This dissertation is a study in philosophical ethics organized around Virginia Woolf’s novel To the Lighthouse (TTL). I use the novel as a testing ground for the concepts and claims of Aristotelian ethics. TTL, I argue, helps illustrate the power and plausibility of the core ideas in the Aristotelian tradition, but the novel also exposes some of this tradition’s limits. In particular, I contend that TTL bears out the following Aristotelian views: that the concept of character is grounded in distinctively ethical concerns; that a person’s perceptual orientation to the world is a core element of their character; that a person’s actions are partly explained by their character; that a person’s character is distinct from their self-conception; and that character is formed and maintained through processes of habituation. However, I argue, TTL casts doubt on the traditional thesis, often called the ‘unity of virtue’, that a person cannot have any one virtue of character without having them all.
In chapter 1, I discuss the minute stylistic choices that allow Woolf to capture the nature of a point of view and the ethical significance of clashes between points of view. I draw attention, first, to the way in which Woolf’s prose realistically depicts the psychology of the mundane moment, particularly the way in which the moment is charged both by the subject’s history and by their anticipation of the future. Then I turn to perhaps the most peculiar feature of TTL, namely its narrative form: the narrator moves fluidly, and sometimes rapidly, through different characters’ perspectives, while still retaining an independent voice. (The characters themselves are not narrating.) I argue that this form of narration is designed to make the reader understand the stakes, and feel the drama, of the engagement between perspectives that profoundly differ. The meeting of different perspectives is a distinctive and basic condition of ethical life; thus, I suggest, TTL can be understood as a work organized around ethical concerns. In the remainder of the chapter, I further substantiate the connection between TTL’s narrative style and its ethical purpose. I try to articulate more precisely the sense in which Woolf’s narration brings us within her characters’ perspectives. TTL’s narrative style is often called ‘stream of consciousness’, and I argue that this is apt, although we have to make some significant qualifications. Woolf’s narrative form draws attention to the distinctive challenges that we face in ongoing relationships, especially with those whom we share a home with. In the context of ongoing relationships, I suggest, we find an important place for the concept of character. I conclude the chapter by noting the close connection between character (in the colloquial sense) and point of view.
In chapter 2, I argue that there is an organic link between Aristotelian ethics and the core themes of TTL. That is not only because Woolf’s depictions of character are realistic and richly detailed—although that is true—but also because her characters themselves think a great deal about each other’s characters. In particular, I draw attention to Lily and Bankes’s candid conversation about Mr. Ramsay, which prompts Lily to ask (silently, to herself), “How did one judge people, think of them?” I argue that the subject of Lily and Bankes’s conversation, Mr. Ramsay’s character, is an instance of the phenomenon that ethicists in the Aristotelian tradition have tried to help us understand. I briefly survey some of the main features of the Aristotelian conception of character. I raise the question: what distinguishes Aristotelianism from its rival theories in contemporary ethics (consequentialism, contractualism, and Kantianism)? I argue that the distinguishing feature of Aristotelian ethics is not its interest in character per se, but rather its conception of how a person’s character explains the things they do. Aristotelian ethicists think that a person’s character encompasses not just their ways of reasoning about how to act (i.e. practical deliberation), but also their tendencies of perception, thought, and feeling. Therefore, the Aristotelian view readily accepts that a person’s character is independent of their self-conception, and particularly their self-conscious reasons for doing the things they do. (In the course of this argument, I rely on illustrations from TTL.) I conclude the chapter by returning to Lily and Bankes’s conversation. I suggest that Woolf depicts Lily having a moment of insight about what it means, and what difference it makes, to recognize someone (particularly Mr. Ramsay) as the whole person they are. I outline four different ways of understanding her insight, in general terms, which I return to at length in chapter 4.
Chapter 3 is a sustained study of Mrs. Ramsay’s character, consisting in close readings of many scenes featuring her. This study is motivated by two purposes. First, it is meant to help substantiate the idea of the ‘whole person’—we will try to understand how the different sides, or parts, of Mrs. Ramsay are integrated into a single whole. Second, this study serves to illustrate the general Aristotelian conception of character by bringing it to bear on a particular, vividly and realistically rendered, subject.
The first part of the chapter is about Mrs. Ramsay’s life’s work as a homemaker, since her character has been formed around that project. Her overarching aim is to unify her household, including family and guests. Her keen perception of others’ characters is, I suggest, part of what enables her to do this work so well. Furthermore, I argue, much of her labor consists in cultivating opportunities for shared perception among the members of the household.
In the second part of the chapter, we directly confront the fact that Mrs. Ramsay’s orientation as a caregiver, and her conception of herself, are rooted in traditional gender ideology. I draw attention to moments at which her regressive thinking about gender leads her to misunderstand and mistreat people—to push girls and women into marriage; to coddle men, particularly her husband; to be unkind to herself. These tendencies, I suggest, are parts of her character. At the same time, though, Woolf is careful not to treat these as ‘fixed’ traits; Mrs. Ramsay clearly has enough critical distance from herself to recognize that something is awry. She still has the capacity for growth. However, Woolf shows how her relationship with her husband holds her back—and him too, in fact. I argue that character-centric criticism points in the wrong direction here, since the ethical problem is essentially in their relationship, not their characters considered independently.
In the last part of the chapter, I discuss Mrs. Ramsay’s reflections on the happiness she has found in her life. These reflections take place in quiet solitude, where she becomes a “wedge-shaped core of darkness, something invisible to others.” Ultimately, feeling “waves of pure delight,” she recognizes that she “had known happiness, exquisite happiness, intense happiness.” Woolf contrasts this “core of darkness” with her constitution as a social being—that is, precisely, her character. I argue that this passage illustrates why it is wrong to identify Mrs. Ramsay, considered as a whole person, with her character. I then contend that Mrs. Ramsay’s happiness, as Woolf depicts it, is not a subjective feeling, but rather a quality of the common life she has taken part in: the happiness she has known is not hers alone. Woolf does want us to recognize that her happiness is grounded in her character, since the Ramsays’ common life has been created and sustained by her caring labor. (We connect this to the canonical Aristotelian claim that happiness consists in the active exercise of good character.) At the same time, however, Woolf emphasizes that Mrs. Ramsay can feel this happiness because of an aspect of her that lies beyond her character: her capacity to become the “wedge-shaped core of darkness.”
In chapter 4, we return to the general questions raised at the end of chapter 2. What does it mean to recognize someone as a whole person, and why does that matter? Drawing on our study of Mrs. Ramsay, we develop an idea about character that Woolf illustrates powerfully in TTL: that a person’s good and excellent qualities (or, if you prefer, the things we like about them) and their flaws (or the qualities we find difficult) are not entirely distinct; they are of a piece with each other. Given that character is holistic in this way, I argue, we have good reason to reject the canonical Aristotelian thesis (the ‘unity of virtue’) that a person cannot have any one virtue of character without having the rest of them. (The idea, in slogan form, is that virtue is one thing.) My argument proceeds by way of a detailed discussion of the conditions in which we could realistically expect growth in Mrs. and Mr. Ramsay. I argue that substantial growth for either of them would necessarily involve a process of undoing: breaking old habits, reckoning with repressed emotions, and learning not to depend on familiar coping mechanisms. If that is true, I argue, then it is unreasonable to expect growth to result in their becoming more perfect (i.e. virtuous) in every way. I contend that, through Lily and James, Woolf draws attention to the challenge of staying open to the growth of loved ones, while still retaining a healthy sense of realism about that process.