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Samuel Beckett’s theatrical bodies
Nicholas Taylor-Collins

Scrivener or Richard III, or Poor Tom and the Fool in King Lear, are brought in to enunciate a complementary vision of the main theme. Their dramatic is not a farcical one, but involves that special relationship with the audience which results from a platea -like position and allows the statement of generalized

in Shakespeare, memory, and modern Irish literature
From Donne to Herbert
Elisabeth Chaghafi

this and the next section of this chapter. The Jacob analogies might be best read as a not entirely successful attempt by Walton to shape the structure of his narrative in an extension of the traditional method of figural reading. 27 This second structuring device in the 1640 Life of Donne is also first introduced in the marriage episode, in Sir George More’s seemingly prophetic praise of Donne as a ‘Secretary fitter for a King then a Subject’. The narrative of Donne’s special relationship with another ‘Jacob’, who acted as a patron to

in English literary afterlives
Keith P. Luria

visionaries, especially those who had been possessed by demons. Europeans were well acquainted with holy women – mystic nuns, lay beatas, ecstatic visionaries – ‘living saints’, whom the faithful perceived as having a special relationship with divine power that allowed them to petition God for miracles. 5 The church did not reject them; indeed, they were religious figures

in Conversions
Elizabeth and Essex on film
Lisa Hopkins

foundation. Ziegler remarks that ‘There seems little doubt that one of the reasons Hitler sent Von Ribbentrop to London as ambassador was his belief that Von Ribbentrop enjoyed a special relationship with the King and Mrs Simpson’ and that those around Edward VIII were concerned that he was showing confidential government documents to Mrs Simpson and that she in turn was ‘in the pocket of the German

in Essex
Abstract only
The discernment of angels
Anne Sweeney

forbidden things into England, safe in the special reality of his and his reader’s imagination. He drew the extra elements from other cycles, it would appear, as if trying to engage the Marian cycle with metaphors of mission and martyrdom, although he does not include a Calvary scene, as if trying to emphasise Mary’s, rather than Christ’s, place in the history of man’s redemption, and her special relationship

in Robert Southwell
England’s altered confidence
Anne Sweeney

him instead of working like other women. The Bible places her ahead of other men and women in her special relationship with Christ; she was the first to recognise his potential martyrdom, last to see him alive, first to see and understand him risen. To the Virgin’s empyrean Woman of the Apocalypse, Mary was the Woman of the Here-and-Now, a metaphor for femininity cut off from the norms of masculine

in Robert Southwell
Drama’s solace
David M. Bergeron

history, the belief that England enjoyed some special relationship to the ancient world of Troy through Brutus, the great-grandson of Aeneas. Virgil in the Aeneid , written for Augustus Caesar, had helped create the Roman idea of its inheritance from the remnants of Troy. 32 Julius Caesar embraces the idea of the supernatural as an adjunct and participant in history, seen in the Soothsayer, the

in Shakespeare’s London 1613
Eric Klingelhofer

of the Butler earls of Ormonde, who through the Howards and Boleyns were cousins of the Queen, suggests that this was an exceptional structure, more an expression of personal taste and ambition than a model for Tudor architecture in Ireland. The special relationship between Ormond and the Court in London may explain why this could be the only great manor house in Ireland not related to the influx of English Protestants as administrators, soldiers, and landowners that began late in Elizabeth’s reign

in Castles and Colonists
Syrithe Pugh

bereavement, which recalls her earlier mourning for Milton: ‘But now, thy youngest, dearest one, has perished,/The nursling of thy widowhood’ (VI). When in stanza XVII Keats’ ‘sister spirit, the lorn Nightingale’ appears in the flesh to join in nature’s mourning (with a respectful nod to her special relationship with Keats as the author of ‘Ode to a Nightingale’), it has the effect of merely unveiling the nightingales who have been present as a subtext all along. Shelley is everywhere concerned to embellish and enrich the tropes and images he takes over from his sources

in Conversations