THE CANONICAL HOURS IN "MRS. DALLOWAY" Author(s): HARVENA RICHTER Source: Modern Fiction Studies, Vol. 28, No. 2 (Summer 1982), pp. 236-240 Published by: The Johns Hopkins University Press Stable URL: https://www.jstor.org/stable/26280915 Accessed: 28-10-2019 13:19 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to Modern Fiction Studies This content downloaded from 143.107.3.152 on Mon, 28 Oct 2019 13:19:41 UTC All use subject to https://about.jstor.org/terms new Hand, gives her new art. "IT can paint!" (C, p. 242). Like the utterly blank Semira, Clea in the end becomes a perfectly sculpted figure, a breathing objet d'art. JANE LAGOUDIS PINCHIN rrfr THE CANONICAL HOURS IN MRS. DALLOWAY Virginia Woolfs use of "The Hours" as a working title for Mrs. Dalloway over the period of some sixteen months—from June 1923 through October 19241—suggests a significance to the novel's time structure which so far has escaped notice. Evidence that Mrs. Woolf planned a special role for the hours appears in the difference between early references to those hours on 9 November 1922, when the book was tentatively thought of as "At Home: or The Party," and their schematic use in the finished work.