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Baudelaire's covert allusion to the "Prologe" by way of comparison, in "Le Chien et le flacon," of readers to dogs and the text itself to a perfume bottle might thus offer a clue as to how one might approach the texts of Le Spleen de Paris.
Covert allusion to the Castlehaven scandal might also, however, bring to mind another celebrated instance of alleged sexual deviance, and one which would have been of particular interest to the author of 'Tis Pity She's a Whore.
By a subtle, complex linkage of small-scale, overtly casual actuality with myth and history, poets can manage to raise presumably covert allusions to a resounding general context.
No one, of course, is going to argue with architextuality or paratextuality, but we probably need a broad category which will cover, as far as is possible, (more or less) verifiable traces of individual texts in later texts, ranging from the close and explicit, one-to-one rewriting of the true 'palimpsest' (though as Genette realizes, an almost infinite number of hypotexts of hypo/ertexts can show through in the 'final' hypertext), through overt and covert allusions, to unconscious, masked, agonistic, repressed traces of deeply transformed precursors.
In this context, it is claimed, the harsh, contemptuous tone of The Medall should be seen not as a mark of personal alarm or defensiveness on Dryden's part, but as part of a shared Tory rhetoric of `indignant outrage'; and the political `parallel' of The Duke of Guise, with its covert allusions to Shaftesbury's exclusionist `Association', should be seen as an adroit updating, of some of the central concerns of Absalom and Achitophel in the light of the changed controversial circumstances of 1682.
Two factors underline Melchiori's argument and the ensuing hypotheses: a Falstaff character appears in each of the six, and each play provides "open or covert allusions to" the Order of the Garter and its ostensible concern with issues of "Policy and Honor" (12).
In this context, it is claimed, the harsh, contemptuous tone of The Medall should be seen not as a mark of personal alarm or defensiveness on Dryden's part, but as part of a shared Thory rhetoric of `indignant outrage'; and the political `parallel' of The Duke of Guise, with its covert allusions to Shaftesbury's exclusionist `Association', should be seen as an adroit updating, of some of the central concerns of Absalom and Achitophel in the light of the changed controversial circumstances of 1682.