Download British Writers Classics, Volume 1 by Jay Parini PDF

By Jay Parini

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Extra info for British Writers Classics, Volume 1

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131-133) The rogues' alliance is simply replaced by another social contract motivated by self interest, lust, and greed and realized through duplicity. Moreover, the court case which might resolve matters by the arraignment of the criminals, and which is a crucial part of the ending of other Jonson comedies, including Volpone, Epicene, and Bartholomew Fair, is conspicuous by its absence in The Alchemist. Lovewit tells Mammon he cannot have the "goods / That lie i'the cellar": The answer is perhaps not how, but when.

VALENTINE: No ... the math is different. " As in other readings of Eden, the sexual drive is the principle of chaos (p. 97). SEPTIMUS: A calendar of slaughter. Even in Arcadia, there am I! THOMASINA: Oh, phooey to Death! ALTERNATIVE HISTORY It is at that point that Thomasina draws the figure of the hermit into Noakes's sketch (p. 18). Unwittingly she enters Septimus into one of the documents that will be read by the future, just as the dead birds go into one of the other documents, the game book: she has changed and falsified the evidence.

More centrally, Shakespeare and Virgil differ in their use of metaphor. Shakespeare regularly introduces a metaphorical word or phrase and moves on. Virgil almost never does this, preferring always to mark off such a figure with a word that converts it into a simile (sicut, velut which mean "like"). Shakespeare says Cleopatra's barge "burned"; his listeners know at once it did not really burn, but it was as though it was burning in some way—it was bright or dazzling, perhaps. So how to represent the metaphor in Virgil's terms?

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