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Thanks a lot. It is not clear whether Hyacinth had irrevocably made up his mind to commit suicide before visiting Millicent.
Even in a novel as long as The Princess, this leaves the full first third of the book unblessed by her presence. Georg Simmel finds the shift from names to numbers in the modern city a phenomenon that illustrates the move towards ever greater efficiency and consequent alienation that occurs in industrialised modernity. In other words, like Millicent, the Princess has prostituted herself; unlike Millicent, she has become aware of the objectification of such a position. In her fixation on marriage, she is consistent with the characterization of many literary shop-girls at this time. Had there been any traces of recent disturbance we should not have failed to detect it instantly.
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Their final scene invites us to see Millicent as transfixing Sholto in a revelation of sexual power—his response, rubbing his mouth with his walking stick, almost seems to infantilize him in her presence. Bowlby has described the new consumer culture of the late nineteenth century in terms of a parallel with male domination, arguing:
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