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By Keith M. May

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Lovelace, he insisted, was an absolute villain, thoroughly evil, and if any correspondent pointed to Lovelace's 'good' attributes he angrily pushed such attributes to one side. This further illustrates his tendency to regard evil as essentially mixed, but goodness as uniform. What additionally emerges from this consideration of Richardson is that he, in contrast to Defoe, loved the tribulations and triumphs of entrapment. In his novels scarcely anyone flits about from place to place, from group to group, from lover to lover.

Perdita's gifts of flowers to the disguised Polixenes and Camillo are accompanied by phrases conveying natural sexuality (the sexuality of mating and reproduction with not a twinge of lewdness), so that she is erotic and modest at the same time. Marina in Pericles is likewise totally innocent in every sense, not merely the sexual. 'I never killed a mouse, nor hurt a fly', she says. In the brothel at Mytiline, Marina impresses, as she has previously impressed the pirates who captured her, by her wit as well as by her resolution.

Nothing in nature can be relied upon; our faith should be in God alone. There is no moral in the poem apart from this. Criseyde is not condemned by the author; nor indeed is Pandarus, or Diomede, or Calchas. Chaucer is wholly sympathetic towards his main characters and objective about the minor figures, so that he is a moralist purely in the grand sense of depicting (with conviction but without melancholy) an imperfect world. With no precedents in English Literature to guide him (and no adequate model in his immediate source, Boccaccio's ll Filostrato) Chaucer managed to accommodate some contemporary prejudices about women while showing up the absurdity of all such prejudices.

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