The Mark on the Wall Summary and Line by Line Explanation
CBSE Class 12 English (Elective) Non Fiction Chapter 2 – The Mark on the Wall Summary, Explanation along with Difficult Word Meanings from Kaleidoscope Book
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CBSE Class 12 English (Elective) Non Fiction Chapter 2 – The Mark on the Wall
Virginia Woolf
Virginia Woolf was a novelist and essayist. She grew up in a literary atmosphere and was educated in her father’s extensive library. The famous group of intellectuals, which came to be known as the Bloomsbury Group, originated in gatherings of Cambridge University graduates and their friends in Virginia’s home. Along with her husband, Virginia started the Hogarth Press which became a successful publishing house.
In her novels, Mrs Dalloway and To the Lighthouse, she experimented with new techniques, particularly new ways of capturing the flow of time. She believed that much imaginative literature is false to life because it relates episodes in a straight line, whereas our experiences flow together like a stream.
This essay records fleeting impressions and delicate shades of mental experience.
The Mark on the Wall by Virginia Woolf is a story about the mark on the wall and the thought process of the narrator around it. The story explores consciousness and self-reflection. Virginia Woolf uses a simple mark on the wall to trigger a deep introspective journey of the narrator’s thoughts and perceptions.
- The Mark on the Wall Summary
- The Mark on the Wall Summary in Hindi
- The Mark on the Wall Theme
- The Mark on the Wall Lesson Explanation
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The Mark on the Wall Summary
The narrator recalls noticing a mark on the wall during winter while sitting by the fireplace, reflecting on the past and imagining a crimson flag and red knights, which connects to the lingering effects of World War I. The mark, possibly left by a nail for a small portrait, leads the narrator to contemplate the previous owners of the house and their artistic choices. The narrative explores the fluidity of thoughts, likening them to ants transporting a piece of straw, and uses the phrase “torn asunder” to illustrate the chaotic nature of consciousness.
The narrator expresses doubt about the origin of a mysterious mark, suggesting that life is perplexing and filled with lost belongings, symbolising the lack of control people have over their possessions. A list of various lost items illustrates this theme. The narrator likens life to being pushed through a tube at high speed, highlighting the randomness and transience of existence. While acknowledging the inevitability of time’s passage and the fading of memories and objects, the narrator encourages a focus on the present rather than the past. The flower imagery also reflects on the experience of being vulnerable and lost in a vast world, implying that true understanding takes years to develop. The imagery suggests a gradual evolution in perception from vague impressions to clearer definitions over time.
The narrator observes a mark on the wall that they believe is caused by a dark substance, possibly a fallen rose leaf, reflecting their neglect in housekeeping. They note the dust on the mantelpiece, which shows the passage of time and decay. Outside, a tree gently taps on the window, as the narrator seeks quiet reflection without interruptions. They yearn to explore deeper thoughts, beyond the surface realities of life. Invoking Shakespeare, the narrator envisions a man lost in contemplation, gazing at the fire, though they find this historical fiction tedious. Ultimately, the narrator longs for enjoyable thoughts that reflect positively on oneself, appreciating the charm in thoughts that do not overtly praise, yet still bring satisfaction.
The narrator reflects on a conversation about botany, mentioning a flower discovered on a dust heap that may date back to the reign of Charles the First. She contemplates the nature of self-image, suggesting that people instinctively protect their authentic selves from idolisation. The narrative explores the concept of reflections and the multiple variations of identity, highlighting the importance of these themes for future novelists. The narrator recalls societal norms and rituals from the past, such as Sunday meals and specific tablecloths, realising these elements were only partially real and akin to illusions. She questions what has replaced these standards in modern life and suggests that traditional perspectives, particularly regarding masculinity, have become outdated since the war, potentially leaving individuals with a sense of ambiguous freedom.
The narrator observes a mark on the wall that seems to project outward, resembling a small mound akin to burial sites on the South Downs. This prompts her to reflect on the melancholic nature of such sites and the antiquarians who study them. She imagines these antiquarians as retired Colonels leading teams to explore archaeological sites, engaging with local clergymen, and debating whether the sites are camps or tombs. One Colonel favours the camp theory but plans to write a pamphlet presenting arguments for both sides before his sudden death. The narrative concludes with a mention of an arrowhead displayed in a local museum alongside various historical artefacts, leaving the narrator bewildered by the connections between them.
The narrator contemplates the significance of a mark on the wall, pondering whether it’s an old nail or something else entirely. She questions the nature of knowledge, suggesting that scholars are merely successors to ancient practitioners and that respect for them diminishes as superstitions fade. The narrator envisions a tranquil world free from authority figures, where thoughts flow freely like fish in water. However, she ultimately recognises the futility of challenging established hierarchies, such as Whitaker’s Table of Precedency, which dictates social order. She concludes that while Nature protects herself and brings comfort, any disruption of tranquillity leads to a focus on the mark itself.
The narrator reflects on how Nature acts as a distraction from unpleasant thoughts, appreciating the simplicity and reality found in focusing on her surroundings. She finds solace in the image of a tree, which symbolises stability and continuity in life, evoking feelings of peace and happiness. However, she experiences confusion and a sense of change, feeling blocked in her thoughts. Nearby, someone expresses frustration about the state of the world, remarking on the futility of reading the news. This leads the narrator to realise that the mark on the wall is a snail, connecting her thoughts back to her immediate surroundings.
Summary of the Lesson The Mark on the Wall in Hindi
कथाकार सर्दियों के दौरान चिमनी के पास बैठे हुए दीवार पर एक निशान को देखते हुए याद करता है, अतीत पर प्रतिबिंबित करता है और एक लाल रंग के झंडे और लाल शूरवीरों की कल्पना करता है, जो प्रथम विश्व युद्ध के लंबे समय तक चलने वाले प्रभावों से जुड़ता है। संभवतः एक छोटे से चित्र के लिए एक कील द्वारा छोड़ा गया निशान, कथाकार को घर के पिछले मालिकों और उनके कलात्मक विकल्पों पर विचार करने के लिए प्रेरित करता है। कथा विचारों की तरलता की पड़ताल करती है, उनकी तुलना भूसे के एक टुकड़े को ले जाने वाली चींटियों से करती है, और चेतना की अराजक प्रकृति को चित्रित करने के लिए “फटे हुए अलग” वाक्यांश का उपयोग करती है।
कथाकार एक रहस्यमय निशान की उत्पत्ति के बारे में संदेह व्यक्त करता है, यह सुझाव देते हुए कि जीवन उलझन में है और खोए हुए सामानों से भरा हुआ है, जो लोगों के अपनी संपत्ति पर नियंत्रण की कमी का प्रतीक है। खोए हुए विभिन्न वस्तुओं की एक सूची इस विषय को दर्शाती है। कथावाचक जीवन की तुलना तेज गति से एक नली के माध्यम से धकेलने से करते हैं, जो अस्तित्व की यादृच्छिकता और क्षणभंगुरता को उजागर करता है। समय के बीतने की अनिवार्यता और यादों और वस्तुओं के लुप्त होने को स्वीकार करते हुए, कथाकार अतीत के बजाय वर्तमान पर ध्यान केंद्रित करने के लिए प्रोत्साहित करता है। फूलों की छवि एक विशाल दुनिया में कमजोर और खो जाने के अनुभव को भी दर्शाती है, जिसका अर्थ है कि सच्ची समझ विकसित होने में वर्षों लगते हैं। इमेजरी समय के साथ अस्पष्ट छापों से स्पष्ट परिभाषाओं तक धारणा में क्रमिक विकास का सुझाव देती है।
कथाकार दीवार पर एक निशान देखता है जो उन्हें लगता है कि एक काले पदार्थ, संभवतः एक गिरे हुए गुलाब के पत्ते के कारण होता है, जो घर की देखभाल में उनकी उपेक्षा को दर्शाता है। वे मेंटेलपीस पर धूल को नोट करते हैं, जो समय और क्षय के पारित होने का प्रतीक है। बाहर, एक पेड़ खिड़की पर धीरे से थपथपाता है, क्योंकि कथाकार बिना किसी रुकावट के शांत प्रतिबिंब की तलाश करता है। वे जीवन की सतह की वास्तविकताओं से परे, गहरे विचारों का पता लगाने के लिए तरसते हैं। शेक्सपियर का आह्वान करते हुए, कथाकार आग की ओर देखते हुए चिंतन में खोए हुए एक व्यक्ति की कल्पना करता है, हालांकि उन्हें यह ऐतिहासिक कल्पना थकाऊ लगती है। अंततः, कथाकार ऐसे सुखद विचारों के लिए तरसता है जो स्वयं पर सकारात्मक रूप से प्रतिबिंबित करते हैं, उन विचारों के आकर्षण की सराहना करते हैं जो खुले तौर पर प्रशंसा नहीं करते हैं, फिर भी संतुष्टि लाते हैं।
कथाकार वनस्पति विज्ञान के बारे में एक बातचीत पर विचार करता है, जिसमें धूल के ढेर पर पाए गए एक फूल का उल्लेख किया गया है जो चार्ल्स प्रथम के शासनकाल का हो सकता है। वह आत्म-छवि की प्रकृति पर विचार करती है, यह सुझाव देती है कि लोग स्वाभाविक रूप से अपने प्रामाणिक स्वयं को मूर्तिपूजा से बचाते हैं। कथा प्रतिबिंबों की अवधारणा और पहचान की कई विविधताओं की पड़ताल करती है, जो भविष्य के उपन्यासकारों के लिए इन विषयों के महत्व को उजागर करती है। कथाकार अतीत के सामाजिक मानदंडों और अनुष्ठानों को याद करता है, जैसे कि रविवार का भोजन और विशिष्ट मेज़ के कपड़े, यह महसूस करते हुए कि ये तत्व केवल आंशिक रूप से वास्तविक थे और भ्रम के समान थे। वह सवाल करती है कि आधुनिक जीवन में इन मानकों को किस बात ने बदल दिया है और सुझाव देती है कि पारंपरिक दृष्टिकोण, विशेष रूप से मर्दानगी के बारे में, युद्ध के बाद से पुराने हो गए हैं, संभावित रूप से व्यक्तियों को अस्पष्ट स्वतंत्रता की भावना के साथ छोड़ दिया है।
कथाकार दीवार पर एक निशान देखता है जो बाहर की ओर दिखाई देता है, जो साउथ डाउन्स पर दफन स्थलों के समान एक छोटे से टीले जैसा दिखता है। यह उन्हें ऐसे स्थलों की उदास प्रकृति और उनका अध्ययन करने वाले पुरावशेषों पर विचार करने के लिए प्रेरित करता है। वह इन पुरावशेषों को पुरातात्विक स्थलों का पता लगाने के लिए टीमों का नेतृत्व करने वाले सेवानिवृत्त कर्नल के रूप में कल्पना करती है, स्थानीय पादरियों के साथ जुड़ती है, और बहस करती है कि ये स्थल शिविर हैं या कब्रें। एक कर्नल शिविर सिद्धांत का समर्थन करता है लेकिन उसकी अचानक मृत्यु से पहले दोनों पक्षों के लिए तर्क प्रस्तुत करने वाली एक पुस्तिका लिखने की योजना बना रहा है। कथा का समापन विभिन्न ऐतिहासिक कलाकृतियों के साथ एक स्थानीय संग्रहालय में प्रदर्शित एक तीर के सिर के उल्लेख के साथ होता है, जिससे कथाकार उनके बीच के संबंधों से हैरान रह जाता है।
कथाकार दीवार पर एक निशान के महत्व पर विचार करता है, यह सोचकर कि क्या यह एक पुरानी कील है या पूरी तरह से कुछ और है। वह ज्ञान की प्रकृति पर सवाल उठाती है, यह सुझाव देते हुए कि विद्वान केवल प्राचीन अभ्यासियों के उत्तराधिकारी हैं और अंधविश्वासों के मिटने के साथ उनके लिए सम्मान कम हो जाता है। कथाकार अधिकारियों से मुक्त एक शांत दुनिया की कल्पना करता है, जहाँ विचार पानी में मछली की तरह स्वतंत्र रूप से प्रवाहित होते हैं। हालांकि, वह अंततः चुनौतीपूर्ण स्थापित पदानुक्रमों की निरर्थकता को पहचानती है, जैसे कि व्हिटेकर की टेबल ऑफ प्रेसीडेंसी, जो सामाजिक व्यवस्था को निर्देशित करती है। वह निष्कर्ष निकालती है कि जबकि प्रकृति अपनी रक्षा करती है और आराम लाती है, शांति का कोई भी व्यवधान निशान पर ही ध्यान केंद्रित करने की ओर ले जाता है।
कथाकार इस बात पर विचार करता है कि प्रकृति अपने आसपास के वातावरण पर ध्यान केंद्रित करने में पाई जाने वाली सादगी और वास्तविकता की सराहना करते हुए कैसे अप्रिय विचारों से विचलित होने का काम करती है। वह एक पेड़ की छवि में सांत्वना पाती है, जो जीवन में स्थिरता और निरंतरता का प्रतीक है, जो शांति और खुशी की भावनाओं को जगाता है। हालाँकि, वह भ्रम और परिवर्तन की भावना का अनुभव करती है, अपने विचारों में अवरोधित महसूस करती है। पास में, कोई समाचार पढ़ने की निरर्थकता पर टिप्पणी करते हुए दुनिया की स्थिति के बारे में हताशा व्यक्त करता है। इससे कथावाचक को एहसास होता है कि टी पर निशान।
कथाकार इस बात पर विचार करता है कि प्रकृति अपने आसपास के वातावरण पर ध्यान केंद्रित करने में पाई जाने वाली सादगी और वास्तविकता की सराहना करते हुए कैसे अप्रिय विचारों से विचलित होने का काम करती है। वह एक पेड़ की छवि में सांत्वना पाती है, जो जीवन में स्थिरता और निरंतरता का प्रतीक है, जो शांति और खुशी की भावनाओं को जगाता है। हालाँकि, वह भ्रम और परिवर्तन की भावना का अनुभव करती है, अपने विचारों में अवरोधित महसूस करती है। पास में, कोई समाचार पढ़ने की निरर्थकता पर टिप्पणी करते हुए दुनिया की स्थिति के बारे में हताशा व्यक्त करता है। इससे कथावाचक को एहसास होता है कि दीवार पर निशान एक घोंघा है, जो उसके विचारों को उसके आसपास के परिवेश से जोड़ता है।
Themes of the Lesson The Mark on the Wall
Nature Versus Civilization
In Virginia Woolf’s story ‘The Mark on the Wall’, the narrator reflects on a black mark she sees on her home wall. After thinking deeply about topics like war and the meaning of life, she realises the mark is just a snail. This simple discovery highlights the conflict between nature, represented by the snail, and civilisation. Woolf shows that nature does not care about human concerns. The mark on the wall, an element of nature coming into her home, keeps interrupting her thoughts, bringing her back to reality before she gets lost in worry about life and civilisation. Writing during a time of rapid change in technology and politics in the early twentieth century, Woolf suggests that the natural world can help ease the stress and problems caused by fast and impersonal development in society.
World War I
Virginia Woolf’s “The Mark on the Wall” was written during World War I, reflecting the turmoil of London amid heavy bombing. The narrator struggles to maintain normalcy as thoughts of war disrupt her peace. The sight of burning coal triggers violent imagery, showing how the war invades her domestic life. She criticizes her own tendency for ‘worthless generalizations’ and links this to military language and political influences. Even her thoughts on a tree are tainted by military imagery. To cope, she focuses on the mark on the wall as a distraction, despite her disdain for this escape. Distrustful of powerful officials, she feels powerless over war decisions, ultimately choosing to think about the mark rather than the war, deeming her thoughts on it ‘useless’. The story illustrates the distress of civilians during wartime and their struggle for relief from its pervasive effects.
Transient Nature of Life and its Grandeurs
Virginia Woolf, through the narrator focuses on how time passes and how objects and habits fade away. Some memories and items, like broken pottery, remain, but time still takes its toll even to the Grandeur of Queen Anne. Although people try to hold onto the past, life is a ‘scraping paring affair’, remaining indifferent to their desires and moving on regardless. However, some changes that come with time can be positive and exciting. The narrator suggests that people should care less about controlling or understanding the past and instead focus on the present and the world around them. The narrator likens life to being pushed through a tube at high speed, highlighting the randomness and transience of existence.
Vision of Gender Equality
Virginia Woolf, through the reference to the narrator ‘not being a very vigilant housekeeper’ feels trapped by the expectation that she be one in the first place. When she envisions a more beautiful “afterlife,” she suggests that it will be impossible to distinguish between trees and humans, or even to determine if such distinctions exist at all. This implies that the narrator’s utopian vision involves the elimination of differences between the sexes.
The Mark on the Wall Lesson Explanation
Passage: Perhaps it was the middle of January in the present year that I first looked up and saw the mark on the wall. To fix a date it is necessary to remember what one saw. So now I think of the fire, the steady film of yellow light upon the page of my book, and the three chrysanthemums in the round glass bowl on the mantelpiece. Yes, it must have been the winter time, and we had just finished our tea, for I remember that I was smoking a cigarette when I looked up and saw the mark on the wall for the first time. I looked up through the smoke of my cigarette and my eye lodged for a moment upon the burning coals, and that old fancy of the crimson flag flapping from the castle tower came into my mind, and I thought of the cavalcade of red knights riding up the side of the black rock. Rather, to my relief, the sight of the mark interrupted the fancy, for it is an old imagination, an automatic fancy, made as a child perhaps. The mark was a small round mark, black upon the white wall, about six or seven inches above the mantelpiece.
Word meanings
chrysanthemums: a plant of the daisy family with brightly coloured ornamental flowers, existing in many cultivated varieties.
mantelpiece: a structure of wood, marble, or stone above and around a fireplace.
my eye lodged for a moment: a brief, temporary feeling of something being stuck or caught in my eye, like a foreign object or a sensation of irritation.
flapping: move up and down when flying or preparing to fly.
cavalcade: a formal procession of people walking, on horseback, or riding in vehicles.
automatic: instinctive
Explanation of the above passage—Maybe it was in the middle of January this year when the narrator first noticed the mark on the wall. To pinpoint a date, one must recall what was seen along with it. So now the narrator thinks back of the fire, the steady yellow glow on the page of her book, and the three chrysanthemums (daisy plants) in the round glass vase on the mantelpiece. Here, the narrator describes the surroundings around the fireplace. The narrator agreed that it must have been winter, and they had just finished their tea as the narrator remembered looking up while smoking a cigarette and noticed the mark on the wall. The reference to ‘we’ means there was someone else too with the narrator. The narrator glanced up through the smoke of the cigarette and saw the glowing coals of the fireplace evoking an old imagination of the crimson flag fluttering from the castle tower, along with thoughts of the procession of red knights walking or riding on the horse ascending the side of the dark rock. To the narrator’s relief, noticing the mark interrupted that thought, as it was an old and habitual fantasy, perhaps originating from childhood. The mark was a small, round shape, black against the white wall, positioned about six or seven inches above the mantelpiece. Woolf begins the story with the narrator sitting in her living room during winter. She looks at the burning coals, leading her to imagine a ‘crimson flag’ and a group of ‘red knights’. Here, Woolf has used the fire imagery for destruction caused by war, and a snail, which turns out to be the mark on the wall, symbolises Nature, which gives relief from the trauma of the war. This thought is interrupted when she sees ‘the mark’, which brings her relief. These images connect to World War I, showing how much it has affected even the homes of people in London.
Passage: 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… If that mark was made by a nail, it can’t have been for a picture; it must have been for a miniature—the miniature of a lady with white powdered curls, powder-dusted cheeks, and lips like red carnations. A fraud of course, for the people who had this house before us would have chosen pictures in that way—an old picture for an old room. That is the sort of people they were—very interesting people, and I think of them so often, in such queer places, because one will never see them again, never know what happened next. They wanted to leave this house because they wanted to change their style of furniture, so he said, and he was in the process of saying that in his opinion art should have ideas behind it when we were torn asunder, as one is torn from the old lady about to pour out tea and the young man about to hit the tennis ball in the back garden of the suburban villa as one rushes past in the train.
Word meanings
swarm upon: to move or gather in a large, often overwhelming, group or crowd, often with a sense of speed or urgency.
a little way: a short distance
feverishly: in an energetic manner.
miniature: the thing that is much smaller than normal, especially a small replica or model.
carnations: a double-flowered cultivated variety of clove pink, with grey-green leaves and showy pink, white, or red flowers.
queer: strange; odd.
torn asunder: to be forcefully separated or ripped into pieces, either literally or figuratively, signifying a violent or destructive splitting apart.
pour out: cause a liquid to flow from a container into a cup or other vessel.
Explanation of the above passage—The narrator thought about how quickly people’s minds move towards a new subject, raising it momentarily, much like ants energetically transporting a piece of straw, only to abandon it afterwards. If that mark was left by a nail, it couldn’t have been for a painting; it must have been intended for a miniature—a small portrait of a lady with elegantly styled white curls, cheeks dusted with powder, and lips resembling red flowers. It’s a deception as the previous owners of the house would have likely selected artworks that matched the room’s age as such was the nature of those fascinating individuals, and the narrator often thinks of them in the most unexpected places, aware of not seeing them again or discovering what happened afterwards. They wished to leave that house because they aimed to update their furniture style. He was in the process of saying further that art should convey underlying concepts but his statement was interrupted because they were forcefully separated. Just like an elderly lady about to serve tea and the young man poised to strike the tennis ball in the backyard of a suburban home can only be seen momentarily by someone who rushes past by on the train. Woolf first compared the thoughts to ants energetically transporting a piece of straw, as how quickly people’s minds move toward a new subject, raising it momentarily only to abandon it afterwards. Similarly, the reference to ‘torn asunder’ is a metaphor for the stream of consciousness. The ‘torn asunder’ can describe the abrupt, violent, and fragmented nature of thoughts and feelings as they flow through the mind, mirroring the discontinuous and often chaotic nature of real-life thought processes. Woolf critiques the ending of her story The Mark on the Wall as somebody disrupted her thought process, inspired by the mark on the wall, by eventually telling her that it was a snail.
Passage: But for that mark, I’m not sure about it; I don’t believe it was made by a nail after all; it’s too big, too round, for that. I might get up, but if I got up and looked at it, ten to one I shouldn’t be able to say for certain; because once a thing’s done, no one ever knows how it happened. Oh! dear me, 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 coal-scuttle, 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. 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…
Word meanings
inaccuracy: incorrectness
civilization: the stage of human social and cultural development and organization that is considered most advanced.
gnaw: chew
nibble: take small bites out of.
hoops: circlets
scutles: a metal container with a handle, used to fetch and store coal for a domestic fire.
bagatelle: a game in which small balls are hit and then allowed to roll down a sloping board on which there are holes, each numbered with the score achieved if a ball goes into it, with pins acting as obstructions.
opals and emeralds: gemstones
turnips: a round root with white or cream flesh which is eaten as a vegetable and also has edible leaves.
scraping: the act of removing the surface from something using a sharp edge or something rough
pairing: cut off (the outer skin) of something.
clothes on their back: a person having nothing but the clothes they are wearing, implying poverty or minimal possessions
tube: a long, hollow cylinder of metal, plastic, glass, etc. for holding or transporting something, chiefly liquids or gases.
asphodel: an everlasting flower said to grow in the Elysian fields
Explanation of the above passage—However, regarding that mark, the narrator has doubts that it was made by a nail; it seems too large and too round for that. The narrator could get up to examine it but there’s a good chance not to be able to determine how it occurred; because once something is done, no one can truly know how it came about. The narrator is saddened by the confusions of life and incorrectness of our thoughts. To illustrate how little control people have over their belongings, and what a chance occurrence this living truly is despite civilization, the narrator lists a few of the items lost over a lifetime, starting with, as always, the most mysterious of losses which are the things cat and rat would chew up, and three pale blue cylindrical containers filled with book-binding tools. Then were the bird cages, iron circlets, steel skates, even the Grandeurs like the coal container from the reigns of Queen Anne, the bagatelle board, the hand organ that vanished, and also jewels met the same fate of fading away with time. The cherished possessions like Opals and emeralds too have lost their worth as they lie among humble and ordinary roots of the vegetable i.e. turnips. Life keeps on peeling and separating.The surprising thing is that the narrator has no clothes while sitting on the solid furniture at that very moment. If one were to compare life to something, it must be like being pushed through the Tube at fifty miles an hour, arriving at the other end without leaving a hairpin in one’s hair. Thrown at the feet of God completely naked! Rolling head over feet in the fields full of asphodel flowers like brown paper parcels tossed down in a post office! With one’s hair streaming back like the tail of a racehorse. Yes, that seems to capture the swiftness of life, the constant cycle of waste and repair; all so casual, all so random. Virginia Woolf through the narrator focuses on how time passes and how objects and habits fade away. Some memories and items, like broken pottery, remain, but time still takes its toll even on the Grandeur of Queen Anne. Although people try to hold onto the past, life is a ‘scraping paring affair’, remaining indifferent to their desires and moving on regardless. However, some changes that come with time can be positive and exciting. The narrator suggests that people should care less about controlling or understanding the past and instead focus on the present and the world around them. The narrator likens life to being pushed through a tube at high speed, highlighting the randomness and transience of existence.
Passage: But after life. The slow pulling down of thick green stalks so that the cup of the flower, as it turns over, deluges one with purple and red light. Why, after all, should one not be born there as one is born here, helpless, speechless, unable to focus one’s eyesight, groping at the roots of the grass, at the toes of the Giants? As for saying which are trees and which are men and women, or whether there are such things, that one won’t be in a condition to do for fifty years or so. There will be nothing but spaces of light and dark, intersected by thick stalks, and rather higher up perhaps, rose-shaped blots of an indistinct colour—dim pinks and blues—which will, as time goes on, become more definite, become—I don’t know what…
Word meanings
Stalks: the slender attachment or support of a leaf, flower, or fruit.
deluge: a severe flood
groping: search blindly or uncertainty by feeling with the hands.
helpless, speechless, unable to focus one’s eyesight: the narrator’s feeling of being small and insignificant in the face of this vast world.
groping at the roots of the grass: the feeling of being lost and trying to find a foothold in a world that seems vast and unknowable
Toes of the giant: overwhelming and seemingly incomprehensible nature of the world and the human experience.
blot: a dark mark or stain made by ink, paint, dirt, etc
Explanation of the above passage—After life, the green stems slowly lower, and the flower spills vibrant purple and red light. The narrator laments that why can’t someone be born there like they are on Earth, i.e. feeling vulnerable, unable to speak, struggling to focus, being lost and trying to find a foothold in a world that seems vast and unknowable. Understanding the difference between trees and humans, or if either exists, will take about fifty years. At first, there will only be light and shadow, mixed with thick stems and maybe some vague rose-shaped colours like faint pinks and blues that will gradually become clearer over time, evolving into something that the narrator can’t quite define. The flower imagery also reflects on the experience of being vulnerable and lost in a vast world, implying that true understanding takes years to develop. The imagery suggests a gradual evolution in perception from vague impressions to clearer definitions over time. When she envisions a more beautiful afterlife, she suggests that it will be impossible to distinguish between trees and humans, or even to determine if such distinctions exist at all. This implies that the narrator’s utopian vision involves the elimination of differences between the sexes.
Passage: And yet that mark on the wall is not a hole at all. It may even be caused by some round black substance, such as a small rose leaf, left over from the summer, and I, not being a very vigilant housekeeper—look at the dust on the mantelpiece, for example, the dust which, so they say, buried Troy three times over, only fragments of pots utterly refusing annihilation, as one can believe.
Word meanings
vigilant: keeping careful watch for possible danger or difficulties.
annihilation: destruction
Explanation of the above passage—That mark on the wall is not a hole. It could be caused by some round dark substance, like a small rose leaf left from the summer, and since the narrator is not the most diligent housekeeper, it could have been left there. The narrator pointed out to look at the dust on the mantelpiece, for instance, the dust is said to have buried Troy three times, with only bits of pottery remaining visible, which is something one might accept. The reference to the narrator ‘not being a very vigilant housekeeper’ feels trapped by the expectation that she be one in the first place.
Passage: 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. To steady myself, let me catch hold of the first idea that passes… Shakespeare… Well, he will do as well as another. A man who sat himself solidly in an armchair, and looked into the fire, so—a shower of ideas fell perpetually from some very high Heaven down through his mind. He leant his forehead on his hand, and people, looking in through the open door—for this scene is supposed to take place on a summer’s evening—but how dull this is, this historical fiction! It doesn’t interest me at all. I wish I could hit upon a pleasant track of thought, a track indirectly reflecting credit upon myself, for those are the pleasantest thoughts, and very frequent even in the minds of modest mouse coloured people, who believe genuinely that they dislike to hear their praises. They are not thoughts directly praising oneself; that is the beauty of them; they are thoughts like this:
Word meanings
pane: glass sheet of window
hostility: unfriendly
steady: support
perpetually: constantly
modest: humble
Explanation of the above passage—The tree outside gently taps on the window. The narrator wishes to think in silence, with tranquillity and openness, never interrupted, never having to leave the seat, smoothly transitioning from one thought to another, free from any feelings of hostility or barriers. The narrator desires to delve deeper and deeper, away from the surface with its rigid, disconnected realities. To support this, the narrator grabs onto the first thought that comes to mind i.e. Shakespeare, as he will suffice as well as any other man. A man comfortably settled in an armchair, gazing into the fire, and an endless stream of ideas constantly fall from a high Heaven into his mind. He rests his forehead on his hand, and people, peering in through the open door; this scene is meant to occur on a summer evening but how monotonous this historical fiction is! It fails to capture the narrator’s interest at all. The narrator hopes to discover an enjoyable line of thought, one that indirectly reflects well on oneself, for such thoughts are the most gratifying, and they arise frequently even in the minds of humble mouse-coloured people who sincerely profess a dislike for their praises. These are not thoughts that directly praise oneself; that is their charm. The narrator then goes on to describe such thoughts. Virginia Woolf gives preference to stream of consciousness which reflects one well over the portrayal of the reality as it is.
Passage: ‘And then I came into the room. They were discussing botany. I said how I’d seen a flower growing on a dust heap on the site of an old house in Kingsway. The seed, I said, must have been sown in the reign of Charles the First. What flowers grew in the reign of Charles the First? I asked—(but I don’t remember the answer). Tall flowers with purple tassels to them perhaps. And so it goes on. All the time I’m dressing up the figure of myself in my 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, or too unlike the original to be believed in any longer. Or is it not so very curious after all? It is a matter of great importance. Suppose the looking glass smashes, the image disappears, and the romantic figure with the green of forest depths all about it is no longer there, 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. And the novelists in future will realise more and more the importance of these reflections, for of course there is not one reflection but an almost infinite number; those are the depths they will explore, those the phantoms they will pursue, leaving the description of reality more and more out of their stories, taking knowledge of it for granted, as the Greeks did and Shakespeare perhaps—but these generalisations 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 of the thing itself, the standard thing, from which one could not depart save at the risk of nameless damnation. Generalisations bring back somehow Sunday in London, Sunday afternoon walks, Sunday luncheons, and also ways of speaking of the dead, clothes, and habits— like the habit of sitting all together in one room until a certain hour, although nobody liked it. There was a rule for everything. The rule for tablecloths at that particular period was that they should be made of tapestry with little yellow compartments marked upon them, such as you may see in photographs of the carpets in the corridors of the royal palaces. Tablecloths of a different kind were not real tablecloths. 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 established 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…
Word meanings
botany: the scientific study of the physiology, structure, genetics, ecology, distribution, classification, and economic importance of plants.
heap: an untidy collection of objects placed haphazardly on top of each other.
tassels: a tuft of loosely hanging threads or cords knotted at one end and attached for decoration to soft furnishings, clothing, or other items.
stealthily: cautiously and surreptitiously, so as not to be seen or heard.
idolatry: extreme admiration, love, or reverence for something or someone.
gleam: shine brightly, especially with reflected light.
phantoms: illusions
damnation: condemnation to eternal punishment in hell.
luncheons: a formal lunch, or a formal word for lunch.
tapestry: a piece of thick textile fabric with pictures or designs formed by weaving coloured weft threads or by embroidering on canvas, used as a wall hanging or soft furnishing.
disbeliever: a person who refuses to believe something or who lacks religious faith.
Whitaker’s Table of Precedency: The Table of Precedency in Whitaker’s Almanac laid out the castes of English society in a hierarchical relationship to each other.
Landseer: a black-and-white variety of the Newfoundland dog
intoxicating: exciting
Explanation of the above passage—The narrator entered the room where her acquaintances were talking about botany. The narrator mentioned discovering a flower growing on a dust heap at the site of an old house on Kingsway and suggested that the seed might have been planted during the reign of Charles the First. When inquired about which flowers bloomed in that era, she couldn’t recall the answer. Perhaps they were tall flowers adorned with purple tassels. And so the narrative continues. The entire time, the narrator was carefully crafting an idealized version of herself in her mind, tenderly, subtly, without openly admiring, because if it happened, she would immediately reach for a book as a form of defence. It’s the same thing she did with the narrative of The Mark on the Wall as she switched back from her thought process to the mark on the wall. It is indeed fascinating how, almost instinctively, humans guard their self-image against idolization or any manipulation that could render it absurd or too distant from the authentic self to be believable. The narrator questions if it is really all that strange. It is quite significant. Imagine if the mirror shatters, the image vanishes, and the romantic figure set against the lush greenery of forests no longer exists, revealing merely a hollow shell of a person, as perceived by others. The narrator exclaimed what a lifeless, shallow, barren, and glaring world it would transform into. A world unfit for living. As people encounter one another in buses and subways, they are gazing into the mirror; this explains the indistinctness, the glassy sheen in their eyes. Future novelists will increasingly understand the significance of these reflections, for certainly, there is not just one reflection but nearly infinite variations; these are the depths to be explored, and these are the illusions to pursue while leaving the portrayal of reality more and more absent from their narratives, taking it for granted, much like the Greeks did and perhaps Shakespeare as well but such generalizations hold little value. The military tone of the term is sufficient. It evokes the memories of newspaper articles, government officials, and a whole realm of things that, as a child, felt like the essence itself, a standard from which turning aside could only invite unspeakable criticism. Generalizations evoke memories of Sunday in London, afternoon strolls, Sunday meals, the ways of speaking of the deceased, clothing styles, and customs like the practice of gathering together in one room until a specified hour, regardless of anyone’s feelings about it. There were rules for everything. The guideline for tablecloths at that time dictated they should be made of tapestry with little yellow squares, like those seen in images of the carpets in royal palace corridors. Any other kind of tablecloth was not a true tablecloth. It was shocking for the narrator, yet also remarkable to realise that these genuine things like Sunday meals, walks, country estates, and table linens were only partially real, resembling illusions, and the curse upon those who disbelieved in them was merely a feeling of uncertified freedom. The narrator wonders what has replaced those standard elements in their lives. Perhaps men were women; the masculine perspective that shapes their existence, which sets the standard and established Whitaker’s Table of Precedency, which has turned, she suspects, into a mere illusion for many men and women since the war, and may soon be sent to the dustbin along with other illusions, the mahogany sideboards and Landseer prints, Gods and Devils, Hell, and so forth, leaving humans with an exhilarating sense of forbidden freedom, if indeed freedom exist. Woolf critiques the sexist society of England.
Passage: In certain lights that mark on the wall seems actually to project from the wall. Nor is it entirely circular. I cannot be sure, but it seems to cast a perceptible shadow, suggesting that if I ran my finger down that strip of the wall it would, at a certain point, mount and descend a small tumulus, a smooth tumulus like those barrows on the South Downs which are, they say, either tombs or camps. Of the two I should prefer them to be tombs, desiring melancholy like most English people, and finding it natural at the end of a walk to think of the bones stretched beneath the turf… There must be some book about it. Some antiquary must have dug up those bones and given them a name… What sort of a man is an antiquary, I wonder? Retired Colonels for the most part, I dare say, leading parties of aged labourers to the top here, examining clods of earth and stone, and getting into correspondence with the neighbouring clergy, which, being opened at breakfast time, gives them a feeling of importance, and the comparison of arrow-heads necessitates cross-country journeys to the county towns, an agreeable necessity both to them and to their elderly wives, who wish to make plum jam or to clean out the study, and have every reason for keeping that great question of the camp or the tomb in perpetual suspension, while the Colonel himself feels agreeably philosophic in accumulating evidence on both sides of the question. Indeed, he does finally incline to believe in the camp; and, being opposed, indites a pamphlet which he is about to read at the quarterly meeting of the local society when a stroke lays him low, and his last conscious thoughts are not of wife or child, but of the camp and that arrow-head there, which is now in the case at the local museum, together with the foot of a Chinese murderess, a handful of Elizabethan nails, a great many Tudor clay pipes, a picture of Roman pottery, and the wineglass that Nelson drank out of—proving I don’t know what.
Word meanings
perceptible: able to be seen or noticed.
tumulus: an ancient burial mound; a barrow.
melancholy: sad
Turf: grass and the surface layer of earth held together by its roots.
antiquary: a person who studies or collects antiques or antiquities; an antiquarian.
perpetual: never ending or changing.
suspension: the system of springs and shock absorbers by which a vehicle is supported on its wheels.
indites: write; compose.
Explanation of the above passage—In certain lighting, that mark on the wall appears to project outward from the surface. It’s not entirely round, either. The narrator can’t say for certain, but it seems to cast a noticeable shadow, implying that if she traced her finger along that strip of wall, she would encounter a small rounded mass at a specific point—a smooth mound which reminds her of those barrows on the South Downs that some claim are either burial sites or camps. Of the two, the narrator would prefer to think of them as burial sites, as she shares the English likeness for melancholy, finding it natural at the end of a walk to consider the bones resting beneath the grass. There must be a book about it. The narrator was sure that some antiquarian had dug up those bones and assigned them a name. She wonders what kind of person an antiquarian is. Most likely retired Colonels, guiding groups of elderly labourers to the top, examining patches of soil and rock, and corresponding with nearby clergymen, which when received at breakfast gives them a sense of significance, and comparing arrowheads requires them to make journeys to county towns, a delightful duty for both them and their ageing wives, who wish to make plum jam or tidy up the study, and have every motivation to keep that ongoing debate about the camp or the tomb in constant uncertainty, while the Colonel himself feels pleasantly philosophical about gathering evidence for both sides of the matter. It is true that he finally tends to favour the camp idea; though, faced with opposition, he pens a pamphlet he plans to present at the local society’s quarterly meeting before a stroke suddenly strikes him down, leaving his last thoughts not on his wife or children, but rather on the camp and that arrowhead, which is now displayed at the local museum alongside the foot of a Chinese murderess, a collection of Elizabethan nails, numerous Tudor clay pipes, a depiction of Roman pottery, and the wineglass that Nelson once drank from, demonstrating something the narrator truly can’t understand. Woolf critiques the war and its after effects on the minds of the people.
Passage: No, no, nothing is proved, nothing is known. And if I were to get up at this very moment and ascertain that the mark on the wall is really—what shall we say? the head of a gigantic old nail, driven in two hundred years ago, which has now, owing to the patient attrition of many generations of housemaids, revealed its head above the coat of paint, and is taking its first view of modern life in the sight of a white walled fire-lit room, what should I gain?—Knowledge? Matter for further speculation? I can think sitting still as well as standing up. And what is knowledge? What are our learned men save the descendants of witches and hermits who crouched in caves and 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… 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 waterlilies, 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!
Word meanings
gigantic: huge
attrition: wearing away
descendants: successors
Hermits: a person living in solitude as a religious discipline
crouched: squat down
brewing: the activity or business of producing beer.
shrew-mice: a small, mouse-like mammal with a long snout
superstitions: myths
gleams: shine
Table of Precedency: a formal protocol list that determines the order of rank and importance for dignitaries, functionaries, and officials on ceremonial or state occasions, but it has no bearing on the day-to-day business of government.
Explanation of the above passage—No, no, nothing has been proven, nothing is understood. And if the narrator were to rise right now and discover that the mark on the wall is the top of a massive old nail, hammered two centuries ago, which has now, due to the untiring wear of countless generations of housemaids, exposed its head above the coat of paint, and is observing modern life for the first time in the view of a brightly lit room with white walls. The narrator pondered what she would achieve through the Knowledge or from further pondering. She could think just as effectively sitting still as she could by standing up. She further questioned what is knowledge as the scholars are but the successors of witches and hermits who crowd together in caves and woods, mixing herbs, questioning shrew-mice, and recording the language of the stars. Moreover, the less one respects them, people’s superstitions fade and our admiration for beauty and mental well-being rises. Indeed, one could visualize a very delightful world. A serene, spacious world, with flowers so vividly red and blue in the open fields. A world without professors, experts or housekeepers resembling policemen, a world that one could slice through with thought just like a fish slices through the water with its fin, grazing the stems of the waterlilies, hovering above nests of white sea eggs. The narrator pictured it as a tranquil world down there, grounded at the centre of the world, looking up through the grey waters, with their sudden flashes of light and their reflections, if it weren’t for Whitaker’s Almanack if it weren’t for the Table of Precedency!
* Whitaker’s Almanack is a reference book, published annually in the United Kingdom. It consists of articles, lists and tables on a wide range of subjects.
Passage: I must jump up and see for myself what that mark on the wall really is—a nail, a rose-leaf, a crack in the wood?
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; the Lord High Chancellor is followed by the Archbishop of York. 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.
Word meanings
self-preservation: the protection of oneself from harm or death, especially regarded as a basic instinct in human beings and animals.
Threatening: causing someone to feel vulnerable or at risk.
collision: an instance of one moving object or person striking violently against another.
Explanation of the above passage—The narrator has to rise and discover for herself what that mark on the wall is, whether it’s a nail, a rose leaf, or a split in the wood. Once again, Nature is engaging in her familiar tactic of protecting the narrator. She realizes that this line of thinking is likely to lead to a mere waste of energy and might even result in a clash with reality since no one can truly challenge Whitaker’s Table of Precedency. The Archbishop of Canterbury is succeeded by the Lord High Chancellor; the Lord High Chancellor is succeeded by the Archbishop of York. Everyone is subordinate to someone, such is the essence of Whitaker’s philosophy, and the crucial matter is to understand who succeeds whom. Whitaker is aware of it, and as Nature advises only brings human comfort instead of annoying; and if humans find no comfort and feel compelled to disrupt this moment of tranquillity they can focus on the mark on the wall. Woolf highlights the hegemony existing in the society versus nature healing the narrator from the after effects of war on the mental health of the narrator.
Passage: I understand Nature’s game—her prompting to take action as a way of ending any thought that threatens to excite or to pain. Hence, I suppose, comes our slight contempt for men of action—men, we assume, who don’t think. Still there’s no harm in putting a full stop to one’s disagreeable thoughts by looking at a mark on the wall.
Explanation of the above passage—The narrator has comprehended Nature’s strategy to act as a means of stopping any thoughts that could cause excitement or discomfort. This may explain humans’ mild hatred for individuals who act but do not engage in thought. Nevertheless, there’s no harm in putting an end to unpleasant thoughts by focusing on a spot on the wall.
Passage: 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. That is what one wants to be sure of… 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. The cows swish their tails beneath them on hot afternoons; they paint rivers so green that when a moorhen dives one expects to see its feathers all green when it comes up again. I like to think of the fish balanced against the stream like flags blown out; and of water beetles slowly raising domes of mud upon the bed of the river. I like to think of the tree itself: first the close dry sensation of being wood; then the grinding of the storm; then the slow, delicious ooze of sap. I like to think of it, too, on winter’s nights standing in the empty field with all leaves close-furled, nothing tender exposed to the iron bullets of the moon, a naked mast upon an earth that goes tumbling, tumbling all night long. The song of birds must sound very loud and strange in June; and how cold the feet of insects must feel upon it, as they make laborious progresses up the creases of the bark, or sun themselves upon the thin green awning of the leaves, and look straight in front of them with diamond-cut red eyes… One by one the fibres snap beneath the immense cold pressure of the earth, then the last storm comes and, falling, the highest branches drive deep into the ground again. 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, living 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.
Someone is standing over me and saying:
‘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…
Word meanings
Archbishop: the chief bishop responsible for a large district.
quiescent: inactive
solidity: the quality or state of being firm or strong in structure.
moorhen: a small, black bird that lives near water
blown out: extinguished
Ooze of sap: the slow, often sticky fluid (tree sap) leaking or flowing out of a tree, typically through wounds or cracks, which can indicate damage, disease, or insect infestation.
tumbling: fall suddenly
awning: sunshade
asphodel: an everlasting flower said to grow in the Elysian fields.
upheaval: a violent or sudden change or disruption to something.
Explanation of the above passage—The narrator feels like she’s found something real, like clinging to a piece of wood in the ocean. This sense of reality makes everything else, like the Archbishops and the Lord High Chancellor, fade away. It’s like waking up from a bad dream and turning on the light, feeling secure with the familiar things around her. This is the certainty she’s searching for.
She enjoys thinking about wood, which comes from trees that grow quietly in meadows, forests, rivers and all the nice places. Cows relax under trees on hot days, and the rivers look lush and green. She imagines fish floating in the water and water beetles making mud homes on the riverbed. The tree starts dry and strong, survives storms, and has a slow flow of sap.
The narrator pictures the tree standing alone on winter nights, tight against the cold moonlight, like a lone mast in the dark. In June, birds sing loudly, and insects crawl on its bark, warming themselves in the thin green leaves.
As time goes on, the tree’s fibres give way, and eventually, they will return to the earth. But even then, trees live on, found in homes and on sidewalks where people sit and enjoy their tea. Thinking of the tree brings her peace and happiness.
The narrator wants to think about each idea clearly, but something is blocking her. She feels confused and lost, unsure of where her thoughts have gone. There’s a big change happening.
Someone is standing nearby, talking about buying a newspaper and saying it’s pointless because nothing ever happens. He’s frustrated about the war and even mentions a snail on the wall. The narrator suddenly realizes that the mark on the wall is that snail.
Conclusion
The story ‘The Mark on the Wall’ by Virginia Woolf is an insight into the thought process of the narrator through the mark on the wall. This post is designed to help the students understand the story better, providing explanations for difficult words to enhance comprehension. It also includes a summary of ‘The Mark on the Wall’, which will assist class 12 students in quickly reviewing the content.