By Irvin Ehrenpreis
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Extra resources for Acts of Implication: Suggestion and Covert Meaning in the Works of Dryden, Swift, Pope, and Austen
At once she produces a cup of poison and asks him to drink it. One feels that an elemental rage is continuously at work, only shifting, as it is frustrated, from one outlet to another. The fury of love easily becomes the fury of suicide or murder; the phallic dagger gives way to the vaginal cup: Aureng-Zebe: In me a horrour of my self you raise; Curs'd by your love, and blasted by your praise. You find new ways to prosecute my Fate; And your least guilty passion was your Hate. ] Aureng-Zebe: I'll grant you nothing; no, not ev'n to die.
At this point, the real hero of the play, a Herculean young conqueror named Almanzor, chooses to shift sides; and so he comes to the aid of Boabdelin. Led by Almanzor, the royal forces now beat back those of the usurper; and Abdalla, after his moment in purple, flees alone to find safety in the fortress of the Albazyn. He innocently supposes that Lyndaraxa will do all she can to rescue and comfort the man who has sacrificed his honor in order to set a crown on her head. As Abdalla approaches the Albazyn, he hails a sentry who then challenges him; and the following exchanges take place: Soldier: What orders for admittance do you bring?
It is meaning that he illuminates, a concept of love that applies to heroes in general. 13 In many passages we may observe how the absence of visible gestures only brightens the implications of Dryden's words. So in Tyrannick Love the brutal emperor Maximin is audibly phallic in telling how he responds to the beauty of Catherine: My Love shoots up in tempests, as the Earth Is stirr'd and loosen'd in a blust'ring wind, Whose blasts to waiting flowers her womb unbind. (III, 68) Again, in the First Part of The Conquest of Granada, when Almanzor stands in place and stares fixedly at Almahide, his 13.