Monday, 14 November 2016

The Nature of Blackness is within the Mind with the reference of Black Skin And White Mask

click here to evaluate my assignment:

Name : Pipavat Gopi Y
Sem : 3 ( M.A. English)
Batch Year: 2015- 2017
Paper no. 11: The Postcolonial Literature
Topic : The Nature of Blackness is within the Mind with the reference of Black Skin And White Mask
Submitted  to :
Prof. Dr. Dilip Barad,
Head of the Department,
Department of English
Maharaja Krishnakumarsinhji Bhavnagar University




Introduction :-


This book ‘Black Skin White Masks’ is written by Frantz Fanon. He was born on July 20, 1925, at Fort-de-France, Martinique, France. He died at the age of 36, on 6th December 1961 at Bethesda, Maryland.  He was revolutionary, philosopher, psychiatrist and writer whose writing influenced post-colonial studies, Marxism and critical theory. He was an intellectual fellow political radical, existentialist humanist; he dealt with social, cultural, political problems. 
He supported the Algerian war of independence from France, and was also a member of the Algerian national liberation front. The life and works of Frantz fanon have inspired anti-colonial national liberation movements in Palestine, Sir Lanka, and the U.S .He served in the French army. He studied Medicine. He was a psychiatrist.
             In France in the year of 1952, Frantz Omar fanon wrote his first book,’ Black Skin, White Masks.’ The book is an analysis of the negative psychological impact of colonial subjugation upon black people. Originally, the manuscript was the doctoral dissertation, submitted at Lyon. Its title was “Essay on the Desalination of the Black” It was rejected and fanon published it as a book.
Frantz Fanon was influenced by many thinkers and traditions including Jean-Paul Sartre, Lacan, Negritude and Marxism. He was influenced by Aime Cesaire, a leader of the negritude movement, was teacher and mentor to fanon on the island of Martinique. Fanon referred to Cesaire’s writings his own work. He quoted, for example, his teacher at length in “They lived experience of the Black man”  a heavily anthologized essay form Black Skin, White Masks.
Let’s analyze the book of Fanon ‘Black skin, White Mask’ - This book divided in many chapters. Each chapter has its own importance. They deal with the psychological aspect. It includes the condition of Black people and their mentality. It also gives reflection of white people towards black people. Let’s have a brief look on chapters of this book.
‘I am black: I am in total fusion with the world, sympathetic affinity with the earth, losing my id in the heart of the cosmos-and the white man, however intelligent he may be, is incapable of understanding Louis Armstrong or Songs from the Congo. I am black, not because of a curse, but because my skin has been able to capture all the cosmic effluvia. I am truly a drop of Sun under the earth.
 The book is about the mindset or psychology of racism by Frantz fanon, a Martinican psychiatrist and black, post colonialist thinker. The book looks at what goes through the minds of blacks and whites under the conditions of white rule and strange effects that has especially on black people.
                                     The book contains eight chapters. All the chapters deal with discrimination. Now, let’s have a very brief note of all the chapters:
1.   Chapter One :- The Negro and Language
2.   Chapter Two :-The Woman of Color and the White Man
3.   Chapter Three :-The Man of Color and the White Woman
4.   Chapter Four :- The So-Called Dependency Complex of Colonized Peoples
5.   Chapter Five :- The Fact of Blackness
6.   Chapter Six :-  The Negro and Psychopathology
7.   Chapter Seven :- The Negro and Recognition
8.   Chapter Eight :- By Way of Conclusion
Let’s have a look on each and every chapter one by one.
     1. Chapter One :- The Negro and Language :-


 “O my body,make of me always a Man who questions!”-
Black Skin,White Masks

“What I want to do is help the black man to free himself the arsenal of complexes that has been developed by the colonial environment.”
In this chapter, Fanon shares his thoughts on how language choice reveals some of the effects oppression has had on the black psyche. He points out that, for black people, "to speak is to exist absolutely for the other" meaning that the language one chooses to communicate with requires that he or she "assume a culture, support the weight of a civilization". Key to this theory is the notion that, in the oppressed black mind, there is the tendency to equate European culture and whiteness with humanity. Thus, "the Negro will become whiter--become more human--as he masters the white man's language".
2.    Chapter Two :-  The Woman of Color and the White Man
"Me? a Negress? Can't you see I'm practically white? I despise Negroes. Niggers stink. They're dirty and lazy. Don't ever mention niggers to me"
~Black Skin, White Masks, Frantz Fanon

       
And now we move to one of the more exciting chapters in Fanon's book, "The Woman of Color and the White Man". Fanon's analysis, as we have seen, is based primarily on the Martinican relationship to France during his time. As such, he decides to analyze a book written in 1948 by a black woman--Mayotte Capecia--in which she divulges her reasons for being exclusively attracted to white men.

        For Fanon, the acts of love and admiration are directly tied to who and what we value. He says, "authentic love...entails the mobilization of psychic drives basically freed of unconscious conflicts". In other words, I cannot seek to love unless I have rid myself, in this case, of my inferiority complex. For black people, this becomes a humongous hindrance because, as Fanon believes, the inferiority complex is what the black world view is mainly comprised of.

     3. Chapter Three :- The Man of Color and the White Woman
 Fanon argues that the nature of this relationship is also rooted in the latent desire to become white. On page 63 he writes,
"By loving me [a white woman] proves that I am worthy of white love. I am loved like a white man. I am a white man."
As in the previous chapter, Fanon uses a work of literature to illustrate the psychological character of a black man who finds himself in love with a white woman. In the novel Un homme pareil aux autres (A Man Like Any Other) by René Maran, the protagonist, Jean Veneuse, was born in the Caribbean but has lived in Bordeaux, France since he was a child. Fanon notes, "he is a European. But he is Black; so he is a Negro. There is the conflict. He does not understand his own race, and the whites do not understand him". We also find that because of these circumstances, Veneuse feels lonely and has developed into what many would call an introverted bookworm. While we might be led to think that Veneuse's desire is to prove to his white counterparts that he is their equal, Fanon believes that Veneuse himself is the man that has to be convinced.

4. Chapter Four :- The So-Called Dependency Complex of Colonized Peoples                      
      Here, the writer argues against Fanon’s view that people of color have a deep desire for white rule, that those who oppose it to do not have a secure sense of self that they have a chip on their shoulder. From this chapter I came to understand that the stereotypes of Happy Darkies, Uppity Negroes and White Saviors all come from the need of white people to feel that their power in society is good and not racist.
5. Chapter Five :- The Fact of Blackness
This chapter deals with the condition of Black people. Though they are highly educated, spiritual and knowledgeable, but their color of skin giving feeling of embarrassment. Here the sad condition of those people narrated. This chapter deals with the pathetic conditions of blacks. They thought that being always black is as if they are never fully human. No matter how much Education you have or how well you act. They felt they are just like isolated creature from the world.
6. Chapter Six :- The Negro and Psychopathology
Here writer ask question to reader that, Why should people fear black?  Question asked here. Part it has to do with white men’s repressed homosexuality and their strange hang-ups about black men’s penises. More generally, black men are viewed as a body, which makes them seem like mindless, violent sexual, animal beings. Add to that all the bad meanings that the word “black” had even before Europeans set foot in black Africa.
7. Chapter Seven :- The Negro and Recognition
This chapter deals with how different styles of white rule shaped black people in America and Martinique.
The Martinican is not a Neurotic. If we were strict in applying the conclusions of the Adlerian school, we should say that the Negro is seeking to protest against the inferiority that he feels historically. Since in all periods the Negro has been an inferior, he attempts to react with superiority complex.
The writer talks about the recognition the Negroes have started getting in later years. He talks about Adlerian - If I were an Adlerian, then , having established the fact that my fr5iend had fulfilled in a dream his wish to become white- that is, to be a man-I would show him that his neurosis, his psychic instability, the rupture of his ego arouse out of this governing fiction, and I would say to him:
“Mannoni has very ably described this phenomenon in the Malagasy. Look here: I think you simply have to resign yourself to remaining in the place that has been assigned to you”.
8.Chapter Eight :- By Way of Conclusion
According to Fanon, it was not easy for Black to forget their past and to free themselves from their past condition. The relations of Black with white were that of the slaves with their masters. French asked the writer to reply for an article that he wrote as he was a Negro who wanted niggers to live with Pride. The writer criticizes their way of running behind whites and thus doing injustice to their country, their culture, their natives.
Fanon quotes- I was committed to myself and to my neighbor to fight for all my life and with all my strength so that never again would people on the earth be subjugated. It was not the black world that laid down my course of conduct. My black skin is not the wrapping of specific values. It is a long time since the starry sky that away Kant’s breath revealed the last of its secrets to us. And the moral law is not certain of itself.

Fanon further stresses :-
“There is no white world, there is no white ethnic any more than there is a white intelligence”.



Conclusion :-
So, at the end we can say that this Book deals with innumerable example of the Black and white problems, the coloured’s inferiority complex. Their inner feeling is revealed throughout the book. It seems that the coloured people themselves did not want to raise high. They were not ready to think high of themselves instead they ran after mirage which was not possible. Skin can’t be changed but mentality can be changed so we can say- 
“The Nature of Blackness is within the Mind.”    
click here to evaluate my assignment: 



Significance of the 'Nature' in the novel In 'TheOld Man and The Sea'.

click here to evaluate my assignment:

Name : Pipavat Gopi Y
Sem : 3 ( M.A. English)
Batch Year : 2015- 2017
Paper Name : 10, The American Literature
Assignment Topic:
Significance of the 'Nature' in the novel In 'TheOld Man and The Sea'.
Submitted  to :
Prof. Dr. Dilip Barad,
Head of the Department,
Department of English
Maharaja Krishnakumarsinhji Bhavnagar University



                                     





 Introduction :   

                                     
" Every man's life ends the same way. It is only the details of how he lived and how he died that distinguish one man from another." - Ernest Hemingway
        American writer -Ernest Hemingway was born in oak park  Illinois , on July,21 1899. We could probably say that an unhappy love  affair and his unhappy experiences in war were motivating factor which made him a great writer.The brutality of the Hemingway world of fiction has given rise, to the view that he is a sort of 'caveman' of literature. He gives us the impression of being a hyper , sensitive man who has been terribly hurt by life.
Hemingway wrote  many books. In 1952,after years of works, he brought out 'the old man and the sea 'a tale of  struggle of a single, old fisherman against the power of fate and ocean. It was the story he had been trying to write all his life and brought him to the Pulitze prize in 1953.

About novella:
'The old man and The Sea' is a story of epic struggle between an old experienced fisherman - Santiago and a huge existence but nature is not providing him enough. Nature plays very vital role throughout the novel.
Hemingway's attitude towards 'nature' is not easy to define, when nature is being used for sports-killing fishing, big -game hunting, bull-fighting. -it is beneficent. The joy it can give is so mystical that is beyond the words. 'The old man and The Sea' will show the wide range of his  'naturalism'.if we want to define 'Nature' of the novel - 'The Old Man and The Sea'. We have to see with broadest view. However, the novel is a representation  of  life as a struggle against unconquerable natural forces in which a kind of victory  is possible. It is an epic metaphor for life, a contest in which even the problem of right and wrong seems partly before the great thing that is struggle.
"One can't escape from Nature."
Let's discuss the significant of the 'nature'
Significant of the 'nature'
in novel
The Old Man and The Sea.
        The Old Man is unique in his relationship to and understanding of the natural world. During reading the novel , readers find that nature has two aspects in the novel. Nature plays a very huge part in the novel since the setting is the sea and the fish is Santiago's counterpart.
Two aspects of reading 'Nature' is that.....................
1.   Nature : as it is. (itself)
2.   Nature : as a symbol.
when we just  look at how nature it is described in novel  and how the old man- Santiago's relation to this nature. some how both are  different from each-other.
Santiago talks about the 'sea' as though it is a character, the bird as friend and the sharks as the personal enemies. Santiago physically alone on the sea but he also understands that......
"No man was ever alone on the sea."
Each thing is the part of nature. And surprisingly Santiago's fight is - with nothing else but with nature. Old man has to do struggle with nature though he is a part of 'Nature'.As a part of nature, Sometimes human  being becomes totally inferior to it.      
"Man can't fight against the nature because nature has supreme power."
one can't rely only on one's skill when s/he is in nature. Because the cruelty goes alone with  nature from time to time, is shown when the old man's  outer appearance is  described.
"Nature takes away what it gives."
 Natural  elements  -sea, birds, sun, moon, trees, sharks ,turtles  and jellyfish-all  those  are  part of  nature  including  Santiago. The  old  man and the sea also incites discussion about  the  natural order of things.means...in the world every elements are somehow united in harmony or love  almost.
''Nature has its own unity.''
A Harmony  in Nature:
As we all know that novel  has no many characters. There is only three main characters like.....
1. The old man  - Santiago
2. The boy         -  Manolin
3. The fish         -  Marlin
But...it seems like that nature has its own role throughout the novel. And  'sea' is the most important part of the novel and writer Hemingway describes it as a 'character'.
The atmosphere seems to be at first sight something completely order and in perfect harmony. Nature 'sea' with it creatures in it, birds, the sun, the moon,, the stars are also in their harmony. Relationship between Santiago and with natural elements just like friends. But....relation with shark of Santiago is different than others............
Examples:
                "Old man asked the bird 'how old are you?' 'is this your first trip?' the bird looked at him when he spoke. It looks like the old man feels pity for the little bird. He talks to bird like...if he really could understand."
 The old man; struggle's with fish Marlin three days, we already find that he is sorry for birds and turtles, but his feelings for the Marlin are different. It seems to be bigger extremely big and powerful.
 Old man and fish have to wait that  one of  the two loses strength. Both probably have same strength as both are the part of same nature. Though both are not direct enemies both are equally important. Both have harmony of  the nature. Nature of universe.
        It is a world in which everyone is killing or being killed. Because of bonding and intimacy between them nature establish the unity and emotion which transcends the destructive pattern in which they are caught each - other.
 Santiago's nature towards the Marlin :
"I love you and respect you very much. But I will kill you dead before this day ends."
Nature has not only positive image but it has also destructive and hostile as well. The nature which seems to be so peaceful at first time sight is also sometime like an enemy. Nature has constructive and destructive both power at the same time.
Each living thing - men or animals act according to the compulsion of its nature in the process of becoming a part of the profound harmony of the natural universe. No one is totally good or bad both aspects are there into one and the same way, Santiago's temperament goes on changing. Even the sharks have their own place. The sharks are largely scavengers,  but the strongest and most powerful among them.
As we already mention that the old man- Santiago is unique. But in the 'Nature' Santiago really is nothing more or less than one of the creature in the 'sea'.
Representation of  Nature:
        Nature can't be predicated. As we discuss that Santiago's nature and other element's of nature depends on situations (universe  of nature.) But...universally , nature is not decided. Nature describe only as it is but somehow in this novel, we find that........
"Nature is static in the whole novel. It is not beautiful as we think in our imagination. Really it is so cruel and brutal."
Examples:
From the starting of novel there is something stress on mind of  reader   because of  the description of nature like...........
"Fished alone  in a skiff in the gulf stream and he had gone eighty-four days without talking fish."                        
        It seems like the misfortune because of nature. In novel is static and because of its quality, Santiago can understand nature with his own tricks or skill. Stars, birds and other natural elements helps him in wild ocean. So, some of natural elements are favour in to the old man and he has to fight nature also. As a part of nature, Santiago the old man solves the query of symbolism  which is provided by nature.
Novella  - 'The Old Man and the Sea' is based on conflict between Man  v/s Nature. Though man is part of  nature, sometime, he has to accept nature as battlefield as Santiago accepts the 'sea' a s his battlefield. He has to stand there.
 However, the sea is not providing him enough catch to survive. He is able to catch the large marlin but sea will not allow him to have it and he returns to share with nothing but 'skeleton.'
"Nature defeated him with his bad luck."
Symbolism in Nature:
Symbolically , however the conflict is representative of man's conflict with overpowering forces in society . Man's resilience against those forces. Nature has its own symbol and it uses in different way. No doubt each symbol has its own interpretation but in the novella - "the old man and the sea".
Sea :  as a character :                                           
 The novel - is not only struggle about the old man's suffering. It also seems like that .....'sea voyage'. In the novel 'sea' itself a strong character. 'Sea' itself becomes symbol and it also becomes character also in the novel.
        'sea' is marvelously described in the novel. It is mighty object. And I think sea is directly compared with old man's strength, depth of thoughts and spirit. In that sense, sea is the symbol of the (mightiness ) Old man's mightiness.
Blue water of sea is also compared with the old man's  eye. Old man can't escape from that he has to stand in the battlefield with his spirit though he knows that he might be lose. Sea only doesn't represents the great pain and suffering  which is already existed in human life. For us , the old man - Santiago and sea is united.
Sea is the reflection of that pain and suffering of human life.
".Kaik to chhe ke jethi Uncho- Nicho thay chhe Dariyo;
Mane To Apani jem j Dukhi dekhay Dariyo."
Symbolically, the meaning of the 'sea' is constantly changed because it is based  on context. In this novel. 'Sea' might be seen as misfortune.  But in other literature it compares with other elements or emotions.
In  Gujarati literature  we find 'Samudrantike ' by Dhruv Bhatt and 'Dariyalal' by Gunvant  Acharya  give  too much space to nature  'sea' in their novel.
Though  nature is not favour  and it is in its destructive image or mode,  People adore the sea a 'GOD'.         
 In  'samundrantike' kharva people said that.....
''Dariyo dev chhe! ''
        

I think, in nature we find wholeness and the 'sea' is one of  the most bewilder  example of it. Because each time sea-ocean is not beautiful but sea is also able to create horrible image in mind.
Poem written by Dhruv  Bhatt- also reflects that one can't understand 'Sea'. Because it goes on changing and so many thing are there at the same time and all those things  are true at a time for 'Sea' .
Above poem also describes 'sea' as a character. Other natural elements like..............Bird; as general bird may be suggests the freedom. But here, bird may be symbolized as ordinary man who can't understand the symbolic meaning of nature. Night and Stares become the symbol of follow suffer which shown him right path during his journey.

 For The Old man,  all those elements are the symbol of hope and light in the darkness. Though they all are in harmony, they are individual. Each is doing struggle in the nature and the same way, the old man - Santiago fights with his own strength. One has to fight with own fat without talking help of other. As whole, each aspects of nature has its own nature in the universe.
"Man can't fight with nature. Because man is the part of nature and it has supreme power over us."
                But as human being, man can't accept himself as inferior or defeated so; Old man continues his struggle till the end. And it is one of the best line of the novel which describes reality also that......
"A man can be destroyed but not defeated."

Example of stars............                               
"The stars were bright now and he saw the dolphin clearly and he pushed the blade of his knife into his head and drew him out from the stern."
 Means..... In darkness stars help to the old man, Santiago and stars becomes the symbol of guide also.
Perspectives:
We all know that novel -'The Old Man and The Sea' based on the struggle. Struggle between the old man and nature. Does man not part of nature?. But  The old man says that.............
"But man is not made for defeat."
Human being can't accept themselves as defeated. They want to satisfy their 'Ego' though they all are part of nature. but .............. What make differences in between man and other natural elements ?
Yes, language, language makes differences between the old man and other natural elements like..'Sea' , 'Sharks' and 'Marlin'.
Just think , is it the same story if it is written by Sharks, Sea and Marlin's perspectives?
what they want to speak if they have language.
Let's imagine their perspectives.
Sea:
Though sea is a battlefield for old man, sea saves so many lives in it. Sea says........"The Old man-you are representative of the mankind and always referred me as cruel. You destroy my shelters lives. I give you so many place in my area. Toy get so many things from me. I just give you never demand anything and then I am cruel?"
        "Man kind you never understand me , my pain, my suffering and then I never stop my work for you. After so much suffering from you, when I start giving  reaction you all say that ' I am destroyer'. But....so called 'intellectual man' - first look at yourself.
The sharks:
 Sea is 'home' for sharks. The sharks are not an accident in sea but it is natural  in 'sea'.
"He had come up from deep down in the water as the dark cloud of blood had  settled  and dispersed in the mile deep sea."
        'This was a fish built to feed on all the fishes in the sea, that were so fast and strong and well armed that they had no other enemy.'
Fish marlin:
 Though marlin is small part of Nature. He played a vital role in the novella - 'The Old Man and The Sea'. It is fish Marlin who makes the Old Man 'Hero' of the novella.
Marlin says, ......
        "you the old man - why you hunt me? You cross your limits to prove yourself only. To satisfy your ego through me. I am object for you nothing else.  You - human beings have no co - existence with other creatures. Are suffered from your race. We are not enemy to you all and then even you are ready to kill us only because of your pride".
"yes, old man the difference between you and me only is language. You, tell the story to others only from your perspective  and be the hero of your story. But what about me ? My pain ? What about my suffering ? Who tells the story about me to your people. Your race ? "you killed me for pride  and because you are fisher-man you did not kill   the fish only to keep alive and sell for food."  Marlin says..."Old man killing me you get admiration and money but killing you, I get nothing. I fight with you and only to save my  own life. 'I kill you in self-defense. 'I  am alone weapon less to fight against you but you have so many things and then I am innocent than you. "you are more wilder than me". I listen your words when you say that ..
"I may not be as strong as I think but I know many tricks and I have resolution"
"Old man, I  am also wild creature as you are. But I kill them as natural forces for my live hood not prove myself as you want. I feel proud that I am not part of your world - who don't keep respect, love  and empathy to others."
        Means..... Observing through the novella, the role of the victor and the victim is constantly changed.
Example:
First Santiago is the victor over the marlin; then he suffers vicariously the marlin's defeat as the sharks strip a way  its flesh Santiago  reflects, as the attack by the first shark threatens to turn his victory into a defeat.
 So, in Nature - all things are moving. One can't stay at only on one place. One's role is constantly changed. As , we have Guajarati phrase......................"Je Poshitu Te Martu E Karm Dise chee Kudarati !".
Epilogue :

Discussing Nature with various aspects, we may say that each thing has its own nature and sufficient space  into Nature. Universe provides total free place to its own things and man. We have to adjust ourselves with others as we and they both are the part of nature. One can't describe nature in words because it is vast phenomena  and unique experience to feel.
click here to evaluate my assignment: 

Abstracting Intimacy: Lily Briscoe’s Artistic Vision in To the Lighthouse.

Name : Pipavat Gopi Y
Sem : 3 ( M.A. English)
Batch Year : 2015- 2017
Paper Name : 09 ( The Modernist Literature)
Topic:- Abstracting Intimacy:  Lily Briscoe’s Artistic Vision in To the Lighthouse.
Submitted  to :- Dr. Dilip Barad ,
Department of English
Maharaja Krishnakumarsinhji Bhavnagar University 










Introduction of novel :



To the Lighthouse is a 1927 novel by Virginia Woolf. The novel centers on the Ramsays and their visits to the Isle of Skye in Scotland between 1910 and 1920.
Ø Virginia Woolf Biography 

English author Virginia Woolf wrote modernist classics including Mrs. Dalloway and To the Lighthouse, as well as pioneering feminist texts, A Room of One's Own and Three Guineas.
Born into a privileged English household in 1882, author Virginia Woolf was raised by free-thinking parents. She began writing as a young girl and published her first novel, The Voyage Out, in 1915. She wrote modernist classics including Mrs. Dalloway, To the Lighthouse and Orlando, as well as pioneering feminist works, A Room of One's Own and Three Guineas. In her personal life, she suffered bouts of deep depression. She committed suicide in 1941, at the age of 59.
Ø Early Life
Born on January 25, 1882, Adeline Virginia Stephen was raised in a remarkable household. Her father, Sir Leslie Stephen, was a historian and author, as well as one of the most prominent figures in the golden age of mountaineering. Woolf’s mother, Julia Prinsep Stephen (née Jackson), had been born in India and later served as a model for several Pre-Raphaelite painters. She was also a nurse and wrote a book on the profession. Both of her parents had been married and widowed before marrying each other. Woolf had three full siblings — Thoby, Vanessa and Adrian — and four half-siblings — Laura Makepeace Stephen and George, Gerald and Stella Duckworth. The eight children lived under one roof at 22 Hyde Park Gate, Kensington.
Following and extending the tradition of modernist novelists like Marcel Proust and James Joyce, the plot of To the Lighthouse is secondary to its philosophical introspection. Cited as a key example of the literary technique of Multiple Focalization, the novel includes little dialogue and almost no action; most of it is written as thoughts and observations. The novel recalls childhood emotions and highlights adult relationships. Among the book's many tropes and themes are those of loss, subjectivity, the nature of art and the problem of perception.

Part I: The Window

The novel is set in the Ramsays' summer home in the Hebrides, on the Isle of Skye. The section begins with Mrs Ramsay assuring her son James that they should be able to visit the lighthouse on the next day. This prediction is denied by Mr Ramsay, who voices his certainty that the weather will not be clear, an opinion that forces a certain tension between Mr and Mrs Ramsay, and also between Mr Ramsay and James. This particular incident is referred to on various occasions throughout the section, especially in the context of Mr and Mrs Ramsay's relationship.
The Ramsays and their eight children have been joined at the house by a number of friends and colleagues. One of them, Lily Briscoe, begins the novel as a young, uncertain painter attempting a portrait of Mrs. Ramsay and James. Briscoe finds herself plagued by doubts throughout the novel, doubts largely fed by the claims of Charles Tansley, another guest, who asserts that women can neither paint nor write. Tansley himself is an admirer of Mr Ramsay, a philosophy professor, and his academic treatises.
The section closes with a large dinner party. When Augustus Carmichael, a visiting poet, asks for a second serving of soup, Mr Ramsay nearly snaps at him. Mrs Ramsay is herself out of sorts when Paul Rayley and Minta Doyle, two acquaintances whom she has brought together in engagement, arrive late to dinner, as Minta has lost her grandmother's brooch on the beach.
Part II: Time Passes

The second section gives a sense of time passing, absence, and death. Ten years pass, during which the First World War begins and ends. Mrs Ramsay dies, as do two of her children - Prue dies from complications of childbirth, and Andrew is killed in the war. Mr Ramsay is left adrift without his wife to praise and comfort him during his bouts of fear and anguish regarding the longevity of his philosophical work. This section is told from an omniscient point of view and occasionally from Mrs. McNab's point of view. Mrs. McNab worked in the Ramsay's house since the beginning, and thus provides a clear view of how things have changed in the time the summer house has been unoccupied.
Part III: The Lighthouse

In the final section, “The Lighthouse,” some of the remaining Ramsays and other guests return to their summer home ten years after the events of Part I. Mr Ramsay finally plans on taking the long-delayed trip to the lighthouse with daughter Cam(illa) and son James (the remaining Ramsay children are virtually unmentioned in the final section). The trip almost does not happen, as the children are not ready, but they eventually set off. As they travel, the children are silent in protest at their father for forcing them to come along. However, James keeps the sailing boat steady and rather than receiving the harsh words he has come to expect from his father, he hears praise, providing a rare moment of empathy between father and son; Cam's attitude towards her father changes also, from resentment to eventual admiration.
They are accompanied by the sailor Macalister and his son, who catches fish during the trip. The son cuts a piece of flesh from a fish he has caught to use for bait, throwing the injured fish back into the sea.
While they set sail for the lighthouse, Lily attempts to finally complete the painting she has held in her mind since the start of the novel. She reconsiders her memory of Mrs and Mr Ramsay, balancing the multitude of impressions from ten years ago in an effort to reach towards an objective truth about Mrs Ramsay and life itself. Upon finishing the painting (just as the sailing party reaches the lighthouse) and seeing that it satisfies her, she realises that the execution of her vision is more important to her than the idea of leaving some sort of legacy in her work.
The next generation of characters—Lily Briscoe, Paul Rayley and Minta Doyle, Charles Tansley, and Mr. and Mrs. Ramsay’s children—have some hope of breaking the necessity of choice between one’s creative self and companions him with the opposite sex. Their choices reflect the extent to which Victorian ideals of marriage mire not only the parental generation but the young, new, supposedly dynamic generation coming after Importantly, only Lily Briscoe resists the bonds of traditional marriage, judging it inadequate to meet her needs for intimacy. Paul, Minta, and the Ramsay’s daughter Prue all wed, and Woolf affords them nothing but disturbingly unsatisfactory ends. Prue dies in childbirth after being parenthetically given in marriage on her father’s arm during the middle section of the novel Paul and Minta marry and live, but become distant despite the new title Mrs. Ramsay feels bond them together: “the Rayleys,” in whose lives Mrs. Ramsay hopes for the revival even of her own parents’ lives.
While Paul and Minta marry, they nearly disappear from the last section of the novel in Woolf’s paring-down of  characters,significant only in Lily’s imagined narrative of their  marriage. Though ambiguous, Woolf leaves readers little doubt that the Rayley’s marriage did indeed “turn out rather badly,” as Lily envisions them arguing and thinks of Paul’s mistress  A cause of Lily’s discomfort and the recipient of an odd mix of revulsion and motherly concern from Mrs. Ramsay, Charles Tansley at first glance seems to join Lily in firmly resisting the bonds of traditional marriage. Upon closer examination, Charles Tansley’s mean-spirited jibes at Lily, Mrs. Ramsay, and the Ramsay children seem to stem from his thwarted desire for marriage and his awkward inability to attain an intimate relationship with a woman. At the very beginning of the novel, Charles Tansley reveals his longing or a wife as he accompanies Mrs. Ramsay on her errands. Finally taking Mrs. Ramsay’s bag in his hands, “for the first time in his life Charles Tansley felt an extraordinary pride; felt the wind and the cyclamen and the violets for he was walking with a beautiful woman. He had hold of her bag “Charles Tansley too disappears in the last section of the novel, present only in Lily’s memory. Thinking that their “squabbling, sparring had been silly and spiteful,” Lily absorbs his most hurtful words to her—“Women  can’t paint, can’t write”—as a distinct and useful memory
Though Charles Tansley “upset the proportions of one’s world,” he cannot upset the proportions of  traditional marriage like Lily. Lily imagines him married, happy, fulfilling his desires for a traditional man/wife relationship. As she paints at the end of the novel, Lily thinks of Charles Tansley as her foil—as a possibility for her life had her awkwardness become bitterness, had she chosen traditional relationships as her ideal instead of asking for an alternative
While the Ramsays’ lives and creativity suffers from the bonds of marriage,  influencing even younger characters to follow in their footsteps, Lily bends under different burdens. Faced with the choice of intimacy with a man or her art, Lily chooses painting  above any kind of human intimacy. The forms she first lays down with paint on canvas suggest her struggle with intimacy in all forms, even maternal, while her interactions with Mrs. Ramsay,William Bankes, and even Charles Tansley indicate her undeniable desire for intimacy. The Victorian template of womanhood, intimacy, and their consequences for artistry, exemplified by Mrs. Ramsay and her relationship with Mr. Ramsay denies Lily the fulfillment of all her desires. At first turning to abstract forms as a means of understanding and substituting for desired relationships, Lilybecomes frustrated with her nontraditional vision and actions. Choosing art above marriage, Lily rejects Mrs. Ramsay’s advice and the world Mrs. Ramsay has created around herself—but by the end of the novel, Lily establishes a more intimate connection with the dead Mrs. Ramsay than any other woman in the novel establishes with a man. While creating an abstract work of art, Lily works toward a deep understanding of Mr. and Mrs. Ramsay, other characters such as Paul and Minta, Charles Tansley, and William Bankes, and most importantly, herself. Instead of indicating the end or the impossibility of human intimacy, Lily becomes a symbol of the modernist artist who transcends the difficulties of Victorian traditional intimacy through abstraction. Lily’s quest for abstraction begins as a pure pursuit, impeded only by her desire for others’ approval and connection with the minds of others through her art. Woolf filters Lily’s internal thoughts with Mrs. Ramsay’s opinion of Lily: “Lily’s picture! Mrs. Ramsay smiled. With her little Chinese eyes and her puckered-up face, she would never marry; one could not take her painting very seriously; she was an independent little creature, and Mrs. Ramsay liked her for it...” Lily cannot stand apart from Mrs. Ramsay’s indictment of smallness and oddness; throughout the novel the reader will hear Mrs. Ramsay’s fond,               unintentionally belittling opinion of Lily seeping through the narrative Lily’s determination and artistic theories. Shaded by other characters, Lily struggles for the “independence” Mrs. Ramsay laughingly allows her, and she does this by seeking a new kind of art that fully describes her own vision of what art ought to be Though determined to be independent, Mrs. Ramsay’s perception of Lily as childish  seems accurate. Lily seems flustered, nervous about her painting: as James Ramsay blusters past, “coming down upon her with his hands waving shouting out,” she panics, hoping the little boy will not see her painting, for “that was what Lily Briscoe could not have endured. Even while she looked at the mass, at the line, at the colour...she kept a feeler on her surroundings lest some one should creep up, and suddenly she should find her picture looked at”. Lily’s constant fear of discovery, of judgments of her unworthiness as an artist keeps her from fully immersing herself in her work. Fearful even of a little boy’s judgments, Lily isolates herself from the other characters, who look at her as though from a distance. Her view of the others shows in her paintings. Always watching silently from a distance, guarding herself from exchanges with other characters, especially about her painting, Lily can only see an abstracted view of human intimacy Observing the banality of intimate relationships from afar, Lily feels separate from the “unreal” universe of love in which nature celebrates the joyousness of love and marriage.
Turning her gaze from the married couple to her painting, she substitutes the hope of art for the hope and joy of marriage. The rapturous gaze William Bankes casts upon Mrs. Ramsay contrasts with the gaze of horror Lily casts on her painting. Hysterically, Lily “could have wept. It was bad, it was bad, it was infinitely bad! She could have done it differently of course...But then she did not see it like that. She saw the colour burning on a framework of  steel; the light of a butterfly’s wing lying upon the arches of a cathedral. Of that only a few random marks scrawled upon the canvas remained” Lily describes her vision in vivid terms, equal to the manner in which she describes the Ramsay’s marriage. She can no more paint the vividness of “burning color on a framework of steel” than she can “the unreal but penetrating...universe” of “being in love”. The inadequacy of art as a substitute for the glow of marriage she observes from afar echoes the inadequacies of Mr. and Mrs. Ramsay’s relationship. Independent and striving for her vision, Lily spurns traditional intimacy, but finds no comfort in her art. Woolf’s own observations of marriage echo Lily’s as she gazes on the Ramsays from a distance. Though neither Woolf nor her sister Vanessa spurned marriage, Woolf chooses to portray Lily as successful only because she does not “dilute” herself with a husband . Much like Lily, the young Stephen sisters struggled with themselves and each other about the concepts and meanings of marriage. In her extensive biography of Woolf, Hermione Lee details Woolf’s personal struggle with herself as well as her worries about her sister’s marriage to Clive Bell. Seeing her sister Vanessa Stephen’s engagement to Clive Bell as tantamount to death and “bereavement,” the young Virginia expressed worries about losing her sister . Virginia also explored the “oppositions between writing and marriage,” the ability to continue producing artistically despite a new, more domestic feminine role (Lee 234). However, young Virginia Stephen did marry Leonard Woolf, with whom she experienced close companionship—but with whom she never produced children. Her life with Leonard was intellectual, ‘automatic’ and filled with friendship, but it was not characterized by romantic passion Woolf’s worries about intimacy and the ability to produce art are echoed in her character Lily’s worries about life and art. Lily’s relationship with William Bankes seems to reflect Woolf’s relationship with Leonard; Lily compares herself to the domesticMrs. Ramsay as Woolf compares herself to her maternal sister Vanessa Bell; and both women’s worries about the validity and merit of their work plague them throughout their careers. Though commonly read as an image of Vanessa Bell, Lily seems more autobiographical, working through the same problems of creation, domesticity, and memory as Woolf.Instead of seeing art as inadequate to fill her emotional needs, Lily blames her lack of  talent for failing to provide forms that transcend the void left by the lack of marriage in her life. Worries about her womanhood fill her as they fill Mrs. Ramsay. Charles Tansley’s taunt “’Women can’t paint, women can’t write’” hauntsher, reminding Lily of the forced choice between art and traditional womanhood Mrs. Ramsay, reading poetry, “did not know at first what the words meant at all”; Lily worries that Charles Tansley’s damnation of woman in the arts hold nothing but truth . Lacking the fulfillment of her traditional role as a wife and mother, Lily feels she also lacks the talent to become an artist. Struggles with her inner desires for intimacy stemfrom her desire to cling to her femininity while still producing art of worth. At first believing Charles Tansley’s taunt, she counts her painting “little and virginal,” feeling as though womanhood and painting cannot combine Lily’s project combines a desire for a feminine art that refutes Charles Tansley’s judgements of women’s art with a desire to fill the void left by her lack of traditional intimacy. Lily fails at her first painting not because she believes Charles’s taunts, but because she strives so feverishly against them, losing sight of art’s true potential to express and to create intimacy in lieu of mere substitutes.
Lily paints because she cannot attain nor understand the human intimacy she deeply desires and admires so much in Mrs. Ramsay’s model relationships. Thinking of Mrs. Ramsay and of her own “virginal” painting, Lily questions the nature of true human intimacy.Though Lily sees her own painting as inadequate to achieve intimacy, she questions the ability of the human sexual relationship to do the same. Her own incapacity to love or to be the object of love haunts her, especially as she faces Mrs. Ramsay, loving and loved by many men. Lily wonders, “What art was there...by which one pressed through into those secret chambers?” Mingling art and sex in her mind, Lily wonders at the effectiveness of either to achieve sameness, “unity,” or “intimacy itself.” As unreal and abstract as the Ramsays’s “being in love,” Lily longs for and questions the possibility of true intimacyLily’s true desire for intimacy leads to “leaning her head on Mrs. Ramsay’s knee” in an attempt for physical connection. She attains “Nothing! Nothing! as she leant her head against Mrs. Ramsay’s knee”  Lily defines “intimacy” not as sex but as knowledge—a deeper spiritual connection attained most efficiently by nonsexual means. Trying to mingle her mind with Mrs. Ramsay’s body, leaning bone against bone to attain “knowledge,” Lily attempts an intimacy without sexual penetration, but fails. Focused on her head and her mind as the site of knowledge, Lily overanalyzes the methods of achieving intimacy. Instead of passion and bodily contact, Lily seeks a more cerebral knowledge.
Ø Conclusion :

In the final section of the novel, called “TheLighthouse,” Lily takes up her paints for a final attempt to solve the problems of intimacy and abstraction in her work. Though the Ramsay’s changing lives are only parenthetically and generally described in “Time Passes,” Lily’s activity between “The Window” and “The Lighthouse” remains a mystery. Suddenly forty-four years old, Lily mourns the death of Mrs. Ramsay in the same setting in which she struggled with painting in the beginning of the novel. Decisively, Lily thinks, “She would paint that picture now,” knowing that her maturity and the death of Mrs. Lily’s disinterest in the enduring value of her art indicates the temporality of self-discovery and –definition. For Mr. and Mrs. Ramsay, the key to self lies in marriage, in the enmeshing of one’s soul with one’s spouse. Rejecting this notion, Lily chooses to fulfill herself, seeking new models of femininity and intimacy that she reaches through her final painting. Knowledge of herself, an understanding of Mrs. Ramsay, and her vision remains more important than traditional marital intimacy, and the temporality of the product of Lily’s self-discovery reinforces the progressive nature of the human character. As she realizes her painting “would be destroyed,” she realizes the modernity and temporality of her artistic vision. Though it solves her current problems of intimacy and emotion, Lily’s painting cannot make claims for universality for differing times. Just as Mr. and Mrs. Ramsay’s model of function and “the meaning of life” could not satisfy the younger Lily existing in a post-Victorian modernity, Lily’s model of modernity through her abstract painting will not function for future generations . Lily’s discovery of self through painting, though begun as a substitute for traditional intimacy, transforms and redefines her own models of human relationships, allowing her life and her art validity in modern times. Woolf pushes her readers to modern visions of intimacy and art, dealing closely with the concerns of visual art but also structuring her fictional representations in new, innovative, even abstract ways. Lily’s personal vision establishes connection: with her self, with her past, with her viewer, and with Woolf’s reader, standing as an innovative intimacy in the conditions of modernity. 
click here to evaluate my assignment: