To the Lighthouse

In her novel To The Lighthouse, Virginia Woolf represented the originality of the stream of life, the virgin and joyful frequency of the inner voice in discovering the signs of reality. In particular, we recognize several cognitive worlds, intends, thoughts, emotions, impressions, hopes and memories of Mr. Ramsay's family and their close people. Therefore, Virginia Woolf, in her narrative discourse, made a wide network of the poetic impact of voices, natural signs and recovered artistic images which played a metaphorical role in the space and its wide significances.

Consequently, Virginia's narrator, here, added some aesthetics to the stream-of-consciousness novel that all sounds, echos, dreams, mental images, loud rhythms of existence, specters and phenomenal images represented the experimental consciousness of the narrator in her poetic relationship with the deep multiple worlds beyond the physical walls and beings. Also, we can see these transformed tones in Lyli's unconsciousness and her painting.

Furthermore, we noticed that the narration confirmed the transference of signs according to Derrida's perspective about writing, that we can see an imaginary dark hole beyond the sign of water and the alternative representation between emptiness and the loud human sound. Also, the narrator implied the other specter of Mrs. Ramsay and the other simulacrum of the lighthouse beyond reality. Therefore, the discourse confirmed the spectral and metaphorical forms of individual existence in art, reality and unconsciousness.

While I was reading the indications of the narrator to some writers and artists such as Raphael and Virgil in an inter-textual context, I noticed that Virginia's discourse recreated the old aesthetic effects behind the events and the internal worlds of characters, that the multiple metaphorical sounds and specters remind me of Virgil's The Aeneid when Cybele predicted the repetition of the characters and circumstances of the Trojan War. In particular, Mrs. Ramsay appeared behind the reality of the spaces in a new harmonious position. Moreover, Lily was transformed from the mental love and the state of waiting for the family to reproducing the poetic sounds and metaphors in her consciousness.

Finally, we can read the sign of the lighthouse according to Charles Sanders Peirce's semiotic theory, that the lighthouse, the realistic and iconic sign, reflected the object of an imaginary architecture of all existential forms. So, it suggested that the completion of the journey was deferred and exhorted the receptor to take part in the formation of the metaphorical images of the subject.