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By Th. (Theodule) Ribot

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The wider question is whether he is exceptional in his attitudes and aspirations or typical of his time and background. Both questions remain unresolved. Kipps's final action, he 'roused himself to pull', brings his unspoken reflections to an end but leaves the conclusion indeterminate. For Kipps there can be no final solution, no tidy reconciliation of the tensions within his personality. For him, as for Ann, the riddle of life remains an enigma. Both are driven by forces beyond their comprehension and the novel terminates with the enigma unsolved: there is, as it were, a still photograph of the two caught in a moment of reflection.

To you least of all. Don't you see? - I want to be wonderful to you, Stevenage, more than to anyone. I want - I want always to make your heart beat faster. I want always to be coming to you with my own heart beating faster. Always and always I want it to be like that. Just as it has been on these mornings. ' 'Yes,' I said, rather helplessly, and struggled with great issues I had never faced before. ' 'It is how I want to live,' said Mary. ' 'I want it to be. Why shouldn't it be? ' (4, 3) What is striking about this scene is that the obtuseness is all on Stephen's part and the comprehension on Mary's.

The reader is at once a 46 H. G. Wells and the Modem Novel participant and an observer, aware that language is being employed with a sense of a real or implied audience. In emphasising Wells's creation of novels 'of deliberate contingency based on the fluidity of the autobiographical narrator' Malcolm Bradbury is drawing attention to an element of central importance in his novels: the freedom of the narrator to comment on the story as it unfolds and to enclose the action within a descriptive frame of reference, which is often more subtle than it appears.

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