Download British Writers Classics, Volume ll by Jay Parini PDF

By Jay Parini

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Extra resources for British Writers Classics, Volume ll

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Hughes further explored the hybrid traditions of cabalistic and folkloric wisdom, especially those detailed in Robert Graves's idiosyncratic book The White Goddess (1948). In 1960 Hughes's second volume, Lupercal, was published. The verses again predominantly focus on natural phenomena, but the Roman festival alluded to in the title poem, "Lupercalia," hints at Hughes's growing fascination with ancient myth and the supernatural realm. Like The Hawk in the Rain, the lyrics of Lupercal use strong, muscular, and alliterative rhythms, and often they highlight the discrepancies between the cerebral world of humanity and the instinctual workings of the animal kingdom.

BOHR: What water? HEISENBERG: The heavy water. (p. 50) Bohr, the man of order, is appalled at the sloppiness. The description of the cadmium as a "lump" is terribly unscientific, as is the lack of proper care and attention to detail. But Heisenberg is unrepentant; he had come so close: "Two more weeks, two more blocks of uranium" (p. 51). " This is a technique where some representation on stage strongly suggests an earlier scene to the audience. It can be done by mise-en-scène or by dialog. Frayn pays his tribute to the revisited scene in Alphabetical Order, for example, where act 1 opens in the clippings room as Leslie arrives, and act 2 opens in the transformed office on which she has imposed order.

This is a technique where some representation on stage strongly suggests an earlier scene to the audience. It can be done by mise-en-scène or by dialog. Frayn pays his tribute to the revisited scene in Alphabetical Order, for example, where act 1 opens in the clippings room as Leslie arrives, and act 2 opens in the transformed office on which she has imposed order. Frayn later developed the technique of revisiting a scene a number of times within the same play. He reports that a member of his audience once pointed out to him that the structure of Copenhagen mirrored the structure of Noises Off, Frayn's most commercially successful play.

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