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II. Kunstreflexionen und künstlerische Tradition Till the world is an unpeopled void, there will be an image in the mirror. (Henry James) Mit Hilfe der Alter-ego-Figuren Rawcliffe in den Enderby-Romanen und Arnold Baffin in The Black Prince sowie der Lehrer-Schüler-Verhältnisse Enderby/Utterage, Pearson/Julian Baffin und Daniel Martin/Jenny McNeil etablieren Anthony Burgess, Iris Murdoch und John Fowles in ihren Ro- manen eine Gesellschaft fiktiver Künstlerfiguren. Anders als in Anthony Burgess' Roman Earthly Powersin dem der fiktive Ich-Erzähler und

of the verb in Early Modern English. Both Roger Lass and Jenny Cheshire deal with the develop- ment of historically strong verbs. Lass discusses the amount of Varia- tion in the forms of the strong verb, using the evidence from the Helsinki Corpus, and concludes that reliance on the data even of a well- chosen corpus of written texts may not be used to devalidate the evi- dence and comments found in the contemporary grammarians, äs these had spoken data at their disposal, and Variation in Early Modern Eng- lish had a different scope to them than it can ever have to

erwecke, "to brush aside the ceremonies and conventions of writing and to speak to the reader as directly as by word of mouth" ["The Sentimental Journey", in: Woolf, Collected Essays'. 1,96]. 143 Vgl. hierzu Wellek 1955:1^310: "[...] even the most capricious digressions of Sterne do not damage the objective fictive existence of Uncle Toby or Walter Shandy." 542 Aufblähen der extradiegetischen Ebene (von Tristram als erzählendem Ich erfahren wir, daß er einen Freund, Eugenius, und eine Freundin, Jenny, hat, an gesundheitlichen und finanziellen Probleme leidet und