I didn't appreciate
Descent into Hell the first time through, but the second reading was more satisfying.
Pauline remembered again, with a queer sense of inferiority, that no Elizabethan audience, gods or groundlings, can have felt any shock of surprise or awkwardness at a play opening with a high rhodomontade of sound. (page 91)
There was no doubt about that speech: the very smell and noise of the
fire was in it, and the conviction of the alien song that broke out
within the red flames. So perhaps the phoenix cried while it burned. (page 94)
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