Apart from the fact that she is a woman, Rebecca’s story is one that fails to align with Ayscough’s understanding is because of a constant opposition between Rebecca’s and Ayscough’s voices. Ayscough’s difficult task is made arduous when his prime witness, Rebecca offers a religious explanation for the disappearance of Mr. Bartholomew. She claims that he has gone to “June Eternal”, a religiously inspired world ruled by “Holy Mother Wisdom.” Keenly aware that her visionary discourse of supernatural occurrences in the cave does not conform to reality, during her interrogation, she realizes that she and Ayscough have “opposed alphabets”1 immediately after comprehending how her revelation could conflict with the lawyer’s rational empiricism. For instance, when asked whether His Lordship “…grows the Lord of All, the Redeemer?”, she replies with “twill not fit thy alphabet, so be it”. Her constant repetition of “thee may’st take me for a notorious harlot, I will not deny it.”2 implies her acceptance of his view of her, and her ineluctable position amongst him and all men that make her inferior and unreliable. Her viewpoint is reckoned unacceptable in Ayscough’s frame of reference since Rebecca claimed that the world she was brought into was one where all lived in harmony, “without distinction nor difference.”3 Given the fact that Ayscough only scrutinizes rational explanations of any account, the exposition provided by Rebecca challenges his expectations, while alongside, only intensifying the ambiguity of the situation at hand. Rebecca’s attitude contrasts other characters’ aspirations to be regarded as honest and for their narrations to be deemed as the truth by Ayscough. However, the readers can discern the limited knowledge in every character’s testimony.

The clash between the voices of Rebecca Lee and Ayscough is central to Fowles’ employment of narrative technique to display contradiction that forms the essence of post-modern literature. The conflict between Ayscough with his social, intellectual and moral superiority, and his disgust and disbelief of his last witness, and Rebecca, with her fluid identities, once known as Fanny, a ‘common prostitute in London’,4 then as Louise under his Lordship’s employment, and finally as the ‘new-virtuous Mistress Lee’5- her improbable transformation and the different views that other characters have of her, appears impossible to be resolved. The reader, accustomed to the intimidating effect that Ayscough has on other characters, finds Rebecca’s firm opposition to Ayscough’s condescension and dismissive attitude and her determined voice dramatic. Ayscough’s belief that Rebecca has ‘aided and abetted in (the) commission’ of ‘foul and irreligious crimes’6 is resolutely met with, “I deny it”.7 The firmness of her narrative voice and her unshakable belief in her story while confronting Ayscough’s lens of prejudice through which he receives it and his ‘bursts of bullying contempt’8

1 Fowles, J. (1985). Maggot. Page 385

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2 Fowles, J. (1985). Maggot. Page 385

3 Fowles, J. (1985). Maggot. Page 378

4 Fowles, J. (1985). Maggot. Page 299

5 Fowles, J. (1985). Maggot. Page 299

6 Fowles, J. (1985). Maggot. Page 300

7 Fowles, J. (1985). Maggot. Page 300

8 Fowles, J. (1985). Maggot. Page 319

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