Much of Virginia Woolf's novel To the Lighthouse takes place in the minds of its characters. Although, of course, their thoughts cannot stop external events, they can stop time in one way: through memory. Thus, throughout the novel, Woolf uses certain objects as symbols to spark memory and transport the mind to the past. One example in particular is the living room window, which develops the story's theme that memory defends the mind against the pressure of change. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay A prominent symbol, the window is frequently mentioned; indeed, the first section of the book is named after him. It serves as an opening that connects the ever-changing backyard space to the almost still living room. The majority of the action in the first scene takes place in the yard, but one of the main characters, Mrs. Ramsay, remains in the living room with her son. Because of this arrangement, the characters must look out the window to see the other party; as a result, many of the characters' internal monologues are triggered by the view framed through the window. For example, as Woolf writes, "Knitting...with her head absurdly outlined by the gilded frame...Mrs. Ramsay smoothed what had been harsh in her manner a moment before...and kissed her little boy on the forehead” (30). It was the vision seen by everyone in the courtyard: Mrs. Ramsay knitting in the living room, her head crowned with a Michelangelo painting, with her grandson making a collage at her feet. This image, framed by the window, embodies the character of Mrs. Ramsay, a kind-hearted and motherly mother, emphasizing her attributes towards those in the yard, particularly Lily Briscoe. This vision of mother and son becomes a scene that transcends the progression of time itself; even after Mrs. Ramsay's death, it remains permanently etched in the minds of viewers. Thus, the window not only serves as a lens towards the private, but also towards the past. It is a barrier between the outside world, which will deteriorate as Time Passes describes, and the immutable memory which is born from the living room scene. It serves as a limit to the changing world. The concept that the window acts as a barrier between the changing and static worlds is further emphasized by its observers. Both Mr. Ramsay and Lily Briscoe see the composition of mother and son, and although they are two different spectators, their shared perspective symbolizes the stasis of the scene. Lily even considers the scene to be as permanent as the house and its attributes. Woolf writes: “Even as she looked at the mass, the line, the color, Mrs. Ramsay sitting at the window with James, she kept an eye on her surroundings lest anyone should approach…” (17 ) . Thus, Lily groups the unchanging setting with the scene in the window frame; stasis comforts her as she paints, but she is prepared for any changes in her environment. Although the scene inside the window is unchanging, outside, the possibility of change looms. The first example of this occurs when Mr. Ramsay denies James the trip to the lighthouse: "'But,' said his father, stopping at the window, 'it won't go well'" (4). Woolf includes the detail of Mr. Ramsay's location - in front of the window - because just beyond the window symbolizes the family's possible change in routine. Mr. Ramsay stands in front of the window because he opposes change and wants to protect James from any impending false hope. A more physical form of change via the window occurs later for Mrs. Ramsay: "...suddenly her search for..