By David Baldacci
A riveting debut novel of homicide, honor, loyalty, and betrayal that reaches all of the technique to the Oval place of work. A vicious homicide regarding the president and his mistress leads to a coverup orchestrated via the zealously dependable leader of defense and the key carrier. yet, unbeknownst to the president and his lackeys, one not going witness observed every little thing. Will american citizens research the truth?.
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Yet the very success of this act of retrieval raises even more acutely the question of how the betrayal comes about. If it is not due to female fickleness, what is its cause? In answering this question, we come near to the heart of Chaucer’s continual concern with betrayal. For it is, in his eyes, the bitterest manifestation of the most fundamental characteristic of human nature: the capacity for change. 2). qxd 4/16/02 4:42 PM Page 19 Women and Betrayal 19 Gladeth hymself;” thus seyn men, as I gesse.
13). The ‘truth’ of Dido’s story was traditionally bound up with the question of literary authority, with the kind of belief that is to be accorded to literature. Attitudes to women are determined by the endorsement or rejection of literary authority: when Jehan le Fèvre answered Matheolus’s antifeminist accusations in his Livre de Leesce, it was on the grounds that his literary evidence was no evidence at all, Car de mençoingnes y a maintes En ces ystoires qui sont faintes. (754–5) He points out that many of Matheolus’s stories illustrate male treachery rather than female folly; but in any case, he says, writers such as Homer and Ovid are unworthy of belief because they are pagans.
O soth ys, every thing ys wyst, Though hit be kevered with the myst. ’ (345–60) It is in her role as victim of ‘wikke Fame’ that Dido claims entrance to Chaucer’s House of Fame; she is the suffering human subject who must bear to be represented by the accounts of others – accounts that are circulated not only in oral form (‘songe’) but also in writing (‘red’). At the head of this written tradition stands Book IV of the Aeneid. Vergil’s account is not devoid of 8 Dronke ( 1992, 451) comments on ‘the wider, exemplary dimension’ that Chaucer gives to Aeneas’s treachery in Dido’s lament; her story becomes meaningful ‘insofar as the magnificent but remote queen of Carthage is seen to have an experience no different from that of any woman betrayed by any man’ (452).