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A car accident had caused her to become a wisp of a green soul, but it had actually attached itself to the body of a young lady of an official. "Since I'm here, I might as well settle down." Fang Zijun consoled himself. She received a piece of news that caused her to be stunned with her eyes wide open. One month later, they would be entering the palace for the talent show? With her title of doctor returning to the country, it shouldn't be too arduous for her to stay in the palace for three years! It was a pity that his luck had made a fool of him and offended someone he shouldn't have. "Woman, if you can't cure This King's illness, don't even think of leaving!" The man's sinister gaze, taking advantage of his pale face, trembled with fear! "Woman, you can only be This King's woman in your life!" The man lightly smiled. With a crafty gaze, he was extremely proud. "Woman, even if you have already gone to the underworld, This King will still find you and bring you back!" It was a bit domineering, with a heart piercing regret that made him wish he was dead, but there was nothing more he could do. Last night, the westerly wind withered the jade-green trees. Alone on the tall building, looking at the road, several entanglement, things are different. Once the lead flower was washed away, one would be standing on top of the imperial court, scheming to rule the world! On the palace wall, the faint smile from yesterday could be heard. After a few peach blossoms had drifted down, it was as if he was in the afterlife.
In order to avoid being forced to marry by the military's flowers, Liu Haofeng hid in a bustling city. but he didn't expect that he would be unable to extricate himself from the crowd of beauties. The violent little loli, the beautiful twin sisters, and the sexy female teachers all enjoyed endless blessings ...
The first university student of Qingshan Village, Li Fei, had coincidentally become the successor of the Mysterious Medicine Sect. From then on, he led the villagers to become rich and embarked on the path of a hot-blooded expert!
Li Yifan, with the Nine Yin Meridians on his body, was able to reach the world with just his hands alone. He had stolen the hearts of countless young girls, and facing the women around him, Li Yifan chuckled and waved his hand, "Come ... Let this Divine Doctor treat your illnesses. "
In the English Renaissance, poetry was imagined to inspire moral behaviour in its readers, but the efficacy of poetry was also linked to 'conjuration,' the theologically dangerous practice of invoking spirits with words. Magical Imaginations explores how major writers of the period – including Spenser, Marlowe, and Shakespeare – negotiated this troubling link between poetry and magic in their attempts to transform readers and audiences with the power of art. Through analyses of texts ranging from sermons and theological treatises to medical tracts and legal documents, Genevieve Guenther sheds new light on magic as a cultural practice in early modern England. She demonstrates that magic was a highly pragmatic, even cynical endeavor infiltrating unexpected spheres – including Elizabethan taxation policy and Jacobean political philosophy. With this new understanding of early modern magic, and a fresh context for compelling readings of classic literary works, Magical Imaginations reveals the central importance of magic to English literary history.
First modern analysis of the custom of the "royal touch" in the Tudor and Stuart reigns.
Over 3000 authoritative, cross-referenced entries, covering magical traditions from all around the world.
In this fascinating study, Anthony J. Lewis argues that it is the hero himself, rejecting a woman he apprehends as a threat, who is love's own worst enemy. Drawing upon classical and Renaissance drama, iconography, and a wide range of traditional and feminist criticism, Lewis demonstrates that in Shakespeare the actions and reactions of hero and heroine are contingent upon social setting—father-son relations, patriarchal restrictions on women, and cultural assumptions about gender-appropriate behavior. This compelling analysis shows how Shakespeare deepened the familiar love stores he inherited from New Comedy and Greek romance. Beginning with a penetrating analysis of the hero's contradictory response to sexual attraction, Lewis's discussion traces the heroine's reaction to abandonment and slander, and the lover's subsequent parallel descents into versions of bastardy and death. In arguing that comedy's happy ending is the product of the gender role reversals brought on by their evolving relationship itself, Lewis shows in meticulous detail how sexual stereotypes influence attitudes and restrict behavior. This perceptive discussion of male response to family and of female response to rejection will appeal to Shakespeare scholars and students, as well as to the theater community. Lewis's persuasive argument, that Shakespeare's heroes and heroines are, from the first, three-dimensional figures far removed from the stock types of Plautus, Terence, and his continental sources, will prove a valuable contribution to the ongoing feminist reappraisal of Shakespeare.