By Clyde De L. Ryals

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Extra resources for A World of Possibilities: Romantic Irony in Victorian Literature (Studies in Victorian Life and Literature)

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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.

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.

2:187) Or he speaks to the historical figures in the vocative as though he (and the reader) were there: 26 Carlyle's The French Revolution Look to it, D'Aiguillon. (2:2) On then, all Frenchmen, that have hearts in your bodies! (2:190) If ye dare not, then, in Heaven's name, go to sleep. (3:121) Sometimes he blends points of view within a single sentence so that he is simultaneously both detached from and involved in the action: There also observe Preceptress Genlis, or Sillery, or SilleryGenlis,—for our husband is both Count and Marquis, and we have more than one title.

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