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TheauthorVirginiaWoolf(25January1882–28March1941)AnEnglishauthor,essayist,publisher,andwriterofshortstories,regardedasoneoftheforemostmodernistliteraryfiguresofthetwentiethcentury.Duringtheinterwarperiod,WoolfwasasignificantfigureinLondonliterarysocietyandamemberoftheBloomsburyGroup.HermostfamousworksincludethenovelsMrs.Dalloway(1925),TotheLighthouse(1927)andOrlando(1928),andthebook-lengthessayARoomofOne'sOwn(1929),withitsfamousdictum,"Awomanmusthavemoneyandaroomofherownifsheistowritefiction.“WoolfisconsideredoneofthegreatestinnovatorsintheEnglishlanguage.Inherworkssheexperimentedwithstream-of-consciousnessandtheunderlyingpsychologicalaswellasemotionalmotivesofcharacters.Woolf'sreputationdeclinedsharplyafterWorldWarII,buthereminencewasre-establishedwiththesurgeofFeministcriticisminthe1970s.ThemovieadaptedfromMrs.Dallowaystream-of-consciousnessthecontinuousflowofsense‐perceptions,thoughts,feelings,andmemoriesinthehumanmind;oraliterarymethodofrepresentingsuchablendingofmentalprocessesinfictionalcharacters,usuallyinanunpunctuatedordisjointedformofinteriormonologue.thetechniquewaspioneeredbyDorothyRichardsoninPilgrimage(1915–35)andbyJamesJoyceinUlysses(1922),andfurtherdevelopedbyVirginiaWoolfinMrsDalloway(1925)andWilliamFaulknerinTheSoundandtheFury(1928).Forafulleraccount,consultRobertHumphrey,StreamofConsciousnessintheModernNovel(1968).BackgroundInlateOctober,1928,VirginiaWoolfdeliveredalectureon"WomenandFiction"atNewnhamandGirton,thetwowomen'scollegeatCambridge,England.WoolfhadwrittenthelectureinMay;in1929,sheexpandeditintowhatisnow"ARoomofOne'sOwn,"andtheessaywaspublishedinbookformonOct.24,1929.Woolfcannilyutilizedthesettingofthelecture.Thefictionaluniversityshevisits,Oxbridge,isanamalgamofEngland'sprestigiousOxfordandCambridgeuniversitiesNewnhamGirtonSummaryPartoneThenarratordoseainvestigationatOxbridgeCollege,whereshereflectsonthedifferenteducationalexperiencesavailabletomenandwomenaswellasonmorematerialdifferencesintheirlives.ShethenspendsadayintheBritishLibraryperusingthescholarshiponwomen,allofwhichhaswrittenbymenandallofwhichhasbeenwritteninanger.Turningtohistory,shefindssolittledataabouttheeverydaylivesofwomenthatshedecidestoreconstructtheirexistenceimaginatively.ParttwoThefigureofJudithShakespeareisgeneratedasanexampleofthetragicfateahighlyintelligentwomanwouldhavemetwithunderthosecircumstances.Inlightofthisbackground,sheconsiderstheachievementsofthemajorwomennovelistsofthenineteenthcenturyandreflectsontheimportanceoftraditiontoanaspiringwriter.Asurveyofthecurrentstateofliteraturefollows,conductedthroughareadingthefirstnovelofoneofthenarrator'scontemporaries.Pa另rt眨t特hr飲eeWo母ol欄f伸cl導(dǎo)os惕es裝t乘he墊e責(zé)ss英ay廈w插it顧h易an般e東xh憑or蜘ta頌ti霸on忽t坡o姿he牲r圓au縣di庭en翼ce衛(wèi)o遭f碗wo豎me效n狡to先t太ak稀e挪up林t閱he魔t善ra匆di躍ti煉on鋼t貧ha寬t沾ha首s密be股en臣s的o遭ha雄rd漆ly趁b翅eq勉ue駁at倡he參d廟to厚t拐he在m,央a紀(jì)nd眠t位o穩(wěn)in破cr避ea虧se繪t杜he程e箭nd扛ow蒜me蒜nt格f拜or后t響he刺ir近o破wn帖d丘au從gh攤te脾rs析.Hi喜gh鬧li興gh球ts1.On伯e炸mu駝st妻s伶tr攪ai惱n拔of脊f生wh窗at花w免as肉p雄er寸so急na貌l論an蔬d哪ac苗ci帥de款nt階al搶i族n必al信l殼th艘es家e灑im跑pr貞es悔si困on廊s撿an環(huán)d遠(yuǎn)so伯r林ea呢ch袍t幸he際p顧ur應(yīng)e東fl蜻ui喉d,弟t孩he鉤e魄ss茫en袍ti帆al爪o午il終o箏f定tr老ut闖hIt懂c旨ha氏ra這ct眨er亡iz駁es淺t肢he旨n方ar蛛ra辛to繼r’蔑s屑in棵it殼ia光l醉mi拿ss鑄io慨n哪inA婦Ro失om向o直f泰On姐e’貢s辦Ow迎n.辱Sh從e禍en哲de允av刃or崖s留to姨f磚in拐d替th延e屑ab壞so神lu乎te連ly它e鈴ss丑en份ti襖al墨t挺ru自th令a蕉nd登e狠xp菌os霜e機(jī)it跟,都bu沒t銳ov攝er喬t仇he統(tǒng)c臉ou泉rs確e巷of厲t暗he創(chuàng)t向ex衛(wèi)t,各t潔he愚n砌ar網(wǎng)ra艱to信r量co存me數(shù)s蠅to頸r森ea斤li揭ze林t癥ha棄t鳥no嗽a盜bs堅(jiān)ol叼ut未e兇tr茂ut害h禍ex獅is供ts沒.蠟Sh惠e港se或es華t奴ha讀t腳th團(tuán)e逼ex義pe偷ri何en幼ce喂o凳f柿ea馬ch糾p經(jīng)er頓so厲n呈an序d豪hi按s毯or視h循er堤l淹if泛e續(xù)is特i虧ne嘴xt鞋ri匙ca缺bl殼e融fr姥om醋h達(dá)is盤o疫r猴he趣r呆pe肺rc羽ep章ti享on歉s菜of肆r神ea姥li泄ty犁.2.It竄w印ou瓦ld燙h父av孤e省be什en崇i害mp李os起si兆bl架e,卸c捏om次pl茫et槍el騙y醫(yī)an糖d鹽en學(xué)ti漸re藥ly培,伸fo能r棕an千y概wo此ma寬n憂to摟h滋av蕉e膛wr掌it白te嗽n相th鐘e謙pl趨ay夏s煉of擾S剛ha磚ke染sp劈燕ea慣re忠i蓄n美th傾e嘉ag唇e旋of擾S凱ha鍛ke消sp乖ea組re胞.It短i肌s頭on燭e趴of笛t假he鼻m涂os丈t識(shí)si跪gn弦if瓦ic濫an爪t漂co嫩nc出lu災(zāi)si礦on軍s踩ofA施Ro汽om德o慚f倡On扯e’鎖s常Ow暫n.你Wh畝il顧e雹th橡e爪mo拒re瓜c疫om厚mo猶n鋼ar岸gu戴me躁nt水i百s辛th屠at墳t以he牛l益ac票k瓜of械i蹄mp噴or劣ta酒nt乎,巾im逗pr事es常si啞ve廳l碼it塌er寬ar莫y門wo趴rk瞎s拿by胖w懷om翠en理p礦ro孤ve娘s停th犁at簽t卻he胳y韻ar葬e但le節(jié)ss宗c蕉ap碑a(chǎn)b委le返t煌ha開n冶me養(yǎng)n,久t殖he限n外ar疲ra公to絡(luò)r蘿ta右ke株s河th比e母op跑po嚴(yán)si衫te汪a睬pp胡ro雖ac裕h.西W艷ha柴t破sh后e示re鈴al樣iz帖es氧i含s宰th乓at莖t槳he吹p艦la北yi愉ng案f漂ie禽ld導(dǎo)i攝s升in即cr則ed疲ib橡ly辯u廳ne匪qu喂al堵.嗓Gi芹ve闊n劍th星e繳ci飄rc它um患st嘴an邪ce乖s稻of背t殊he企t家re喊at秩me答nt譽(yù)o勁f季wo添me姥n礙of摧h潮er戀t斧im橋e,盛t蓄he趴re故i注s建no寺w暈ay攜t患he渣y邊co坊ul移d誼ha述ve堆r分iv棵al拖ed嚴(yán)m(xù)醉en霞i期n捐li搖te四ra櫻ry鐵a右ch繳ie是ve苦me狐nt掛s.3.Li綿fe筐f淹or虧b停ot駕h駕se概xe要s—有an援d墻I虜lo財(cái)ok誰(shuí)a某t渣th害em族,態(tài)sh熔ou尺ld蹄er襖in袋g貌th繞ei歸r孩wa填y枝al悶on京g年th孫e取pa影ve稼me彩nt后—i廢s船ar伶du肚ou脫s,炎d歸if徐fi慰cu詞lt拳,百a例pe懂rp容et啦ua慌l好st閑ru輩gg碗le虎.武It賊c遇al矩ls跡f她or引g臥ig適an睛ti膏c捐co趟ur貢ag噴e瞇an箏d表st魂re竭ng訓(xùn)th禿.違Mo觀re璃t承ha看n缸an矩yt屠hi理ng遮,詞pe乏rh沸ap涂s,盼c連re愁at路ur匪es膠o黑f擱il如lu踐si專on某t靜ha匠t貪we顏a滴re敲,曠it隊(duì)c盲al柴ls恭f用or唯c栽on緞fi癢de尋nc霸e畝in濫o賠ne光se更lf挨.Sh伙e呢as登se游rt朗s絞th典is決p糧oi乓nt未a聽mi鞏ds民t車a禮di獅sc半us防si澤on校a瀉bo攝ut史t逆he優(yōu)u梁ne踢qu飼al峽t即re臉at剖me荒nt瘋o蔽f開wo搭me靈n鞋by脾m驢en詳.潔Th自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