The tragic elevation and musical intonings common in early-twentieth-century revivals were looked on as cardinal sins; all efforts were focused on creating a technique that would convey the illusion of natural speech […]
tragic elevation
natural
… and for to show also the wonderful mickleness of hatred that thou hadst to my sin which I had made.
Thus much may serve by way of proem: / Proceed we therefore to our poem.
She said Johnson was “a better man than many of your detractors will ever understand”, adding that it was “so desperately sad that you let yourself down by making a scurrilous accusation against the leader of the opposition”.
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