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By Clyde De L. Ryals

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Additional info for A World of Possibilities: Romantic Irony in Victorian Literature

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80). This partial congruence is discernible in the prologue, where the actor both is and is not the stage manager. There we are told, in the third person, about the manager and the scene he looks on and then, in a switch to the first person, about the moral, the scenes, the scenery, and the illumination by "the Authors own candles" (that is, his illustrations). A few more words are uttered, seeming­ ly in propria persona, followed by a brief final paragraph in which it is related how the manager bows to his audience and retires as the curtain rises.

18); "the writer cannot but think of it with a sweet and tender regret" (p. 73); "I remember one night being in the Fair myself" (p. 148); "I look back with love and awe to that Great Character in history" (p. 459). " (p. 167); "My dear Miss Bullock, I do not think your heart would break in this way" (p. 171); "Ah! Miss Ann, did it not strike you . " (p. —Farewell dear Amelia" (p. 661). " (p. 459). He addresses "ladies" (p. 48) and "young ladies" (pp. 172, 652) on matters of taste and decorum and, as we shall presently see, he constantly speaks to the reader.

644). Further, he apologizes for his inability to render certain scenes accurately because of his linguistic inadequacy: as no pen can depict (p. 16) If I had the pen of a Napier, or a Bell's life, I should like to describe this combat properly (p. 49) Who can tell the dread with which that catalogue was opened and read! (p. 340) it does not become such a feeble and inexperienced pen as mine to attempt to relate (p. 463). Lastly, the narrator cannot make up his mind whether this book subtitled "A Novel without a Hero" does or does not have any heroic characters.

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