heartfree

heartfree

(ˈhɑːtˌfriː)
adj
not in love
References in periodicals archive ?
The Restoration playwrights, their eyes wide open to the world's lust and avarice, show young people with names such as Heartfree, Constant and Worthy doing battle for the future with their self-regarding seniors.
Heartfree unconvincingly represents herself as a Pamela qua Crusoe.
Heartfree is plainly incompatible with his later mobilization of the character as "Good" Initially he reports that "This Person has a Regard for our Hero, as he had more than once, for a small Reward, taken a Fault on himself, for which the other, who had more Regard for his Skin than Wild, was to have been whipp'd.
20) Like Shamela, who (according to Fielding's parody) had been repackaged as the virtuous Pamela, the historian of Jonathan Wild bowdlerizes his representation of Heartfree, retailing him as a paragon of goodness and Wild as walking greatness.
Sir John Brute Bill Camp Lady Brute Kate Forbes Constant Peter Rini Heartfree Adam Dannheisser Constable Remo Airaldi Bellinda Deborah Knox Meschan Lady Fanciful Effie Johnson Madamoiselle Karen MacDonald Justice of the Peace Jeremy Geidt Colonel Bully Thomas Derrah Lord Rake Jorge Rubio Watch Peter Cambor Tailor Mickey Soils Cornet Shawtane Bowen Pipe Julia Benn Lovewell Jeremy Geidt
When he visits Heartfree in Newgate he "discourse[s] on the badness of the world" [p.
When Heartfree sits in his cell fighting off despair, some aspects of his monologic self-sermons-his efforts to convince himself that his "failing of a transitory imperfect reward here is a most certain argument of.
Heartfree tells her tale is directly affected by audience response.
While Brute would like to catch his wife mid-adultery so as to be rid of her by law, Constant's chum Heartfree (Tim McInnerny) is negotiating his own attraction to Lady Brute's niece Bellinda (a rather shrill Clare Swinburne).
Heartfree, or the inimitable Laetitia Snap, "chastely preventing the crime of Mr.
Heartfree in Jonathan Wild give his reading of Tom Jones a validity missing from the previous chapters and show his appreciation of Fielding's narrative methods elsewhere in his body of work.