By H. Rider Haggard, Norman Nodel

Buy of this e-book comprises loose trial entry to the place you could learn greater than one million books at no cost. this can be an OCR variation with typos. Excerpt from booklet: bankruptcy Xv. Of The banquet Of Cleopatra; Of The Melting Of The Pearl; Of The asserting Of Harmachis; And Of Cleopatra's vow of affection. at the 3rd evening the banquet used to be extra ready within the corridor of the nice condo that have been put aside to using Cleopatra, and in this evening its splendour used to be higher even than at the nights sooner than. For the twelve couches that have been set in regards to the desk have been embossed with gold and people of Cleopatra and Antony have been of gold set with jewels. The dishes additionally have been all of gold set with jewels, the partitions have been hung with pink cloths sewn with gold, and at the flooring, lined with a web of gold, clean roses have been strewn ankle- deep, that because the slaves trod them despatched up their body spray. once more i used to be bidden to face, with Charmion and Iras and Merira, in the back of the sofa of Cleopatra, and, like a slave, from timeto time name out the hours as they flew. And there being no support, I went chilly at middle; yet this I swore—it might be for the final time, due to the fact that i couldn't undergo that disgrace. For although i wouldn't but think what Charmion informed me—that Cleopatra used to be approximately to develop into the affection of Antony —yet i may not more undergo this ignominy and torture. For from Cleopatra now I had no phrases keep akin to a Queen speaks to her slave, and methinks it gave her darkish middle excitement to torment me. therefore it got here to go that I, the Pharaoh, topped of Khem, stood between eunuchs and waiting-women in the back of the sofa of Egypt's Queen whereas the banquet went merrily and the wine-cup handed. And ever Antony sat, his eyes mounted upon the face of Cleopatra, who now and then permit her deep look lose itself in his, after which for a short time their speak died away. For he informed her stories of warfare and of deeds that he had done—ay, and love-jests equivalent to will not be meet for the ears of wom...

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Francis), who is first seen feeding birds in the park (the saint loved birds so much he preached to them), will become St. Francis to Morris Bober’s Christ. In this relationship, the morally weak Frank will learn from Bober’s spiritual strength. In the Wasteland myth, however, Bober, is Amfortas, the maimed Fisher King who is waiting to be restored by Frank’s Parzival. On this level, the despondent Bober will be cured by the energetic Frank. 1 8 St. Francis, the son of a wealthy cloth merchant, turned his back on his father’s material possessions to enter the monastic life where he embraced poverty so completely that his fol` lowers were called Pauvres Freres (‘‘impoverished brothers’’).

Morris may not like to admit it, but poverty is a great teacher. Suffering and deprivation sensitize a man to the pain that others endure and to their essential helplessness in the face of their tragic fates: ‘‘The world suffers. ’’ Because of his natural gift of empathy, Morris consistently helps those who need it. ’’ He once ran two blocks in the snow to give back to a poor woman a nickel she had N o v e l s f o r S t u d e n t s , V o l u m e 2 7 A s s i s t a n t left on the counter. He is kind to Al Marcus, who is dying of cancer but continues to do his rounds selling paper products in order to give himself a sense of worth.

Roth’s technique and achievement has been compared to that of James Joyce. to the structural pattern of the novel. The Assistant is in fact a novel about fathers and sons. There are four pairs of fathers and sons: Julius Karp and his son Louis; Sam Pearl and his son Nat; Detective Minogue and his son Ward; and Morris and his, in effect, adopted son Frank. The sons might be described respectively as the lazy, unambitious son; the successful but materialistic son; the bad son; and the good and the spiritual son.

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Cleopatra (Classics illustrated) by H. Rider Haggard, Norman Nodel
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