By Iris Murdoch
Set in London and within the South of France, this brilliantly established novel facilities on ladies: Gertrude Openshaw, bereft from the hot dying of her husband, but awakening to ardour; and Anne Cavidge, who has lower back doubtful from decades in a nunnery, merely to come across her own Christ. a desirable array of guys and ladies hover in pressing orbit round them: the "Count," a lonely Pole obsessively reliving his émigré father's patriotic ache; Tim Reede, a seedy but beautiful artist, and Daisy, his mistress; the manipulative Mrs. Mount; and plenty of different magically drawn characters relocating among wish and legal responsibility, guilt and pleasure. This variation of Nuns and Soldiers incorporates a new advent by means of popular spiritual historian Karen Armstrong.
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Extra info for Nuns and Soldiers (Penguin Twentieth-Century Classics)
Example text
10–11). ” In a poem ascribed to Virgil by Renaissance critics, the speaker reveals the Epicurean’s emotional sacrifice when he bids farewell to his beloved, his “care of cares” [o mearum cura . . curarum], so that he can pursue Epicurean ataraxia, a life “free of care” [ab omni . . ” Yet his rejection of a specifically spiritual object of desire is itself true to Epicurean principles, for the Epicureans spurned traditional religion, just as they spurned erotic attachment, as a threat to tranquility.
Like Phrygius, though in an opposite way, Graccus avoids difficult but necessary choices. By accepting all religious sects as valid on the grounds that, like women, they are still “one kinde” despite their “divers habits” (l. ” Donne bids his reader and himself to seek “true religion” (emphasis mine), not religion as such; to be a “Religion” is not necessarily to be a “true religion” any more than to be a woman is necessarily to be an honest one. In “The Indifferent,” one of Donne’s libertine lyrics, the speaker claims he can love any kind of woman as long as “she be not true” and not “binde” him to reciprocal fidelity (ll.
Some of the satiric portraits have Juvenalian models, but their careful arrangement recalls Horatian depictions of opposite deviations from the mean rather than Juvenal’s looser mode of progression. Donne first presents a triad of characters who embrace Roman Catholicism, Geneva-style Calvinism, and the English church. Because members of the English church often lauded it as the mean between the excessive and deficient ceremonialism that they ascribed, respectively, to Catholicism and radical Protestantism,20 readers might have expected Donne to attack the first two characters’ extremism and then praise the third’s embrace of the English middle way.