It is well known that most of Virginia Woolf’s writing is affected by the psychological trauma caused by the Great War. If the permanent sense of loss caused by the War remains irreparable in Jacob’s Room and To the Lighthouse, Woolf mourns for the victims of the war including both the war dead and the war survivors in Mrs. Dalloway. This paper aims to illuminate the limit and power of mourning in the public and collective space as well as the private and intimate space in Mrs. Dalloway. Woolf’s novel is interested in the ways that spaces in London are produced for the purpose of mourning after the Great War; however, Woolf is well aware of the denial or erasure of personal experience and perception by public gestures of mourning for the war dead. While Woolf’s novel demonstrates the power of war monuments such as the Cenotaph and the tomb of the Unknown Warrior to introduce the worship for the glory of war and empire and thereby to bring order and stability back to the postwar London, it shows how their marble stare fails to mourn for the war dead in hurrying to bring closure to the trauma caused by the War. The rite of mourning in its true sense is enacted in Clarissa’s meditation on the death of an unknown young man as she registers the pain and suffering of the young soldier in her own body, pays respect to his life and death as both the war victim and the survivor, and finally collapses the distinction between civilians and soldiers.