out of alle­gory and sets them moving in a concrete story” [179]. The personages in the concrete story are discernible reason beyond literary convention. An omnia vanitas passage at the end seems a merely mechanical echo

Lewis, The Allegory of Love LEWISIANA: Summary of C. S. Lewis, The Allegory of Love

Love is the commonest these of serious imaginative literature and is still generally regarded as anble and ennbling passion. Love has not always taken such precedence, however, and it was in fact not until the eleventh century that French poets first began to express the romantic species of passion which English poets were still writing about in the nineteenth century. This book is intended for students of medieval literature from A-level upwards. Anyone interested in the “Courtly Love” tradition. Fans of C.S. Lewis’s writings. The Allegory of Love: A Study in Medieval Tradition by C.S. Lewis – eBook DetailsIt is an academic book written at a popular level, so understand that. Lewis has a monograph out there on the Elizabethans that is more serious and therefore harder to find and expensive. I will probably have to get into it after this sample of what his specialty in literature really was. In the first chapter, Lewis traces the development of the idea of courtly love from the Provençal troubadours to its full development in the works of Chrétien de Troyes. It is here that he sets forth a famous characterization of "the peculiar form which it [courtly love] first took; the four marks of Humility, Courtesy, Adultery, and the Religion of Love"—the last two of which "marks" have, in particular, been the subject of a good deal of controversy among later scholars. In the second chapter, Lewis discusses the medieval evolution of the allegorical tradition in such writers as Bernard Silvestris and Alain de Lille.

The Allegory of Love - Wikipedia

angels and the fiends” [86]. Thus was preserved “that atmosphere in which allegory was a natural method” [84]. two worlds is the real one” [42]. A fusion of Frauen­dienst and the offi­cial religion was not achieved yet. Any­one 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). 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. Gower is the “first considerable master of the plain style in [English] poetry”. At the same time he is almostFulgen­tius (same period) explained Vergil’s entire Aeneid as an allegorical poem on the life of man, thus creating a no slightest sense of rebellion or defiance” [104]. In his De planctu naturae (“Nature’s complaint”), Nature laments the urn:lcp:allegoryoflovest00lewi:epub:5750a07a-88b7-454c-af09-006bbdea14e3 Foldoutcount 0 Identifier allegoryoflovest00lewi Identifier-ark ark:/13960/t1bk2nr4f Lccn 68001027 Ocr ABBYY FineReader 8.0 Ocr_converted abbyy-to-hocr 1.1.20 Ocr_module_version 0.0.16 Openlibrary_edition Lewis has written one of the most important chapters of criticism on The Romance of the Rose. We, however, will not explore it. The Romance is not as familiar to us as it was to Lewis, and we are probably better served by his chapters on Chaucer and Spenser. We speak of the Chaucer of Troilus and not of the Canterbury Tales. This is a magnificent essay, but I am going to disagree with some of Lewis’s main conclusions, which we will see below.

The Allegory of Love: A Study in Medieval Tradition - JSTOR The Allegory of Love: A Study in Medieval Tradition - JSTOR

dun­ces, it would not be safe to neglect their testimony. … If they all took Chaucer’s love poetry au grand sérieux, it is 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. free allegorical treatment of life in general”, a hybrid form of courtly and homiletic alle­gory, liberat­ing the mean” [271]. For all its un­pleas­antness, the poem served to bring “more of our experi­ence” into the realm ofrecantation that concludes their work. In fact Ovidius himself had written a Remedium Amoris. “We hear the bell clang; and the children, sud­denly hushed cheerful it also becomes more moral.” Here “ the poetry of marriage at last emerges from the tra­di­tional