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(i) In chapter 5 only two persons attended the ball, a Templar and a Pirogue, identified only by their symmetrical S-necessity. In chapter 6 it is said that they are different from Raoul and Marguerite. The fabula has never identified either a lover of Marguerite or a mistress of Raoul. |
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(ii) If the reader, for personal reasons, has imagined something different, it is his business. Raoul, with the S-necessary properties of being dyadically related to the Moulin Rouge and of being symmetrically related to a Pirogue, does not exist in the final state of the fabula and has never existed in the previous ones. The same holds for Marguerite. The same holds for those supposed adulterous partners, necessarily related to our two heroes. All these are S-necessary properties introduced by the reader, and his world is not accessible to the world of the fabula. |
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But beyond this apparent innocence, the fabula does something more and worse: by making the Templar and the Pirogue become astonished and by making, in chapter 7, Raoul and Marguerite learn something from the accident of chapter 6, it reintroduces into its final states individuals and necessary properties that belonged only to the world of reader's forecastsand just after having proved that these forecasts were wrong. |
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In short, the reader has produced a world (or more worlds) inaccessible to and from the world of the fabula. This illicit production has been provoked by the plot. But the fabula, instead of ignoring it, reintroduces it into its world. |
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In order to understand the strategy of the plot, we have to come back to the text and follow step by step the states of the fabula, comprehending the WN of the story, the various WNc of the beliefs and wishes of the characters, and the WRs1 outlined by the reader as ghost chapters. Only in this way can we understand the strategy of a plot that displays two fabulae, the one of the story as such and the one of the reader, so as to intertwine them at the end and to show that, though the fabula cannot work, the plot worked very well. |
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8.9 The Fabula of Drame and its Ghost Chapters |
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To follow the interaction between the states of the fabula and the ghost chapters, let us outline a shorthand presentation of Drame as fabula. In this outline I shall consider only the events and the propositional attitudes indispensable to the development of the fabula. |
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Instead of setting up the various world structures I shall represent them, for the sake of economy, through textual macropropositions, where |
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