By Penny Holmes; Susan Mallet
Un livre de delicacies britannique? Oui, automobile los angeles delicacies britannique fait son come-back, un vrai rebirthing! Decouvrez le fameux irish stew (agneau mijote, pour ceux qui ne sont pas a l. a. page), le kedgeree, le mash, les trifles et crumbles... hum... britannique, vous avez dit britannique? Influencee par l. a. delicacies du monde entier, l. a. delicacies britannique n est plus ce qu elle etait. Les recettes traditionnelles ont ete revisitees. Mises au gout du jour, elles offrent une richesse et une diversite qu on ne soup#231;onnait pas. Vous trouvez ici les meilleures recettes, du tartare de saumon ecossais au poulet tikka masala, sans oublier les delicieuses patisseries du tea time...
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The heroic poem strikes a balance between the actions of ‘‘God and king’’ and their subjects’ ‘‘passive aptness’’ (141). It also alternates between narratives of militaristic ‘‘heroic 46 HEROIC MODE AND POLITICAL CRISIS, 1660–1745 virtue’’ and paeans to the institutions of the restored monarchy, like the Royal Society. 18 But this careful balance does not result in a draw or a tempering of extremes. London, the poem’s ultimate hero, is shown to profit from each wonder: as the war enriches her, the fire purifies her, so that ‘‘More great than human now, and more August, / New deifi’d she from her fires does rise, / Her widening streets on new foundations trust, / And opening into larger parts she flies’’ (295).
5 A better description of Restoration theatricality does not exist. The coronation show, and Restoration theatricality in general, emphasized quantity and volume over substance and quality. The performance, and the illusion created therein, was more important than the artifacts. While Charles’s coronation may not have been substantially different from those of his predecessors, Restoration rhetoric, like Clarendon’s, and popular imagination, seen in Pepys’s diary, styled it as wholly new, as spectacle sans example.
As The Generall’s generic ‘‘King’’ demonstrates, the events could be conflated within a single character as well as within the generic structure of tragicomedy. 12 By aiming for ‘‘absolute dominion’’ over their audiences’ imaginations, heroic playwrights insisted that their plays—and current events—be read according the keys they provided. Thus the instability described by the endless cycle of usurpation and restoration is fixed by knowing to whom the crown belongs. The heroic’s volatility is reduced to order only by strict interpretive control, not through its own internal logic.