster with the limbs of dead bodies, and by facing
the abjection associated with the Other, Frankenstein attempts to create his own ideal image
decides to create a monster in his own ideal image. Frankenstein tells Walton that my
imagination was too exalted by my first success to permit me to doubt of my ability to give
life to an animal as complex and wonderful as man (31). Looking at Frankensteins decision
from a semiotic perspective, when facing the abject, Frankenstein mistakenly defines the pre-
being of gigantic stature (symbolic of the superego), Frankenstein recalls that life and
death appeared to me ideal bounds 5, which I should first break through, and pour a torrent of
light into our dark world (32). He believes that by attempting to structure and signify the
abject, he can reach lost territory and fulfill his utopian desire for perfect unification within
Much like the imperialist attitude of Western Europe during the Romantic era towards
anything foreign, Frankensteins utopia could not be realized without attempting to conquer
what he could not define. In order to create life in his monster, Frankenstein resolved to
pursue Nature in her hiding spaces (32). For a second time, in an attempt to conquer and
subdue abjection, he returns to his old habits. He collected bones from charnel houses;
and disturbed with profane fingers, the tremendous secrets of the human frame (32).
Because he cannot fulfill his desire for his mother, and because he cannot fulfill the
unification that originates between a mother and child before he/she enters into the symbolic
sphere of language, his desire turns to rage against Nature. In this way abjection begets
abjection. Still in extreme pain, he, in effect, resorts to a rape of Nature. Frankensteins
violation is not only an ill-fated attempt to fulfill his desire for complete loss of boundaries,
Anne Mellor notes that when Victor Frankenstein identifies Nature as female he
apparent in Frankenstein (274). Because nature is represented as a feminine force, the return
of the dead mother (as perfect femininity) manifests itself in nature. Fittingly, Shelley uses
the term Nature (with a capital N), to personify it as a motherly presence. However,
rather than recognizing the feminine force in Nature, Frankensteins eyes were insensible to
the charms of Nature during the summer months a most beautiful season when he was
engaged, heart and soul, in one pursuit (32). In response to Frankensteins violation, as the
birth of his creation neared, Nature revolts and Frankenstein is oppressed by a slow fever
(33). It is on a dreary night of November that Frankensteins monster was born. Again,
17
Shelley subverts and challenges more traditional Romantic tropes that of feminized Nature.
Throughout the text, Nature is referred to as feminine, and it is fitting that when Frankenstein
violates Nature, he is able to produce offspring. In this way, Nature not only becomes the
means by which Frankenstein can create life, it also becomes a representation of the dead
mothers return.
Several feminist critics have recognized the abject in the birth of the Frankensteins
monster. In particular, Homans notes that the novel is simultaneously about the death and
obviation of the mother and about a sons quest for a substitute object of desire (100). In his
attempt to find a substitute object of desire, Frankenstein attempts to create life as a mirror
image of the ego ideal. However, he is perplexed and horrified that although his limbs were
proportion, and I had selected his features as beautiful, he is confronted by another form of
abjection:
His yellow skin scarcely covered the work of muscles and arteries beneath; his
hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but
these luxuriances only formed a more horrid contrast with his watery eyes,
that seemed almost of the same colour as the dun white sockets in which they
were set, his shriveled complexion, and straight black lips. (34).
beyond the boundaries of science, from the multiple remains of dead bodies, Frankensteins
monster is the corpse, seen without God and outside of sciencedeath infecting life.
Abject (Kristeva 4). Although Frankenstein had hoped that by creating his monster, he
would fulfill the utopian ideal that mirrors his own ideal self, his ego, the monster, instead,
becomes a projection of abjection. The monster in Frankenstein is not abject in the same way
18
Frankensteins ego. Just as Frankenstein violated Nature in order to create the monster, the
monster becomes a violation of Frankenstein. He becomes what the self fears in the Other,
The monster creates abjection because he disturbs identity, system, order (Power of
Horrors 4). Fred Botting writes that produced by positions that cannot contain them,
monsters activate an excessive force which continually poses a challenge to unity, singularity
and stability, a threat that demands repeated attempts to reconstitute boundaries from within
distinct wholeness. A sense of masculine unity, of a distinct self separate from the Other is
essential in a patriarchal society, and the monsters presence disturbs any notion of unity.
Victors dream, shortly after creating his monster, as a key scene psychoanalytic critics note
as a moment of desire (51). Victor dreams that he sees Elizabeth walking down the street,
Delighted and surprised, I embraced her; but as I imprinted the first kiss on
her lips, they became livid with the hue of death; her features appeared to
shroud enveloped her form, and I saw the grave-worms crawling in the folds
symbolizes how he has murdered domestic tranquility (124). Through his dream,
19
Frankenstein recognizes his ambition for what it really is: a monstrous urge, alien and
threatening to all human intercourse (255). It is during his terrifying dream that
Frankenstein faces the sexual and infantile desire he feels for his dead mother, and it is also
an indication of the connection between the death of Frankensteins mother, the creation of
his monster, and the eventual murder of Elizabeth. As Poovey points out, the monster
completes and liberates Frankensteins egotism, but the monster also liberates the dead
mother (125). Because the monster is a projection of both Frankensteins ideal ego and the
The monster realizes the fears that patriarchy has about female desire and power.
Mellor explains:
with the transmission of both status and property by inheritance entailed upon
Frankensteins repressed sexual desire is a symptom of patriarchal society and the monster
becomes a vehicle to repress that desire. However, by also recognizing the abject within the
monster, Shelley provides multiple motives for the monster to kill Elizabeth. Both
Frankenstein and the abject dead mother are vengeful because it was Elizabeths scarlet fever
that killed Caroline. Shelley also uses the only feminine power within the text to kill another
Botting notes that the excess marked by various forms of monstrosity can be
described loosely, and perhaps monstrously, as a force of difference between opposed poles
20
that questions the privileged status one pole attempts to sustain by disclosing its dependence
on its other (436). By creating a monster, both in the form of a character and a book,
Shelley interrogates and threatens the privileged status of the masculine within a patriarchal
society that insists on female silence. The actual female characters in Frankenstein appear
powerless and confined as objects within the home because during Shelleys time period,
most Romantic female characters were powerless and confined. Their only escape and only
Although the monster threatens Frankensteins own patriarchal sense of self identity,
the monster also represents a possible but unformed new identity. As a literary device, the
monsters potential is strikingly powerful. The characteristics that make him abject loss of
boundaries, blurred distinction between self and Other, and his position as both death and life
potentially opens questions about and collapses boundaries between patriarchal social
varying classes, races, and genders. As a result, several critics have asked why the monster
necessarily identifies the monster as male. However, the monster himself does not
immediately come to this conclusion. The monster does not give any indications of his
gender in his story before acquiring the art of language (77). He also seems to display
and self-sacrifice is often thought of as feminine (231). After observing the devastating
effects of poverty on the De Laceys, the French family he observes from a distance, he
21
embodies an ethic of care by attempting to help and care for them. He states, I was
inquisitive to know why Felix appeared so miserable, and Agatha so sad. I thoughtthat it
might be in my power to restore happiness to these deserving people (77). His relationship
Safie in the De Lacey home. As a result, he is given a Western patriarchal lesson through
masculine texts such as Ruins of Empires, Paradise Lost, and Plutarchs Lives. While the
monster is a symbol of abjection and the collapse of boundaries, the monsters distinction in
total isolation, the patriarchal ego embedded, forces the monster to identify his gender as
Even within the De Lacey family, the mother is mysteriously missing. Shelley gives
no indication about what happened to her. She is just mysteriously absent. As a result, when
the monster concludes that I heard of the differences of the sexeshow the father doated on
the smiles of the infanthow all the life and cares of the mother were wrapt up in the
precious charge he necessarily finds himself in search of only a father (81). The De Laceys
and even Safie are forced to live within the confines of a society that only recognizes the
father, while the life and cares of the mother are forced into a private, secluded place. It is
after this realization that the monster asks, Who was I? What was I? Whence did I come?
What was my destination? (86). As he begins to acquire language, the monster is propelled
into signification and into the symbolic world that necessarily begins to repress any notions
After listening to the De Lacey family reading Miltons Paradise Lost, the monster
realizes that like Adam, I was created apparently united by no link to any other being in
22
existencehe had come forth from the hands of God a perfect creature, happy and
prosperous, guarded by the especial care of his Creatorbut I was wretched, helpless, and
alone (87). Because female is not an option of signification within a patriarchal society, it
is at this point that the monster begins to consider his gender as possibly male, in the form of
Satan: Many times I considered Satan as the fitter emblem of my conditionGod in pity
made man beautiful and alluring, after his own image; but my form is a filthy type of
[Frankensteins] (88). Once the monster aligns himself as a man within patriarchal society,
Nature begins to turn on the monster. The monster relates that I saw, with surprise and
grief, the leaves decay and fall, and Nature again assume the barren and bleak appearance
(89).
The monster eventually seeks revenge against his father because the monster fears the
complete isolation that results from identification with an ideal ego that walls itself up and
allows no Other. In this way, Shelley critiques and challenges the notion of literary
paternity. Gilbert and Gubar write that the male writer is involved in a literary Oepidal
struggle, a man can only become a poet by somehow invalidating his poetic father (47). In
order for the monster to validate his own masculine self and complete his entrance into
signification, he has to seek revenge and murder his father. Gilbert and Gubar argue that the
male writer must contend with his fear that he is not his own creator and that the works of
his predecessors, existing before and beyond him, assume essential priority over his own
writings (46). Before he identifies himself as masculine, undefined and immersed in the
semiotic space, the monster had no feelings of revenge and no need to destroy his
predecessor. In similar fashion, because, as a woman, Shelley was writing within a paternal
literary history, she had no history or creator to fear. Rather, Shelleys concerns rested on a
23
lack of any predecessor. 6 This offered her no voice with which to define herself as a woman
writer. Instead, rather than attempting to invent a definable female voice or a new
representation of female, Shelley critiques paternal literary history by finding gaps and flaws
in its masculine representations of femininity and in this way conjures up the excess, the
Within the gaps, feminized Nature continues to become abject as the monster begins
to seek revenge on his father in oedipal fashion. He notes that Nature decayed around me,
and the sun became heatless, rain and snow poured around me; mighty rivers were frozen;
the surface of earth was hard, and chill, and bare, and I found no shelter (94-95). In his
search for his father, the monster begins to encounter the same fate as Frankenstein. Like his
father, he repeatedly represses, but at the same defies the boundaries of Nature: The
mildness of my Nature had fled, and within me had turned to gall and bitterness(95).
Within the symbolic realm, he possessed a map of the country (95). Like an imperialist
spirit, he traverses and conquers the land; in defiance of cold Nature he ventures on. During
Frankensteins first encounter with the monster after the murder of William, he watches as
the monster hangs among the rocks of the nearby perpendicular ascent of Mont Saleve and
quickly reaches the summit (48). Poovey notes that while Shelleys understanding of
Nature coincides with those of Wordsworth, Wollstonecraft, and Percy Shelleywhere these
three trust the imagination to disarm the natural world of its meaninglessness by projecting
human content into it, Mary Shelleys anxiety about the imagination bleeds into the world it
invades (25). The monsters (and Frankensteins) attempts to subdue Nature prove unfruitful
24
and Nature continues to seep through the Frankenstein text as the return of Frankensteins
dead mother.
give the monster one more chance when in his rage and miserya circumstance happened
whenthe sun had recovered its warmth, and the earth began to look green (95). The
monster is allowed to rest, and he felt emotions of gentleness and pleasure, that had long
appeared dead revive within [him] when he saved a girl from drowning (95). However,
because of his complete isolation and own abjection encased within his own masculine ideal
ego, the monster continues to reject Nature. His unhappiness and loneliness not only results
from societys rejection of him. He chooses to allow his feelings of kindness and
gentleness to give place to hellish rage and gnashing of the teeth (96). Reactions of
societal rejection and disgust remind the monster of his own abjection. His own inner turmoil
about the fact that he carries with him both the abject and masculine refusal of that abjection
creates his most aggressive and monstrous actions; the murders of nearly anyone who acts as
The monsters aggressive and vengeful acts of murder are both a result of the force
and power of both Frankenstein and Frankensteins dead mother. Because the monster is a
form of abjection it can break the rules and the structures that repress feelings of hatred. As a
result, he can fulfill Frankensteins secret desires to kill any notions of female desire and
feminine qualities anything that reminds him of his own repressed desire for his mother.
The most notable example is when the monster kills William, Frankensteins youngest
brother and Justine, his surrogate mother. After killing William in a fit of revenge against
gazed with delight on her dark eyes, fringed by deep lashes, and her lovely
lips; but presently my rage returned; I remembered that I was for ever
deprived of the delights that such beautiful creatures would bestow; and that
The dead mothers return is a reminder to the monster that any notion of utopian ideal is
impossible. His own fractured and rotting body is a symbol of that impossibility. His reaction
to the locket is also a reminder of Frankensteins original desire for the mother and his
subsequent disgust at this desire, expressed in his dream. As a result, any notions or
representations of the mother are killed. It is through his previous study of patriarchy and
the sanguinary 7 laws of man that he learns how to kill Justine8, the surrogate mother to
William, while at the same time, exposing the injustice of paternal law. The manipulation of
patriarchal structures in order to kill stifled, masculine representations of the Angel of the
an assumed symbolic understanding of language that denies the semiotic. However, the
picture in the locket of the mother and the monsters own inability to fulfill his desire for the
mother drives the monster to ask Frankenstein to create a female monster, a substitute for the
mother.
Frankenstein considers creating a female monster. However, because they have assumed a
masculine identity within patriarchy, both Frankenstein and his monster must continuously
26
repress feminine identity, and the concept of a female monster is ultimately terrifying and
impossible. Frankenstein already fears the collapse of boundaries and the recognition of his
own ideal ego within the male monster. By creating a female monster, Frankenstein would
have to deal with the threat of a complete destruction of his own sense of an essential, stable,
masculine identity. The possibility of recognizing the male monsters flawed, masculine
identity within a female monster also means deconstructing the flawed relationship between
femininity and masculinity within patriarchal society even further than the male monsters
presence.
that she might become ten thousand more times more malignant than her mate, and delight,
for its own sake, in murder and wretchednessshe might refuse to comply with the
compact made before her creation (Shelley 114). Mellor explains that Frankensteins female
creation forces him to deal with multiple fears that include a fear of independent female
will, of her possible sadistic desires, and her power to seize and even rape the male she
might choose (226). Frankenstein fears unbridled female sexuality, because he assumes it
will take on the same characteristics as masculine sexuality within patriarchal society. The
female monster becomes a terrifying, dark mirror that reflects Frankensteins own
ideal, his creations become projections of his own self, and, in the case of the female
monster, his fears multiply because she could also become a projection of the male monster
However, what makes the creation of the female most terrifying is her potential to
become a mother. Frankenstein realizes that one of the first results of those sympathies for
27
which the daemon thirsted would be children, and a race of devils would be propagated upon
the earth, who might make the very existence of the species of man a condition precarious
and full of terror (Shelley 114). Because a female monster has the ability to reproduce, she
can potentially destroy the underlying patriarchal assumptions masculine identity rests on
and create uncontrolled abjection. The female monsters offspring have the potential to
further collapse boundaries because they become projections of both monsters, not
Frankenstein. While Frankenstein fears recognizing his own ideal ego within an undefined
space, the possible repression and denial of his own masculine identity is even more
frightening. As a result, Frankenstein becomes what he fears in his female creation and
trembling with passion, [Frankenstein] tore to pieces the thing on which [he] was engaged
(115). Upon witnessing the destruction of his female companion, the monster begins an epic,
aggressive, vengeful relationship with his father, Frankenstein, by destroying any female
Nature not only changes after the creation of the monster, but also through his aggressive and
hostile relationship with his son, the monster. Nature repeatedly becomes cold and hard
his own assumed ideal ego. On his trip back home after hearing of his youngest brothers
murder, Shelley has Frankenstein recall the Alps of Byrons Childe Harolds Pilgrimmage
and Percy Shelleys Mont Blanc. However, while at first the calm and heavenly scene
restored him as he approaches his native town, as in Byron and Percy Shelleys portrayal,
28
Nature becomes powerful. Instead of feeling awestruck, Frankenstein becomes fearful and
saddened as night also closed around and the dark mountains appeared a vast and dim
scene of evil reminding him that he was destined to become the most wretched of human
beings (47). It is on a vengeful stormy night and it is a flash of lightning that illuminated
the objectits gigantic stature, and the deformity of its aspect, more hideous than belongs to
humanity (48). Rather than finding a type of ideal or utopian, Nature illuminates
Before his vengeance against the monster takes full hold, Frankenstein has moments
Often, after the rest of the family had retired for the night, I took the boat, and
passed many hours upon the water. Sometimes, with my sails set, I was
carried by the wind, and sometimes after rowing into the middle of the lake, I
left the boat to pursue its own course, and gave way to my own miserable
reflections. I was often tempted, when all was at peace around me, and I the
heavenlyI was tempted to plunge into the silent lake, and the waters might
Within the peaceful hold of semiotic (amniotic, even) Nature, Frankenstein again feels desire
for the mother and for the pre-symbolic defined by lack of boundaries he finds so irresistible
that he is almost willing to give up any notion of self in death. It is only his vengeful
relationship with the monster that drives him to continue trampling, climbing, and traversing
As Frankensteins relationship with the monster grows more hostile and as they
become more and more of a double of each other, Frankenstein makes another attempt to
I knelt on the grass, and kissed the earth, and with quivering lips exclaimed,
By the sacred earth on which kneel, by the shades that wander near me, by
the deep and eternal grief that I feel, I swear; and by thee, O Night, and by the
spirits that preside over thee, I swear to pursue the daemon, who caused this
He attempts to finish his adjuration, but the furies possessed [him] as [he] concluded, and
rage choaked [his] utterance (141). In rage, he feverishly pursues the monster through the
winding of the Rhone, the blue Mediterranean, the Black Seaamidst the wilds of Tartary
and Russia, and northward where the snow thickenedthe rivers were covered with ice,
until he reaches the across the mountainous ices of the ocean (140-142). The further he
traverses through Nature, the closer he comes to the abjection of self. Frankenstein and the
monster both lose a kinder, gentler relationship to the semiotic and enter into a cold, harsh
relationship with abject Nature. The peaceful water in which Frankenstein found solace and
the warmth that soothed the monster, becomes ice. As a result, the creation of the monster
became the starting point of Frankensteins abjection of self. Kristeva notes that abjection
can constitute for someone whopresents himself with own body and ego as the precious
non-objects; they are no longer seen in their own right but forfeited, abject (5). The novel
ends when Victor finally becomes entirely abject and dies and, together with the monster,
disappears in a fog on an icecap. Despite their insistence on conquering and controlling it,
Conclusion
Romantic ideal - self-sacrificing, confined to the homes, and objects through which the male
characters define themselves Shelley finds a feminine voice in the absence and gaps those
restricted female roles enact. By doing so, she provides an extensive critique on the
notes, less certain of her ego boundaries, the daughter has been more likely to engage in
moral thinking which gives priority to the good of the family and the community rather than
to the rights of the individual (231). While the Romantic imagination sought to find an
Shelley calls to question how this is possible when the imagination is confined to a
patriarchal tradition. While Frankenstein has the ability to face the abject, he mistakenly
assumes that it will mirror his own ideal self. Instead, he is faced with his own unstable ego.
Chapter II Virginia Woolfs To the Lighthouse and Mourning the Angel
of the House
Like many Modernist writers, Woolf consciously set out to redefine the shape and
structure of literature. However, rather than writing a conventional Modernist text, Woolf set
out to redefine Modernism from a feminist perspective. Shortly before writing To the
Lighthouse, Woolf wrote in her diary, I will invent a new name for my books to supplant
novel. A newby Virginia Woolf. But what? Elegy? (Diaries 34). Rather than writing a
novel, Woolf was interested in creating something new from her own experiences as woman
and a daughter. Gillian Beers essay on Woolfs engagement with To the Lighthouse as an
elegy notes that in elegy there is a repetition of mourning and an allaying of mourning.
Elegy lets go of the past, formally transferring it into language, laying ghosts by confining
them to a text and giving them its freedom (40). Paradoxically, Woolf uses a type of textual
mourning to lay to rest the illusion of masculine wholeness that rests on the notion of the
Angel in the House, in order to reach a new symbolic order of not only masculine identity,
but the female place in it. Woolf does not simply kill the Angel in the House. Rather, she
dissects her. When we understand Mr. Ramsay as a symbol of literatures place in patriarchal
ideology, we can also see that Mrs. Ramsays place is not only an idealized version of
illustrates that Mrs. Ramsay is also an interpretation of the semiotic process in language that
necessarily needs to change in order to allow women and marginalized group (any group
identified as Other for the sake of Western masculine distinction, an essential component of
When Victor Frankensteins mother dies in Mary Shelleys novel, her death leads
Frankenstein on a journey that, in patriarchy, is an impossible longing for a past utopian state
in which origin and identity are fixed by denying the semiotic. However, rather than coming
to terms with his impossible longing, Frankenstein ends up creating an abject monster that
both encompasses and denies the semiotic. He attempts to re-negotiate the abject through a
ritual of an epic battle between father and son. As a result, Frankenstein, himself, becomes
abject and dies. When Mrs. Ramsay, the absent mother of To the Lighthouse, dies, Woolfs
central character, Lily Briscoe, also begins a journey, but her journey leads her to the
realization that a past, utopian state is impossible to reach. Instead, Lily Briscoe discovers
the possibility of a new voice for the female artist one that incorporates both the semiotic
and symbolic process in language. For Lily, the absent/dead mothers power does not lie in
its fixity of origin and identity. Instead, Lily finds a means of change by re-negotiating the
semiotic power that resides in the dead mothers absence through a ritual of mourning.
In her analysis of representations of home and mother, Roberta Rubenstein writes that
nostalgia is the expression of yearning for an earlier time or place or a significant person in
ones past history, the memory and significance of which or whom contributes to the sense of
the self in the present moment (13). Throughout her writings, and, most notably in To the
Lighthouse, Woolf often yearns for the past in the form of her mother, Julia Stephen, who
died when Woolf was only thirteen years old. In her autobiographical writing,
Reminiscences, Woolf realizes when writing about her mother that written words of a
person who is deadtend most unfortunately to drape themselves in smooth folds annulling
all evidence of life (36). Rather than becoming a representation of Woolfs actual mother,
33
Mrs. Ramsay is a distant, vague representation of the mother. Woolf consistently refers to
her as Mrs. Ramsay, never giving the reader any indication of her first name, and, in this
way, illustrates the impossibility for the reader and the other characters to ever really know
Mrs. Ramsay. Several critics have noted that Mrs. Ramsay, the mother in To the Lighthouse,
is a representation of the fictitious and absent mother of Woolfs memories. In her biography
about Woolf, Hermione Lee writes that To the Lighthouse is not so much about Virginia
Woolfs parents as about what to do with them, how to think them through or think through
them (80). Rather than trying to capture an actual representation of her mother, Julia
Stephen, Woolf contemplates the nostalgic mother her memories have created in Julia
Stephens place.
illusion of truth because it is based on the overwriting of past memories fixed on supposed
actual experiences from the past. As a result, as a novel that ponders the past and
restructures Woolfs memories of her mother and her childhood, Rubenstein maintains that
To the Lighthouse is a memoir (or construction) of the lost mother of childhood who is
associated with the image of an idyllic vanished landscape of paradise or wholeness (29).
The nostalgia in To the Lighthouse not only acts as an exploration of Woolfs personal
memories, but the novel is also a critique and exploration of an idyllic vanished landscape
Because To the Lighthouse centers its focus on the nostalgic Mrs. Ramsay, it is also a
nostalgic exploration of the whole Ramsay family, their male visitors, and Lily Briscoe, a
34
female artist friend of the family. Woolfs novel critiques other male Modernist writers
because the mother of To the Lighthouse, Mrs. Ramsay, acts as the central site of nostalgia
and represents the idyllic vanished landscape of paradise or wholeness that the other
characters of the novel attempt to define and capture. Marianne Dekoven notes in her essay
thematically and formallyexpressed a male modernist fear of womens new power, and
resulted in the combination of misogyny and triumphal masculinism that many critics see as
central, defining features of modernist works by men (174). Modernist works by male
writers still struggle to define a unified, although distorted and more melancholic, perception
of man, or the father by defining masculinity against femininity, most, notably through the
mother. Like Shelleys Frankenstein, Woolfs To the Lighthouse critiques this position and
questions its validity. However, unlike Shelley, Woolf also seeks to redefine Modernisms
masculine representations of the mother, and appropriate the semiotic power underlying her
Mrs. Ramsay lives through the first half of the novel, then creates a pivotal shift in the
plot, and haunts the last half of the novel. Carolyn Dever, in her analysis of the death of the
mother in Victorian fiction, argues that during Modernism, Woolf, returning to the trope of
maternal loss, interrogates [the mothers death in Victorian literature and Victorian narratives
of domesticity] limitations and exposes their potential (203). By manipulating the narrative
concept of time and place, Woolf is able to define a process of mourning that exposes the
dangerous aspects of literary representation of the absent (dead) mother while preserving her
potential power.
35
Rubenstein argues that the modernist Woolf wrote during a time period in which
collective loss the devastation of one world war and a second impending, the erosion of
cultural stability, and the loss of the certitudes of traditional narrative form itself
corroborated the experiences of profound loss(32). While the wars during the Modernist
period created collective loss through the actual deaths caused by war, Woolf also recognized
that the Modernist projection of an ideal, stable, imperialist Britain was no longer valid. No
longer able to define itself as a unified whole, Great Britain had to deal with a newly
monotheistic, imperialistic 9 unified self (both at an individual and collective level) was
shattered when the boundaries within it began to collapse and war with itself. Through her
description of Mr. Ramsay, the tragic modern father in To the Lighthouse, Woolf explains
that all his vanity, all his satisfaction in his own splendour, riding fell as thunderbolt, fierce
as a hawk at the head of his men, through the valley of death, had been shattered, destroyed
(34). Within literature, Modernist writers were no longer able to rest on the patriarchal
Romantic notion of a unified whole self. Instead they sought a melancholic and existential
unification by seeking an ideal self (again, both at an individual and collective level) within
notion of self and of the British national identity that Woolf critiques and questions
Woolf specifically critiques the patriarchal shifts in literature during her lifetime, by
Hermione Lee points out, Mrs. Ramsay as a representation of Woolfs mother Julia
36
Stephen, 10 seems to have fully endorsed the Victorian models for female behaviour, as
Tenneysons The Princess, or come to that in Coventry Patmores The Angel in the
Ramsay is remembered for her beauty and domesticity. As a result, like Julia Stephen, Mrs.
Ramsay resembles the romantic Pre-Raphaelite imageas virgin, young mother with child,
mater dolorosa, muse, beloveda political image, embodying the acceptable roles for a
beautiful middle-class woman in the nineteenth century (85). Woolf uses a representation of
both the memories of her mother and the patriarchal ideal mother image in order to examine
Before the threat of dissolution of unity during the Modernist period, Victorian
representations of the absent mother provided a basis for the masculine identity within
patriarchy to appear stable and unified. As Carolyn Dever points out in her analysis of the
death of the mother in Victorian literature, Rigidly idealized categories of identities the
Victorian ideal of maternity, for example depend precisely on the absence and the
ineffability of the original model (6). In order to maintain rigidly idealized gendered
identities, the self must be defined in opposition to an Other, beginning with the feminine, or
the mother. According to psychoanalysis, at its most basic and earliest stages, distinction,
self, wholeness, and signification are assumed through a play of difference based on gender
through the concepts of the mother and the father. In order for children to develop a sense of
self identity, they must separate from the mother and enter into the symbolic realm, what
Lacan calls the Law of the Father (13). Within patriarchal ideology, this opposition means
37
that masculine unity is marked by distinction, whereas, female wholeness and unity is
potent when defined by its absence, because its erasure of distinction became essential to a
As an absent figure based on nostalgia and memory, Mrs. Ramsay is really never
allowed presence. Despite the insistence of the characters in To the Lighthouse, they can
never really pin down Mrs. Ramsays character and self. Despite the multiple attempts of
various characters to define Mrs. Ramsay, through the voice of an omnipotent but
questioning narrator, Woolf still questions Mrs. Ramseys presence. When viewing Mrs.
Ramseys sadness while stitching a stocking, Woolfs narrator asks, But was it nothing but
looks, people said? What was there behind it her beauty and splendor?or was there
nothing?... she never spoke. She was silent always (32). Mrs. Ramsey is always clouded by
nostalgia, something the novels characters and narrator seems to always be aware of and is
The frustration of Woolfs character and narrator are partly because Mrs. Ramsay, as
announced that in order to write, she had to kill the Angel of the House, she was also
referring to the feminine aspect in language and literature when it is entrapped in the confines
of a patriarchal structure. Julia Kristeva writes that the symbolic order functions in our
monotheistic West by means of a system of kinship that involves transmission of the name of
the father and a rigorous prohibition of incest, and a system of speech that involves an
increasingly logical, simple, positive, and scientific form of communication, that is stripped
38
of all stylistic, rhythmic and poetic ambiguities (About Chinese Women 151). In
unveiling of the semiotic, the underlying structure beneath language, through stylistic,
rhythms in language, when Picasso painted primitive masks over the faces of
trained himself to scorch the culture that nourished him, they all knew
While both men and women were in the process of exposing the semiotic process, and,
thereby, a dialectic nature, to language, Woolfs To the Lighthouse critiques and exposes the
semiotic power laying beneath the Angel in the House but also its literary and materialistic
consequences. As Gilbert and Gubar explain, women must kill the aesthetic ideal through
which they themselves have been killed into art and that begins with an understanding of
the nature and origin of those images (17). As a result, The Window section of To the
Lighthouse explores Mrs. Ramsays potential, and ultimately her failure as a patriarchal,
aesthetic ideal. The second section, Time Passes, necessarily kills that representation,
and the last section, The Lighthouse seeks the semiotic power (outside of gender binaries)
that lies underneath Mrs. Ramsays image in order to create new aesthetic representations
The men in To the Lighthouse appear to have a similar need from Mrs. Ramsay, and
they are only able to fulfill that need by demanding her sympathy. By understanding Mrs.
Ramsay as representation of the Victorian mother trope that encompasses repressed semiotic
forces that language relies on, the way the other characters react to and feel about Mrs.
Ramsay points to their relationship with the semiotic process in language. The men,
particularly Mr. Ramsay, need Mrs. Ramsay to remain a controlled patriarchal construction
in order to repress the indefinable semiotic and reaffirm their own essential, stable, illusion of
language and identity. Like Victor Frankenstein, they insistently hold on to an ideal self-
identity that is constantly threatened. However, because the historical events of the modern
period, most notably the First World War, shattered those illusions, it is through Mrs.
Ramsays sympathy and through her representation as a nostalgic trope that the men in To
mother through Mrs. Ramsay. The masculine voice needed a female representation of women
as self-sacrificing, beautiful, but essentially dead and void of self, in order to define his own
gender in hierarchical opposition. However, the war and cultural shifts forced both European
men and women to question this dichotomy. Mrs. Ramsays insistent presence (and absence)
no longer guaranteed masculine distinction and a stable patriarchy. Woolf suggests through
the lens of Mr. Ramsay that he had ridden through the valley of death, been shattered and
shivered; and now, she flew in the face of facts, made his children hope what was utterly out
of the question, in effect, told lies (35). As a result, even Mrs. Ramsays self-sacrificing
absence is a threat a threat that Mr. Ramsay describes as a lie and what Mrs. Ramsay,
40
herself, feels as nothing but a sponge sopped full of human emotions (36). The nostalgic
view of the mother, clouded by Romantic and Victorian literature, and passed on, could no
Like Mr. Ramsay throughout To the Lighthouse, many male writers, like the fathers
before them, although conflicted and troubled by a fragmented and broken sense of self, still
attempt to maintain and support an inherently patriarchal ideology. Woolf describes Mr.
Ramsays insistence that his son will not be able to go to the lighthouse as correct because
what he said was true. It was always true. He was incapable of untruth; never tampered
with a fact; never altered a disagreeable word to suit the pleasure or convenience of any
mortal being, and he always maintained that life is difficult; facts uncompromising, and the
passage to that fabled land where our brightest hopes are extinguished, our frail barks
founder in darknessone that needs, above all courage, truth, and the power to endure (8).
Like Kristevas analysis of the symbolic within patriarchal society, Woolf maintains that
However, Mr. Ramsay confronts moments of failure, and it is during these moments
of failure that he demands sympathy from Mrs. Ramsay. Indicative of the consequences of
the World War and British imperialist failures, Mr. Ramsay complains repeatedly, Some
one had blundered 12 (36). Despite his pessimistic view of the Western patriarchal project -
a project that can no longer provide an illusion of masculine wholeness and unity - Mr.
Ramsay maintains his belief in a rigid, linear form of language. Woolf highlights this
insistence when she explains Mr. Ramsays thought process: For if thought is like the
keyboard of a piano, divided into so many notes, or like the alphabet is ranged in twenty-six
letters all in order, then his splendid mind had no sort of difficulty in running over those
41
letters one by one, firmly and accurately, until it had reached, say, the letter Q. He reached
the structuring fantasy for the philosopher resigned to getting no further than halfway (65).
Always stuck midway in the process of signification, Mr. Ramsay assumption that language
and self is stable and accurate places Mrs. Ramsay in the position of validation for his failure
to ever reach Z, the letter scarcely visible to mortal eyes (65). Mrs. Ramsays sympathy
allows Mr. Ramsay hold on to his own sense of a stable self because Mrs. Ramsay remains in
his control. Her identity is fixed on uplifting and validating his identity.
Mrs. Ramsay recognizes that it was sympathy that he wanted, to be assured of his
genius, first of all, and then to be taken within the circle of life, warmed and soothed, to have
his senses restored to him, his barrenness made fertile, and all the rooms of the house made
full of life (41). In his attempt to feel secure within a patriarchal language system, he needs
Mrs. Ramsay to assure him of his unified self in opposition to her absent self. In one sense,
Mr. and Mrs. Ramsay are able to work together to provide meaning, but it is only at the
expense of Mrs. Ramsays self in order to build upon the arid scimitar of the malethe
egotistical man (42). Mr. Ramsay represents the symbolic process in language that relies on
Woolfs narrator notes that every throb of the pulse seemedto enclose her and her
husband, and to give each other solace which two different notes, one high, one low, struck
together, seem to give each other as they combineyet, as the resonance diedMrs.
Ramsay felt not only exhausted in bodybut also there tinged her physical fatigue some
faintly disagreeable sensation with another origin (42). Although Mrs. Ramsay and Mr.
42
Ramsay appear to work within a harmonious relationship, it is always at the expense and
exhaustion of Mrs. Ramsay. As she begins to define the disagreeable sensation she feels,
Mrs. Ramsay begins to realize it is a loss of herself, dependent on the false illusion of the
unified, egotistical man. She disliked others knowing he relied on her because then people
said he depended on her, when they must know that of the two he was infinitely the more
important (43). Not only was she responsible for his ill-fated relationship with language,
she could not be honest and voice what she really wanted to say:
not being able to tell him the truth, being afraid, for instance, about the
greenhouse roof and the expense it would be, fifty pounds perhaps, to mend it;
and then about his books, to be afraid that he might guess, what she a little
suspected, that his last book was not quite his best bookand then to hide
small daily things, and the children seeing it, and the burden it laid on them
all this diminished the entire joy, the pure joy, of the two notes sounding
together, and let the sound die on her ear was now with a dismal flatness (43).
In her analysis of To the Lighthouse, Gayatri Chakravorti Spivak writes that the language of
marriage seems a refusal of good language, if a good language is that which brings about
communication (120). Put in positions of hierarchal opposition, Mrs. Ramsay is not allowed
a voice or any sense of self, and it is her silence that allows Mr. Ramsay to hold on to a false
As a result, Spivak notes that it is not surprising that, when she is freenot only
language, but personality and selfhood were lost (121). Because she is unable to define
herself, she confronts and exposes an underlying semiotic force beneath her representation:
All the being and the doing, expansive, glittering, vocal, evaporated; and one shrunk, with a
43
(Woolf 65). Although the representation of Mrs. Ramsay throughout the first half of the
novel is of a mother sitting, knitting, and reading childrens books, beneath it is all dark, it is
all spreading, it is unfathomably deep; but now and again we rise to the surface and that is
what you see us by (Woolf 65). It is only beneath the exterior and outside patriarchal
definition of mother that Woolf is able to find freedom for Mrs. Ramsay. It is there that her
horizon seemed to her limitlessthis core of darkness could go anywhere, for no one saw it.
They could not stop itthere was freedom, there was peace (Woolf 65). Mrs. Ramsay as
an ideal Victorian mother trope, a defined, signified patriarchal symbol, represses and denies
Mr. Ramsay, his sons, and the other male characters reliance on Mrs. Ramsay
highlights her literary construction within a patriarchal system. She acts as property, a
female representation made by men to be passed from literary father to literary son. Because
she is a commodity, her efforts to surround and protect force her realize that there was
scarcely a shell of herself left for her to know herself by; all was so lavished and spent (41).
mother, does not provide a space for the female to act as a vehicle to define female desires or
needs.
Lily Briscoe as the Symbolic Daughter and Mrs. Ramseys Underlying Power
Although Cam, one of Mrs. Ramsays biological daughters, often seems stifled by
and uninterested in Mrs. Ramsay, she develops a special bond with her mother. Through their
relationship as mother and daughter, Mrs. Ramsay and Cam were able to communicate
through the semiotic breaks in language. Margaret Homans critique of To the Lighthouse
44
suggest that they have a mother-daughter language existing outside the laws of
representation (281) Mrs. Ramsay understands and sympathizes with her daughter; she
invites Cam to leave when she is reading to James, because she knows that Cam loves the
sounds of words for themselves and would only be attracted by the word Flounder (281).
However, despite her unique with language and with Mrs. Ramsay, the first section, The
Lily Briscoe accesses the memories and emotions that only a daughter would
remember and feel even though she is not Mrs. Ramsays biological daughter. Hermione
Lees biography of Woolf notes that the impossibility of translating her mother from the
past into the present is deep inside the story of Lily Briscoe and Mrs. Ramsay in To the
Lighthouse (80). By positioning the artist rather than the biological daughter in the position
of daughter, Lee suggests this helps Woolf both read through our mothers and kill the
Angel in the House. Lily Briscoes unique position as the artist daughter illuminates
Although Mr. Ramsay establishes a relationship that relies on Mrs. Ramsays sense of
a unified masculine self, Lily Briscoe as a female artist must contemplate Mrs. Ramsay as a
female representation, differently than the other characters in the novel. In her
to live as her own woman, without regard for the crippling definitions of
As an artist, Lily Briscoe is torn by her desire to create within a world that proclaims
women cant paint, cant write (93). She understands that whatever her own occupation
may be, as a woman, she is expected to go to the help of the young man opposite so that he
may expose and relieve the thigh bones, the ribs, of his vanity, of his urgent desire to assert
himself (93). Between the desire to paint and write or to become the muse for men, Lily
ultimately chooses to paint and write. Sitting opposite of Mr. Tansley, she decides to
consider the possibility of not playing within the traditional gender roles. She asks, But
how would it beif neither of us did either of these things? (93). However, because Mrs.
Ramsey is a powerful commodity, Lily often loses to her power. With a glance, Mrs.
Ramsay has the power to cause Lily Briscoe to renounce the experiment what happens if
one is not nice to that young man there [Mr. Tansley] and be nice (94).
use of multiple perspectives from multiple characters of Mrs. Ramsay provide alternate
highlights a part of Mrs. Ramsay that remains separate from her role as self-sacrificial
mother, a part of her power that resides beyond language and gender. It when she need not
think about anybody that she could be herself, by herself (65). Mrs. Ramsay is the object
that the other characters define themselves and their perspectives of life she is the page, the
While Mrs. Ramsays power has the ability to destroy Lily as an artist, Lily also
recognizes its ability to become a creative force. It is within her semiotic characteristics that
46
the representation of Mrs. Ramsay as a literary device holds promise for the female writer.
However, as long as it is fixed within the patriarchal symbol of the mother, Mrs. Ramsay, her
Several feminist critics have pointed out that To the Lighthouse is an analysis of
absence, death, and negation (Rubenstein, Beers, Moril). Especially central to her novel is
Woolfs analysis of the mother as absence, her necessary death, and finally the negation
between her absence and death. Mrs. Ramsays absence is multilayered, defined by multiple
perspectives, and acts as an echo of female representation. She is never solidly fixed on the
page, and Mrs. Ramsays identity is never solidly defined. Although Rubenstein argues that
the first half of To the Lighthouse is about Mrs. Ramsays presence while the last half is a
inability to ever solidly fix meaning about Mrs. Ramsay suggests that the whole book is an
exploration of different kinds of absence (27). Using Lilys perspective, Woolf is still
exploring the impossibility of presence for Mrs. Ramsay, but Woolf is also exposing the
Perhaps this is why Mrs. Ramsays most triumphant rebellion against Mr. Ramsay
and the patriarchal order of language is silence. Margaret Homans suggests that while it is
possible to read Mrs. Ramsays silence as a delusion of power, it is also possible to read the
inconsequential words, which bear so slight and tangential a relation to her thought as
powerful, because they resist representation and instead create a present relation (280). As
a result, her silence remains an ambiguous powerful force that Woolf must contend with in
order to define herself a woman writer (represented by Lily as a female artist). Woolf ends
47
the first section of To the Lighthouse, The Window with both Mrs. Ramsays silence and
inconsequential words:
give him; wanted her to tell him that she loved him. And that, no, she could
not doAs she looked at him she began to smile, for though she had not said
a word, he knew, of course he knew, that she loved him. He could not deny it.
And smiling she looked out the window and said (thinking to herself, Nothing
Yes, you were right. Its going to be wet tomorrow. You wont be
able to go. And she looked at him smiling. For she had triumphed again. She
Mrs. Ramsays presence in the first half of To the Lighthouse is only significant in its
silences and absences. By enveloping what she means in silence and laying it over with
words that supposedly concede power to Mr. Ramsay but actually subvert it, Mrs. Ramsay
Lily, unlike the men in To the Lighthouse, begins to understand Mrs. Ramsays
silence as possible positive force. It is after Lily attempts to find, separate from language,
unityintimacy itself that she finds nothing (54). While the term nothing often
implies lack, Woolfs use of the term appears more meaningful. It is only after Lily
pronounces, Nothing happened. Nothing! Nothing! as she leant her head against Mrs.
Ramsays knee, that she is able to begin defining Mrs. Ramsay outside of the conventional
Victorian trope (54). While nothing implies a loss of boundaries, it also opens potential,
48
undefined space. As result, Lily begins to notice that for days there hung about her, as after
a dream some subtle change is felt in the person one has dreamt of, more vividly than
anything she said, the sound of murmuring and, as she sat in the wicker arm-chair in the
drawing-room window she wore, to Lilys eyes, and august shape; the shape of a dome (55).
While she cannot completely define it, Lily is able to begin to define Mrs. Ramsays absence
and silence.
In her analysis of female writing, Homans writes that Mrs. Ramsay is Woolfs
simple rejection of the Victorian mother (279). Rather, the novel also embodies Woolfs
ambivalence about Victorian mothers (Homans 279). It is within semiotic moments that
Mrs. Ramsay often fears that Lily finds the potential to become an artist by think[ing] back
through our mothers (A Room of Ones Own 69). In the first section of the novel, Mrs.
Ramsay has moments when she recognizes and contemplates her semiotic forces, defined by
language. In the context of her sacrificial life with her children and husband,
other times suddenly and unexpectedly, especially when her mind raised itself
slightly from the task actually at hand, had no such kindly meaning, but like a
ghostly roll of the drum remorselessly beat the measure of life, made one
think of the destruction of the island and its engulfment in the sea, and warned
her whose day had slipped past in one quick doing after another that it was all
ephemeral as a rainbow this sound which had been obscured and concealed
under the other sounds suddenly thundered hollow in her ears and made her
Mrs. Ramsays awareness of her own mortality has the abject power to create terror, but
within the abject is the destruction of the existing island and its engulfment in the sea (20).
It is within her mortality, that Lily is able to destroy the existing, patriarchal representations
of women.
However, as long as Mrs. Ramsay remains the Angel of the House, to define
language beyond the scope of masculine symbolic representation is Mrs. Ramsays only
rebellious act. Woolf is more interested in providing space for the female artist. Even if the
representation of Mrs. Ramsay is denied the opportunity to speak, to signify her own
meaning, then Woolf seeks to identify ways for the representation of daughter, Lily Briscoe,
to speak and to signify. As Woolf asserted in Professions of Women, in order to write, she
must kill the Angel of the House. Mrs. Ramsay maintains an absence during the first
section of the novel; the masculine characters use that absence to create feminine opposition
that provides a patriarchal illusion of unified masculinity. Consequently, the middle section
of To the Lighthouse explores Mrs. Ramsays death as a literary device that begins to
Ellen Rosenmans analysis of Woolf as a feminist writer notes that the mothers
death offers the daughter the occasion for art: it leaves a void which must be filled, providing
the impetus to create (107). While Rosenman highlights the opportunity for Lily to use
absence as an impetus to create, Lily does more than fill a void. Understood from a semiotic
perspective, Lily is participating in the dialectic relationship between the semiotic and
symbolic aspects of language. Rather than simply opening up a void and exposing the
semiotic, Woolf explores in the last section of To the Lighthouse how the semiotic is altered
50
and re-negotiated when ordered through a different position (the daughters position) in a
patriarchal structure.
Mrs. Ramsays death has significant repercussions and echoes subsequent deaths of
future Angels of the House and opposing masculine figures. After her death, Mrs.
Ramsays daughter Prue dies from childbirth: Prue Ramsay died that summer in some
illness connected with childbirth, which was indeed a tragedy, people said, everything, they
said, had promised so well (136). Despite Mrs. Ramsays belief in the strength of marriage
and the ideal mother role, her daughter dies when becoming a mother. Eventually, during the
First World War, Mrs. Ramsays son, Andrew dies in battle: A shell exploded. Twenty or
thirty men were blown up in France, among them Andrew Ramsay, whose death, mercifully
was instantaneous (137). Mrs. Ramsays death is a violence that not only foreshadows the
death of future potential ideal mothers, but also of masculine identity that rests on a unified
definition that represses and denies semiotic forces. Within the modernist historical context,
the mothers death acts as a dissembling symbol of the conflicting and destructive force of
the shifting ideological structures that create new gender roles amidst war.
If the first section recognizes Mrs. Ramsays absence as a loss of selfhood and
feminine voice, the middle section recognizes the death of Mrs. Ramsay as a temporal
change. While The Window section of To the Lighthouse takes place over the course of
one day, Time Passes is the shortest section of the book, but takes place over the course of
ten years. Bowlby notes that each section represents a different form of temporality, and she
writes that the first and third focus, as often in Woolfs novels, on a single day and the
associative links which connect it, in the consciousness of the characters and along the
51
narrative line, to other times and places (69). Rather than understanding language and the
To the Lighthouse presents alternate propositions. Throughout the whole novel, Woolf plays
with the notion of paternal linear time. Her critique and rejection of linear time suggests that
Woolf was seeking a proposition of maternal time 13 similar to the type that Kristeva defines
Kristeva argues that female subjectivity would seem to provide a specific measure
that essentially retains repetition and eternity from among the multiple modalities of time
known through the history of civilization (191). Mrs. Ramsays death is bracketed within a
surrounding description of the house in Hebrides and the toll of nature. Time is described as:
Night after night, summer and winter, the torment of storms, the arrow-like
stillness of fine weather, held their court without interference. Listening (had
there been anyone to listen) from the upper rooms of the empty house only
gigantic chaos streaked with lightening could have been heard tumbling and
tossing (138).
Woolf focuses on the natural rhythms of weather and storms and presents time in a cyclical
fashion. In the repetition type of temporality, Kristeva recognizes cycles, gestation, the
eternal recurrence of a biological rhythm which conforms to that of nature (191). Suggestive
of the reproductive power of a mother and of nature, Mrs. Ramsay death is not an end to a
linear path.
Bowlby notes that this type of temporality is most apparent in the image of the abandoned
So loveliness reigned and stillness, and together made the shape of loveliness
itself, a form from which life has parted; solitary like a pool in the evening, far
distant, seen from a train window, vanishing so quickly that the pool, pale in
the evening, is scarcely robbed of its solitude, though once seen (133).
Like the absence or void caused by the death of Mrs. Ramsay, the shape of loveliness
reminiscent of Mrs. Ramsays dome-like shape, remains in stillness and solitude. Set
apart from the nostalgic patriarchal representation of the female ideal, Woolf reformulates
Mrs. Ramsays underlying semiotic forces within a different type of understanding. Rather
than If Q then is Q R, she explores the notion that Spivak suggests, As Q is Q (41).
Time no longer follows the logical linear progression from A to B or Q to R, rather Woolf
explores the semiotic process in defining meaning through atemporality and undefined space.
Rosenman argues that death deconstructs the maternal icon and in doing so removes
the lynch pins which secures the destructive relationship of male culture, mother, and
daughter so that new relationships can be formed (105). It is the semiotic forces beneath
Mrs. Ramsays representation that Woolf hopes to salvage in the wake of Mrs. Ramsays
death. Within the void left by Mrs. Ramsays death, Woolf posits a type of negative energy
body (Revolution in Poetic Language 93). Within literary discourse, Woolfs attempt to
kill the Angel of the House through the death of Mrs. Ramsay theoretically opens up
53
undefined space. It is not necessarily just Mrs. Ramsays death that opens new space. It is
Woolfs ability in the novel to locate the excess, undefined power that remains. As a result,
Mrs. Ramsays death is bracketed off and described as the presence of absence: Mr.
Ramsay, stumbling along a passage one dark morning, stretched his arms out, but Mrs.
Ramsay having died rather suddenly the night before, his arms, though stretched out,
remained empty (132). Before the reader confronts Mrs. Ramsays death, they confront an
empty, undefined space within Mr. Ramsays stretched out arms. He can no longer use the
representation of Mrs. Ramsay as the ideal mother to signify his own unified masculine self
In her essay on negative space in To the Lighthouse, Rubenstein suggests that the
novel ultimately invites us to understand that nothing itself has a shape (Poetics of
Negation 40). It is this sense of nothing as something (even if intangible and indefinable)
that suggests the potential of Mrs. Ramsays death as a semiotic force necessary in the
formulation of the symbolic aspect of language and the potential for Lily Briscoe to signify
and create through that void. When nothing is understood as a semiotic presence, the
Nothing it seemed could break that image [one of empty clothes, loveliness
and stillness], corrupt that innocence, or disturb the swaying mantle of silence
which, week by week, in the empty room, wove into itself the falling cries of
birds, ships hooting, the drone and hum of the fields, a dogs bark, a mans
Nothing as a semiotic force, the chora 14 undisturbed, is exposed underneath the image of the
abandoned home and beyond the domestic and beneath the symbolic representations of the
falling cries of birds, ships hooting, the drone and hum of the fields, a dogs bark, and a
mans shout. Kristeva argues that neither a model nor copy, the chora precedes and
result, the chora envelopes all signification, and when the Ramsay family and Lily Briscoe
return, the sigh of all the seas breaking in measure round the isles soothed themnothing
broke their sleep, and Lily wakes from her sleep: Her eyes opened wide. Here she was
again, she thought, sitting bolt upright in bed. Awake (146). Unlike the Ramsays, Lily
recognizes the potential in nothingness, but before she can appropriate and re-negotiate
new meaning that must be reformulated in order to re-negotiate the semiotic meaninglessness
left behind from Mrs. Ramsays death. Mr. Ramsay and Lily Briscoe take two very different
seek sympathy from any woman he can, and decides that the only way to reach the
lighthouse is to take the linear voyage, symbolic of the patriarchal path to language. His
persistence in continuing down the same path is a result of his fear that he may have to face
his own self as an ambiguous, fragmented self rather than as a unified, masculine identity
maintained by essential differences from the mother or the female identity. Because Lily is
endeavor), she must understand her identity as multifaceted. The act of creation in art is a
55
predominately masculine characteristic that she must negotiate with supposed feminine
characteristics. As a result, she has already begun to recognize her identity as possibly
fragmented and ambiguous. This allows her to seek a voyage to the lighthouse through
maternal space by mourning the loss of the mother and by defining the shape left by her
death.
Because Mr. Ramsay views the nothingness left as a result of Mrs. Ramsays death as
a lack, he maintains the same path he did when he was married to Mrs. Ramsay. While
waiting to take his children to the lighthouse without being conscious what it was, to
approach any woman, to force them, he did not care how, his need was so great, to give him
what he wanted: sympathy (154). What Mr. Ramsay lacks the most is not Mrs. Ramsay
herself, but Mrs. Ramsays ability to fulfill his own fear of a shattered sense of self.
Even after Mrs. Ramsays death, Lily must fight against the urge to take her place and
follow a linear voyage with Mr. Ramsay. As Lily attempts to resume her work on the
painting she began ten years earlier, Mr. Ramsay approaches her and all Lily wished was
that this enormous flood of grief, this insatiable hunger for sympathy, this demand that she
should surrender herself up to him entirely, and even so he had sorrows enough to keep her
supplied for ever, should leave her, should be divertedbefore it swept her down its flow
(155). Mr. Ramsays need for sympathy is powerful, but it is also confining and suffocating,
She thinks back to Mr. Ramsays books about subject and object and the nature of
reality and Andrews philosophical inquiry to think of a kitchen tablewhen youre not
there (26). While staring at the kitchen table in the room, she realizes that Mr. Ramsays
56
demand for sympathy is a result of his inability to change his relationship to language. Like
Woolfs use of language in her novels as a critique of the cold, rigid, and tense language of
The kitchen table was something visionary, austere; something bare, hard, not
ornamental. There was no colour to it; it was all edges and angles; it was
uncompromisingly plain. But Mr. Ramsay always kept his eyes fixed upon it,
never allowed himself to be distracted or deluded, until his face became worn
Even though Mr. Ramsay remains devoted to his rigid belief in a unified self and an
unquestionable reality, Lily remembers that he had doubts and questioned the tables truth. It
was during these times that he demanded sympathy. It was when he began to face the
semiotic process in meaning that he denies it by clouding it with sympathy from women.
As Mr. Ramsay and his children sail towards the lighthouse, they listen to Macalister,
the sailor who steers the boat, tell the story of three sinking ships at sea. Symbolic of the
losses and failures of the First World War, of British imperialism, and of Mrs. Ramsays
death, Mr. Ramsay remains the leader of a failed expedition. Together, Macalister and Mr.
patriarchal masculine identity, Macalister and Mr. Ramsay begin to confront their own
abjection of self. Just as Victor Frankenstein chases his monster out to the icy sea only to
Lily, however, remains at the house and paints. Rather than taking a linear voyage,
Lilys voyage begins in the maternal space where she paints. Her voyage is not a bare, hard
57
journey. Instead, the narrator describes her journey as a negotiation between the semiotic
and symbolic:
movement, as if the pauses were one part of the rhythm and the strokes
another, and all were related; and, so, lightly and swiftly pausing, striking, she
scored her canvas with brown running nervous lines which had no sooner
settled there than they enclosed (she felt it looming out at her) a space (161-
162).
Lilys voyage does not lead to a sense of aloneness and death like Mr. Ramsays voyage.
Instead, her path from the semiotic forces left from the death of Mrs. Ramsay to symbolic
However, Cam, along with James, is not privileged to enter the space that Lily
confronts, because they are forced to take the linear voyage with their father. Even though
Cam, as Mrs. Ramsays daughter, was often exposed to the semiotic aspects of language, she
must contend with her fathers portrayal of language. Much like Lily, she too, finds it
difficult to battle against her fathers demands for sympathy, and eventually gives in to her
fathers demands. Despite her pact with James to resist her father, she begins to see her father
as the patriarchal hero and murmurs to herself her fathers words: We perished, each alone
(170). However, because her relationship to language is different, it calls into question
language differently and understands the semiotic forces that lay underneath. Instead, like
Woolf as a female writer, she still has the potential to appropriate patriarchal language to
Both Cam and Lily run into the danger of becoming absorbed into their own grief
through a melancholic state. However, Lily is at an advantage to escape that path because she
is an artist. She is left to continue her painting and appropriate the patriarchal representation
of the ideal mother for the female voice. However, she must deal with her grief and sadness
over Mrs. Ramsays death. Kristeva defines melancholy as the fear of aphanisis [fear of not
being able to satisfy both the mother and childs self] punctuated by sudden bursts of
energy that marks the loss of the maternal body, this immediate investment of sadism in the
symbolic (About Chinese Women 149). Lily is stuck between satisfying the absent Mrs.
As she paints, Lily calls for the void and absent Mrs. Ramsay. Like the Ramsays,
Lily is still in mourning over the loss of Mrs. Ramsay, and, as a result, must confront a
melancholic state. Lily repeatedly calls out for Mrs. Ramsay until she sawthe shape of a
woman, peaceful and silent, with downcast eyes. She sat ponderingHer eyes were bent
(180). There is always a danger involved with confronting the melancholic state because as
the depressive affect makes up for symbolic invalidation and interruption (the
proceeding to the suicidal act. That protection, however, is a flimsy one. The
depressive denial that destroys the meaning of the symbolic also destroys the
acts meaning and leads the subject to commit suicide without anguish of
By killing the Angel of the House, Woolf, in several ways, destroys the meaning of
the symbolic within patriarchal ideology. However, through Lilys character, she must
Lily must overcome the emptiness and oceanic qualities she finds in Mrs. Ramsays
And then to want and not to have to want and want how that wrung the
heart, and wrung it again and again. Oh, Mrs. Ramsay! She called out silently,
to that essenceGhost, air, nothingness, a thing you could play with easily
and safely at any time of the day or night, she had been thatSuddenly, the
empty drawing-room steps the whole wave and whisper of the garden
emptiness (182).
By facing the semiotic space of emptiness, Lily is able to identify the power in Mrs.
Ramsays absence, but always at the risk of complete immersion. The danger presents itself
when Lily looks at her painting and realizes that she could not see it and she cries for Mrs.
Ramsay again.
When she looks out to the sea for Mr. Ramsay, she is able to regroup and again focus
journey, his journey is also a representation of the symbolic process in language. Woolf does
more than suggest a separate female language for the female artist. Instead, through Lilys
involves both a maternal and paternal negotiation not possible in the confines of a strict
patriarchy.
60
no longer can rely on a self-sacrificing mother. As a result, his relationship with James
begins to change its shape. Bowlby notes that throughout the first section of the novel and in
the beginning of the third section, the resentment James has for his father parallels Freuds
oedipal scenario, where the boy wants nothing less than to put out of the way the father who
asserts his rights to the mother (67). At the beginning of their voyage, James holds on to his
hatred for his father. Like his father, he imagines himself as the lawgiver, with the tablets of
eternal wisdom laid open on his knee and Cam imagines him creating a pact to resist him
[Mr. Ramsay]. Fight him. He said it so rightly; justly. For they must fight tyranny to the
death (172). However, as he continues his voyage with his father without reliance on Mrs.
had always kept this old symbol of taking a knife and striking his father to the
heart. Only now, as he grew older, and staring at his father in impotent rage, it
was not him, that old man reading, whom he wanted to kill, but it was the
thing that descended on him without his knowing it perhaps; that fierce
sudden black-winged harpy 15, with its talons and its beak all cold and hard,
that struck and struck at youThat he would kill, that he would strike to the
heart (187).
With the loss of his idealized mother figure, James begins to deconstruct his destructive
relationship with his father, and his father no longer becomes the focus of his aggression.
Instead, he defines the absence created in the void left after his mothers death as a harpy
that struck and struck at you, and, in vengeance, it is that absence that he would kill, that
61
he would strike to the heart. The space left by Mrs. Ramsays death becomes an abject
presence that James vows to destroy. As a result, James decides to track down any abject
tyranny, despotism, and, historically, like the generation that precedes him, James still
seeks and attempts to maintain a patriarchal structure that defines any undefined space as
threatening (187).
Like James, Lily first resolves her anger against patriarchy by becoming angry with
Mr. Ramsay: That man, she thought, her anger rising in her, never gave; that man took, but
as she thinks about it further, she realizes it is Mrs. Ramsay, the idyllic representation of
mother that really causes her anger (155). Lily realizes giving, giving, giving is all Mrs.
Ramsay had ever done, and really, she was angry at Mrs. Ramsay (155). However, rather
than reacting out of fear and creating an abject space, Lily begins to come to terms with the
emptiness left behind Mrs. Ramsays death. As she begins to paint again, movement in the
house, reminiscent of Mrs. Ramsays presence, had settled by some stroke of luck so as to
throw an odd-shaped triangular shadow over the step. It altered the composition of the
picture a little (204). Lily calls out to Mrs. Ramsay once more, and then, quietly, as if she
restrained, that too became a part of ordinary experience, was on level with the chair, with
the table, and when she sees Mrs. Ramsay sitting there, she looks out to the sea for Mr.
Ramsay, resolved to reach symbolic meaning. After, assuming that Mr. Ramsay has reached
the lighthouse, she believes He has landed, she said aloud, It is finished. (211). After
negotiating with Mrs. Ramsays semiotic shadow that throws an odd-shaped triangular
shadowthat altered the composition of her painting and Mr. Ramsays symbolic journey
of language, with a sudden intensity, as if she saw it clear for a second, she drew a line
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there, in the centre. It was done; it was finished. Yes, she thought, laying her brush in
extreme fatigue, I have had my vision (211). Through a negotiation between both the
semiotic and symbolic process in language, Lily is able to appropriate the suffocating, self-
sacrificing representation of the mother and represent her from the daughters perspective.
Rather than painting a feminine figure, Lily paints a line suggestive of a representation of a
Woolf never completely resolves whether Mr. Ramsay reaches the lighthouse as he
had hoped. Instead, he sat and looked at the island and he might be thinking, We perished,
each alone, or he might be thinking, I have reached it. I have found it; but he said nothing
(210). Woolf leaves the ending ambiguous, because in one way, the gender roles have
reversed. It is Lily who speaks and whose voice is heard, while Mr. Ramsays voice remains
silent. Like Kristevas notion that both men and women have access to the semiotic and
symbolic process in language, once the patriarchal Angel of the House is killed, woman are
able to become speaking subjects with access and recognition to the symbolic aspect of
process and they no longer need to deny the semiotic process in language. At the end of To
the Lighthouse, Lily recognizes the need to speak and Mr. Ramsey recognizes the need for
silence.
Conclusion
By using multiple perspectives, maternal time, and by killing the Angel of the
House, Woolf provides a different way of understanding text and language from a different
position within a patriarchal structure. The female speaking subject is able to be heard
although she looks at language from a marginal position, and is able to articulate the semiotic
63
process from a different vantage point than a male writer who assumes he has nothing to lose
deconstructing the symbolic representation of the ideal mother and by beginning the process
expose the danger that lies, not only for women but also for men, within the existing
patriarchal structure. Left with a complex and ambiguous figure left in the wake of the
idyllic mothers death, women are able to be heard as speaking subjects, and men are able to
gain access to the semiotic process in language and begin to understand the power of silence.
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Notes
1.
Puerperal fever was the result of the inability of the mothers body to expel the placenta shortly after
birth. Because of bad sanitation practices in the medical field, some argue that blood and disease from
dead bodies the doctors had come in contact with would enter the womb shortly after a baby was born,
been to use the third-edition text of 1831, which Mary Shelley revised carefully but from a later
perspective when she was considerably older and detached from the original conception. Scholarship
now strongly prefers the first edition (xii). For this reason, this essay will refer to the first 1818
edition of Frankenstein.
3.
For further reading on Shelleys breaks from traditional Romanticism see Knoepflmachers The
Endurance of Frankenstein, Gilbert and Gubars The Madwoman in the Attic, and Pooveys The
translate. In his introduction to Kristevas Desire in Language, Leon S. Roudiez defines jouissance as
within a paternal literary history that lacked a distinct female writing heritage and, thereby, denied the
female voice.
7.
According to the Norton Critical Edition of Frankenstein, sanguinary means bloodthirsty (FN 97).
8.
Justines mother also dies early in her life. That is why she became a surrogate mother to William.
9.
The OED defines imperialism as seeking the extension of the British Empire by uniting the
different parts of the Empire having separate governments, as to secure that for certain purposesthey
should be practically a single state (OED). Imperialism much like the concept of the patriarchal self
seeks to create the illusion of unity in order to extend its own version of its self, which when looked at
psychoanalytically is impossible.
65
10.
Julia Stephen died when Virginia Woolf was thirteen years old, and Woolf writes that she had been
obsessed with the memory of her mother until she wrote To the Lighthouse (Diary 208).
11.
Woolf critiques Patmores poem, and uses it to describe the Angel in the House as a threatening,
fated charge by the British Light Calvary Brigade against Russian troops at Balaklava during the
subjectivity[its maternal aspects] should not make us forget that this repetition and this eternity are
found to be fundamental, if not the sole, conceptions of time in numerous civilizations and
the drives and their stases in a motility that is as full of movement as it is regulated (93). Although she
theoretically defines chora, Kristeva notes that our discourse - all discourse moves with and against
the chora and although the chora can be designated and regulated, it can never be definitely posited
(94).
15.
According to the OED, the word harpy refers to a Greek and Roman mythological creature and
defines harpy as a fabulous monster, rapacious and filthy, having a woman's face and body and a
bird's wings and claws, and supposed to act as a minister of divine vengeance.
66
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