By Jay Parini
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Extra info for British Writers Classics, Volume 1
In effect, once again, you cannot reverse time. If you run the iteration again and chose the same seed, you get the same output; the algorithm generates even numbers in the same order as it did on the first run. What Thomasina realizes, and Septimus confirms, is that she cannot stir the pink back so that the jam data and energy and the rice pudding data and energy can be separated and recovered. This means that, since we cannot reverse the process, we cannot reverse time. Secondly she realizes that in the end everything in the bowl will be pink; the original order, the separation, will have been destroyed and there can be no further exchanges of data or energy.
They respond, MAMMON: SURLY: KASTRIL: MAMMON: Scorpions and caterpillars. The chemical cozener. And the Captain Pander. The nun my suster. Madam Rabbi. 19 BRITISH WRITERS CLASSICS * VOLUME 1 end of Mammon's dealing with Face, Subtle, and Dol, the play offers no alternative scheme for their betterment. The London of the Prologue is unreconstructed; the loss is the commonwealth's. By act 5 of the play, both alchemy and satire have failed to achieve their professed moral purpose. How, then, are we to judge the satire that is The Alchemist?
The Alchemist. Manchester and New York: Manchester University Press, 1967. SECONDARY SOURCES Arnold, Judd. " Criticism 11 (1969), 151-66. Barish, Jonas. The Antitheatrical Prejudice. Berkeley: University of California Press, 1981. Barton, Anne. Benjonson: Dramatist. Cambridge: Cambridge University Press, 1984. Burt, R. Licensed by Authority: Ben Jonson and the Discourses of Censorship. Ithaca and London: Cornell University Press, 1993. Butler, M. " Criticism 34 (1993), 377-390. Cave, R. Benjonson.
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