Being in Love from Jane Austen to D. H. Lawrence
Drawing on a wide range of disciplines, Polhemus shows the reciprocity of love as subject, the novel as form, and faith as motive in important works by Jane Austen, Walter Scott, the Brontës, Dickens, George Eliot, Trollope, Thomas Hardy, Joyce, D. H. Lawrence, Virginia Woolf, and Samuel Beckett. Throughout, Polhemus relates the novelists' representation of love to that of such artists as Botticelli, Vermeer, Claude Lorrain, Redon, and Klimt. Juxtaposing their paintings with nineteenth- and twentieth-century texts both reveals the ways in which novels develop and individualize common erotic and religious themes and illustrates how the novel has influenced our perception of all art.
1: Faith, Love, and the Art of the Novel: "The Feather Plucked from Cupid's Wing"
2: The Fortunate Fall: Jane Austen's Pride and Prejudice (1813)
3: Fatal Love and Eroticizing History: Walter Scott's The Bride of Lammermoor (1819)
4: The Passionate Calling: Emily Bronte's Wuthering Heights (1847)
5: Faithful Repression and Erotic Enchantment: Charlotte Bronte's Villette (1853)
6: The Fixation of Love: Charles Dickens's Great Expectations (1860-61)
7: In Love with Moistness: George Eliot's The Mill on the Floss (1860)
8: The Mirror of Desire: Anthony Trollope's Phineas Finn/Phineas Redux (1869-74)
9: Pastoral Erotics: Thomas Hardy's Far from the Madding Crowd (1874)
10: Tristan Is Sold: The Joyce of Love and the Language of Flow(er)s (1904-39)
11: The Prophet of Love and the Resurrection of the Body: D. H. Lawrence's Lady Chatterley's Lover (1928)
Epilogue: The Art of Love and Love among the Ruins