...Ann Evans Berthoff Copyright © 1966 by Duke University Press 1966 THE VOICE OF ALLEGORY MARVELL’S “THE UNFORTUNATE LOVER’ By ANNEVANS BERTHOFF Intuitive assent to allegory is perhaps consequent only to a faith in...

...Evelyn Birge Vitz John V. Fleming. Princeton: Princeton University Press, 1984. xii + 196 pp. $20.00. Copyright © 1985 by Duke University Press 1985 REVIEWS Reason and the Lover. By JOHN V. FLEMING.Princeton: Princeton University Press, 1984. xii + 196...

...Peter T. Schwenger Copyright © 1974 by Duke University Press 1974 MARVELL’S “UNFORTUNATE LOVER” AS DEVICE By PETERT. SCHWENGER Bizarre and charged with a cryptic significance, the conceits in Mar- vell’s “Unfortunate Lover” continue to...

...Elaine Tuttle Hansen Katherine Heinrichs. University Park: Pennsylvania State University Press, 1990. 270 pp. $28.50. Copyright © 1991 by Duke University Press 1991 REVIEWS The Myths of Love: Classical Lovers in Medieval Literature. By KATHERINE HEIN...

.... By Brian Finney. Harmondsworth, England: Penguin Books, 1990. 121 pp. $4.95, paper. Brian Finney’s study of Sons and Lovers “is primarily written for the undergraduate student first encountering the novel” (p. 31). Finney, working within the length and format limitations...

... deems inadequate or misleading, and argues for its own approach (or “theory”). But this way of seeing the book may itself be misleading. The book may in fact be more modest and charming than its title suggests. It is perhaps best seen as a lover’s journal. Like Robert von Hallberg ( 2008 ) in Lyric...

... grotesque the inseparably erotic, familial, and financial tendencies of comic plot. In Desire under the Elms , for example, lovers are brought together but placed under arrest. The metacomedies record O’Neill’s reaction against the coalescent endings common to two modes of drama that he knew well: the...

... charming than alarming. Inevitably, interrogations led to lessons in sociability and wit to derail some missions promoted by private and public Cold Warriors. Ethical quandaries would soon turn new North American lovers of Latin America toward ironies related to the metaphor of cannibalism that Brazil’s...

... objects which are vivid and concrete, distinctly and quickly visualized: blood, swords, rings. In the Pine Tree episode the lovers themselves, rather than details about them, are under observation as our attention is drawn to how they act and what they say. Most importantly of all, BCroul’s...

... interpretation further, the reader may wish to be reminded of just how encompassing the role of Genius is in the Confessio. He is introduced early in Book 1. In the introductory Prologue, we had met the other main character in the poem, the elderly narrator-Lover (none other than the poet himself), who...

... variously ironic) about “courtly love”: see Preface to Chaurer, pp. 391- 574 Certainly this has to be considered as one valid way to interpret the romance. But it is not the only way. Lancelot as a lover can be taken quite seriously. Without being too solemn and without making Chre- tien...

... letters so as to understand the order in which they occur and to trace the progression of Mariane’s passion to its disputed conclusion. Mariane’s first reference to her lover is in terms of his absence: “Quoi! cette absence, 5 laquelle ma douleur, toute ingenieuse qu’elle est, ne peut...

... the soul-kiss, even if he frag- ments it into subsidiary conceits: the exchange of lovers’ souls (hearts); the transformation of lovers into each other; the lover’s death and new life in the beloved; the unity of lovers into and beyond the grave; and many more. As the reader encounters over...

... language do not dazzle, the poet may end only as a juggler of formal devices or as an emotional eunuch-the common parodies of the classicist in art. “Spectral Lovers” is a detached and ironical portrait of two anony- mous people who respond to the enticements of an April night with...

... contrasting leads of Theseus and Hippolyta in their responses to the lovers’ story of the night. From the standpoint of cool reason, Theseus dismisses the lovers’ story as an amusing and rather charming instance of how strong imagination plays tricks with reality. Thus Pepys dismisses the product...

... I call the “original” sonnets and ballades, Wyatt often uses diction which differs markedly from Petrarch’s, and more often still he adopts attitudes totally alien to Petrarch’s idealizing view of the lovers’ relationship. But all these poems descend ultimately from the complexities of...

... new friend, the prototype of Miriam in his Sons und Lovers, he was reviving an old enthusiasm. It is fair to suspect that Lawrence, then sixteen years old, was much less delighted by Little IVomen than Jessie Chambers was. He may have introduced the girl to Miss Alcott’s sequels, Little...

... “getting it out clean”4 the first two times; and it seems to me that the third version achieves resolution at 1 Ian Gregor makes this point well in “The Novel as Pro hecy: Lady Chatterley’s Lover (1928in Ian Gre or and Brian Nicholas, The Moral and tie Story (London: Faber and Faber...

... “Every Lover admires his Mistress,” Burton summons up a long list of deformities-things “nasty,” “rank,” and “beastly”-which a lover will ignore. Despite the zest of this catalogue, its length implies that a lover’s visions may be not harmless, but instead a kind of madness.11 If a lover is...

... lover and is daead.e Arsaces, King of Parthia, like the grieved parents of Romeo and Juliet, commemorates the death of the heroine and a 1 Harvard University Press, 1937, I, 65-66. *Only the first two tomes of Parthenism were published in 1654; tomes three and four followed in 1655, a...