The novel has two plots but they are psychologically knitted together. Septimus is Clarissa's externalization of her mental states. He is the objectification of the frustration and boredom that Clarissa is suffering from. He suggests her tormented soul. He, too, feels the need of "spiritual privacy" which is constantly threatened. He objectifies "the death of the soul" of Mrs. Dalloway and the contemporary civilization. Jean Guiget, a critic, has thus commented on the psychological unity of the novel: "The true structure is of another nature: it is homogenous with the content, and that is why the restriction of the book's substance precisely defined moments and a centre of references is of capital importance. What allows us to shift without a jar from Clarissa to Septimus, in front of the flower shop, is not their spatial contiguity, nor even the explosion that rings out in the ears of both.
It is the contiguity of their thoughts.
The monstrous threat of the specters who stand astride us and suck up half our life-blood, dominators and tyrant, against which Clarissa protests, is the same that Septimus apprehends when he hears the explosion, and against which Rezia wants to call for help". We witness here several anonymous reactions of the crowd. Likewise, the second meeting between Septimus and Clarissa is put together not only with the help of their aero plane but by the feeling of the beauty and peace, of blended awe and exaltation, of revolution which both experience. Finally the response of Clarissa Dalloway on the talk of Sepimus's death shows, as said by A.D. Moody, that he stands in the novel for the most hidden aspects of her soul. He is the objectification of her "death of the soul".