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up and saw the mark on the wall." (Virginia Woolf, 1993: 1916), the character began to thought of "old fancy" and "the crimson flag flapping from the castle tower", then thought of "the cavalcade of red knights riding up the side of the black rock"(Virginia Woolf, 1993: 1916) and "the mark interrupted the fancy"(Virginia Woolf, 1993: 1917). The appearing of the mark pull the character's thoughts back into the reality temporarily, but she thought of "...fancy, made as a child perhaps" (Virginia Woolf, 1993: 1917) soon again. When she thought contingency of human life, her thoughts changed to "after life"; when she abused "I" was "not being a very vigilant housekeeper", she thought of "the dust. Buried Tory three times over" because of seeing the dust on the mantelpiece... In the structure of this novel, "the mark" pulled the character back to the real life several times, and the result of doing this is only to make her thoughts go further away. By using constant change and continuity of time order, the author made her thoughts go freely among "reality--fancy", "now--future", and "this life--after life". Furthermore, it shows that the cognition process of human is instant and intangible. 2.1.3 Transition of time The author linked different time by repeating in similar forms, which made the structure natural and reasonable: " If that mark was made by a nail "(Virginia Woolf, 1993: 1916), " I don't believe it was made by a nail after all, it's too big, too round, for that." (Virginia Woolf, 1993: 1917), "And yet that mark on the wall is not a hole at all." "In certain lights that mark on the wall seems actually, to project from the wall. Nor is it entirely circular." (Virginia Woolf, 1993: 1918), "And if I were to get up at this very moment and ascertain that the mark on the wall is really-- What shall we say? -- The head of a nail, a rose leaf, a crash in the wood?” (Virginia Woolf, 1993: 1920), "Indeed, now I have grasped a plank in the sea.”(Virginia Woolf, 1993: 1920)”, “Ah, the mark on the wall! It was a snail”(Virginia Woolf, 1993: 1921). These transition sentences show that the language of the author is rich, and also link different time up to make the conscious flowing a whole. 2.2 Space 2.2.1 Different spaces radiated from a central point This is a unique space structure form of Virginia Woolf's novels. In the article, "the mark on the wall" is a symbolic image. It stands for appearance of things, and in the space structure, it is a gangplank through which the author enters the inner world. That's to say, the character in the work, proceeding from " the mark on the wall ", thought of a lot that happened in different space; and the association in each paragraph was spread out from "the mark". This is a circulation starting from a point, and radiating thoughts, and then returning back to the point, afterwards, other thoughts were radiated again…This expressed the character's disorder conscious action of different space. Exactly, six space were radiated from the point by the character's guessing: "In order to fix a date", " I first looked up and saw the mark on the wall ": "I " thought of "the burning coals; "I " thought of "the crimson flag flapping from the castle tower"; "I " thought of "the cavalcade of red knights riding up the side of the black rock" (Virginia Woolf, 1993: 1916). When "I " thought, "that mark was made by a nail", "I " thought "it must have been for a miniature- the miniature of a lady"; "I "