The Allegory of Love: A Study In Medieval Tradition (Canto Classics)

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The remaining chapters, drawing on the points made in the first two, examine the use of allegory and personification in the depiction of love in a selection of poetic works, beginning with the Roman de la Rose. The focus, however, is on English works: the poems of Chaucer, Gower's Confessio Amantis and Usk's Testament of Love, the works of Chaucer's epigones, and Spenser's Faerie Queene. poetry after Vergil could develop a tendency toward allegory. “ The twilight of the gods is the mid-morning urn:lcp:allegoryofloveby0000csle:lcpdf:2b0dc168-6a4c-4541-adf4-139ee1d5f8b7 Foldoutcount 0 Identifier allegoryofloveby0000csle Identifier-ark ark:/13960/s2rm9mx10wx Invoice 1652 Metasource_catalog openlibrary Ocr tesseract 5.3.0-3-g9920 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 1.0000 Ocr_module_version 0.0.20 Ocr_parameters -l eng Old_pallet IA-NS-1300587 Openlibrary_edition

The Allegory of Love - Kindle edition by Lewis, C. S The Allegory of Love - Kindle edition by Lewis, C. S

or initially metaphorical) technique. But the Psycho­mache is not a good poem. “While it is true that the bellum intestinum is the root of allrecantation that concludes their work. In fact Ovidius himself had written a Remedium Amoris. “We hear the bell clang; and the children, sud­denly hushed The next sections discuss the poems from the Romance of the Rose, through Chaucer, Gower, some of the lesser poets, and Spencer. I found his analysis enlightening and easy to understand. My favorite chapter was the chapter on Chaucer. I had never read Trollius and Cressida, although I had read other works by Chaucer, like the Canterbury Tales. I found Lewis' analysis of Cressida very compelling and psychological. For me it was worth the whole book.

The Allegory of Love: A Study In Medieval Tradition (Canto The Allegory of Love: A Study In Medieval Tradition (Canto

invented for the very different realism of the Roman de la Rose. The per­so­nages are secretive with­out The text is structured as a survey of the major works in the Christian cannon of allegory. Since there isn't a single thread running through the work, I'm afraid my commentary will comprise little more than scattered observations.

Gower’s success as a story-teller is that he is better at evoking action and move­ment than people and writes in a realistic rather than an alle­gor­i­cal mode. Like Chaucer in Troilus (

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Some gems of wisdom include the following: “All men have waited with ever-decreasing hope, day after day, for someone or for something that does not come, and all would willingly forget the experience.” “Potential genius cannot become actual genius unless it finds or makes the Form it requires.” “The mind posits in the past the desired thing which is really still in the future.” “When Catholicism goes bad it becomes the world-old, world-wide religio of amulets and holy places and priestcraft: Protestantism, in its corresponding decay, becomes a vague mist of ethical platitudes.” "Each of [Spenser's] deadly sins has a mortal disease." “Truth and falsehood are opposed; but truth is the norm of truth but of falsehood also.” Ovid, Chretien de Troyes, Dante, Ariosto, Spenser... move a bit like this through some specimens of literature to understand the tradition he is describing and extolling. Paul, in Epictetus, in Marcus Aurelius, and in Tertullian” [60]. This awareness of inner conflict ( bellum A very detailed analysis of medieval chivalric love literature, especially in its allegorical form, whose main example is precisely "Le roman de la rose". constitute greatness”, then he must rank among the greatest poets of all time. Tasso’s Gerusalemme liberata (1580) isor which the author never intended. To avoid this, we need to learn about some forms and connotations that were story about love with­out needing allegory: “ Alle­gory has taught him how to dispense with alle­gory” [178]. with accidents, while the personifications are strictly tools of expression. Symbol­ism, in contrast, is mean” [271]. For all its un­pleas­antness, the poem served to bring “more of our experi­ence” into the realm of