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thought of "the people who had this house before us" and "the urban villa"(Virginia Woolf, 1993: 1917). Seeing the mark was "too big, too round", "I " thought of "after life"(Virginia Woolf, 1993: 1918). When "I " thought "I may even be caused by some round black substance, such as a small rose leaf", "I " thought of "Tory ", "Shakespeare "and "Sunday in London"(Virginia Woolf, 1993: 1919). When "I " found "that mark on the wall seems actually to project from the wall", "I " thought of "tumulus ","antiquary ","clergy ", his "wife "and something might happen in that place. "Indeed, now that I have fixed my eyes up it, I feel that I have grasped a plank in the sea." (Virginia Woolf, 1993: 1920), then "I" thought of the "wood " and its lifetime. Finally, " the mark on the wall! It was a snail" (Virginia Woolf, 1993: 1921). All came back to the space where then "I " was being. 2.2.2 Flashback: a way of transition Flashback is one of the main techniques used in the writing stream-of-consciousness novel. This skill makes the author's consciousness go more freely, and different places can be presented reasonably and naturally. The first place is that "I " was being. "In order to fix a date it is necessary to remember what one saw "(Virginia Woolf, 1993: 1916)--this sentence brings us into some other space, that is, the following passages are about new space with this sentence appearing. By this way, the author begins to transform space successfully: this is the beginning of transformation of space in the article. And the author finished all the change of the space in the similar way. 3. Artistic charm of language in stream-of-consciousness novel 3.1 The applying of philosophical sentence Virginia Woolf tried her best to describe the images that ceaselessly emerge in her consciousness by quoting evasive words. By this way, she entrust the features of abnormal, mystical factors to the novel. But because of the author's frequently showing her insight of life, the common and strange, trivial and fleetin g images show strong power which goes straight into the readers' mind. Under Virginia Woolf's pen, those astonishing philosophical sentences which are often used have the effects as following: Firstly, the author used philosophical sentences to draw transition: for example, before having association on the mark, she wrote "How readily our thoughts swarm upon a new object, lifting it a little way, as ants carry a blade of straw so feverishly, and then leave it..." (Virginia Woolf, 1993: 1917), this sentence not only shows the feature of human thoughts and consciousness but also lays a foundation for the coming passages; "I understood Nature's game-- her prompting to take action as a way of ending any thought that threatens to excite or to pain. Hence, I suppose, comes our slight contempt for men of action-- men, we assume, who don't think (Virginia Woolf, 1993: 1919)", By this sentence, the author not only sighed "thought that threaten to excite or pain”, but also called the next context's coming "Still, there's no harm in putting a full stop to one's disagreeable thoughts by looking at a mark on the wall." (Virginia Woolf, 1993: 1920) So, another image comes naturally and reasonably after this. Secondly, the author used philosophical sentences to sum up or conclude the novel. When her thoughts came from a crack in the wood to the wood itself, and to the tree and its falling, she wrote "Even so, life isn't