Titlebook: Essays on Sean O’Casey’s Autobiographies; Reflections Upon the Robert G. Lowery Book 1981 Palgrave Macmillan, a division of Macmillan Publi

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fiction

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reptile

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The Origin and Evolution of a Dublin Epic,ive quality, however, emerges from the cumulative power of the narrative as a whole: a sense of historical occasion and continuity, which, aided by considerable powers of observation and psychological insight, gives a series of individual events the compass of an epic.

機(jī)密

The Raid and What Went With It,place. It was easy to arrange the two beds. Sean usually unfolded his bed first; then all we had to do was shake out the beds and straighten the covers. We usually went to bed about eleven o’clock at night, but then we would talk for an hour or so till midnight.

happiness

https://doi.org/10.1007/978-3-642-28433-5e last two, the Books of Exile (. and .), are not autobiography but blends of reminiscence and memoir differing in structure, point of view, and major theme from what precedes them. There are, moreover, signs in the fourth of the Irish Books which predict O’Casey’s eventual abandonment of the genre.

虛度

OMIT

,Dublin in the Age of O’Casey: 1880–1910,twardly it looked east — politically to Westminister and socially to Buckingham Palace. This was the Dublin of the Anglo-Irish gentry, of the Castle Catholics and a rising and ambitious class. At the heart of imperial Dublin lay Dublin Castle, its administrative centre, while Trinity College and the

獸群

,The Development of Sean O’Casey’s , such a view is given: we all have one. We all try to make sense of the world around us and ourselves in it. We probably don’t call it a . (certainly O’Casey didn’t), but there are few words that say and mean so much. Moreover, the word . is preferable to philosophy. A philosophy implies at least a