English miscellany: a symposium of history, literature and the arts, Volumes 28-30British Council, 1980 - Art |
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Page 213
... Loveless traces . When the play opens , Loveless is identified with the up- per line , but his language in affirming virtue is fraught with uneasiness . His statements of security are shadowed with such words as << shaken » , « totter ...
... Loveless traces . When the play opens , Loveless is identified with the up- per line , but his language in affirming virtue is fraught with uneasiness . His statements of security are shadowed with such words as << shaken » , « totter ...
Page 214
... Loveless and Amanda's next scene together the notion of pleasure is introduced : Loveless is exceedingly « well pleased » with the London lodgings , while Amanda feels sur- rounded by << empty pleasures » ( II , i ) . Loveless consoles ...
... Loveless and Amanda's next scene together the notion of pleasure is introduced : Loveless is exceedingly « well pleased » with the London lodgings , while Amanda feels sur- rounded by << empty pleasures » ( II , i ) . Loveless consoles ...
Page 217
... Loveless is indeed << beyond the power to help himself . Loveless touches his lowest point in Act IV , iii . Ironically , his words recall those he spoke from his initial high point , << My life glides on , and all is well within » , as ...
... Loveless is indeed << beyond the power to help himself . Loveless touches his lowest point in Act IV , iii . Ironically , his words recall those he spoke from his initial high point , << My life glides on , and all is well within » , as ...
Contents
Yvette Marchand Hypothesis for an Interpretation | 7 |
Due versioni | 61 |
Ronald E McFarland Teratology in Late Renaissance | 103 |
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