The Mark on the Wall
by Virginia Woolf

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The Mark on the Wall Quotes

How readily our thoughts swarm upon a new object, lifting it a little way, as ants carry a blade of straw so feverishly, and then leave it.

Related Characters: The Narrator (speaker)
Related Symbols: The Mark/Snail
Related Literary Devices:
Page Number and Citation: 47
Explanation and Analysis:
The narrator has just discovered the mark on her wall, in a moment that interrupts her previous fancy about a cavalcade of knights swarming a hill. The ant metaphor resembles that prior military image in its imagery, but replaces human civilization with a natural image. In this moment, the narrator not only discovers the mark, but also identifies the pattern that her thoughts will take while thinking about it—this quote predicts the frenzy and fever of her reflections, which also stand as a metaphor for the energies of modern society. This moment also sets up the trend of nature replacing Dolorem et quae. Exercitatione

“…the mystery of life; The inaccuracy of thought! The ignorance of humanity! To show how very little control of our possessions we have—what an accidental affair this living is after all our civilization—let me just count over a few of the things lost in one lifetime, beginning, for that seems always the most mysterious of losses—what cat would gnaw, what rat would nibble—three pale blue canisters of book-binding tools? Then there were the bird cages, the iron hoops, the steel skates, the Queen Anne coalscuttle, the bagatelle board, the hand organ—all gone, and jewels, too. Opals and emeralds, they lie about the roots of turnips. What a scraping paring affair it is to be sure! The wonder is that I’ve any clothes on my back, that I sit surrounded by solid furniture at this moment…”

Related Characters: The Narrator (speaker)
Related Literary Devices:
Page Number and Citation: 48
Explanation and Analysis:
The narrator has just considered and proceeded to reject the possibility that the mark was made by a nail put in the wall by former tenants. She swerves into reflections on the general tendency of objects to disappear and leave only accidental traces behind—either real evidence, like the mark itself, or memories, such as the narrator’s reflections on objects lost during her childhood. The objects she lists here are the first real evidence of her gender, as she discusses lost iron hoops and jewels. The objects she lists also indicate a certain level of affluence, at least in childhood. She Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui

Why, if one wants to compare life to anything, one must liken it to being blown through the Tube at fifty miles an hour—landing at the other end without a single hairpin in one’s hair! Shot out at the feet of God entirely naked! Tumbling head over heels in the asphodel meadows like brown paper parcels pitched down a shoot in the post office! With one's hair flying back like the tail of a race-horse. Yes, that seems to express the rapidity of life, the perpetual waste and repair; all so casual, all so haphazard.. . .

Related Characters: The Narrator (speaker)
Related Literary Devices:
Page Number and Citation: 48
Explanation and Analysis:
After considering her losses, the narrator compares modern life more directly to a ride through the Tube. Her vibrant verbal metaphors catalogue rapidity and chaos—blowing, shooting out, and tumbling. The use of the Tube to ground the metaphor expresses an ambivalence with celebrated developments in modern technology, which she believes reduce humans to mere objects or animals—brown paper parcels with hair like the tail of a race-horse. The reference to hairpins further confirms the narrator’s gender, although it also indicates the importance of clothing for the female sex at that time. In her concluding words, the effect of time passing Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequunt

The tree outside the window taps very gently on the pane… I want to think quietly, calmly, spaciously, never to be interrupted, never to have to rise from my chair, to slip easily from one thing to another, without any sense of hostility, or obstacle; I want to sink deeper and deeper, away from the surface, with its hard separate facts.

Related Characters: The Narrator (speaker)
Related Symbols: The Tree
Page Number and Citation: 49
Explanation and Analysis:
A tree interrupts the narrator’s thoughts—this marks the first concrete action in the story. The tree breaking into the narrative in this manner shows the permeability of the domestic space—that is, despite the walls and fire and armchairs, the narrator’s living room is still susceptible to natural interruptions. This in turn indicates that nature cannot be completely dominated by mankind. The narrator’s desire for peace and isolation generates an alternative to her reflections on the crowdedness of public spaces. In this instance, she desires a protected space for herself away from others. She seeks ease and the absence of hostility Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Ape

All the time I’m dressing up the figure of myself in my own mind, lovingly, stealthily, not openly adoring it, for if I did that, I should catch myself out, and stretch my hand at once for a book in self-protection. Indeed, it is curious how instinctively one protects the image of oneself from idolatry or any other handling that could make it ridiculous…Suppose the looking glass smashes, the image disappears, and the romantic figure with the green of forest depths all about it is there no longer, but only that shell of a person which is seen by other people—what an airless, shallow, bald, prominent world it becomes! A world not to be lived in. As we face each other in omnibuses and underground railways we are looking into the mirror; that accounts for the vagueness, the gleam of glassiness, in our eyes.

Related Characters: The Narrator (speaker)
Related Literary Devices:
Page Number and Citation: 50
Explanation and Analysis:
Prior to this moment, the narrator expresses a desire for pleasant thoughts, which she defines as thoughts that reflect well upon oneself. These subsequent sentiments regarding her self-image express some ambivalence, as she chooses words like “dressing up,” “stealthily,” and “idolatry” that implicate this habit with a certain amount of doubt or suspicion. The practice of building and protecting a positive self-image may be natural, but it is also somewhat prone to illusion. However, the narrator fears the self as seen by others—she sees that person as shallow and empty, which appears to leave one with a paradox: one must Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas a

…but these generalizations are very worthless. The military sound of the word is enough. It recalls leading articles, cabinet ministers—a whole class of things indeed which as a child one thought the thing itself, the standard thing, the real thing, from which one could not depart save at the risk of nameless damnation.

Related Characters: The Narrator (speaker)
Page Number and Citation: 50
Explanation and Analysis:
By “generalizations,” the narrator refers to her predictions about the subjects future novelists will write about. She rejects that term as too military, which reveals the phantom of the ongoing war tapping at her thoughts (for the link between the military general and the word generalizations is not a common one). The positions she names and rejects are masculine ones, which helps to explain the narrator’s antipathy towards the masculine world: she links it to the war and to the worst elements of civilization. Her reference to childhood and “the thing itself” helps explain the processes through which civilization shapes Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur moll

How shocking, and yet how wonderful it was to discover that these real things, Sunday luncheons, Sunday walks, country houses, and tablecloths were not entirely real, were indeed half phantoms, and the damnation which visited the disbeliever in them was only a sense of illegitimate freedom. What now takes the place of those things I wonder, those real standard things? Men perhaps, should you be a woman; the masculine point of view which governs our lives, which sets the standard, which establishes Whitaker’s Table of Precedency, which has become, I suppose, since the war half a phantom to many men and women, which soon, one may hope, will be laughed into the dustbin where the phantoms go, the mahogany sideboards and the Landseer prints, Gods and Devils, Hell and so forth, leaving us all with an intoxicating sense of illegitimate freedom—if freedom exists…

Related Characters: The Narrator (speaker)
Related Literary Devices:
Page Number and Citation: 50-51
Explanation and Analysis:
Here the narrator considers changes in habits prompted by the passage of time. For the first time, she presents loss and change as potentially positive or even liberatory. Society cannot hold onto its jewels and possessions, but it also cannot hold onto its restrictive traditions—when unpleasant or constricting traditions change, people are left with a general freedom. Even the war plays a potentially positive role here, as the war is the force which so quickly uprooted and disrupted these traditions and habits by conscripting many of Britain’s men to fight. However, the narrator critiques some of the contemporary traditions that Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus volupta

No, no, nothing is proved, nothing is known. And if I were to get up at this very moment…what should I gain?—Knowledge? Matter for further speculation?...what is knowledge? What are our learned men save the descendants of witches and hermits who crouched in caves and in woods brewing herbs, interrogating shrew-mice and writing down the language of the stars? And the less we honour them as our superstitions dwindle and our respect for beauty and health of mind increases.. . .

Related Characters: The Narrator (speaker)
Related Literary Devices:
Page Number and Citation: 52
Explanation and Analysis:
In the moments leading up to this, the narrator considers leaping out of her seat and rushing over to determine the identity of the mark. However, she decides this would be worthless and in her explanation she rejects the history of human knowledge as mere superstition—her language here is extreme and quite dismissive. Her disdain for learned men makes more sense when situated in the context of her criticisms of modern society and technology like the underground, since with those criticisms she outlines some of the very clear costs of society and reason. Reason provides no solution to the inevitable Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Poss

Yes, one could imagine a very pleasant world. A quiet, spacious world, with the flowers so red and blue in the open fields. A world without professors or specialists or house-keepers with the profiles of policemen, a world which one could slice with one’s thought as a fish slices the water with his fin, grazing the stems of the water-lilies, hanging suspended over nests of white sea eggs…How peaceful it is down here, rooted in the centre of the world and gazing up through the grey waters, with their sudden gleams of light, and their reflections—if it were not for Whitaker’s Almanack—if it were not for the Table of Precedency!

Related Characters: The Narrator (speaker)
Page Number and Citation: 52
Explanation and Analysis:
At last the narrator paints an alternative picture to the modern society she has repeatedly critiqued. Her utopian vision centers on a return to nature, and the natural world she describes has particular qualities. These include quiet and space, as well as an expansive sense of time to enjoy the plants and animals in one’s surroundings. According to the narrator, the natural world succeeds in exactly the manner that the civilized world fails: it provides time and space for pleasant thoughts and experiences, rather than a sense of rapidity, waste, and distraction. Further characteristics of her ideal world include the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi

Here is nature once more at her old game of self-preservation. This train of thought, she perceives, is threatening mere waste of energy, even some collision with reality, for who will ever be able to lift a finger against Whitaker’s Table of Precedency? The Archbishop of Canterbury is followed by the Lord High Chancellor… Everybody follows somebody, such is the philosophy of Whitaker; and the great thing is to know who follows whom. Whitaker knows, and let that, so Nature counsels, comfort you, instead of enraging you; and if you can’t be comforted, if you must shatter this hour of peace, think of the mark on the wall.

Related Characters: The Narrator (speaker)
Related Symbols: The Mark/Snail
Related Literary Devices:
Page Number and Citation: 52/53
Explanation and Analysis:
When the narrator thinks about self-preservation, she refers to the process of deterring unpleasant thoughts by distracting herself with the mark on the wall. This at last grants readers a structural explanation for the narrative, as the story thus far has consisted of reflective paragraphs broken off by different guesses as to the identity of the mark. Whitaker’s Table of Precedency stands in for the hierarchies of government and religion; the narrator feels disempowered to change those institutions. Both of those branches (the religious and the governmental) consist notably of roles for men—the narrator resents these institutions, as evidenced by Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidu

Indeed, now that I have fixed my eyes upon it, I feel that I have grasped a plank in the sea; I feel a satisfying sense of reality which at once turns the two Archbishops and the Lord High Chancellor to the shadows of shades. Here is something definite, something real. Thus, waking from a midnight dream of horror, one hastily turns on the light and lies quiescent, worshipping the chest of drawers, worshipping solidity, worshipping reality, worshipping the impersonal world which is a proof of some existence other than ours

Related Characters: The Narrator (speaker)
Related Symbols: The Mark/Snail
Related Literary Devices:
Page Number and Citation: 53
Explanation and Analysis:
The narrator finally defines the worth of the mark to her. The mark allows her to hold onto something definite, like a plank in the sea, and turn her thoughts about these masculine institutions into mere shadows. It frightens the narrator that these institutions, which hold such violent power and sway, are ultimately very abstract: when one confronts questions such as “why are we at war?” the only obvious answers are these hierarchies of decision-makers, whom the individual citizen cannot influence. The narrator relates her critical obsession with modern civilization (specifically, the war and rapid urban isolation) to a midnight Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus

Wood is a pleasant thing to think about. It comes from a tree; and trees grow, and we don’t know how they grow. For years and years they grow, without paying any attention to us, in meadows, in forests, and by the side of rivers—all things one likes to think about.

Related Characters: The Narrator (speaker)
Related Symbols: The Tree
Related Literary Devices:
Page Number and Citation: 53
Explanation and Analysis:
The transition to thoughts on wood might appear unprompted, but recall the tree outside her window. The narrator’s identification with that tree has been the only consistently positive direction in which her imagination has wandered during this story, and in this quote she explains that fascination in more detail. She specifies the growth of trees as their primary symbolic quality, with two particularly unique components: trees grow slowly, and their growth remains a relative mystery to mankind. This slowness provides a rich symbolic alternative to the bustle and chaos of cities—it offers an alternate mode of living, one which integrates Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. U

Even so, life isn’t done with; there are a million patient, watchful lives still for a tree, all over the world, in bedrooms, in ships, on the pavement, lining rooms, where men and women sit after tea, smoking cigarettes. It is full of peaceful thoughts, happy thoughts, this tree. I should like to take each one separately—but something is getting in the way. . . . Where was I? What has it all been about? A tree? A river? The Downs? Whitaker’s Almanack? The fields of asphodel? I can’t remember a thing. Everything’s moving, falling, slipping, vanishing.. . . There is a vast upheaval of matter.

Related Characters: The Narrator (speaker), Someone
Related Symbols: The Tree
Page Number and Citation: 54
Explanation and Analysis:
Having considered the role of a tree during its lifetime, the narrator transitions into dwelling on what happens after its death before a voice interrupts her. Trees do not disappear into dust upon death, like Troy or the barrows in the South Downs—they become parts of new useful objects and continue to integrate into new environments. Because of this, nature remains a part of the civilized world, if an almost invisible one. Rather than characterizing the changes caused by the passage of time as loss (as she did with human material possessions), the narrator seems to see new uses of Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At

“I’m going out to buy a newspaper.”

“Yes?”

“Though it’s no good buying newspapers. . . . Nothing ever happens. Curse this war; God damn this war! . . . All the same, I don’t see why we should have a snail on our wall.”

Ah, the mark on the wall! It was a snail.

Related Characters: The Narrator (speaker), Someone (speaker)
Related Symbols: The Mark/Snail
Related Literary Devices:
Page Number and Citation: 54
Explanation and Analysis:
The narrator has just been suddenly interrupted by an unknown speaker, even though one might have believed that the narrator had been alone the entire time. This leads to ambiguous conclusions about her sense of isolation from others. The presence of a second party in the room might support a fully cynical view, as his sitting next to her fails to assuage her sense of isolation. Furthermore, the man who interrupts her creates an anticlimactic ending by identifying the mark and effectively ending the story. However, he clearly shares her views on the war, and this belated reveal could support Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam consequatur. Minima porro perferendis. Sit neque odit. Tenetur qui dignissimos. Qui et ut. Voluptate labore corporis. Hic tempore laborum. Nisi quia ea. Quia soluta itaque. Deleniti nisi earum. Ad tenetur laboriosam. Eum accusamus harum. Accusantium iusto voluptas. To
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