Word: canonicals
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...warm, outgoing nature that had made him a beloved Patriarch of Venice. Last week one more story was added to the lore of the man who is already one of the best-loved Popes of modern times. He has given away his breviary-and to an Anglican. The recipient: Canon Donald Rea. vicar of the Church of St. Peter and St. Paul in Eye, Suffolk, and chairman of the Anglican Confraternity of Unity, founded in 1926 "to restore communion with the Holy...
...king is too cool, she may have to shovel out the snow). During this romance, only a bad-mannered gnome or mullet would try to hook a snake (ask for a date with the snow king's queen). But should some crude dormitory barbarian crack this campus canon, the dethroned king has been shafted or jabbed, barbed by the purple shaft or the maroon harpoon. In despair he feels clanked or clutched. He has a similar feeling if a girl merely keeps him in the club (dates many boys and favors none), though it is only fair...
...Juan is a man who, though gifted enough to be exceptionally capable of distinguishing between good and evil, follows his own instincts without regard to the common, statute, or canon law; and therefore, whilst gaining the ardent sympathy of our rebellious instincts (which are flattered by the brilliancies with which Don Juan associates them) finds himself in mortal conflict with existing institutions...
Merry Wives is not tragedy, nor tragicomedy. It is not even comedy; it is farce pure and simple (also impure and not-so-simple). And it is a most significant item in the canon, through being the only play the Bard ever wrote entirely about the ordinary citizenry of his own day and locale. Actually, it is a transferral to the stage of the comic medieval French verse-tale genre known as the fabliau. The fabliaux and the play depict contemporary society and diction, delight in practical jokes, revel in adultery and cuckoldry, and indulge in frank and often obscene...
Among the Renaissance characteristics are balance and symmetry, which Romeo and Juliet has in superabundance. An early member of the canon and only the author's second attempt at tragedy, the play is at times literarily self-conscious and structurally too obvious in its symmetrical balance. Every idea has its complement: love vs. hate, day vs. night, patience vs. impetuosity, chastity vs. bawdry, and so on. Every character has its foil: Romeo and Mercutio, Juliet and Roasline, Benvolio and Tybalt, Friar Laurence and the Nurse. If it is not a supreme achievement, it is still a great play...