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"strange" without it seemingso. However, the narrator's description of her house on St.
John's Hill seemed"novelistic", at leastintially, to me, and I think the reasonfor this is
that at least part of her description seemsthe result of Behn tryrng for accuracy,the right
mixture of words to convey to me how her house once appearedto her, or even how her
experienceof the house made it seemto appearto her. I am thinking off this phrasein
particular: "It [the house] stood on a vast rock of white marble, at the foot of which the
river ran a vast depth down, and not to be descendedon that side" (2179). This seems
much more "novelistic" to me than the subsequentsentenceof her description: "The little
I! waves still dashing and washing the foot of this rock made the softest murmurs and
purlings in the world, and the opposite bank was adornedwith such vast quantities of
different flowers eternally blowing, ffid every day and hour new, fenced behind them
with lofty trees of a thousandrare forms and colors, that the prospectwas the most
\ ^groJ' ravishing that sandscan create" (2179). Too fanciful; a mind at work pleasing itself with
.f a lovely rhythm. Shakespeare'splays (As You Like It (I think this is the one in particular
I am thinking o0), with the keen observationsby feature charactersof how things differ
S'ir;' between realms (the Court, ffid the "green" world), seemmore "novelistic" to me than
),tno.rf
doesBehn's Oroonoko. Perhapsthis meansI take as 'hovelistic" any prose where I
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sensea critical, observant,"conscious" mind at work; and take as non-novelistic prose
where I sensea predictable pattern, or prose where I catch novel imaginings, but where I
guessthe writer is not wholly consciousof having made them. There is much in
\')"fl Oroonoko that illuminates interesting,revealing things to me about Aphra Behn, but this