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By John Beer (eds.)

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And the result, for Mrs Moore, 22 A Passage to India was a virtual abdication of the moral sense; she knew that Aziz was innocent, yet she did not lift a finger to help him, a religion of 'vision' having replaced her old religion of 'conduct' - and thus Forster tells us that neither one nor the other is, by itself, sufficient. After the trial, the citizens of Chandrapore are swept by a feeling of sympathy for Mrs Moore, and the cry 'Esmiss Esmoor' is the very voice of a participation mystique, the mob speaking as if in sleep or nightmare, and 'Esmiss Esmoor' is only 'ou-boum' at a higher level of sophistication and development.

Xxxiii, 285) But when the celebrations end, the divisions and confusions of daily life return. Just as consciousness of political conflict and social divergence transgresses against the will to union, so is there here a humanist's repudiation of symbolic concord. The allegory is over before the novel ends, the aesthetic wholeness dismembered by the fissures and tensions of the disjoint, prosaic world that the novel represents; the permanent is dissolved in the acid of contingency. In the last pages emblems of reconciliation and synthesis compete with their opposites: 'the scenery, though it smiled, fell like a gravestone on any human hope' (xxxvii, 315).

Can Adela now say whether anyone followed her into the cave, now that the trial and the excitement are over? ' "Let us call it the guide", she said indifferently. "It will never be known" '(xxiv, 261). But, they both agreed, Mrs Moore had known. How was that possible? ' The pert, meagre word fell to the ground. Telepathy? What an explanation! Better withdraw it, and Adela did so. She was 24 A Passage to India at the end of her spiritual tether, and so was he. Were there worlds beyond which they could never touch, or did all that is possible enter their consciousness?

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