Abstract
In Augie March, Henderson, and Herzog, Bellow has created an open style of ideological comedy that relates him to Rabelais, Burton, Sterne, Melville, and Joyce, earlier masters of an encyclopedic comedy of knowledge. The lively voice and intellectual probing in Augie March can be more fully valued when the book is related to such predecessors rather than to the picaresque tradition. Bellow's comic characters have an individual idiom, voice, and range of concern that unobtrusively unify his apparently formless books. What emerges in Augie March and Herzog—the comedy, suffering, and encyclopedic speculation; the concern for personal fates, social facts, and cosmic issues; the interest in observed actuality and abstract symbol; the tension between a cruel, deterministic reality and the impulse toward creative freedom and joy; the precarious reliance on metaphoric probing and an open form—all suggest that against great odds, both public and personal, Bellow has succeeded in reanimating a style of intellectual comedy that illuminates and celebrates the present even as it connects us and Bellow with some of the most powerful imaginations of the past.
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