Indeed, the Thames represents more than the inadequacy of the canonical voices Gray ventriloquizes
, more than a mute personification, or an ambivalent parent-figure.
Although the musical cues and song are both missing, Nicasia apparently ventriloquizes
Panthea's grief and presents her as "a wofull dame"; this technique is common in later plays, in which the emotions of a high-status man or woman are often conveyed through the song of their servants.
20) Here too, Boccaccio ventriloquizes
Fiammetta's voice, as Michael A.
both white and black-inflected speech.
Romance,'" as Milder ventriloquizes
what he presents as Hawthorne's view (the free indirect discourse of the critic), "in The House of the Seven Gables is not a sustained midworld between 'the Actual and the Imaginary' (1:36), as it had been in The Scarlet Letter; it is a treacle of mythiness intermittently poured over the plain cake of realism," and Milder even goes so far as to liken Hawthorne's early depiction of his awkward heroine Hepzibah to "a toddler taking his first wobbly steps" (15).
Kairoff here ventriloquizes
her subject's neoclassical views: formal care means versifying rigor, poetic seriousness is equated with due regard for "stricter" traditions.
CATTELAN: [Picks up the salt and pepper, makes them dance as he ventriloquizes
in a puppet voice, the salt to the pepper: "It was a pleasure, it was a pleasure.
In "Good-Bye Fox," she ventriloquizes
nature for the purpose of self-affirmation: "you're okay in my book," says the fox in response to the poet's wit.
As with the broad triangulation of the insubordinate Sheppard, the intermediary Defoe, and the dispassionate ruling classes, Polly 11 ventriloquizes
positions on a panorama of inequity.
In book 3 of De return natura, Lucretius ventriloquizes
the voice of Nature herself in chastising those fools plagued by such terror, since the fear of death testifies to human discontentment in life as well as to a fundamental misunderstanding of a universe in which all being was constituted by atoms and vacuity.
Sometimes a modernism makes its way into the narrative (as when Claudel refers to romantic "vibes" in George Sand's old house) but for the most part Bond ventriloquizes
realistically as a reflective old French sculptor.
Abrams long ago called "an ironic counter-voice" that uncomfortably splits open the age; and, of course, there's Shelley, who ventriloquizes
just about every object or idea he encounters, though better known for his radical, high-flying, and legislating voice that yearns for mankind's ear.