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Virginia Woolf: Mrs. Dalloway


He was not afraid. At every moment Nature signified by some laughing hint like that gold spot which went round the wall — there, there, there — her determination to show, by brandishing her plumes, shaking her tresses, flinging her mantle this way and that, beautifully, always beautifully, and standing close up to breathe through her hollowed hands Shakespeare’s words, her meaning.

Rezia, sitting at the table twisting a hat in her hands, watched him; saw him smiling. He was happy then. But she could not bear to see him smiling. It was not marriage; it was not being one’s husband to look strange like that, always to be starting, laughing, sitting hour after hour silent, or clutching her and telling her to write. The table drawer was full of those writings; about war; about Shakespeare; about great discoveries; how there is no death. Lately he had become excited suddenly for no reason (and both Dr. Holmes and Sir William Bradshaw said excitement was the worst thing for him), and waved his hands and cried out that he knew the truth! He knew everything! That man, his friend who was killed, Evans, had come, he said. He was singing behind the screen. She wrote it down just as he spoke it. Some things were very beautiful; others sheer nonsense. And he was always stopping in the middle, changing his mind; wanting to add something; hearing something new; listening with his hand up.

Virginia Woolf: Mrs Dalloway [1925]. London: Penguin 1995, S. 154.

Bild: Christiaan Tonnis: Virginia Woolf, Oil on canvas, 1998

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1) Inwiefern reflektiert diese Textstelle auf die Herstellung von Bedeutung und die Tätigkeit der Interpretation?

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2) In der Textpassage wird das Erleben der Figur Septimus („he“) in einem inneren Monolog und aus der Perspektive seiner Frau Rezia dargestellt. Wie könnte man darüber hinaus noch mehr Informationen über den Zustand von Septimus erlangen?

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3) Mit welchen Texten, die sich mit ähnlichen Motivkomplexen beschäftigen, könnte dieser Textabschnitt zusammengelesen werden?

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