A Dictionary of British Place-Names by A. D. Mills

By A. D. Mills

An elevated model of the best-selling Dictionary of English Place-Names, this dictionary now additionally covers Scottish, Welsh, and Irish place-names. From Abbas Combe to Zennor it offers the that means and foundation of over 15,000 British place-names.

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So Hasenclever specifies the time as‘today’ and the scene as‘the world’. 11 Unlike such plays as Toller’s Masses and Man or Transfiguration—in which key episodes‘are to be imagined as a shadowy reality, played out in the distant interior of a dream’12—Hasenclever has extended Strindberg’s principles for reproducing the internal logic, rather than the visual impression of a dream. The scenes in Humanity are not only linked by associations, rather than cause and effect. They also become almost independent moments—a montage of single images, each making a specific impression, out of which a composite picture emerges.

His silence, which led to stylized, exaggerated gestures and the transformation of his face into a mask, gained resonance from its distance to the everyday—and, precisely because‘mute and representing symbols, gave a more powerful impression of [psychological] reality and consequently generated a much more intense emotional field than conventional actors with their vocal imitations’. 5 A natural extension of this interest led the symbolists to explore the possibilities of puppet theatre, which until then had been associated primarily with crude and popular entertainment.

Or dreaming. 25 The only other repeated scene serves a comparable framing function to the street corner in To Damascus—except that here the return to the opening measures a decisive change in perception, with the forest of gigantic and colourful hollyhocks on the backcloth being transformed into a wall of enquiring and agonized human faces by the illumination of the burning castle, while flowers spring from the manure and the chrysanthemum-bud blooms in a symbol of spiritual transcendence. Again this return is designed to create a double time, in which the action of the play seems to take place in a limbo of the mind and therefore outside temporal or spatial laws, since the final tableau follows straight on the opening lines, where the chrysanthemum is described as already beginning to unfold: DAUGHTER: GLAZIER: Won’t it flower soon?

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