By Sara Teasdale
First released in 1920, this variation is attribute of Teasdale's paintings - brief poems of large emotional and lyrical grace, and whole of premonitions of loss of life, loss and grief, and loving appreciation of the flora and fauna.
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Example text
In her scathing criticism of the society responsible for Maggie’s tragedy, she powerfully deplores the heroine’s submission that she officially endorses. In The Spanish Gypsy, Fedalma’s spontaneous advocacy of suicide is a cry against the madness of the submission she acquiesces in. No one can read Leonora’s imprecation, in Daniel Deronda, of patriarchy’s perversion of women’s nature without believing that the words are heartfelt. Also, George Eliot makes the ultimate rebellions of idealists (all idealists feel rebellious toward patriarchy, but only some actually rebel against it) acceptable by manipulating her idealists’ characters.
TS, xviii, 348)—she will always be concerned to determine whether doing good consists chiefly in resignation or activity. Choosing between them is often very difficult (L, VI:440). In Romola, lvi, VII:575, she echoes Edmund Burke’s words, which she copied into two Notebooks: “The speculative line of demarcation where obedience ought to end & resistance must begin is faint, & obscure, not easily definable” (Bodleian Notebook, 37 [59:1]); Notebook, 134 [310:6]). Saying that “half the great lesson of life is to adapt one’s soul to the irremediable” (L, VIII:358), to “the supreme unalterable nature of things” (“Address to Working Men,” 10b),86 she is cautious about social reform.
In Adam Bede, Dinah cannot resist submitting to a church that requires her submission on grounds of its doing good (however incredible that argument is), and Hetty is deceived into submitting to her patriarchal lover. Then, in her most autobiographical novel, probably in remembering her experience with her own father, George Eliot argues that Maggie’s emotional tie to her father compels her to submit to him. In the two works following, whether by accident or design, Silas and Romola are able to rebel against their oppressors because they lack strong ties of affection for their antagonists, Godfrey and Savonarola, respectively.
