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By Alice Munro

"Munro's paintings endures-its wholeness of imaginative and prescient, its complexity of feeling, its tolerance of mind."

—Lorrie Moore

The characters who populate an Alice Munro tale reside and breathe; within the finely drawn element in their lives we discover a mirrored image of ourselves. Passions hopelessly conceived, affections betrayed, marriages made and damaged: the thrill, loves, and awakenings of ladies echo all through those twelve unforgettable tales, laying naked the unexceptional and but inescapable soreness of human touch. From the hole tale exploring kin relatives to the poignant tale that closes the gathering, this is often "vintage Munro."

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The ambitious literary innovator Jan van der Noot, patrician of Antwerp, wrote a sequence of sonnets on the downfall of Rome in imitation of Du Bellay. In a case like this there is a smooth transition between the literature for common use and the more literary-scholarly type. In his early years Jan van der Noot had been a fervent Calvinist who actually was exiled from Antwerp for having taken part in an insurgence. His book Theatre, in which the sonnets on Rome are found, was therefore printed in London (1568).

Pieter Saenredam, Interior of St. Bavo's church, called the 'Grote Kerk', at Haarlem, 1648. Poetry and religion 43 sions appeared: by Marnix van St. Aldegonde, by Revius, by Jan de Brune and Jan Six van Chandelier, to list only a few. It was not until 1773, however, that a new version replaced Datheen's in the Reformed Church. The function of sacred literature Hymns appear to have functioned in various ways. In the initial years of the Revolt they very likely provided encouragement to the somewhat loosely organized groups of believers in their struggle and suffering.

But it evidently attracted attention. A second volume, curiously enough edited by political and religious enemies of the poet and provided with an insulting preface, appeared in 1647. An extended collection of the poems that Vondel recognized as his own was then published under his own supervision in 1650. Reprints follow, until the monumental and definitive edition by his biographer Geraardt Brandt, published in two volumes in 1682. Interest for his works undoubtedly existed among the persons more or less directly involved, but there obviously was also a wider circle of readers.

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