"I stumbled across 'A Palinode
' a few years ago and something struck me as being familiar while reading it.
Perhaps most baffling of all the satires, at least for readers expecting consistency in their authors, and similar in its bivalent message to 5.1, is the so-called palinode
that Filelfo wrote to Cosimo, probably in about 1444.
One thinks of the literary palinodes
that print authors have created--Fielding producing in Amelia a more serious vision than he allows us to have in Tom Jones of what dangers lie in store when one marries a reformed rake, or Dickens creating the noble Jew Riah in Our Mutual Friend as an antidote to his villain Fagin in Oliver Twist.
This uncertainty is exemplified in Stesichorus's palinode
and in the story of Helen's eidolon as developed by Euripides' Helen (13-15).
The subject of Light in the Dark Room is a minor twentieth-century genre that Prosser has unearthed: the photographic memoir as palinode
. A palinode
is a recantation or retraction of a previous position, and in Prosser's terms it becomes a ritual of impossible contrition.
It may be the palinode
is reflected in Josephus' account of Gaius in War 2, and Antiquities 18-19.
But then the palinode
of the last line, which, as so often in Millay, surprises through its down-to-earth--almost throwaway--quality that sneaks up on the reader: "And lust is there" perhaps less than admirable, but also "nights not spent alone," a small victory over loneliness.
Yet, through his palinode
, the Hellenic longing for the beautiful is also respiritualized and repoliticized.
Barthelme is a metafictional minimalist: one of the characters in Snow White drolly remarks that the "palinode
" (13), or retraction, is his favorite form.
Thus God, Locke, and Equality represents a palinode
. "I actually don't think it is clear" Waldron &dares, "that we--now--can shape and defend an adequate conception of basic human equality apart from some religious foundation" (13).
Socrates avers that he will now compose his own Palinode
to avoid being
Bonnet's occasionally overwritten semiotic analysis of Huysmans's use of caricature, parody, pastiche, satire, fantaisie, irony, black humor, and palinode
concludes with a satisfying synthesis of the whole of Huysmans's oeuvre, one often still subjected, as Jean Borie complains, to arbitrary, mutilating cuts into successive "periods" or "stages." Noting that the comic is always an "art parasitaire," "un vampire qui rit en mordant" (75), Bonnet stresses the self-referentiality of Huysmans's text which, in pointing to itself, also delivers "une pluralite de significations au lecteur attentif" (304).