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Additional resources for Soliloquy in Nineteenth-Century Fiction
I am leafy speafing. Lpf! Folty and folty all the nights have falled on to long my hair. Not a sound, falling. Lispn! No wind no word. Only a leaf, just a leaf and then leaves. The woods are fond always. As were we their babes in. And robins in crews so. It is for me goolden wending. Unless? Away! Rise up, man of thee hooths, you have slept so long! Or is it only so mesleems? On your pondered palm. Reclined from cape to pede. With pipe on bowl. Terce for a fiddler, sixt for makmerriers, none for a Cole.
Time is therefore internalized by both the character and the reader who has followed 26 Soliloquy in Nineteenth-Century Fiction and accepted its movements, and external order becomes unimportant. In effect, an internal, emotional ordering determines salient relationships when stream of consciousness takes over - just the opposite of the outward, social projection expressed by most soliloquists. Although she figures prominently in her own stream of consciousness, Molly does not do so in a self-aware fashion.
And what are we to make of the phrase that follows: 'as he thought how dearly he would relish honour and fame if they could be his'? Does it introduce thoughts that next appear, or does it summarize thoughts that in fact precede external remarks? ' record an oral outburst or an emotional response on an internal plane? Then Thackeray proceeds to complete this scene in a more descriptive, summarizing vein, one that is richly ambiguous: He went on with these musings, more happy and hopeful, and in a humbler frame of mind, than he had felt to be for many a day.