First Essay A version of the lecture that inspired the novel, the opening essay is addressed to an imaginary live audience. It describes a multi-volume novel in progress, called The Pargiters, which purports to trace the history of the family from the year 1800 to 2032. The family is described as "English life at its most normal, most typical, and most representative". First Chapter Begins with the heading "Chapter Fifty-Six," going along with the conceit that it is an extract from an existing longer novel. Similar to the scene that introduces the Pargiter children in the novel. Second Essay Discusses the reasons for the Pargiter daughters' idleness and lack of education, including the social strictures that stifle the girls' sexual impulses and cause the musically talented Delia to neglect her violin. Second Chapter Similar to the passages in the novel describing Rose's trip to the toy store, but dwells in more detail on the shock of the attack and Rose's fear and guilt later that night. Third Essay Refers to the attempted sexual assault on Rose as "one of the many kinds of love" and notes that it "raged everywhere outside the drawing room" but was never mentioned in the work of Victorian novelists. Discusses the way the assault strains Rose's relationship with her brother Martin (in this draft called "Bobby") and his greater freedom in sexual matters. Briefly introduces a suffragette character, Nora Graham. Third Chapter Similar to Edward's Oxford scene in the finished novel. In a deleted passage, Edward imagines Antigone and Kitty fused into a single glamorous figure and struggles with the urge to masturbate, writing a poem in Greek to calm down. Edward's friend Ashley is called "Jasper Jevons" in this version. Fourth Essay Describes the centuries-long tradition of all-male education at Oxford and its influence on Edward's sexual life, contrasted with the limited education available to women. Here Ashley/Jevons is called "Tony Ashton," and once in the following chapter Tony Ashton is called "Tony Ashley," suggesting that these various names originally referred to a single character in Woolf's mind. It is specified that Edward and Kitty's mothers are cousins, a relationship left unstated in the novel. Fourth Chapter Similar to Kitty's introductory scenes in the novel. There is more detail on her dislike for (and sympathy with) Tony Ashton's effeminacy. It's revealed that Kitty's mother comes of Yorkshire farming stock, and Kitty recalls with pleasure