By Kai Lai Chung, Ruth J. Williams
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He enlivens the trivia of conventional conversation with an ebullient misogyny and knowingness, introducing her to tropes and genres outside the reach of her commonsensical family – satire, irony, simile and metaphor, all as new to Catherine as the sensational fiction of Mrs Radcliffe. In the first few encounters she learns that language must be scrutinised since it is not transparent. When she perceives Mrs Allen’s pleasure in Henry’s mimicked conversation she begins to see how people might be manipulated by speech.
Although his verbal skills far surpass Catherine’s, some of her na¨ıve comments have a clarity Henry seldom achieves.
Despite emphasis on an inner and bodily life, the heroines fully inhabit the external world; they participate in hackneyed dialogues and react casually to what others say. They do not usually declaim; rather they interrupt and move about, respond, quiz, flirt, and grow suddenly preoccupied in the midst of talk. The heroines are aware of the play of social codes and conventions: they reflect on them and use them to communicate. Indeed the role-playing of much social life is so noticed in the novels that we start to assume a contrasting authenticity within the central characters.