[…] what had often been read of in books, but for many generations had happily been unknown to England, for the incarcerations, the torturings, the starvings, the immurings, the murderings proper to a monastic; […]

To emphasize this point, Blake actually buries the text underground, and worms, rather than plant tendrils, divide the stanzas. And at the base of the plate, in the underword that has been created through devotion to a specific idea of death, we see the coffin, covered with turf, and marked with criss-crossed briars.

Even Raja Rao's, Serpent and the Rope, is much less successful in its attempt to transcreate a Sanskrit structure into English.

Like war novels, medieval literature is also sexually ambiguous (see Appendix one for more on medieval queerness). An example is slash inspired by the medieval-set Merlin, for which romantopic and intimatopic frameworks are useful.