Love versus/and/as politics in Miroslav Krleža's <i>Banquet in Blitva</i> and Virginia Woolf's <i>Between the Acts</i>.

( 2 on page 59, 71, 78, 212) One could argue that Krleža’s protagonist turns out to be a somewhat resigned writer who eventually consoles himself with “a box of lead letters” as his only worthy weapon, as Nielsen explicitly states in the very last – and, at least in Croatia, very famous – sentence of the novel, but it is highly significant that his metafictional counterpart in the inserted performance, Fortunato Yorick, asks the puppets around him to rebel against the imperative of the “string that controls their movements” ( 1 on page 327), as if pointing to the actual power of words in a performative context to evoke action.

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