Virginia Woolf, as usual, dances immediately between characters' points of view, and it is regularly difficult to tell who the center of attention is at any given time. She even gives the viewpoint of infant George, close to the absolute starting point of the novel: "Down on his knees grubbing he held the blossom finish. At that point there was a thunder and a hot breath and a surge of coarse silver hair hurried amongst him and the bloom. Up he jumped, toppling in his dread, and saw coming towards him a ghastly crested eyeless creature proceeding onward legs, displaying arms". This portrayal of the puppy, Sohrab, running towards George, who is thought to be around a few, is so evident in our minds, we can practically observe the pup running towards us as though we are George.
Woolf makes utilization of the considerable number of faculties so we can truly envision it; the thunder, the hot breath, the coarse silver hair. Notwithstanding when Isa is talking on the telephone, Woolf does not fill in the side of the discussion the peruser would not have the capacity to hear on the off chance that they were in the room. We just hear Isa's side of the discussion: "Mrs Oliver speaking… What angle have you early today?" The ovals exhibits the hole in the discussion where there is unmistakably somebody talking down the flip side of the telephone.
The book, in places, has exceptionally Victorian perspectives of society. While one of the house cleaning specialists is pondering around the lily lake, she thinks about the old story that recounts a lady suffocating herself in the lake. A thigh bone was recouped ten years after the fact, however it was a sheep's and not a human's. The house keeper goes ahead to consider souls. She conceives that "sheep have no phantoms, for sheep have no souls. Be that as it may, the workers demanded they should have an apparition; the phantom must be a lady's; who had suffocated herself for adoration". The possibility of souls and the great beyond was a major thing in the Victorian time, particularly after the production of Darwin's Origin of Species in 1859.
People in general started to scrutinize their religion; had Darwin basically invalidated God by giving proof that people have been around for many years and developed through the process of evolution? The numbers in Christian holy places began to diminish amidst the Victorian era. Individuals started to address if there was an existence in the wake of death, a paradise, a hell, or if there simply was nothingness. The second thing the Victorians, and even the Romantics, contemplated was the magnificent. Something that is heavenly holds tasteful magnificence; it is something that holds the watcher in wonder when they take a gander at it. The watcher addresses how it arrived. The eminent is regularly in connection to a scene, a mountain extend, a waterfall, and so on. In Between the Acts, family members sit on their porch, taking in a stunning view. Mrs Swithin shouts: "that is the thing that makes a view so tragic… thus wonderful. It'll be there," she gestured at the portion of dressing laid upon the inaccessible fields, "when we're most certainly not". This isn't just a consideration of what is wonderful in life, but in addition interfaces with the Victorian perspective of life following death, and where we follow passing.