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• W2929038681 abstract "erotic intent” (82) of the floral imagery and the close linkage of poetry, sex and botany in “I stood tip-toe” and other poems. The two essays on Shelley are both concerned with narrative. Tilottama Rajan’s ‘“The Web of Human Things’: Narrative and Identity in Alastor” finds in Shelley’s poem “a movement from the sublime to the hermeneutic” that is connected to “another phenomenon: the unwilling transposition of the visionary theme from the lyric to the narrative mode” (29-30). At first glance, Shelley Wall’s “Baffled Narrative in Julian and Maddalo” had the look of a brilliant graduate-seminar term paper; but it turned out to be much better than that. The embedded narrative of the Maniac’s speech, which cannot be assimilated into “the genre of urbane conversation,” is shown to enact at the level of discourse a “thwarting of narrative” that corresponds to the emotional and intellectual confusion the Maniac evokes in the poem’s title characters. The other four essays in New Romanticisms are heterogeneous. Ian Bal­ four’s subject is the social contract and the status of speech acts in Godwin and Inchbald, while Jean Wilson writes on representations of women in Ro­ mantic texts, including works by Goethe, Hoffmann and Christa Wolf. The title of David L. Clark’s fifty-nine page contribution is “Against Theological Technology: Blake’s ‘Equivocal Worlds’.” Inter alia, J. Douglas Kneale’s “Symptom and Scene in Freud and Wordsworth” attempts to draw out from Alan Liu’s Wordsworth: The Sense of History (1989) implications for a psy­ choanalytic reading of the poet. I didn’t find that these and the other essays generated much productive dissonance; but they did persuade me that Ro­ mantic studies are alive and well in Ontario. k e r r y McSWEeney / McGill University Muriel Whitaker, ed., Sovereign Lady. Garland Medieval Casebooks, Yol. II (New York and London: Garland, 1995). xviii, 220. $36.00 (U.S.) cloth. As most of the headings suggest, this is a lively collection of essays on medieval women in life and literature. The titles are: “Newly Ancient: Reinventing Guenevere in the Morte Darthur” (Carol Hart); “ ‘Love Can No Frenship’: Erotic Triangles in Chaucer’s ‘Knight’s Tale’ and Lydgate’s Fabula duorum mercatorum” (Pamela Farvolden); “The Disposal of Paston Daughters” (Laura Watson); “ ‘Paradys or Helle’: Pleasure and Procre­ ation in Chaucer’s ‘Merchant’s Tale’ ” (Carol Everest); “The Artists’ Ideal Griselda” (Muriel Whitaker); “The Bride of Christ Image in The Ancrene Riwle” (Sister Juliana Dusel); “A Female I-deal: Chaucer’s Second Nun” (Elaine Filax); “The Soul Journey of Margery Kempe: Hysteria, Vision and Record” (Charlotte Garrett); “A Vindication of the Feminine in the 236 Showings of Julian of Norwich” (Arlette Zinck). Of these, four are mainly Chaucerian in subject matter, four are concerned with writing pertaining to women who actually lived, and two are related to other medieval works. Their style is usually appropriate to the subject matter and achieves a com­ mendable clarity. Moreover, while the approach varies from the learned to the popular, the point of view taken can be unanticipated and refreshing. For example, Farvolden argues convincingly that in a patriarchal society, male bonding may override the code of heterosexual love, with the result that the woman in a tri­ angular relationship becomes an object of barter rather than of sovereignty. In “The Merchant’s Tale,” Everest shows the relevance of a common me­ dieval belief that for conception both the male and the female must have an orgasm. More than once I have made a similar point to explain the appar­ ent sterility of the Wife of Bath. Nymphomaniac she might be but, as she herself declared, she did not like sex (bacon). To the modern reader, Ever­ est’s contention that May was only able to conceive because of her pleasant encounter up a pear-tree will probably seem as feasible as it must have done to the medieval. The other two “Chaucerian” papers also incldue the unusual. Whitaker’s is notable for the descriptive detail lavished on artistic treatments of the Griselda story, and her account of the relevant eighteenth- and nineteenthcentury paintings seems worthy of even further development. Similarly..." @default.
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• W2929038681 title "Sovereign Lady ed. by Muriel Whitaker" @default.
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