It is a universally acknowledged fact that death is an inescapable reality. Whatever we do, wherever we go, the shadow of death follows us every second. Since long, writers have been writing about death, but the way Virginia Woolf has enumerated the inevitability of death by using moth as a prop in her essay Death of a Moth, is praiseworthy. She begins her essay by shedding light on the entity of moth:

'Moths that fly by day are not properly to be called moths.'

Here, she unfolds a very important aspect of human psychology that people don't take into account the two sides of a picture. They choose one side while rejecting the other because this is how they have been taught. They don't want to give up those old teachings that have instilled in them traditional approaches, vague ideas, meaningless customs; and become rigid. The same has happened with Virginia that since she knows of the nocturnal nature of moth, she doesn't want to accept those who possess a different nature than those about whom she knows.

She further proceeds by adding a layer of justification to her rigidity that she had expressed in her previous statement about moths:

'...they do not excite that pleasant sense of dark autumn nights and ivy-blossom which the commonest yellow-underwing asleep in the shadow of the curtain never fails to rouse in us.'

It is evident here that she is using the moth as a tool to generate personal catharsis. By 'dark autumn nights', she hints upon those nights where her griefs met acute consummation. It also reflects some biographical moments of Virginia's life whether they are about her parents' death, her own struggle in dealing with mental illness, loneliness, authoritative attitude of society towards her, or hardships that she had to face due to gender bias.

She keeps the entity of the moth in a critical tray allowing her readers to dissect it the way they want.

'They are hybrid creatures, neither gay like butterflies nor somber like their own species.'

She focuses on the fact that the significance of sadness and happiness can only be realized in terms of each other as De Goeje said:

'An idea is real only in connection with its opposite.'

Then she takes her reader on a roller-coaster ride to the scenic ventures:

'It was a pleasant morning, mid-September, mild, benignant, yet with a keener breath than that of the summer months.'

Here, it is clear that she is portraying the indifference of mother nature to her inside bubbling while breathing the air of vitality.

She feels so happy when she sees the moth making her look outside the window where birds are forming a net and land is being ploughed. She feels sad for the moth who is bound by short life and who can't even enjoy the pleasures of life:

'Watching him, it seemed as if a fibre, very thin but pure, of the enormous energy of the world had been thrust into his frail and diminutive body.'

She uses words like 'diminutive' and 'frail' to foreshadow the impending doom that is moth's death.

Abruptly, the moth, excitedly dancing round the window-pane, falls down, invoking a feeling of meagerness in the heart of writer. The moth tries to lay on its back. She tries to help the moth with her pencil but stops, perhaps thinking of those who didn't help her when she needed them. Soon the moth succeeds in balancing itself but after some time, it again falls down, and this time death takes its share from it. He reconciles with its friend while cogitating about a universal truth:

'Death is stronger than I'm.'