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This series is one of his best.
Sadly, Robert Adams died over 10 years ago and we won't ever find out how he planed this series to turn out.
I do not hesitate to suggest that this book and vol. 1 be read anyway.
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This is a very short book but at the same time it is very easy to get in to because of the conflicts that occur. This book is very funny especially the conversations between Jack and Algernon. The story is a political and social satire and a look at the upper British society. I thought that the story was great because of the humor but at the same time the story was kind of sneaky which drew me into the story even more. I would suggest the book to anyone.
Is that clever?
It's perfectly phrased! and quite as true as any observation in civilized life should be."
This is just one of the many jocular exchanges and epigrams in this short but brilliant social satire. Wilde wryly and cleverly gets his claws into the upper caste and its twisted moral etqieuette, romantic relationships, and self-critically the propensity for sententious moral (and aesthetic) self-guidance.
Dispensing with politeness and social convention through his farcical dialogue, Wilde unleashes his comic criticism on all types of hypocrisies and spurious norms. The Importance of Being Ernest is always subversive and funny, but never crude or sophomoric.
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True, the start of Romola is bogged down in detail, but it is introduced by a wonderful, stirring and majestic 'Proem' which sees the Angel of the Dawn sweeping across the Earth and loftily states how humanity is the same now as it was when Romola is set. After this, the notes are best ignored - consult them separately, and concentrate on getting into the book. It is a stirring and sometimes hard read, and moves one with awe at what Eliot has created - you really feel you are experiencing Florence in the 15th century. There is one scene that stands out for me - the haunting and almost surreal episode where Romola drifts by boat to an apparent coastal haven. Images of peace and life are reversed disturbingly.
So ignore Leavis and the dissenters. If you've read another Eliot, you'll like it. If you haven't, maybe start with something else, but come back, for it's a rewarding read
After the first attempt I was mildly disappointed. I came away with no true sense of the whole that is fifteenth century Florence and a bewilderment at the inconsistent central characterisation of Tito Melema and his golden-haired wife, Romola. The supporting actors were brilliant, from Fra Girolama's fantatical Catholicism to Bratti's salesmanship. But I was left disappointed, believing in the superficality of Tito, the maddening naivety of Tessa, and the almost puritanical martyrdom of Romola.
So I re-read it. Slowly.
It is now extremely clear why this great work of english literature is, as Eliot herself puts it, a "book of mine which I more thoroughly feel that I swear by every sentence as having been written with my best blood".
Each scene is mesmerically depicted, the infintesimal attention to details and Eliot's total control of her subject matter shines through.
Renaissance Florence wasn't so well depicted by its contemporaries.
From Tito's waking at the Loggia de' Cerchi to his final fall at the Ponte Vecchio his character moves through a full range as you would expect from a man in his early twenties. His child-like mesmerism coupled with his Greek tutorage gives rise to a cherubic man whom Florence loves. His fatal flaw is his desire for love and a single terrible lie he gives that, like Murphy's Law, evolves into a a stigma that alters his very persona. What is all the more damaging is that you truly believe he is unaware of the pain he causes. He is truly egocentric, in an almost blameless way. For Romola, you cold argue the opposite. Indeed she is potentially more culpable. Her fierce intellectualism is offset by a descent into a world of religious supersition, a world where religion is used as a political tool. Throughout she has the knowledge of where her actions will take her and a terrible sense of duty and restrains her. From the beginning, with the story we hear so often of Tito's escape from drowning, to his final near drowning at the hands of the mob, to his strangulation by his father there is a certain bitter justice until all that he leaves is his proud and world-scarred wife Romola and the innocence that he preserved with Tessa. Tito's move from innocent 'hero' to startled villain is an excerise in human failings. Yet it is not a sufficient single human tragedy, as Eliot says, "Florence was busy with greater affairs, and the preparation of a deeper tragedy".
In many respects 'Romola' is Eliot's King Lear. The parallels are many, including Baldessare's depiction. There is no Edgar, nor Edmund but the Fool is here in many guises. In taking one of Shakespeare's finest themes, Eliot has given true life to fifteenth century Florence and it is, perhaps, best encapsulated by Romola's final statement to Tessa's son, Lillo:
"There was a man to whom I was very near... who made almost everyone fond of him, for he ws young, and clever, and beautiful...I believe, when I first knew him, he never thought of anything cruel or base. But because he tried to slip away from everything that was unpleasant, and cared for nothing else so much as his own safety, he came at last to commit some of the basest deeds - such as make men infamous."
So, Eliot's 'Romola'. Read it, delight in it because it truly is, as the author can rightly claim, one of the finest works in english literature.
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Adam shows the teachings of the Church as lived realities. They are beautiful, intellectually sound, and viscerally charged. lamentably, contemporary writings about the Church's loveliness tend to fall miles beneath the august standard here set.
Though written in the 1920s, this book's appeal is not primarily historical. It presents a fresh vision of what the Catholic life may yet again be, and inspires one's journey toward that lovely horizon.
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This plot also demonstrated a side of gay the lifestyle, which is seldomly demonstrated in the media. Kudos to Ricc for delivering a book which is clever, intriguing and overwhelmingly entertaining. Can't wait to "Breathe Again".
Thanks to Ricc Rollins for providing us with this awesome reading material. I am looking forward to reading the sequel.
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The descriptions are deep and serious. I also liked the great pictures. The impact of their work is historic to say the least.
This is a must read.
I'm most impressed that the authors not only sought to perform research on the buildings themselves, but moreover, examined the partners and the social influences of the times. I feel we gain so much from the writers thru their experience of having read Delano's letters in archive at Yale!
This book should stand as a model for future chronologist of architectural history. It is truly a wonderful presentation - the best that I've seen published to date.
Congratulations.
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Merits and demerits and other features of equipment (cameras, lenses, filters, ...) and techniques (focusing, shuttering, panning, ...) are also pointed out.
I've just finished reading the whole book, but take for sure I'll read it many times from now as a pretty helpful manual.
If Brady would spend a little more time examining this module, I feel as though they can make it a little less imposing and a little more readable.