11
Gabriel Miró: His Private Library and his Literary Background (London 1975), p. 89-91, 95-6, and 100-4.
12
Dorrit Cohn ('Narrated Monologue: Definition of a Fictional Style', CL 18 [1966], 97-112), makes, like Seymour Chatman, a distinction between identification and distance in the use of FIS: lyric and ironic uses of the device. Clearly Miró's narrator alternates, blends, and confuses the two uses, though they are not strict alternatives since the presence of the ironic undermines the lyric. But the distinction is illuminating and Cohn's term 'lyric' again helps understand all the criticism that has seen Cerezas as a 'lyrical' novel without perceiving the irony.
13
All commentators from Bally onwards point out that exclamation is an indicator of FIS. See Pascal, p. 20, and Chatman, p. 202.
14
The Dual Voice, p. 59.
15
Jane Austen's Literary Manuscripts (Oxford 1964), p. 52-4.
16
I wish to thank Doña Olympia Luengo Miró for allowing me to study the facsimile of the manuscript of Las cerezas del cementerio, and to thank the British Academy and the Carnegie Trust for the Universities of Scotland for their financial help.