Common use of HERE Clause in Contracts

HERE. 1 It is possible to discuss the theme of love in the poetry of ▇▇▇▇▇▇ and ▇▇▇▇▇▇ with reference to the genre of the romance, which saw revival in the Romantic period. ▇▇▇▇▇▇ and ▇▇▇▇▇▇ both draw on the discourse of romantic love: it is one of the hallmarks of the genre, along with the hero‟s determination to rescue his love, his adventures in warfare, and ▇▇▇▇▇▇▇▇. Their stories rarely end with a “happily ever after”, as is the case with conventional chivalric romances. They are instead filled with violence and death; the hero often fails to rescue his beloved, and the hero or the heroine (or both) dies a tragic death. By utilizing and at the same time violently dismembering the romance, ▇▇▇▇▇▇ and ▇▇▇▇▇▇ invest it with social meanings. For the genre of the Romantic romance, see ▇▇▇▇▇▇▇▇▇▇ ▇. ▇▇▇▇▇, The Romantic Paradox: Love, Violence and the Uses of Romance, 1760-1830 (New York: St ▇▇▇▇▇▇‟s Press, 2000), and ▇▇▇▇▇▇ ▇▇▇▇▇▇, Poetic Form and British Romanticism (New York and Oxford: Oxford UP, 1986). Another theme used by ▇▇▇▇▇▇ is family love: love between parent and child, wife and husband, and so on. 2 We see an exception in “Prince‟s Progress”, where the heroine dies at the end. The dead heroine‟s lady attendants, however, take over her silenced voice to criticize the again, my focus is to explore how she reworks conventional Christian stories of women. ▇▇▇▇▇▇▇ ▇▇▇▇▇▇▇▇▇ points out the connections among the three poets in her study of ▇▇▇▇▇▇▇▇ entitled The Poetry of Endurance. She discusses ▇▇▇▇▇▇▇▇‟s works in the context of nineteenth-century women‟s poetry, and finds there the legacy of earlier women‟s poetry that created “female figures who enact endurance or female voices which assert endurance”. She specifically names ▇▇▇▇▇▇▇ ▇▇▇▇▇▇ and ▇▇▇▇▇▇▇ ▇▇▇▇▇▇ as ▇▇▇▇▇▇▇▇‟s precursors in this poetic tradition. The heroines in their poetry are presented as symbolic icons that reflect men‟s visions of women. Taking on their assigned roles as “door and gateway ... mandala or mirror for the male poet‟s visionary quest”, these heroines are alienated from society but at the same time stand as an amazing monument with their “power to transfix”. 3 In their endurance, they can even find ways to overcome their alienation. ▇▇▇▇▇▇▇▇▇ suggests that this poetic tradition of women of endurance has religious and social significance. Such figures, evoking Christian saints who suffer for the sake of their faith, could give consolation to the oppressed in society. For they offer the apocalyptic hope that the last will become the first: an outcast in society will eventually be rewarded in heaven. Many people in nineteenth-century Britain were in need of such hope, amid the turmoil of social anxieties prompted by radical material and ideological changes (▇▇▇▇▇▇▇▇▇, 5-8). Women were no exception, and they often suffered in addition from cultural, economic, and legal limitations based on gender. ▇▇▇▇▇▇▇▇▇ is right in finding a women‟s tradition of poetry in the works of ▇▇▇▇▇▇, ▇▇▇▇▇▇ and ▇▇▇▇▇▇▇▇.4 However, I propose to use