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Ezra Pound

is, though, to make graphic the fact that given the aristocratic guise in which Pound was pleased to cast the artist, the term ‘enthusiasm’ was likely to have a limited or debased currency. All of which is frankly to acknowledge that to present Pound as an enthusiast is to argue against the grain. Except that Pound was an enthusiast. He was an enthusiast in the Modern, less freighted sense that Eliot describes; in the sense that he campaigned for, advocated and promoted his contemporaries. Joyce, recognizing his own early debt to Pound, described him as ‘a miracle

in Enthusiast!
Open Access (free)
Representations of Irish political leaders in the ‘Haughey’ plays of Carr, Barry and Breen

Haughey during the decades when the country itself was running up huge debt and the workers were being urged to exercise self-restraint with regard to their demand for wage increases. How, it was increasingly asked, could Haughey maintain such a life-style on a mere politician’s salary? Haughey’s style of leadership encouraged either unquestioning loyalty or determined opposition, not just in the country as a whole but more critically within the Fianna Fáil party itself. On the three occasions during the 1980s where he went to the country seeking an overall mandate, he

in Irish literature since 1990
The writers, the artificers and the livery companies

’s interpretation compares interestingly to the view of one contemporary writer, Jonson, whose view tended to be that there was a hierarchical distinction between what could be called ‘the body’ of a staged performance, created by the artificer (‘short-liu’d’, as he puts it, and appealing to the senses) and its ‘soul’, created by the poet (designed to appeal to the understanding).85 The former, more ‘artisanal’ part of the equation, also had connections to ‘plat’, ‘the technical term for the schematic working drawings used by the mason, carpenter and surveyor’.86 This highlights

in Pageantry and power

experience of Conrad’s loss).24 He wants us to believe in it to the extent that he has justification for using the past continuous tense – the emphasis falling on the present continuous nature of the participles – ‘standing, talking. . .’. To help, he uses light and dark, colour and shadow to enhance the picture-making upon which he is engaged, achieving a stillness in description, fuelled by short clauses, which grants precedence to the new time and space dimension with which he is working. The speed at which the passage is read slows gradually; chronological and formal

in Fragmenting modernism
Political and contemporary contexts of the Shows

moment ‘puzzling’, whereas Palmer invests it with more significance, arguing that the note ‘makes clear [Munday’s] quotidian desire . . . [to make Faringdon’s] resurrection an accounting problem’.91 Furthermore, Palmer posits a ‘provocative’ aspect to Munday’s ostensibly banal observations, claiming that Munday is indirectly calling attention to ‘the royal debt [of] approaching £720,000’.92 Money certainly was in short supply in this period. The King had recently suspended Parliament as a reaction to its criticism of his profligacy, and there was considerable concern

in Pageantry and power
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Herman Melville

the nineteenth century, the enthusiastic voice sounds loud through American history. Quakerism was a pure strain. Perplexed and unconvinced by the many reformist Christian sects available to him in the 1640s, George Fox determined, or was led to the conviction, that God was available to him only through personal revelations, ‘openings’ as he termed the experience, which is to say by a process of spiritual intuition. It followed that all people, nonbelievers and believers alike – Pagans for instance, Queequeg for instance – were capable of divine revelation, from

in Enthusiast!
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Performing in the spaces of city and nation in A Fine Balance

wellmeaning characters, such as the tailors’ host and employer Dina, in a network of exploitation and debt stretching from the highest offices of government to the lowest reaches of the dispossessed. The forced evictions and sterilisations that take place as the Emergency swings into action are merely the most extreme manifestation of a mania for social control infecting Indira Gandhi, and articulated by numerous corresponding figures who resort to excessive measures in the face of national and personal instability. By a series of tragic twists of fate, Ishvar and Omprakash

in Rohinton Mistry

of ours Can make no truce with time that all deuours. Let’s loue: the sun doth set and rise againe, But when as our short light Comes once to set, it makes eternall night. 18 tyran] tyrant: common (and etymologically authentic) variant. 21 imparts] that which is imparted or bestowed by grief. 26 That’s lawfull which doth please] The basic principle of libertinism, a later term for an old and widely current idea. Christian orthodoxy, of course, would view it as sinful. In Dante’s Divine Comedy V.56, Semiramis is in hell for making libito (lust, but more generally

in Pastoral poetry of the English Renaissance

has ably demonstrated The Blacke Booke’s stylistic debts to Nashe (Puritanism and Theatre, 52–57), and Neil Rhodes discusses both The Blacke Booke and Father Hubburds Tales with reference to Nashe (Elizabethan Grotesque, 60–61). Heinemann notes that, whereas Middleton follows Nashe stylistically, the ideas he expresses both in The Blacke Booke and in Father Hubburds Tales align him politically with the Spenserian “tradition of Elizabethan Puritan satire … against the court and Church establishment—and thus on the opposite side from Nashe” (57). MUP

in Spenserian satire

significantly as did others of his works. To put it mildly, it would have appeared presumptuous in the extreme for a young satirist of the 1590s to use The Faerie Queene as a pretext. Although I argue in this chapter that Joseph Hall does precisely that in Virgidemiarum Sixe Bookes, it was a bold move, which he presents as such and mitigates through obsequiously emphasizing the value of Spenser among poets. In my study, I have found Spenser’s earlier, shorter, more modest (in rota terms) poetry to be more productive of imitation and allusion among younger poets in the 1590s

in Spenserian satire