Thestylis

Thestylis

embodiment of peasant prettiness. [Br. Lit.: L’Allegro, Brewer Dictionary, 1074]
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Le camarade des plaisirs et des travaux litteraires d'autrefois, Victor Voconius, etait mort; je me chargeai de fabriquer son oraison funebre; on sourit de me voir mentionner parmi les vertus du defunt une chastete que refutaient ses propres poemes, et la presence aux funerailles de Thestylis aux boucles de miel, que Victor appelait jadis son beau tourment.
Voconius est un personnage historique, Thestylis (sic) aussi; et H.
iam pridem a me illos abducere Thestylis orat; et faciet, quoniam sordent tibi munera nostra.
The ninth chapter, Stephen Guy-Bray's "Andrew Marvell and Sexual Difference," offers highly intelligent and precise close readings of the form--especially the rhyme schemes, the coupling schemes--of two of Marlowe's poems, "The Definition of love" and "Ametas and Thestylis Making Hay-Ropes.
Thestylis has long been begging to get them from me--and so she shall, as in your eyes my gifts are mean.
Elizabeth Story Donno points up formal linkages between "Thyrsis and Dorinda," "Clorinda and Damon," "Ametas and Thestylis," and "The Resolved Soul and Created Pleasure" and prints them together at the opening of her chronologically ordered and widely-used Penguin edition.
The play's correct, even lucid, but textbookish Latin is reminiscent of the university classroom and suggests student participation, as when Thestylis, the wife of the Anabaptist peasant Meliboeus, laments, "O temporal O mores
And Simaetha, of course, has only her slave Thestylis as an internal audience for part of the poem.
Like Thestylis scooping up the murdered rail to serve to the mowers responsible for its death, Marvell functions as a Sprecher figure, a character like that in Mannerist painting, in that he bridges the gap between his patron and portrayal and becomes part of the picture.
Given the duties accorded to her within the georgic economy briefly sketched by Marvell, Thestylis seems to exist primarily to minimize loss in this violent economy, and to ensure that nothing lies waste in a mode intensely concerned with the frill semantic range of "waste.
Probably familiar to both Fairfax and Marvell, Thestylis functions as a Sprecher figure, a character in Mannerist painting who exists in-between the world of the artist and that of the portrayal.
No one who has read The Last Instructions or a supposedly earlier lyric like "Ametas and Thestylis making Hayropes" can fail to see Marvell and Rochester as distinct talents operating in opposed or dissociated spheres.