We have been assinged the task of connecting all four of MH(not MA) Abrams's literary perceptions within The Idea of Order at Key West. After this we learned a few things, among them that, according to Northrop Frye, there are two kinds of Romance: the secular(stories of knights) and the religous(lives of saints). Don Quixote obviously ascribes to the former, which is somewhat problematic concerning that he lives in a low-mimetic world.

We also learned that A Midsummer Night's Dream illustrates every one of Frye's Comic modes, from mythic to ironic. In fact, the mythic and ironic meet up in the herosgamos(marriage of the sacred) that occurs in the sexual union between Titiania the fairy queen, and Bottom the weaver who has the head of an ass. So when you hit bottom, you go up.

This lead into the observation that tragedy, unlike comedy, doesn't like sex at all. Hamlet after all says "there shall be no more marriages." I confess I immediately wondered where this would place Romeo and Juliet(which I have always had a real thing for), since it is what Harold Bloom called(if I remember rightly) "a high song of the erotic", and a tragedy. I realize that its considered minor Shakespeare and not even an authentic tragedy by some critics, but still... I think there sex is throughout the text in both obscene and transcendant fashion. So did obscene win out with the young lovers deaths? This is all probably a topic best suited for another time and place.

Instead, I will deal with my Frye box(or try to)...
Low-mimetic thematic , which is concerned with the individual writers perceptions and feelings of creation. This is where the Romantic poets and Jane Austen come onto the scene. They are of course very different but that is the point. Individuals don't create or percieve the same.

If any erroneous notions are spied, I'd be grateful to have them pointed out.