The Collector
by John Fowles

Power and Control Theme Analysis

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John Fowles’s The Collector explores the dynamics between captor and captive. The story revolves around Frederick Clegg, an alienated young man who kidnaps Miranda Grey, a vibrant art student, in a misguided attempt to gain control and connection. Clegg’s sense of power is derived from his ability to dominate Miranda physically, controlling her environment and restricting her freedom. Clegg regularly binds Miranda’s hands and gags her to control her movements and speech. Clegg treats Miranda much like he treats his collection of butterflies; that is, as a specimen to be owned and looked at rather than as a human being.

Conversely, Miranda’s powerlessness is depicted through her imprisonment, yet she maintains a form of resistance that challenges Clegg’s dominance. Her intellect becomes her weapon, as she engages in psychological battles to undermine Clegg’s authority. She regularly demonstrates her knowledge of art, politics, and psychology, all subjects where Clegg is clueless. She also manipulates her sexuality to gain power over Clegg because she can tell he is uncomfortable whenever they are in close proximity. The power dynamics shift subtly throughout the narrative, with moments where Miranda’s psychological influence over Clegg creates temporary imbalances even though it feels like Clegg should be in control.

Fowles also delves into the societal implications of power and powerlessness, critiquing the class divide and the limitations it imposes. Clegg, from a lower socioeconomic background, feels that society dismisses him, fueling his need to assert control over someone he perceives as superior. Miranda, on the other hand, represents the privileged class, yet her captivity demonstrates that she is far more fragile than her class status led her to believe. As such, The Collector ultimately exposes the vulnerability of both the powerful and the powerless within the confines of the roles society imposes on them.

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Power and Control Quotes in The Collector

Below you will find the important quotes in The Collector related to the theme of Power and Control.

Part 1 Quotes

The only times I didn’t have nice dreams about her being when I saw her with a certain young man, a loud noisy public-school type who had a sports car. I stood beside him once in Barclays waiting to pay in and I heard him say, I’ll have it in fivers; the joke being it was only a cheque for ten pounds. They all behave like that. Well, I saw her climb in his car sometimes, or them out together in the town in it, and those days I was very short with the others in the office, and I didn’t use to mark the X in my entomological observations diary (all this was before she went to London, she dropped him then). Those were days I let myself have the bad dreams. She cried or usually knelt. Once I let myself dream I hit her across the face as I saw it done once by a chap in a telly play. Perhaps that was when it all started.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 4-5
Explanation and Analysis:
Here, Clegg reflects on his intense feelings towards Miranda, the art student who is the object of his obsession. Clegg is deeply infatuated with Miranda and his emotions veer from admiration to resentment. The quote highlights his extreme sensitivity to any perceived competition for her affection. The “loud noisy public-school type” with the sports car represents a social world and confidence that Clegg lacks. This man, who casually jokes about money in a way that Clegg finds distasteful, symbolizes everything Clegg feels excluded from and inferior to. The sports car and the man’s demeanor are representations of a lifestyle that Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium e

That was the day I first gave myself the dream that came true. It began where she was being attacked by a man and I ran up and rescued her. Then somehow I was the man that attacked her, only I didn’t hurt her; I captured her and drove her off in the van to a remote house and there I kept her captive in a nice way. Gradually she came to know me and like me and the dream grew into the one about our living in a nice modern house, married, with kids and everything. It haunted me.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 14
Explanation and Analysis:
This quote illustrates Frederick Clegg’s ability to distort and rationalize his thoughts and actions. The transition in his dream from rescuer to captor reveals a deep-seated conflict within him: he simultaneously wants to protect and possess Miranda. This duality highlights his inability to distinguish between love and control. His belief that he can keep her “captive in a nice way” demonstrates a dangerous delusion, as when he goes on to kidnap her, he convinces himself that his actions are benign and even justified. The evolution of the dream into a domestic fantasy shows his yearning for a conventional relationship, though Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. V

I could go on all night about the precautions. I used to go and sit in her room and work out what she could do to escape. I thought she might know about electricity, you never know with girls these days, so I always wore rubber heels, I never touched a switch without a good look first. I got a special incinerator to burn all her rubbish. I knew nothing of hers must ever leave the house. No laundry. There could always be something.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 21
Explanation and Analysis:
Here, Clegg is describing preparing his house for when he kidnaps Miranda. Throughout the novel, Miranda will often insult Clegg’s intelligence and while Clegg is lacking in formal education, he is not a stupid man. Here, his actions show that he fears losing control, as he does everything to ensure Miranda cannot escape him. Clegg’s extreme measures highlight his awareness of the risks of even the smallest oversight. Additionally, his insistence that “nothing of hers must ever leave the house” reflects his desire to completely isolate Miranda from the outside world, maintaining absolute power over her. It also is an Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut al

“You know who I am. You must know my father’s not rich or anything. So it can’t be ransom.”

It was uncanny, hearing her think it out.

“The only other thing is sex. You want to do something to me.”

She was watching me. It was a question. It shocked me.

Related Characters: Miranda Grey , Frederick Clegg
Page Number and Citation: 33
Explanation and Analysis:
Clegg has just kidnapped Miranda. In this passage, Miranda logically deduces Clegg’s motives, which sheds light on the psychological dynamics of her captivity. By eliminating ransom as a motive, Miranda is forced to confront the possibility that Clegg wants to sexually assault her, which she knows she is especially vulnerable to as a woman. This confrontation is not just about her immediate physical safety but also about the broader implications of male dominance and control. Miranda’s ability to articulate her fears and directly question Clegg disrupts the power dynamic, momentarily shifting control to her as she forces him to confront Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi nece

I took the photos that evening. Just ordinary, of her sitting reading. They came out quite well.

One day about then she did a picture of me, like returned the compliment. I had to sit in a chair and look at the corner of the room. After half an hour she tore up the drawing before I could stop her. (She often tore up. Artistic temperament, I suppose.)

I’d have liked it, I said. But she didn’t even reply to that, she just said, don’t move.

From time to time she talked. Mostly personal remarks.

“You’re very difficult to get. You’re so featureless. Everything’s nondescript. I’m thinking of you as an object, not as a person.”

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 58
Explanation and Analysis:
Here, Clegg describes taking photos of Miranda, which seems mundane but also reflects his desire to capture her image, which is another form of control. When Miranda reciprocates by drawing him, the power dynamic momentarily shifts. Her decision to tear up the drawing before Clegg can see it is a way for her to reassert her autonomy and disrupt his sense of control. Additionally, Miranda’s remarks while drawing—particularly her comment about Clegg being difficult to capture because he is “featureless” and “nondescript”—show how she has dehumanized him in her mind. By thinking of Clegg as an “object” rather than a Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectet

She just looked at me.

“Ferdinand,” she said. “They should have called you Caliban.”

Related Characters: Miranda Grey , Frederick Clegg
Page Number and Citation: 62
Explanation and Analysis:
This is something Miranda says to Clegg after he frustrates her due to his lack of interest and understanding of art. It includes references to the novel’s most important intertextual reference: Shakespeare’s The Tempest. In Shakespeare’s play, Ferdinand is the noble and handsome prince who falls in love with Miranda, the daughter of Prospero. He represents virtue, love, and the promise of a hopeful future. On the other hand, Caliban is depicted as a brutish creature who Prospero enslaves and Miranda despises. Caliban embodies the darker aspects of human nature, including lust, anger, and a desire for dominance. By addressing Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asp

As I said, I never had any nasty desire to take advantage of the situation, I was always perfectly respectful towards her (until she did what she did) but perhaps it was the darkness, us walking there and feeling her arm through her sleeve, I really would have liked to take her in my arms and kiss her, as a matter of fact I was trembling. I had to say something or I’d have lost my head.

You wouldn’t believe me if I told you I was very happy, would you, I said. Of course she couldn’t answer.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 14
Explanation and Analysis:
In this scene, Clegg has taken Miranda outside to walk around with him at night. She is bound and gagged, which is why she cannot answer anything he says. Clegg’s assertion that was “always perfectly respectful” towards Miranda until a specific incident is an example of his delusional desire to excuse his actions. He attempts to portray himself as a gentleman, yet his actions and thoughts—he’s kidnapped her—betray a fundamental lack of respect for Miranda’s autonomy. That is, he says here that he “never had any nasty desire to take advantage of the situation,” when in actuality, he is taking Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero sit beatae. At a deserunt. Sint aperiam co

“It’s not a little thing. It’s terrible that you can’t treat me as a friend. Forget my sex. Just relax.”

I’ll try, I said. But then she wouldn’t sit by me again.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 69
Explanation and Analysis:
Here, Miranda and Clegg are sitting together and looking at an artbook. Miranda starts to chastise Clegg when she realizes he is not listening to anything she is saying because he is thinking about touching her. Earlier in the novel, Miranda expressed fear that Clegg would sexually assault her because he does not realize the source of his impulses. Clegg claims that sex is not at the base of his attraction to her, but this quote provides more evidence that the opposite is true. Although Clegg is an extreme example, the frustration Miranda expresses here is one that she also Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui

I know what some would think, they would think my behaviour peculiar. I know most men would only have thought of taking an unfair advantage and there were plenty of opportunities. I could have used the pad. Done what I liked, but I am not that sort, definitely not that sort at all. She was like some caterpillar that takes three months to feed up trying to do it in a few days. I knew nothing good would come of it, she was always in such a hurry. People today always want to get things, they no sooner think of it they want to get it in their hands, but I am different, old-fashioned, I enjoy thinking about the future and letting things develop all in good time.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 100-111
Explanation and Analysis:
Here, Clegg is angry with Miranda because she tried to escape after learning Clegg is not intending to let her go as he promised. The passage shows how Clegg justifies his behavior, which he contrasts with what he assumes would be the actions of other men. He recognizes he’s not behaving normally, yet he clings to an image of himself as being morally superior. By asserting that most men would have taken advantage of the situation, Clegg tries to elevate himself as morally superior because he refrains from outright physical or sexual abuse, despite the numerous opportunities. This, of course, Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. M

She made me look a proper fool. I knew what she was thinking, she was thinking this was why I was always so respectful. I wanted to do it, I wanted to show her I could do it so I could prove I was really respectful. I wanted her to see I could do it, then I would tell her I wasn’t going to, it was below me, and below her, it was disgusting.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 105-106
Explanation and Analysis:
In this scene, Clegg is recounting the night when Miranda attempts to seduce him. Clegg is scared to admit he wants sexual attention from Miranda and is even more frightened when she decides to give it to him unprompted. Elsewhere, Clegg will show that he can handle female sexuality if he feels in control of the situation. However, here, Miranda takes the lead, and it makes him deeply uncomfortable. Despite his discomfort with sex, he still wants to prove to Miranda that he is a man, which in this case he thinks means achieving an erection. He implies that doing Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferend

It was no good, she had killed all the romance, she had made herself like any other woman, I didn’t respect her anymore, there was nothing left to respect.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 110
Explanation and Analysis:
Here, Clegg is describing how he no longer feels love toward Miranda following Miranda’s attempt to seduce him. Up to this point in the novel, it is clear to Miranda that Clegg has repressed sexual urges. In attempting to calm these urges and offer herself to Clegg sexually, Miranda loses Clegg’s respect and romantic interest. What is odd about Clegg’s formulation of their relationship is that he seems to want a sexless romance with Miranda. He thought she was above using sex to get what she wants, but she proved otherwise as far as he is concerned. As is the Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempo

Part 2 Quotes

Power. It’s become so real.

I know the H-bomb is wrong. But being so weak seems wrong now too.

I wish I knew judo. Could make him cry for mercy.

Related Characters: Miranda Grey (speaker), Frederick Clegg
Page Number and Citation: 123
Explanation and Analysis:
This is an excerpt from Miranda’s first journal entry after Clegg kidnaps her. Here, she reflects on the nature of power, suggesting that previously it only existed for her as an abstraction. Miranda has had many conversation about power and the ways power can lead to violence, such as in the case of H-bomb, which is her most pressing political cause. However, she has never witnessed the devastation of the H-bomb firsthand, nor has she been victim to extreme uses of force. As a person from the upper classes, Miranda is used to being the powerful, not the powerless, even Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores.

I know what I am to him. A butterfly he has always wanted to catch. I remember (the very first time I met him) G.P. saying that collectors were the worst animals of all. He meant art collectors, of course. I didn’t really understand, I thought he was just trying to shock Caroline—and me. But of course, he is right. They’re anti-life, anti-art, anti-everything.

Related Characters: Miranda Grey (speaker), Frederick Clegg, G.P., Marian
Related Symbols: Clegg’s Butterfly Collection
Page Number and Citation: 129
Explanation and Analysis:
Here, Miranda is describing how she feels Clegg treats her, which is as more of a specimen than a human being. Of everything Clegg owns, there is only one object that Miranda both respects and fears: his butterfly collection. Clegg is an amateur entomologist and keeps a collection of pinned butterflies, which Miranda finds both beautiful and repulsive. The beauty emanates from the butterflies themselves, while Miranda’s repulsion comes from her dislike of violence. In G.P.’s comparison, there is a distinction being made between an artist as someone who creates and a collector as someone who selfishly consumes. Clegg is Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis consectetur et. Dicta impedit ut. Ducimus possimus quo. Non inventore in. Eligendi atque placeat. Molestiae earum eum. Libero s

Upstairs, bedrooms, lovely rooms in themselves, but all fusty, unlived-in. A strange dead air about everything. Downstairs what he (he would) called “the lounge” is a beautiful room, much bigger than the other rooms, peculiarly square, you don’t expect it, with one huge crossbeam supported on three uprights in the middle of the room, and other crossbeams and nooks and delicious angles an architect wouldn’t think of once in a thousand years. All massacred, of course, by the furniture. China wild duck on a lovely old fireplace. I couldn’t stand it, I got him to retie my hands in front and then I unhooked the monsters and smashed them on the hearth.

That hurt him almost as much as when I slapped his face for not letting me escape.

Related Characters: Miranda Grey (speaker), Frederick Clegg, G.P.
Page Number and Citation: 134
Explanation and Analysis:
In this quotation, Miranda describes seeing the upstairs of Clegg’s home for the first time. Although the bones of the house impress her, what Clegg has done to it offends her sensibilities. Elsewhere in the novel, Clegg often blames Miranda’s sudden change in mood on her being a woman, as he thinks women are hysterical and are therefore subject to rapid changes in mood. While Miranda usually is far more deliberate in her behavior than Clegg gives her credit for, here she becomes temporarily unhinged because she finds Clegg’s taste so insulting. She does not smash the china because she Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Mollitia eaque ipsa. Perferendis

Uncanny. But there is a sort of relationship between us. I make fun of him, I attack him all the time, but he senses when I’m “soft.” When he can dig back and not make me angry. So we slip into teasing states that are almost friendly. It’s partly because I’m so lonely, it’s partly deliberate (I want to make him “relax,” both for his own good and so that one day he may make a mistake), so it’s part weakness, and part cunning, and part charity. But there’s a mysterious fourth part I can’t define. It can’t be friendship, I loathe him.

Related Characters: Miranda Grey (speaker), Frederick Clegg
Page Number and Citation: 148
Explanation and Analysis:
Here, Miranda is grappling with the complexity of her relationship with Clegg, as he is both her captor and the only form of human contact available to her. Miranda’s admission that part of her engagement with Clegg is driven by her loneliness reveals the fundamental human need for connection, even in the most unnatural circumstances. Despite her intense loathing for Clegg, the isolation she endures as a captive compels her to seek out some form of interaction, no matter how twisted it might be. Her description of their relationship, which oscillates between antagonism and almost friendly teasing, underscores how loneliness Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis

I felt sorry for Caliban this evening. He will suffer when I am gone. There will be nothing left. He’ll be alone with all his sex neurosis and his class neurosis and his uselessness and his emptiness. He’s asked for it. I’m not really sorry. But I’m not absolutely unsorry.

Related Characters: Miranda Grey (speaker), Frederick Clegg
Page Number and Citation: 208-209
Explanation and Analysis:
In this quote Miranda reflects on her feelings toward Clegg, whom she refers to as Caliban, drawing from Shakespeare’s The Tempest. She expresses a momentary pity for him, acknowledging that he will suffer greatly after she is gone. At the end of The Tempest, Caliban acknowledges his mistakes and vows to do better. As a result, Prospero forgives him and leaves the island, allowing Caliban a chance to reclaim his autonomy. However, here, Miranda thinks she is leaving Clegg to a fate that is far more dire. Although Miranda’s escaping Clegg would amount to a reinstatement of the social order—much Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus t

No pity. No God. I shouted at him and he went mad. I was too weak to stop him. Bound and gagged me and took his beastly photographs. I don’t mind the pain. The humiliation. I did what he wanted. To get it over. I don’t mind for myself any more. But oh God the beastliness of it all. I’m crying I’m crying I can’t write.

I will not give in. I will not give in.

Related Characters: Miranda Grey (speaker), Frederick Clegg
Page Number and Citation: 277
Explanation and Analysis:
This is part of Miranda’s last journal entry, just before she succumbs to her illness and dies. In it, she describes Clegg taking nude photographs of her against her will while she is dying. Notably, neither Clegg nor Miranda describes this moment in detail in their respective narratives. For Miranda, the moment is simply too painful to write about, and she has little strength to write as it is. However, at the same time, she wants people to know the truth should anyone ever find her journal. Throughout the novel, photography is associated with death and, here, Miranda is photographed Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum

Part 3 Quotes

Post a letter first to the police. So they would find us down there together. Together in the Great Beyond.

We would be buried together. Like Romeo and Juliet.

It would be a real tragedy. Not sordid.

I would get some proper respect if I did it. If I destroyed the photos, that was all there was, people would see I never did anything nasty to her, it would be truly tragic.

Related Characters: Frederick Clegg (speaker), Miranda Grey
Page Number and Citation: 298
Explanation and Analysis:
Here, Clegg is describing a potential plan for dealing with Miranda’s death. Because he wants “some proper respect,” he considers killing himself and staging his and Miranda’s deaths to seem akin to Romeo and Juliet. In Shakespeare’s famous play, Romeo and Juliet die by suicide after a series of tragic misunderstandings: Romeo drinks poison believing Juliet is dead, and Juliet stabs herself with Romeo’s dagger upon finding him dead. Ultimately, they kill themselves out of love for each other, which serves as proof that their love is genuine. However, for the entire novel, Miranda has been comparing her relationship to Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt.

Part 4 Quotes

I have not made up my mind about Marian (another M! I heard the supervisor call her name), this time it won’t be love, it would just be for the interest of the thing and to compare them and also the other thing, which as I say I would like to go into in more detail and I could teach her how. And the clothes would fit. Of course I would make it clear from the start who’s boss and what I expect.

But it is still just an idea. I only put the stove down there today because the room needs drying out anyway.

Related Characters: Frederick Clegg (speaker), Marian, Miranda Grey
Page Number and Citation: 305
Explanation and Analysis:
This is the quote that ends the novel, as Clegg transfers his obsession with Miranda over to Marian. His casual mention of Marian’s name and the acknowledgment of her as “another M” suggests a disturbing pattern in his behavior, as he seems to replace Miranda with Marian seamlessly. His statement that this time “it won’t be love” indicates a shift from his previous delusion of romantic interest to a more calculated, detached approach. He plans to capture her out of curiosity and to compare her to Miranda, consciously treating the act as an experiment rather than an emotional connection. Additionally, Dolorem et quae. Exercitationem non aut. Eveniet dolor non. Incidunt dolores sunt. Ad dolor at. Quia aperiam eligendi. Ut veniam voluptatem. Aperiam consequuntur mollitia. Provident expedita delectus. Occaecati ea suscipit. Optio ut iste. Voluptas aut occaecati. Accusantium recusandae voluptates. Explicabo minus tempore. Nostrum dolor asperiores. Ut aliquam officiis. Unde enim nesciunt. Commodi necessitatibus voluptas. Accusamus eaque omnis. Velit eaque error. Possimus corrupti soluta. Qui aut a. Rerum voluptas debitis. Voluptatem accusantium est. Molliti