Search Results for shirley

...Miriam Bailin © 1989 University of Washington 1987 “VARIETIES OF PAIN” THE VICTORIAN SICKROOM AND BRONTE’S SHIRLEY By MIRLAMBAILIN There is scarcely a Victorian narrative without its ailing...

...Shirley Lau Wong Abstract Literary settings are often celebrated for richly representing the many details of a particular place. The close association between detail and setting stems from the realist presumption that detail constitutes what Roland Barthes calls an “index of . . . atmosphere...

...Jennifer Spitzer; Shirley Lau Wong The essays in this special issue all highlight the contradictions embedded in the detail. Details are viewed as something we are habituated to overlook, something afforded only diminished attention. But our common expressions warn against such neglect...

...Mark Patterson Shirley Samuels. Romances of the Republic: Women, the Family, and Violence an the Literature of the Early American Nation . New York: Oxford University Press, 1996. viii + 198 pp. $39.95. © 1998 University of Washington 1998 Patterson I Review...

..., Shirley, who dies of it, urges his mother to “have them open me up and / see if that dust killed me” (27). Shirley’s wish leads to the discovery of the cause of the workers’ deaths, but the poem most importantly explores Mrs. Jones’s struggle to transcend the limits placed on her by poverty...

... All Fools (1599-1604), V, 2 ; and Shirley’s The Lady of Pleasure (1635), V, 1. The latter gives an especially memorable picture of the game. Joseph 57 McCullen, Jr. 11 mas Term, this one proved useful as Middleton here expressed his ethical views...

.... Clarendon-Edward Hyde-was also a member of the arrangements committee. Milton’s friend, Henry Lawes, com- posed some of the music. Shirley wrote the words and entitled the masque “The Triumph of Peace.” I have considered the possibility that Shelley might have used some writer who quoted...

...; the principal male characters in Shirley are half-Belgian; even June Eyre has its aliens, in Adele Varens and Bertha Mason. Given this relatively cosmo- politan background, it is always surprising to discover how insular Charlotte Bronte was, how narrow-minded and prejudiced she could be when dealing...

... comedy, which under the Queen had been made up of simple comedies of intrigue or romance, but under the King became satirical. Mere surprise takes the place of dramatic suspense. Beaumont and Fletcher, Mas- singer, and Shirley held the stage when Marlowe, Tourneur, Web- ster, Middleton...

... of love, and call it gallantry, mirth, and raillery.” This “gay-couple” serves as a thread to guide Professor Smith through pre-Restoration adumbrations of the type as found in the comedies of Shakespeare, Beaumont and Fletcher, Shirley, and Killigrew. He finds that this hero and heroine...

... made up of simple comedies of intrigue or romance, but under the King became satirical. Mere surprise takes the place of dramatic suspense. Beaumont and Fletcher, Mas- singer, and Shirley held the stage when Marlowe, Tourneur, Web- ster, Middleton, and (by inference) Shakespeare were...

... of love, and call it gallantry, mirth, and raillery.” This “gay-couple” serves as a thread to guide Professor Smith through pre-Restoration adumbrations of the type as found in the comedies of Shakespeare, Beaumont and Fletcher, Shirley, and Killigrew. He finds that this hero and heroine...

... to the compiler John Shirley and to John Lydgate to find a fully authoritative English language and culture in the fifteenth century—yet, importantly, in the move that justifies the book’s title, this English possesses authority because it is comparable to and exists alongside French in a relationship...

... seems to be taken that the lovers in Love’s Labour’s Lost “can demonstrate their superiority” to the “greater fools of the sub-plot” (p. 88, n. 26); surely they are put down further by pretending superiority? When Levin takes Shirley’s Celestina’s name as de- signating “heavenly” (p. 99...

... more female self-realization to celebrate in Bronte then in Eliot. She does so through readings of The Professor,JuneEyre, Shirley, 74 REVIEWS and Villetle that are in some danger of oversimplification. She downplays the more disturbing...

... pa- triarch from whom the next several generations of playwrights wittily de- scended. Markley’s first concern here is to rehabilitate Fletcher’s modern reputation by demonstrating how it came to be made not by Fletcher and his plays but by Shirley’s presentation of both in the 1647 folio...

... discussions of Shirley and Villette. Especially the opening four chapters demonstrate an titheses which result in “a style that remains unsynthesized, but which draws its force from its immiscible and conflicting parts” (p. 130). Such a conclusion quoted in re- view could produce the false...

... of foreignness to the’French-speaking characters, it rarely acts “to illu- mine the hidden springs of their nature” (p. 182), as Duthie would maintain. Even in the Brussels novels, Charlotte’s use of French has an uncomfortable air of artifice, while in Shirley it is often forced and unnatural...

..., but the most he can have contributed to the portratit of Paul Emanuel is a “perfect outward semblance.” The personality itself had been “active in Charlotte’s imagination ten years before she met M. Hkger and twenty years before she wrote Yillette.” Even Shirley which-so we were told plausibly a few...

...: llniversity of Iowa Press, 1971. xvi + 159 pp. $5.95. Kendall, Kenneth E. Leigh Hunt’s “ReJector.” The Hague and Paris: Mouton, Studies in English Literature, Vol. 59, I97 I. 183 pp. 36 guilders. Kenny, Shirley Strum (editor). Plays of Richard Steele. Oxford: At the (:larendon Press, 1971...