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THE CANONICAL HOURS in "MRS. DALLOWAY" Author(S): HARVENA RICHTER Source: Modern Fiction Studies, Vol

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THE CANONICAL HOURS in 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. The sequence is listed thus: "Hours: 10. 11. 12. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 1. 2.," followed by a brief charting of what will happen at each striking of the clock.2 In contrast, Mrs. Dalloway's morning in the published novel begins most probably at 9 a.m. instead of 10 and finishes at 3 a.m. the next morning, not at 2. During that time span of eight een hours, only certain ones are stressed. Therefore it might be safe to assume that some new concept of a temporal pattern, which would relate to the symbolic meaning of the novel, was devised by the time the book was started in 1923. When this pattern is examined, it comes surprisingly close to that of the canonical hours. The hours that divide the religious day of both Catholic and early Anglican monastic life may at first seem far from the novel's frame of reference. But as 'Diary entries of 19 June and 6, 29, and 30 August 1923 and of 23 January, 9 February, and 26 May 1924 mention The Hours (The Diary of Virginia Woolf, edited by Anne Olivier Bell, [New York: Harcourt Brace Jovanovich, 1978], II). In the Dalloway ms. in the British Museum, London, the novel is titled The Hours? in vol. I, begun 27 June 1923; The Hours or Mrs. Dalloway in vol. II, begun 18 April 1924; and Mrs. Dalloway or the Hours in vol. Ill, begun 31 July 1924. A revision tided The Hours, Chapter I, was begun 20 October 1924. 2The note referring to "At Home: or The Party" is dated 6 October 1922 and appears in the third Jacob's Room ms. notebook containing preliminary notes on Mrs. Dalloway; the list of hours is in a small maroon leather working notebook which also contains notes on Aeschylus (see footnote eight). Both are part of the Berg Collection, New York Public Library. Modem Fiction Studies, Volume 28, Number 2, Summer 1982. Copyright © 1982 by Purdue Research Foundation. All rights to reproduction in any form reserved. 236 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 a celebration of daily life, they are consonant with Clarissa's own élan vital and the many images of a virginal and monastic existence clustering around her. Virginia Woolf, too, was fond of cycles, whether diurnal or seasonal, and she inserted in her fiction an assortment of concealed meanings or mysteries, perhaps only to amuse herself or friends, perhaps to lend yet another layer to the already complex structure. The pattern of the canonical hours in Mrs. Dalloway appears to be just such a hidden puzzle. The canonical hours are matins, prime, tierce, sext, nones, vespers, and com plin. Fortunately for Virginia Woolf, their schedule, especially for the early morn ing service, follows the whim of the particular religious house. For example, matins occasionally start at midnight, sometimes at 2 or 4 a.m., never later than 6. Matins can be sung alone or in conjunction with lauds (praises). In a literary sense, "daybreak" is their symbolic time. So it is with matins that the novel opens as Clarissa's memory returns to Bourton in the "early morning." "What a lark!" she thinks, using a word which appropriately signals the hour of sunrise ("Hark, hark! the lark at heaven's gate sings, And Phoebus 'gins arise").' "Early morn ing" is echoed later by "white dawn" (p. 12). Tierce marks the beginning of Clarissa's walk to Bond Street. The hour is struck ("There! Out it boomed"). Most critics place this time at 10 a.m., but a careful scrutiny of what Clarissa Dalloway would have to accomplish in one hour—cross Victoria Street in Westminster, walk through St. James Park, chat with Hugh Whitbread, window-shop in and around Bond Street, choose her flowers, go home, consult with Lucy, change her clothes, and start mending her green dress—in order "to be interrupted at eleven o'clock" by Peter Walsh (p. 59) makes 10 a.m. most unlikely. Moreover, the important events in the novel take place in threes or multiples thereof (3 a.m. or p.m., noon, 6 p.m., and so on), so the hour struck by Big Ben would probably be 9. Virginia Woolf makes clear that it is "still so early" (p. 6); later, p. 15, it is "Bond Street early in the morn ing." Shopkeepers are only "fidgeting in their windows" with the displays, though the flower shops, to deliver before the heat of the day, would have been open for some time. It is at the moment which is "still so early" that the praise, or lauds, of life and London are sung in Clarissa's thoughts with the extraordinary lyric passage beginning with the striking of the clock and continuing until the interruption by Hugh Whitbread. In the Catholic canon, lauds would be out of sequence. But in the Anglican observance of the canonical hours, matins with lauds are frequently sung as late as 9:30 a.m. Sext, or noon, the fourth canonical hour, is next in importance and contrasts with Clarissa's joyful morning. It is the time of Septimus' appointment with Dr. Bradshaw and, significantly, the hour of the crucifixion of the Christ with whom Septimus identifies. The position of the clock hands at noon, as well as the motif of martyrdom, will be repeated when Clarissa feels herself "a stake driven in at the top of her stairs" (p. 259), a metaphor suggestive of midnight, the image of the stake analogous to that of the clock hands at the top of the dial (stairs) .'The opening lines of the song from Shakespeare's Cymbeline, from which the novel's primary leitmotif, "Fear no more the heat o' the sun," is taken. Clarissa reads the latter line, pp. 12 and 13, in Hatchard's shop window on her walk. Page references are from Mrs. Dalloway (New York: Harcourt Brace, 1925)—which is identical to the Harvest paperback—and will hereafter be included parentheti cally within the text. NOTES AND DISCUSSION 237 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 but with the pointed end reversed. On an equally tragic note is nones, the fifth canonical hour, or 3 p.m. Nones implies none, nothing, a time of nonbeing. It is the hour when the fateful break with Peter Walsh takes place; when Richard brings Clarissa flowers and cannot say he loves her; and, in its mirror image of 3 a.m., when Clarissa ponders the death of Septimus. 6 p.m. is the sixth canonical hour, vespers, the time of Septimus Smith's suicide: the end of day as of life.4 Complin, the seventh and last canonical hour, falls somewhat later and may be said to indicate the completion of the day's prepara tions for the party, for it is here that the social evening begins. Only one canonical hour remains unaccounted for: the second hour of prime. Falling sometimes at daybreak, always after matins and breakfast, it has been called "the first daylight hour." Prime belongs to the Prime Minister. The ap pearance of the " 'Proime Minister's kyar' " introduces Septimus Warren-Smith and begins his morning in the novel. The Prime Minister's arrival also ushers in the "second morning," that of the party, because he comes after Mrs. Dalloway feels like a stake at the top of her stairs. As Clarissa hears the clock strike 3 a.m. in the little room to which she has gone to contemplate however briefly the death of the young man with whom she felt a kinship, the seven hours have had their say.
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