British Writers Classics, Volume 1 by Jay Parini

By Jay Parini

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For the others, the quietness represents the fact that messages from the past do not reach them clearly. CLASSICAL THEATER The description of the London/New York set is reminiscent of the traditions of Greek and Roman theater. An upstage wall (the "scene" in classical terms), representing doors and windows, puts the action "outside" (outside the palace in Aeschylus' Agamemnon, outside the city walls in Sophocles' Antigone, and curiously outside both the house and the garden in Arcadia). There are two entrances: one goes "in" (into the palace, the city, the house, respectively) and one goes "out" (to the country, the scene of the battle, the garden).

It is the comfortable feminine tragedy to which audiences react with both sorrow and satisfaction, familiar from the death of Violetta in La Traviata or of Mimi in La Boheme, where some young woman is offered up on the altar. It satisfies the very many antifeminist readings of Arcadia, because it wipes out Thomasina, who represents a challenge to her society, where the masculine is hegemonic. THE SET The garden room is a bare, anomalous room, with "no more pretension than a school-room, which is indeed the main use of this room [in 1809-1812]" (p.

Secondly she realizes that in the end everything in the bowl will be pink; the original order, the separation, will have been destroyed and there can be no further exchanges of data or energy. This is a local entropy. Heat, for her, is the most convincing feature that demonstrates this; heat leaks out into the environment, it equalizes itself out. It cannot be returned to an original ordered, differentiated state. Valentine makes the same point: your cup of tea is getting cold, he reminds Hannah.

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