Leova Travel on Every soliloquy in a given sequence occurs more or less at the same time in the collective life of the characters, a day in their school life, a dinner party in a restaurant when they have grown up, a collective excursion to Hampton Court, and so on. These sequences follow all of the characters from early childhood through school time, to early adulthood, to maturity, to old age The stylistic texture of the soliloquies is more than a little bewildering. Though the soliloquies of each char acter are individualized, they aIl mix present thoughts and sensations with spontaneous memories that recur; extravagant figures of speech, often similes; anticipations of the future; recurrent f~ll1tasy motifs that are frequently present in more than one character’s mind or in the interludes. Examples are the image of women carrying red pitchers to the Nile (201, and see 8 for the first example), or of a desert with pillars, or of a spike of sea -holly on the shore (189), or of turbaned men with poisoned asse gais (54; 78; 100), or the phrases about the lady sitting at Elvedon, between two long windows, writing (maybe Woolfwriting The Waves), Waves TI1eory: An Anachronistic Reading 237 while the gardeners sweep the lawn with giant brooms (12). Were reallawns ever swept in this way? Maybe in England. The reader sometimes has difficulty distinguishing one of these strata of language from the others. Is a given item really there, or is it just imagined? Gerald Levin has written about Woolf’s use of a musical torm in The Waves. Leova Travel 2016.
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