Mrs. Dalloway shows Virginia Woolf’s mature narrative style as a modernist: a fragmentary double narrative, abrupt transitions between binary opposite perspectives and a continuity out of these discontinuous shifts. Still, this novel has a relatively traditional plot and characters in comparison to her later novels, such as The Waves and Between the Acts. On a thematic level, it resembles social novels and deals with varied subjects from the metaphysical such as “the privacy of soul,” love and religion as well as social and political issues such as differences in class and Imperialism. It, however, is very much concerned with how to write a new novel. It creates Woolf’s unique character and declares her own aesthetic by revisioning Walter Pater’s Impressionism. By appropriating Pater’s impressions, which are fictional and conventional stereotypes, Woolf reveals her process to remake her own aesthetic and this is described in her argument with Arnold Bennett over characters in the novel. Whether it is reality or a character, it always is composed with binary opposite categories. And Mrs. Dalloway is the first protagonist created by this aesthetic. The novel is oddly concluded with Peter’s consciousness instead of Mrs. Dalloway’s. Here, Peter finally understands the meaning of Mrs. Dalloway’s art of living and is to be the first Woolfian writer. Mrs. Dalloway is a Paterian artist as she remodifies whatever materials are given to her. Woolf is not simply overvaluing and idealizing womanly domestic works such as throwing a party or weaving and sewing. To Woolf, every character is simply a medium through which novelists can express their vision, their various thoughts about almost anything in the universe. Woolf adopts Pater’s notion of an artist and sublimates Mrs. Dalloway’s life and party into an art form.