The Relapse, or, Virtue in Danger is a Restoration comedy from 1696 written by John Vanbrugh. The play is a sequel to Colley Cibber's Love's Last Shift, The Fool in Fashion. In Cibber's Love's Last Shift, a free-living Restoration rake is brought to repentance and reform by the ruses of his wife, while in The Relapse, the rake succumbs again to temptation and has a new love affair, his virtuous wife is subjected to a determined seduction attempt, resists with difficulty. Vanbrugh planned The Relapse around particular actors at Drury Lane, writing their stage habits, public reputations, personal relationships into the text. One such actor was Colley Cibber himself, who played the luxuriant fop Lord Foppington in both Love's Last Shift and The Relapse. However, Vanbrugh's artistic plans were threatened by a cutthroat struggle between London's two theatre companies, each of, "seducing" actors from the other; the Relapse came close to being not produced at all, but the successful performance, achieved in November 1696 vindicated Vanbrugh's intentions, saved the company from bankruptcy as well.
Unlike Love's Last Shift, which never again performed after the 1690s, The Relapse has retained its audience appeal. In the 18th century, its tolerant attitude towards actual and attempted adultery became unacceptable to public opinion, the original play was for a century replaced on the stage by Sheridan's moralised version A Trip to Scarborough. On the modern stage, The Relapse has been established as one of the most popular Restoration comedies, valued for Vanbrugh's light, throwaway wit and the consummate acting part of Lord Foppington, a burlesque character with a dark side. Love's Last Shift can be seen as an early sign of Cibber's sensitivity to shifts of public opinion, to be useful to him in his career as manager at Drury Lane. In the 1690s, the economic and political power balance of the nation tilted from the aristocracy towards the middle class after the Glorious Revolution of 1688, middle-class values of religion and gender roles became more dominant, not least in attitudes to the stage.
Love's Last Shift is one of the first illustrations of a massive shift in audience taste, away from the analytic bent and sexual frankness of Restoration comedy and towards the conservative certainties and gender role backlash of exemplary or sentimental comedy. The play illustrates Cibber's opportunism at a moment in time before the change was assured: fearless of self-contradiction, he puts something into his first play to please every section of the audience, combining the old outspokenness with the new preachiness; the way Vanbrugh, in his turn, allows the reformed rake to relapse quite cheerfully, has the only preaching in the play come from the comically corrupt parson of "Fatgoose Living", has made some early 20th-century critics refer to The Relapse as the last of the true Restoration comedies. However, Vanbrugh's play is affected by the taste of the 1690s, compared to a play like the courtier William Wycherley's The Country Wife of 20 years earlier, with its celebration of predatory aristocratic masculinity, The Relapse contains quite a few moments of morality and uplift.
In fact it has a kind of parallel structure to Love's Last Shift: in the climactic scene of Cibber's play, Amanda's virtue reforms her husband, in the corresponding scene of The Relapse, it reforms her admirer Worthy. Such moments have not done the play. Love's Last Shift is the story of a last "shift" or trick that a virtuous wife, Amanda, is driven to reform and retain her rakish husband Loveless. Loveless has been away for ten years, dividing his time between the brothel and the bottle, no longer recognises his wife when he returns to London. Acting the part of a high-class prostitute, Amanda lures Loveless into her luxurious house and treats him to the night of his dreams, confessing her true identity in the morning. Loveless is so impressed that he reforms. A minor part, a great hit with the première audience is the fop Sir Novelty Fashion, written by Cibber for himself to play. Sir Novelty flirts with all the women, but is more interested in his own exquisite appearance and witticisms, Cibber would modestly write in his autobiography 45 years "was thought a good portrait of the foppery in fashion".
Combining daring sex scenes with sentimental reconciliations and Sir Novelty's buffoonery, Love's Last Shift offered something for everybody, was a great box-office hit. Vanbrugh's The Relapse is less sentimental and more analytical than Love's Last Shift, subjecting both the reformed husband and the virtuous wife to fresh temptations, having them react with more psychological realism. Loveless falls for the vivacious young widow Berinthia, while Amanda succeeds in summoning her virtue to reject her admirer Worthy; the three central characters, Amanda and Sir Novelty, are the only ones that recur in both plays, the remainder of the Relapse characters being new. In the trickster subplot, young Tom tricks his elder brother Lord Foppington out of his intended bride and her large dowry; this plot takes up nearly half the play and expands the part of Sir Novelty to give more scope for the roaring success of Cibber's fop acting. Recycling Cibber's fashion-conscious fop, Vanbrugh lets him buy himself a title and equips him with enough aplomb and selfishness to weather all humiliations.
Although Lord Foppington may be "very industrious to pass for an ass", as Amanda remarks, he is at bottom "a man who Nature has made no fool". Literary historians agree in esteeming him "the greatest of all Restoration fops", "brutal, evil, an
In geometry, a deltoidal hexecontahedron is a Catalan solid, the dual polyhedron of the rhombicosidodecahedron, an Archimedean solid. It is one of six Catalan solids to not have a Hamiltonian path among its vertices, it is topologically identical to the nonconvex rhombic hexecontahedron. The 60 faces are kites; the short and long edges of each kite are in the ratio 1:7 + √5/6 ≈ 1:1.539344663... The angle between two short edges is 118.267°. The opposite angle, between long edges, is 67.783°. The other two angles, between a short and a long edge each, are both 86.974°. The dihedral angle between all faces is 154.12°. Topologically, the deltoidal hexecontahedron is identical to the nonconvex rhombic hexecontahedron; the deltoidal hexecontahedron can be derived from a dodecahedron by pushing the face centers, edge centers and vertices out to different radii from the body center. The radii are chosen so that the resulting shape has planar kite faces each such that vertices go to degree-3 corners, faces to degree-five corners, edge centers to degree-four points.
The deltoidal hexecontahedron has 3 symmetry positions located on the 3 types of vertices: The deltoidal hexecontahedron can be constructed from either the regular icosahedron or regular dodecahedron by adding vertices mid-edge, mid-face, creating new edges from each edge center to the face centers. Conway polyhedron notation would give these as oI, oD, ortho-icosahedron, ortho-dodecahedron; these geometric variations exist as a continuum along one degree of freedom. When projected onto a sphere, it can be seen that the edges make up the edges of an icosahedron and dodecahedron arranged in their dual positions; this tiling is topologically related as a part of sequence of deltoidal polyhedra with face figure, continues as tilings of the hyperbolic plane. These face-transitive figures have reflectional symmetry. Deltoidal icositetrahedron Williams, Robert; the Geometrical Foundation of Natural Structure: A Source Book of Design. Dover Publications, Inc. ISBN 0-486-23729-X; the Symmetries of Things 2008, John H. Conway, Heidi Burgiel, Chaim Goodman-Strass, ISBN 978-1-56881-220-5 http://mathworld.wolfram.com/ArchimedeanDualGraph.html Eric W. Weisstein, DeltoidalHexecontahedron and Hamiltonian path at MathWorld.
Deltoidal Hexecontahedron —Interactive Polyhedron Model Example in real life—A ball 4 meters in diameter, from ripstop nylon, inflated by the wind. It bounces around on the ground so that kids can play with it at kite festivals
Far From Over, Edwin McCain's fourth album, was the last album of his to be released by Lava Records, about six months before he was dropped from their roster. It was issued on June 19, 2001, it was recorded at Pedernales Studios in Texas. All tracks composed by McCain except "I've Seen a Love" composed by Duane Evans. "Far From Over" - 4:15 "Hearts Fall" - 4:31 "Sun Will Rise" - 4:14 "I've Seen a Love" - 4:40 "Write Me a Song" - 4:42 "Letter To My Mother" - 3:31 "Get Out of This Town" - 3:36 "Kentucky" - 2:55 "Radio Star" - 2:59 "Dragons" - 3:59 "One Thing Left To Do" - 6:26 "Jesus, He Loves Me" - 5:28 Greg Archilla - producer, digital editing, mixing Scott Bannevich - bass, producer Bob Becker - viola Bo Becker - viola Charlie Bisharat - violin Larry Chaney - guitar, guitar, lap steel guitar Larry Corbett - cello Mario de Leon - violin Joel Derouin - violin Karl Egsieker - assistant Matt Funes - viola Richard Furch - assistant Dave Harrison - percussion, producer, loop programming Derrick Jackson - keyboards Jacqueline Johnson - vocals Suzie Katayama - cello Peter Kent - violin Brian Leonard - violin Edwin McCain - guitar, vocals, producer Vladimir Meller - mastering Alan Messer - design, photography Kevin Paige - assistant Craig Shields - director, saxophone, wind controller Ryan Williams - assistant Album Singles Edwin McCain's Far From Over at AllMusic