By Sara Pendergast, Tom Pendergast

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Wilde’s theme of ‘‘each man kills the thing he loves’’ comes together here with Dostoevskii’s Crime and Punishment, for the negative way out, revenge, now vies with the hope of salvation in her love. But it is not put to the test, for at the last moment the ‘‘man’’ makes a journey over time and space to assert that there is no happiness without happiness for everyone, and Maiakovskii’s past and present personae fuse in a classical martyr figure: his ideal here is universal love, eros founded on agape.

Pessimism, associated with suffering, alienation, and loss, has competed with optimism in the interpretation of the epic, but with particular emphasis in Book XII. The verdict is far from unanimous regarding the hero, but one scholar, associated unintentionally with the ‘‘Harvard pessimists’’ (Wendell Clausen), has caught the humane sensibility of the man of war: ‘‘Touched in his inmost being, Aeneas hesitates . . ’’ Aeneas has to make difficult and agonizing choices; he is a hero who is true to life.

1210–12 Titurel, poetic fragment by Wolfram von Eschenbach, written c. 1212–20 The Romance of the Rose (de Lorris and Meung), poem, c. 1225–70 Rose Garden, prose and verse by Sa‘di, 1258 The New Life, poems by Dante Alighieri, 1295 Water Margin, anonymous novel, 14th century xxxvii CHRONOLOGICAL LIST OF WORKS The Divine Comedy, poem by Dante Alighieri, 1321 The Ninth Tale of the Fifth Day of The Decameron, story by Giovanni Boccaccio, c. 1350 “Sonnet 90,” poem by Petrarch, before 1356 The Book of the City of Ladies, prose by Christine de Pizan, 1405 “Ballade des dames du temps jadis,” poem by François Villon, 1489 (written c.

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