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Descriptive haze lets a reader experience sex’s capacity to dislocate both personal experience and the social fabric in which one is embedded, and alerts one to the fact of sex’s occurrence, but it also absolves the writer of a particular kind of obscenity, one that comes of naming things as they are[3].

A hermeneutic mode can also undergird moments of desirous delight, an effect familiar to readers of : “After sitting two long moments while he moved his whip and could say nothing, Lydgate rose to go, and Rosamond, made nervous by her struggle between mortification and the wish not to betray it, dropped her chain as if startled, and rose too, mechanically.

The novel exploits discourse’s referential fluidity, drawing together, via metaphor and allusion, divergent concepts, divergent ways of thinking about and categorizing the world.

Auerbach explains how the thickness of historicized life can find full flesh within the representational system of the novel: "..another passage from he says of Rastignac that he had give himself up to the lessons and the temptations of luxury "with the ardor which seizes [grasps] the calix of a female date-palm for the fecundating dusts of its nuptials.[1] It is needless to cite historical motifs, for the spirit of Historicism with its emphasis upon ambient and individual atmospheres is the spirit of his entire work" (Auerbach).

The referential seams that bind Rosamond’s chain to the narrator’s figurative chain are the same seams that bind the Forget-me-nots that stand in in Lydgate’s vision for Rosamond’s eyes.

For most of the respectable novel’s history, if sex offers a plausible route out of the capitalist logic of the marriage plot by virtue of its discombobulating effects on the body and the mind, sex’s demands respectable cover.Symbol and metaphor covered the tracks of a narrative eye not quite able to perceive what it also wanted to show.And characters that bucked the novel’s insistence on organizing lives into marriageable, sociable worlds were, more often than not, jettisoned from the plot, or at least pushed to a novel’s periphery.Instead, sexual action gives knowledge that mere desire cannot reveal.The marriage plot’s dominant mode implies that what makes you marriageable is your access to and accumulation of stuff.

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And both methods of description can be used to produce explicit sex scenes, scenes that are unmistakably scenes of sexual act.