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Lovelace here admits the fundamental role that the arts and artifice (terms that ever become less distinguishable) play in the initial phases of a seduction; and, should stronger measures be required--as they will--Lovelace will variously assume the roles of "a familiar letter-writer, a travel writer, a costumer, a director, a playwright (comic and tragic), an editor, dialogist, romancer, paradist, satirist, leading man and director of his own performances.
Every self--Euramerican, Indian or otherwise--is embedded within a constellation of social relationships: a point seemingly confirmed by Krupat's admission that "the single voice on which the monologist settles is never his or her alone, but is derived from a social hegemony, as the many voices that the dialogist might represent are always the voices of social others" (Krupat 160).
For all the emphasis here on Lawrence as a dialogist with a highly developed sense of the importance of recognising the Other, there is a restrictively programmatic impulse informing some of the contributions.
Mikhail Bakhtin's extensive praise of Dostoevsky as the first great dialogist in modern literature (and his relentless dismissal of Tolstoy as 'monolithically monologic') as well as Boris Engel'gardt's vigorously argued and influential view of Dostoevsky's novels not as 'novels with an idea, philosophical novels to the taste of the eighteenth century, but [as] novels about an idea') (35) equally cannot be fully appreciated without taking into account the succinct and penetrating remarks of the early Lukacs.