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By Clyde De L. Ryals

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P. 24). " (p. 517). " (p. 538). Questions such as these are scattered through­ out the text. We are not told the answers, and consequently we shall never be sure what they are; at best we can have only a kind of moral intuition about them. We are not provided with answers because, it turns out, the author, for all his vaunted omniscience, does not have them. "15 In quest of the truth about the events in the story his narrator goes to extraordinary lengths. He interrogates Miss Pinkerton's servants about incidents at the school, talks with Dobbin about George and Amelia's wedding.

66), with a wide repertory of both speaking and singing parts (p. 659). She can, for example, act "in a most tragical way" (pp. 143-44) or can assume "the part of a Maintenon or a Pompadour" (p. 463). She is, says Lord Steyne, "a splendid actress and manager" (p. 506). Amelia, after her husband's death, plays the role of "the poor widow" (p. 406) who acts "like a tragedy Queen" (p. 448), while her son, much given to acting, "liked to play the part of master1' (p. 547). Jane Osborne is "content to be an Old Maid" (p.

All the while, however, "History, and indeed all human Speech and Rea­ son does strive to name the new Things it sees of Nature's producing'7 although forced to admit "that all Names and The­ orems yet known . fall short" (4:204). Following the regicide, the Convention becomes "the womb of Formula, or perhaps her grave," as the people cry, "Du pain, pas tant de longs discours" (4:153, 303). " (4:322). The last word is given to the "Arch-quack Cagliostro," the appropriate grammarian of the frenzied era, whose "prophecy* in "The Dia­ mond Necklace" has curiously been "fulfilled,' or is perhaps "fulfilling" (4:323).

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