As can be noticed in the passages of The Twentieth Century and After, by Jahan

Ramazani and Jon Stallworthy, and Modern Fiction, by Virginia Woolf, in the
twentieth century there were huge changes in culture, politics and economy. All these
changes lead man to a new way of understanding life and knowing himself. If the
novel became supreme in the nineteenth century by pursuing the exaltation of
experience, in the twentieth century this experience is changed. When discussing "the
essential thing," Virginia Woolf wants to discuss what and how the human experience
must be expressed to be real, to represent the non-seeing human feelings, in the novel.
For her, the novels were stuck in a game of appearances: only external mechanisms
were used to talk about man and his relationship with the world around him. That
created a static reality and sometimes even a false one. It proposes freedom from the
constraints: the human experience should be treated in the internal point of view,
showing the human essence and not their appearance. This "essential thing" moved on
because it observes human life from another point of view, but also in relation to the
world, but also moved off by providing as far sensations of the above. For this,
Virginia Woolf sought to break with the chronological linearity, which is only an
external illusion to man, into the minds of characters to understand there its most
human and true essence. By exposing the story by an internal point of view, the author
releases the bonds: there is no need for progression in the script; no purpose, which
provides a story in addition to the continuity of the paper; there is a multifaceted
representation of man shapes reproducing thoughts, never completed and which is
related with many issues to be from the first. We see, for instance, an excerpt from
"Mrs Dalloway in Bond Street": "Yes, thought Clarissa, if it's the girl I remember,
she's twenty years older .... There was only one other customer, sitting sideways at the
counter, her elbow poised, her bare hand drooping, vacant; like a figure on a Japanese
fan, thought Clarissa, too vacant perhaps Do, yet some men would adore her.
"(WOOF, p.7). The narrator's voice is mixed with the voice of the character,
conveying their valuations of the outside world: one sees the essence of being and not
just the appearance that he chooses to display.

LEM8490
Como observamos nas citaes, no sculo XX, a cultura, a poltica e a
economia esto sofrendo modificaes muito perceptveis. Todas as mudanas
provocam uma nova forma do homem compreender a si mesmo. Se o romance
dominou o sculo XIX buscando a exaltao da experincia, no sculo XX a
experincia que se modifica. Ao discutir a coisa essencial, Virginia Woof
quer discutir qual e como deve ser exprimida a experincia humana no
romance. Para ela, os romances estavam presos em um jogo de aparncias, em
mecanismos externos ao tratar relacionamento dos homens com o mundo que
os cerca, apresentando uma realidade esttica e, por vezes, falsa. Ela prope a
liberdade das amarras: as experincias humanas devem ser tratadas do ponto
de vista interno, mostrando a essncia humana e no sua aparncia. Essa
coisa essencial moved on porque se observa a vida humana de outro ponto
de vista, mas ainda em relao com o mundo, porm tambm moved off por
proporcionar sensaes to distantes das anteriores. Para isso, Virginia Woof
buscou quebrar com a linearidade cronolgica, que apenas uma iluso
externa ao homem, entrando na mente das personagens para dali compreender
sua essncia mais humana e verdadeira. Ao expor a estria por um ponto de
vista interno, a autora liberta as amarras: no h necessidade de progresso no
roteiro; no h fim, o que proporciona uma continuidade estria alm do

papel; h a representao multifacetada do homem, reproduzindo as formas do

pensamento, nunca acabado e que se relaciona com muitas assuntos ao se
partir do primeiro. V-se, para exemplificar, um trecho de Mrs Dalloway in
Bond Street: Yes, thought Clarissa, if it's the girl I remember, she's twenty
years older . There was only one other customer, sitting sideways at the
counter, her elbow poised, her bare hand drooping, vacant; like a figure on a
Japanese fan, thought Clarissa, too vacant perhaps, yet some men would adore
her. (WOOF, p.7). A voz do narrador se mistura voz da personagem,
transmitindo suas valoraes do mundo externo: v-se a essncia do Ser e no
apenas a aparncia que ele opta por mostrar.