By Don Adams (auth.)
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Copperfield, and this tendency is particularly pronounced in more recent criticism. I suspect that criticism has gravitated toward Mrs. Copperfield because of the fact that she is presented in a much more conventionally realistic manner than is Miss Goering. Mrs. Copperfield is presented to us from both the outside and the inside; the author has filled in her complex and fascinating psychological portrait in accordance with the norms of psychological realism. Miss Goering, by contrast, and true to her allegorical nature as questing hero, is presented mainly through her words and actions, and through the effects upon, and reactions these produce from, others.
In the overtly allegorical realm of Sadie’s delusion, the material world through which she has spent her life drifting, as in a dream, becomes overwhelmingly and unbearably meaningful and real. In the delusional world, Sadie’s fears and desires are given material being. The climax of the delusion and of the story arrives when Sadie frantically leads an imagined Harriet into the woods near the waterfall, in which she plans to attempt to convince her sister to return to the family apartment. ” She stepped over to a felled tree whose length blocked the clearing.
Long enough so that I myself will feel: “Camp Cataract is a habit, Camp Cataract is life. ” Escape is unladylike, habit isn’t. As I remove myself gradually from within my family circle and establish myself more and more solidly into Camp Cataract, then at some later date I can start making my sallies into the outside world almost unnoticed. (363) one is never quite totally in the world / 35 Harriet acknowledges that her fear of acting in an unladylike manner may seem indicative of a shallow nature, to which she willingly admits, explaining to Beryl: “You may wonder how a woman can be shallow and know it at the same time, but then, this is precisely the tragedy of any person, if he allows himself to be griped” (363).