By Ellen Bartee
The objective of this textbook is to educate the scholar tips to converse the Lhasa number of Tibetan. as the place to begin of this publication is particularly uncomplicated, ite presents an outstanding chance for the coed to instantly depend on Tibetan script instead of romanized script. This, we think, may help to immerse the scholar in Tibetan.
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Extra info for A beginning textbook of Lhasa Tibetan
Most of these phlegmatic women , like Prince Arthur and Falstaff's Robin , are presented as passive sufferers from events that they cannot control: they are not in themselves dramatic, and do not make dramatic situations; but their suffering greatly heightens the pathos of catastrophe. The prοfessions and walks of life proper to phlegm under Venus are listed in Dariot as follows: "louers of delights . yong women , musitions , . . lapidaries, embroiderers, and such like . . , the fat cook in The Comedy 01 Errors] , kinswomen by blod , poets, paynters.
At her father's orders, she repuls~s him; and the shock of her father's death unbalances her mind and so causes her suicide. In short, she has the shy p寻ssivity of the ideal (not actual) Elizabethan woman-so much so that, to be convincing on the stage, she has to be played a~ a very young girl of previously secluded life户 In Oth~llo ， the Desdemona of Act 1 is entirely Shakespeare's own , and Jike an independent Elizabethan girl woos and weds her husband without benefit of parental advice or even knowledge; but the mãrried Desdemona of the later acts that Shakespeare took from his Italian source, is as conventual and naïve as ltalian girls of the day:38 she does not believe that any woman could be faithless; even when Emilia tells her, she cannot think that her husband could be jealous , and continues stupidly to insist on Cassio's reinstatement; and , even when her lord's malady is past all doubt, she can do nothing but reassert her virtue.
E 1 f. • Elyot, leaf 71 V ô Lemnius, leaf 86 • Vaughan , p. 128. • Elyot, leaf 8. • Ibid. , 5Ïg. E 1. Vô Vaughan , p. 126. • Walkington , chap. xi. f Dariot , sig. D 4 f . sa In personal appearance, the phlegmatic man , as befitted his sloth, was soft of flesh and usually fat;9 and "fat," according to Schmidt, meant "heavy and dull": "Fat paunches have lean pates," says Longaville in LOtle让 Labour's Lost; and Julius Caesar grew "fat" from the slothful luxuries of Egypt. The cold, moist quality of phlegm, moreover, lacking in vital heat, made the 'blood slow so that the veins were large; and the phlegmatic man also was either bald , like the apathetic Senators in Timon , or had soft hair.
A beginning textbook of Lhasa Tibetan by Ellen Bartee