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Rather, it isn t for anyone to determine what that is, beerdigungsblumen online dating for her and her potential companion. Commentaries on Archaic Jades and Their Fakes. As Susie Monahan, the nurse in the hospital who gives Vivian hand lotion and a Popsicle, Audra McDonald is the sister we would wish for on the long, confounding good-bye -- an accomplice. Harvey Kelekian, who ordains the experimental treatment, Christopher Lloyd is amiably remote, a tourist of suffering -- patriarchy's smiling face.
And as young Dr. Jason Posner, who actually took Vivian's poetry course at college to see if he could get an A, for whom other people's dying is a research opportunity, for whom forever-replicating cancer cells are "immortality in culture," Jonathan M. Woodward is equal parts of arrogance and anxiety, all complacency and thumbs -- for which he will be punished. Not to neglect Harold Pinter, who has a cameo as Vivian's father and the agency of her first awareness of word-magic, dating back to Beatrix Potter and The Tale of the Flopsy Bunnies.
I see by Edson's script in a Faber paperback that in every previous staging of Wit, one actor has played both Dr.
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Pelekian and Vivian's father. Maybe there is an Oedipal subtext Mike Nichols has chosen to omit. But he's otherwise scrupulous. He has even added, to our advantage, the full text of Donne's magnificent sonnet "Death, be not proud. We go to so many movies and watch so much television that we forget what it sounds like. The wit of Wit goes far beyond its subsidiary definition as liveliness of fancy, of saying brilliant things in amusing ways, all the way back to a century where the word meant not only the seat of consciousness, memory, and attention but also ingenuity, irony, paradox, and "conceit" -- the juxtaposition of apparently unrelated elements to startle us out of torpid repose into dangerous argument.
It was Samuel Johnson who first called Donne, Herbert, Vaughan, Crashaw, and Marvell "metaphysical poets"; he had his doubts about how in their work "the most heterogeneous ideas are yoked by violence together.
Eliot -- "transmuting ideas into sensations. Donne sought nothing less than his own salvation.
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There was nothing easy about it. Ask the dying patient. So seventeenth-century metaphysical poetry meets modern medical science.
Film allows Vivian to leave her bed, to juxtapose her dying self -- with a bald head, in a hospital gown -- with flashbacks from her past, a naked stranger to her father, her mentor, and her students.