By May Sarton
May Sarton's sharp exploration of ways women and men love—and how they clash—as proven via one tempestuous relationship.
Ned Fraser hasn't ever obvious himself as a husband. His uncommon task at a Boston financial institution has saved him chuffed whereas a string of failed amorous affairs has involved him little. yet no girl has ever affected him the best way Anna Lindstrom does. A live performance singer of giant allure and sweetness, Anna is possessed of a colourful presence that stands in stark distinction to Ned's diffidence. And but regardless of herself, she can't aid yet be interested in the power suitor who plies her with flowers.
Their courtship is brief and severe, and the spark that introduced them jointly fuels not just their love, but in addition a needling undercurrent of volatility. Her ardour and narcissism agitate him, whereas his tempered restraint bores her into resentment. Their opposing personalities bring about anger and clash, and eventually to a crossroads that might both tear their younger marriage aside or weave it again jointly, improved than ever.
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Extra info for Anger
March– June: publication of Les Misérables (novel), written – and –. April: publication of William Shakespeare (literary criticism). October: Charles Hugo marries Alice Lehaene. October: publication of Songs of Street and Wood (Les Chansons des rues et des bois, verse), written and . March: publication of The Toilers of the Sea (Les Travailleurs de la mer, novel). August: birth of Charles’s son Georges. August: death of Adèle I. April– May: publication of The Laughing Man (L’Homme qui rit, novel).
Thus we ﬁnd the spirit of melancholy and meditation and the demon of analysis and controversy appearing together–– virtually arm in arm. Longinus marks one end of this transitional age, Augustine* marks the other. We mustn’t eye the period too scornfully; it was the seedbed of everything that has come to fruition since, and (allow me to use a banal but expressive image) its second-rate writers made it a dunghill to fertilize the future harvest. The Middle Ages were grown from the Byzantine empire.
And what’s more, Boileau. ’ These are, no doubt, signiﬁcant arguments (their most notable merit being their originality). But I don’t have any obligation to answer them. I’m not erecting any system here–– God preserve us from systems! I’m simply stating a fact. I’m writing history, not criticism. Like it or not, this is the way things are. To return to the point, then, let’s try to show that this fertile union of the grotesque with the sublime has been the origin of the modern spirit–– so complex, so varied in form, so inﬁnite in its creations (in striking contrast to the uniform simplicity of the ancient spirit); this must be our point of departure, if we are to describe the real and radical diﬀerence between the two systems.
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