Abstract

Analogy among characters is not the only structural device which blurs the boundaries of the self. The very repetition of the act of narration, involving a chain of quotations, makes the story a perfect example of what Jakobson calls "speech within speech"1 and divorces the various characters from their own discourse. In addition to the real author's speech to the real reader, crystallized in that of the implied author to the implied reader, the whole story is the speech of an extradiegetic-heterodiegetic narrator who, in the footnote, calls himself "editor" and who sums up Liddell Hart's account and juxtaposes it with Yu Tsun's dictated statement. Just as the editor quotes Tsun, so Tsun, an extradiegetic-homodiegetic narrator, quotes Albert who in turn quotes Ts'ui Pên, sometimes verbatim, as in the case of the crucial letter, sometimes by conjecture, as in the instance of Pên's supposed declarations about the book and the maze. Quotation, then, is a dominant narrative mode in this story, and quotation is the appropriation by one person of the speech of another. Since a person is to a large extent constituted by one person of his discourse, such an appropriation implies, at least partly, an interpenetration of personalities. Thus both repetition through analogy and repetition through quotation threaten the absolute autonomy of the self. · 1. Roman Jakobson, "Linguistics and Poetics," in Essays on the Language of Literature, ed. Seymour Chatman and Samuel R. Levin , pp. 296-322. Shlomith Rimmon-Kenan is a senior lecturer in the department of English at the Hebrew University of Jerusalem. The author of The Concept of Ambiguity: The Example of James, she is currently writing on the poetics of repetition and, in collaboration with Moshe Ron, on contemporary narrative theory