The dead Phoenix and Turtle had a relationship of singular purity and, by way of praise, metaphors of love are handled in the anthem as though they were literally true, as though two creatures had actually merged into one. Ambiguity may be functional. Furthermore, this interpretation is consonant with Shakespeare's own Phoenix symbolism in Timon (II, ii, 29), Antony and Cleopatra (III, ii, 12), Cymbeline (I, vi, 17) and the Tempest (III, iii, 23).21 On the otherhand, Shakespeare is at one with Donne in availing himself of the Phoenix symbol to celebrate a mutual flame rather than an unreturned passion. When one looks at the bewildering number of interpretations of The Phoenix and the Turtle cited and summarised in the Variorum Shakespeare (The Poems p. 566 ff. The last line of Jonson's Epode, the second poem of his concordant pair, had been quoted by Robert Allott in Englands Parnassus, 1600, and there attributed to Jonson, who perhaps decided to use something he had by him. All uses of hitherward (s) and thitherward are locational. 6 A. Alvarez, "The Phoenix and the Turtle," in Interpretations, ed. Their eares hungry of each word, He is the baseborn haggard who threatens Arthur the royal bird: Mordred, thou deceitfull kinsman, This is logically explained on a psychological basis. . In yet another piece, The Armony of Byrdes12 (attributed to Skelton, but falsely, according to Dyce), the birds unite to sing the Te Deum. 116-30. They cannot therefore be anything but chaste, for concupiscence in such a relationship is not possible to either. Such expressions as. may enter human affairs. Compressed syntax and a diction suggesting scholastic logic have been used in the anthem to express the commonplaces of mutual love carried to their furthest paradoxical extremes. p. 177 ff.). On this the 13th day of June 2020 Queen Elisabeth II official birthday I have made an amazing discovery about the first Queen Elizabeth, which should theoretically change the way Tudor history of England is viewed. But the obvious clash between such statementsand many more instances could be foundinvites a resurvey. (So made such mirrors, and such spies, Shakespeare's negation echoes that of St. Paul: '7 live now not I, but Christ liveth in me. But in them it were a wonder. 39-40), on a palmtree or phoinix, for his death rites (11. 5 These imperfect rhymes are, perhaps, only a modern and not an Elizabethan effect. The citation above will include either 2 or 3 dates. What radiance might have been lost in the controversy about biography, authenticity and sources the latest critics have fully recaptured.1 Nevertheless the symbolical birds, to misquote Marvell, still wave in their plumes various light in different eyes. It is here that we are most likely to remember that the phoenix has often been a symbol of immortality. 12 'false Mordred, thou deceitfull Kinsman . The urn which encloses the cinders of Beautie, Truth and Raritie is, of course, the Phoenix: ('Her rare-dead ashes, fill a rare Hue vrne: / One Phoenix borne, another Phoenix burne' p. 181). The verb "fled" is a euphemism increasing the praise by reserving the verb of finality, "is dead," for the Platonic abstractions. (3) Lastly, the modification of the theme may have been deliberate, which seems to be the simplest and most satisfying explanation. or is it simply that the Phoenix is permanently bedded in death? One countrey with a milke-white Dove I graced: In righteous flames, and holy-heated fires . Or if they are made to apply, it can only be analogically, and hence can be expressed only by negation of logical meaning. [In the following essay, Schwartz argues that The Phoenix and Turtle is a funeral elegy for two dead lovers, rather than a metaphysical or philosophical poem.]. In Alain de Lille's De Planctu Naturae the goddess, complaining to the creator about the sexual transgressions of mankind, receives once again the exemplars of all human qualities from on high, while her poet sees this event in ecstasy and awakes remembering it. The 'dead birds', whoever they may be, leave no posterity although their love was not without offspring in Chester's poem.6 Truth and Beauty vanish from the earth, the tone is throughout funereal and the theme of the Threnos not unlike that of Donne in The First Anniversary.7 Sir Israel Gollancz, somewhat improbably, assumed that Shakespeare's lyric might have been 'originally written as an elegiac poem on some other lovestorya Phoenix and Turtle united in death and "leaving no posterity'".8 Three other hypotheses may be framed: (1) Shakespeare may have misread Loves Martyr: this, however, seems unlikely. Course Creative Writing (ENG 203/204) Academic year: 2022/2023. To vie strange formes with fancie, yet t'imagine . 131-3), and the second involves the Phoenix with the Turtle upon their resolving to die together on her funeral pyre.15 Mention of a second turtle complicates matters, as we may imagine, but Brown is equal to answering this. Reason, precisely in admitting her defeat, transcends herself. The gnomic comments invite one's easy credit. Stated more simply, it is important to recognize the dramatic form even of a poem which might seem to be spoken by the author. (The present essay was completed in 1963. "1 A certain difficulty arises from the fact that the threne is spoken, or sung (in the text "made"), by Reason, which has been personified in the anthem, and hence this final portion of the poem might be considered a subdivision of the second. In firmest band of unity. It is necessary to clarify at the outset the gender of the two birds, the protagonists of Chester's poem, because Professor Wilson Knight, in an essay otherwise rich in ideas,5 has unfortunately brought this question into confusion. p. 179) argue that no particular bird need be meant; T. W. Baldwin (On the Literary Genetics of Shakespeare's Poems and Sonnets, Urbana 1950, p. 368) and Wilson Knight (op. Shall star-like rise, as great in fame as she was, Du Monin's is not a passion for oneness in union, but the striving of the philosophic mind for unity, the rapturous assertion of God's and the Soul's and the World's oneness, the eager demonstration that the heavens, the planets and the seasons, the four elements and the four humours, and all the arts and sciences are but one. And yet here too we must ask, is such an extreme of purity not a form of selfishness? . Love in the Anthem is the mutual joy of two human beings, and not the purely intellectual felicity of realizing a 'divine principle' within oneself. I drew The Phoenix and the Turtle, a poem by William Shakespeare, for my Deal Me In Challenge, and after reading it, Im so confused. The negative makes the difference: it turns an intellectual paradox into an unintelligible mystery. But thou Phoenix And her rich beauty for to equalize: 31 For respective arguments see Ronald Bates, 'Shakespeare's "The Phoenix and Turtle'", Shakespeare Quarterly 6 (1955), 23-6. For a time Calidore remained unseen amid the surrounding trees, astonished and delighted with what he saw, but not knowing what to make of it. (p. 123). The poem's control of allegorical method allows us to summon forth a number of competing readings without providing us with the assurance that any one of them holds the key. I think that in Shakespeare's poem, with particular sensitiveness, this structure is reflected in and furthered by the very way in which the poem is conceived and executed. In 'The Phoenix and the Turtle', on the other hand, the solemnity of the tone, the cryptic language, tense and terse, are not alone responsible for the heightened awareness of paradox. Essays in Criticism XVI, No. These poets hoped (as Prospero would) that art might alter nature, that they might convert Elizabe-than Sebastians by the music of their verse to exclaim: Now will I believe It is used to build imagery to deepen the audience's understanding and help give power to words by using different emotional, visual and sensory connections. Euery foule of tyrant wing, 18 If there is purpose in the capitalization here, and not merely a typesetter's whim, it may be that "Diuision" was considered a technical abstract noun from the vocabulary of logic, and the word is repeated, still capitalizedwith, it is true, a degree of personificationin the eleventh stanza. But in the Elegy for Astrophil love and the phoenix myth are unconnected. Certain birds are chosen for the funeral rite. Beauty, truth and rarity here enclosed in cinders lie, and any assurance, any hint of survival in a world beyond, is withheld. The screech-owl, whose property of foreboding death in certain families is well known to this day, was forbidden; so also were the birds of prey, except the eagle which, no doubt, was admitted in compliment to Lady Salusbury. Marston's fortunes were always checkered, and he was not in a position to sneer at patronage. William Shakespeare's "The Phoenix and the Turtle" is a poem that may be characterized as both an allegory and an elegy. The poet prays for himself, his fellow subjects and for his Queen; they are all earthly doves, mortal, subject to imperfections of heart, and he calls for divine grace to free them from the serpent Envy, to transform them to the Paphian Dove, that they may share 'perfect troth'. Watkins spins out a jazzy melody surrounded by close harmonies using the text to create a lively, rhythmic opening. Marston's and Chapman's verses are light, skilled exercises in a difficult language of platonising mystifications. 13 The N. E. D., quoting this line, gives the definition (lc), "An abundant source of supply.". It is clear that the arguments posed in modern re-examination of Shakespeare's Phoenix are not to be resolved in the light of literary tradition and conventions. Figurative language is the opposite of literal language, where the words convey meaning exactly as defined. The Phoenix goes into death as into a new nest, the Dove rests for ever, and they have not perpetuated themselves on earthnot because they could not have done so, but because they were too completely chaste to wish it: What is the point of this line? This ironic observation is not one that disables the ideal side of the poetic argument, since it follows logically from what has been stated previously. Drayton's alone have been previously cited. 26 The same contradiction appears in the history of the Phoenix myth. There were also contributions from 'Chorus Vatum' (perhaps of composite authorship) and 'Ignoto'. The poem first appeared in Robert Chester's book Loves Martyr; or, Rosalins Complaint (1601), in company with poems by several contemporaries, notably Jonson, Chapman, and Marston. 203-204; T.W. Take, for example, the tripartite pronunciation of the following stanza: Death is now the phoenix' nest, The Phoenix of the poem is accounted for elsewhere, and this bird, mentioned in the first stanza only, would require much more attention were it to be considered a new Phoenix to replace the old. Many parallels, ranging from Michelangelo to Drayton, have been offered. (Just as if a poet had written. Chester shows himself aware that his master consorts with better poets at Court: he would have been prepared for the Poetical Essays appended to his poem a few years later. The ceremony, initiated with a firm command for the loudest lay, ends with a quiet proposal, rather permissive than imperative, for a sighed prayer. . XV, c. IX. Primarily, the stanza develops the idea of the mutual flame, not destructive here, but shining between them so that the Turtle saw his prerogative acknowledged in the love-lit eyes of the Phoenix. WebBy William Shakespeare. The bird-liturgy is combined with a love-theme in the delightful Messe des Oisiaus of Jean de Cond, in which all aspects of birds' celebrating the joys of spring, of lovers' celebrating Venus, and of priests' celebrating their mass come to be symbolically related and interchangeable. Because his perch is the legendary Arabian tree of the Phoenix myth, some critics have concluded that the "bird of lowdest lay" is the Phoenix.2 But it is clear from a number of things in the poem that this herald is not the Phoenix. 31 Aldrovandus, Ornithologiae Tomus Alter, xv, ix, pp. Not only is the traditional turtledovewhich has no role in the phoenix legendsa female,12 but, of the two birds, it would seem the more feminine, smaller, softer, less colorful and less imposing. In five stanzas whose mood is imperative the poet sets the scene for the traditional self-immolation of the Phoenix on its nest in a tree: in Greek 'phoenix' was the name both of the legendary bird and of a palm-tree. . Shall then be his, and like a vine grow to him; Because the poem itself is both proposition and exhortation, 'Let' must be taken to mean both suppose and allow. Shakespeare wrote The Phoenix and The Turtle, said to the first Metaphysical poem. The allegory of the fall and redemption of civilizations plays behind each episode as in so many Elizabethan 'history' plays. D. S. Wrangham, London 1881) I 128. In this sense the term presents no paradox, only a literal statement of fact. . The dark smelly pipes that run under the city are your res9ng place. There is none such Leaving Meander stood thereby . The fire, of course, is partly figurativethe desire that feeds on its own fuel, and unites the partners so that love in twain/ has the essence but in one/ two distincts, division none Augour of the feuers end, Figurative language uses figures of speech to be more effective, persuasive, and impactful. 27Commentarium, II, 8; Dialoghi, ed. The effort to attain full meaning within such a sparse line-unit might of itself encourage a poet (if he needed encouraging) to strain accepted words into richer applications, to use puns, and in some cases to invent new words altogether. Of dyverse soules bothe grete and smalle, Join hearts and hands, so let it be, That thy sable gender mak'st However loath one may feel to burden this lyrical flight with further plodding research, a re-examination of the bird symbolism and the 'Platonic' assumptions, supported by a fresh array of parallels, is required to avoid laying undue emphasis either on the poet's dependence on tradition or on his self-conscious originality in the handling of the Phoenix theme. At last they come upon a bird looking shabby and crestfallen. What, then, is being arranged in these first five stanzas? From the ordering (in both senses) of a future event, we come to present praise for a past situation. The oneness and peace which they found supremely in death the city will find, in a lesser way, in its life. 4 Matchett, p. 193. Be that as it may, this bird, this unharmonious prefigurement of evil, is excluded from the company of "chaste wings.". This is E. A. J. Honigmann's study, in which he follows Brown very closely in giving prominence to the Salusburys. With so much Loyalties expence Chester prays that he may lead a poetic journey to a land where Envy has no power. Probably Pembroke was seeking to restore the balance between rival factions in North Wales.14 Clearly John Salusbury was succeeding, by means other than the indefatigable begetting of a large family, in his efforts to revive the house of Salusbury; and on 14 June 1601 the Queen set the seal on his success by conferring on him the honour of knighthood.15 The Salusbury Phoenix had assuredly risen again from the ashes of Thomas's disgrace and death. So too was the figurai identification of Phoenix with Christ and of Dove with Holy Spirit, as I mentioned in connection with The Armony of Birds. Mongst our mourners shalt thou go. As Bacon argued, quoting Plowden, 'There is in the king not a body natural alone, nor a body politic alone, but a body natural and politic together'.4. My labouring thoughts. With the authority of a long dramatic tradition behind him, Shakespeare celebrates this ideal, in spite of death and disaster, as chorus to a tragic scene. The second part of the book follows with an Invocatio and dedication, two short poems by Ignoto, then Shakespeare's poem, four by Marston, one by Chapman, and four by Jonson. 7 Marie Axton is followed, with slight qualification, by Anthea Hume, who explores the framework of Loves Martyr as a whole to find evidence, especially in Chester's contribution, of a deliberate discrediting of Essex as false love, the earl thus being seen as a false turtle in contrast to Grosart's true one ('Love's Martyr, "The Phoenix and the Turtle", and the aftermath of the Essex rebellion', Review of English Studies New series, 40 (1989), 48-71). On the development of the virginity symbol, see Hubaux-Leroy, pp. Du Monin has fused Christian theology and Neoplatonic philosophy. of the shrieking harbinger in the second. What follows is a long account interweaving natural and patriotic history. Human love is not platonized; it is rather rooted in the senses and in the flesh. That among creatures even the uniquely perfect must die?These are simply aspects of one idea. B. Grosart (London 1878). Shakespeare might have repeated Sidney's warning to the readers of Astrophel and Stella: You that with allegory's curious frame, Essays in Criticism XV, No. Either was the others mine. with its Cirrhaean modes can match her song. With poignant urgency, she must proclaim the lamenting-celebratory purpose of the funeral service.2. The death of the Phoenix and the Turtle is a sad event, but all is not lost; there remain others who are true and fair, who can sigh a prayer for the lovers who were, in their way, glorious but are now, after all, dead birds. 164). But this is not the end of the play. The story of Phoenix and Turtle Dove became what its authors had predicted, a remarkable chapter in a book of Britain's Monuments. Full concord all your lives was you betwixt, 135). Here stands the historical epitome of Phoenix's enemies. Now, with Neruda as inspiration, try to write your own ode to an inanimate object, using figurative language to bring it to life. 5/16/2019 02:47:59 pm. The next stanza reiterates the paradox in terms of space, developing the common metaphor of united hearts into the contradiction of two objects that are and are not in the same space at the same time. The poets who contributed these poetical essaysthe title had been used two years before by Samuel Daniel for a collection of poemsand who subscribed their names were Shakespeare, Marston, Chapman, and Jonson. It is widely considered to be one of his most obscure works and has led to many conflicting interpretations. The 'er' sound conveys the sinister menace of the owl, while i's and u's for the swan in surplice white, a's for the 'sable' crow make up for ear and eye a symphony in black and white. Such paradoxes are beyond the faculty of reason. The text of PhT used in the present essay is The Poems, ed. There is subtlety and double meaning still, but nothing to suggest confusion; there is little of the contentious quality of the anthem. Let the Priest in Surples white, publication online or last modification online. In other words, for the poet it signifies a process, the drama of selftranscendence, wherever it occurswhether in moral conscience or contemplative intellect, in planetary Intelligence or theological Angel. The swan-poet divines death, perceives and foretells it, but his immortal song also makes death itself divine, revealing it as the cause of new life, so he is essential to the miracle: The Crow which, in bestiary fashion, creates its young by the breath it gives and takes shadows another aspect of the miracle: the new Phoenix is created simply by the breath of a mutual vow: And thou treble dated Crow, 38 Du Monin apparently believed in it since he argued that such a wondrous bird could not be wholly deprived of intellectual faculties (f. IIv). It is, then, an ambivalent idea of love that the Threnos dramatizes, having to be qualified by the whole Anthem in which it is embedded. Fired the Phoenix where she laide, In 1611 the miracle had, nominally, occurred; that particular love so often expressed as a passionate and erotic devotion had apparently been consumed by the ideal. ), "The Phoenix and Turtle - Language And Symbolism" Shakespearean Criticism It is possible, in other words, either that childlessness is being explained, or excused, as due to the lovers' having attained an unusually delicate Platonic balance, or that the relationship is being criticized as having had no practical result. For Furnivall, see Rollins, p. 669. The phrase 'of lowdest lay' may at first seem strange. This mood is present in Hamlet's violent revulsion at his mother's "unchastity" and in his general skepticism as to the possibility of goodness in man, that paragon of animals and quintessence of dust. That being said, the phoenix was a well-known symbol for the Queen. We are not to say, on the other hand, that the Phoenix embodied Love and the Turtle Constancy (or vice versa); the stanza stresses their mutuality, their death in a mutual flame, and the singular verb "is" emphasizes the fact that not two things, but one has died. I have little sympathy with those who prefer it as 'ravishing nonsense'. Chester duly collected together what he had written, scribbled out a bit more, and then enlisted the services of Jonson and his fellows to give the book a few degrees' extra sophistication.17 Where Brown's argument runs into difficulties is over the matter of poetic style; it is hard to believe that the amorous courtliness underlying the passages between Chester's Phoenix and Turtle (even if tending more towards Platonic than erotic love) was in reality intended to include sentiments about a dead brother. This is not merely a moral allegory of the man who, being heaven-born, is able to vanquish sin and rise to heavenly virtue. Furthermore, that the selfsame should not be the same (1. 1 The identity of Robert Chester is disputed and is tied in some measure to evidence of friendship with Sir John Salusbury to whom the book is dedicated. But the critic must steer clear of another pitfall. The stanza may be read as saying that the childlessness was not due to physical debility, to sexual sterility or impotence, but to the fact that they remained chaste though they were married; or, that the leaving of posterity was not their infirmity, not the form of bodily weakness with them that it is with others, but that their state was a marriage of chastities; or, finally, that not the leaving of posterity but married chastity was their infirmity, which is to say that the defect in their relationship was not that they were overly concupiscent but that they were overly continent. The poet has been so successful that what he set out to arrange has begun, indeed, to occur; he announces the anthem and disappears while the ceremony proceeds. Who from the sacred ashes of her honour The Phoenix and the Turtle's ascent into perfect union, and their return in the scattered vestiges of perfection, can thus be seen in perspective to one of the permanent structures in European poetry and thought. 14N. Discusses The Phoenix and Turtle as "a poem of mourning, a meditation on the hard fact of mortality.". 13The Poetical Works of John Skelton (ed. Not everything need be that early; some poetry unrelated to the Phoenix story, such as the interpolated verses on King Arthur, may have been finished shortly before publication, when it is generally assumed that Jonson, Shakespeare, and the other contributors wrote theirs, and when, as Brown neatly observes, Jane Salusbury at the age of fourteen would be reviving memories of her mother, the Phoenix, in her prime.14 Brown further comments (p. lxxii) that the contributors who swell the volume at the end generally concur in this view of family succession, only Shakespeare appearing to dissent from it. or is the force rather "Only in them," meaning that it would not be a wonder in others, though it is in them? Anima Mundi, united to Ratio, is also the full perfection and actualisation of the human anima. . Poetry will give eyes of faith to both disheartened monarch and disbelieving subject. Insofar as they participate in the rite they win the sacramental grace it can bestow; to the extent that they comprehend the transcendence of truth and beauty they begin to have truth and beauty themselvesPhoenix and Turtle are in some measure reborn in them. The Phoenix and the Turtle have not, in this poem, received any notice as fliers or singers; even though, by the last line, they are cinders in an urn, the strong visualizer of imagery is likely to perceive not the delicate image of the small dead bird in Cymbeline,23 but an image ungainly and stiff. In fact, the notion that distance should not defy love but reinforce it is quite familiar. Are they part of the announcement? . Vulgar love, on the other hand, is the fear of final extinction. The basic meaning of 'mine' here is 'an abundant source of supply'24: the lover finds a world in the eyes of his beloved. 1The Parlement of Foules (Oxford 1957), pp. H. E. Rollins, A New Variorum Ed. He is not describing an event but constructing one, somewhat self-consciously staging it. 9 The phoenix sat on an unnamed tree for his morning rites (Carmen de ave phoenice, 11. Some awkwardness arising from compression may even be acknowledged: it is not unfrequent in Shakespeare's rhymed verse of a more or less gnomic kind. Flaming in the phoenix' sight; In such a mood did Hamlet send Ophelia to a nunnery. Although the song has a somber theme, it conveys positive message regarding self esteem and not settling for less, which is relayed to the listener without using profanities or graphic adult content. . Its gloating obsession is with the grief its news causes. The Phoenix is clearly at the point of death, but there is nothing in the later part of the poem which suggests that the Phoenix has died before the poem begins. Beautie, Truth, and Raritie, Note that the swan's role is also functional in terms of its legendary powers. The purity of the Dove's devotion assures the creative heat of the flame. Reygnyng above, The Phoenix had lost its unique, sexless quality by taking a mate; therefore, paradoxically, there could be no posterity for the Phoenix. To make another spring within her place. The Arabian fiers are too dull and base, The threne continues to offer praise. The heroine, Rosalin, laments, as Prospero was to do, the brittleness of faith and allegiance. Much criticism of The Phoenix and Turtle has tended to focus on Shakespeare's concern with themes connected to love, chastity, and desire in the poem. Like Envy and Satan, Mordred is described as a tyrant: 'that monster Mordred . But tell me gentle Turtle, tell me truly The lovers are one and two, since each dies in himself and lives in the beloved. 87, No. Nature calls it Troynouant where the descendants of Aeneas redeemed the disaster which lust had brought to Troy; she recalls that Aeneas sacrificed his personal love for Dido to 'reare the Pillars of a Common-weale'. 9 'Shakespeares lyrische Gedichte', Jahrbuch, 28 (1893), 274-331. . The closing line of the third triplet provides another atomic paradox: "married chastity." The poem describes a funeral arranged for the deceased Phoenix and Turtledove, respectively emblems of perfection and of devoted love. However, he must be prepared to find a Phoenix that has not only risen from its ashes by the power of the modern metaphysical afflatus, but has also been refracted, atomized, and even divinized. Nature in the poem Loves Martyr has created a unique Phoenix, a pattern of womanly perfections. The title "The Phoenix and the Turtle" is a conventional label. That the Phoenix was a type of Christ is well known. 32 Alvarez reminds us that all this lamentation is over a couple of 'dead birds'; but such an observation signals the beginning rather than the end of speculation. The bird of wonder dies, the maiden phoenix, Since we hardly expect criticism, we shall choose the explanation which adds to the praise. For the modern mind that finds the traditional realm of exegesis and analogy an alien world, the metaphysical voice of Shakespeare may be lost in "unintelligible mystery" or drowned out by the babel of commentary. If Reason were to remain confounded to the end of the poem, the threne would present an untrust-worthy view of the event. . Love got so sweet as when desire did sue. Alvarez, A. SOURCE: "The Phoenix and the Turtle: The Poem Alone," in The Phoenix and the Turtle: Shakespeare 's Poem and Chester's Loues Martyr, Mouton & Co., 1965, pp. It is Reason's vain attempt to describe the bond between the lovers that casts the 'Tragique' mood over the 'Scene' of their suicide. And like a hissing Serpent seek'st to sting. . However dull and turgid the style may be, the note of exaltation rings true in the celebration of oneness. . "), recalls the direct address ("But thou . And a little later, to persuade this bird to come with her to Paphos: There is a country Clymat fam'd of old, As we have seen, the lawyers had found the first British oath of fealty sworn in his reign. That thy sable gender mak'st. The setting, with the priest in surplice white, the requiem, and the black-clad mourners was implicitly Christian; the hymn in praise of Phoenix and Turtle is not, and the language now is neither scriptural (as we should expect in an anthem) nor liturgical, but philosophical, a fusion of scholastic and Platonic terms. To the Phoenix and the Doue, And he does this not merely because of the machinations of Iago, but because his love contains the seeds of its own corruption.

Did Any Cantor Fitzgerald Employees Survive, What Is An Internet Reference On A Job Application, Car Accident In Oceanside Last Night, Do Brandon And Teresa Have Another Child, Articles F