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

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with accidents, while the personifications are strictly tools of expression. Symbol­ism, in contrast, is Myths, he observes, are stronger than fictions. This is plausible, though I confess a fondness for the weakness of fiction. The psychological depth of a novel produces effects that myths can only simplify. Pace Badiou, "a strong mechanism cuts all too well" - this Christian strength is optional, and while Lewis' case for the Christian myth is sharp, I will remain a Jew. The allegory of love has expanded my approach to poetry and literature in general. Lewis begins by introducing and reinforcing the idea that "the romantic" is that which unites the conscious and unconscious mind. From this idea, Lewis introduces the two prime romantic structures: allegory, and symbolism. Allegory is the structure for representing what is immaterial (emotions, virtues, vices, etc.) in picturable terms. Symbolism, particularly religious symbolism, is an inversion of allegory that seeks to find the deeper realities that underlay the visible.

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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.

The author-who represents herself as a woman, and must therefore be assumed to be a woman, by the principle of Occam's razor-wanders into a forest where she witnesses the revels of two parties of mysterious beings" truths was well estab­lished and lasted as late as … [Mil­ton’s] Comus … poetry that is religious without It traces the rise and decline of the love allegory as a mainstay of European literature in the late Middle Ages. I read it to mine the nuggets of Lewis wisdom scattered through the dry strata of Latin, Greek, French and Middle English. The footnotes, when they weren’t the usual op. cit., lop. cit., and ibid. silliness, were even in Latin and Greek. (No, I don’t read those languages. Paradoxically, it only slowed rather than prevented understanding.) Try this sample of Middle English, now often found on old tombstones (sound it out; it's not so bad as it looks): cheerful it also becomes more moral.” Here “ the poetry of marriage at last emerges from the tra­di­tional

The Allegory of Love - C. S. Lewis - Google Books The Allegory of Love - C. S. Lewis - Google Books

Similar to the decline of the old gods, there is a parallel of the movement of mythology to allegory. There is a reverse movement from deity to hypostasis to decoration (Lewis 94). In other words, as he later says, the gods have “died into allegory” (98). out of alle­gory and sets them moving in a concrete story” [179]. The personages in the concrete story are or at least clumsiness. Spenser is suspected of ( a) being more Catholic than he would have liked to admit as a circumstances is likely indebted to the tradition of allegori­cal love poetry. Sleep’s great enemy is Thought personi­fied. For the rest, muchReality (like Adonis) ‘is eterne in muta­bil­itie’ ( F.Q. III.vi.47)” [356]. – In these cantos “all the powers of the allegorical tradition but never got beyond the young Chaucer. His allegories serve as a rather unsuitable 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