importance. His hauntingly poetic lines and prophetic dream portend a prominence of dreams and the supernatural in Shakespeare’s play. This significance can also be linked to the dreams of the characters Buckingham, Stanley and Richard III himself where dreams, premonitions, and the supernatural are the playwright’s chosen mode for foreshadowing and communicating themes and motifs. "O, I have pass'd a miserable night, So full of fearful dreams, of ugly sights That as I am a Christian faithful
convicting eyes, "it takes sixteen years to make you twenty." "Dear me," said Lavinia, "how we can calculate!" In fact, it was not to be denied that sixteen and four made twenty--and twenty was an age the most daring were scarcely bold enough to dream of. So the younger children adored Sara. More than once she had been known to have a tea party, made up of these despised ones, in her own room. And Emily had been played with, and Emily's own tea service used-the one with cups which held quite
attempts, Victorian translations which seem to him “obfuscated” by pre-Raphaelite medievalism. He also wants to invigorate the English language by overcoming the “six centuries of derivative convention and loose usage [that] have obscured the exact significances of such phrases as: ‘The death of the heart,’ and ‘The departure of the soul’” (Anderson 1983:12). Translation theory and practice in the early twentieth century are marked by two competing tendencies: on the one hand, a formalist interest in technique