Word: sensual
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Dates: during 1940-1949
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...this worldly environment, young Marian Evans had long feared that she might become "earthly, sensual and devilish." She wrote little but translations, but even these were a moral hazard: she had lost her faith while translating Strauss's Life of Jesus. She was about to lose something else. Says Author Haight: "The sensual side seems to have developed to a marked degree while she was translating The Essence of Christianity." From this work Marian learned Philosopher Ludwig Feuerbach's notions about free love. She had met "the ugliest man in London," George Lewes, the biographer of Goethe...
...Rather, this England approaches death with sensual pleasure and smacks its lips over every phase and bears every humiliation and every cynicism if only it can hope that, in dying, it may also drag its enemy into the abyss. The psychopath knows that in such cases pleasure in destruction parallels pleasure in self-destruction...
...leave the land; he takes it. Living up to it is another matter. The latter half of the novel develops a desperate contest between two types of land-lover - the owner and the enjoyer. For perhaps the first time since Huckleberry Finn, the squatter's anarchic, slovenly, sensual life is presented as enviable. Meanwhile Bushman's son Tarvin and Subrinea Tussie, the length, strength and brownness of whose legs are too often, too favorably mentioned, work out a romance. Tarvin talks like this: "Good mornin'. I'm glad to be here. I've seen...
...ranch house, and the faces and mannerisms of the characters. Each of the minor parts has received superb treatment, each one is true to a certain American type. Betty Field is magnificent as the rancher's pathetic wife, whom Lennie strangles absent-mindedly. Stroking a puppy, disgustedly watching her sensual husband suck up his food, drumming her fingers on the table in frantic boredom, she draws an unforgettable picture of the same frustration and despair of farm life to which Hamlin Garland gave anguished voice...
...important efflorescence of secular music. One can easily appreciate the role of the Puritan Revolution in creating the new spirit. The seventeenth century Puritan, with his austere morality and his mystic absorption in God, could neither enjoy music nor understand its function. To him music was a sensual pleasure, and as such was a barrier to the contemplation of eternal truths. It had no place in the Church service. In this situation one can sense the death-rattle of religious music; already dying, it must have perished unwept when the source that nourished it dried up. With the advent...