Adam's Fall Research Articles

Hawthorne's International Novel

Research Article| September 01 1969 Hawthorne's International Novel Cushing Strout Cushing Strout Search for other works by this author on: This Site PubMed Google Scholar Nineteenth-Century Fiction (1969) 24 (2): 169–181. https://doi.org/10.2307/2932602 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Cushing Strout; Hawthorne's International Novel. Nineteenth-Century Fiction 1 September 1969; 24 (2): 169–181. doi: https://doi.org/10.2307/2932602 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentNineteenth-Century Literature Search This content is only available via PDF. Copyright 1969 By The Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.

All the King's Men and Adam's Fall

All the King's Men and Adam's Fall

ABSTRACTS

Akira Aral“Milton's Defensio Secunda.” Ot‐suka ReviewAkira Aral“The Epic Element in Lycidas.” The Rising GenerationFredson Bowers. “Adam, Eve, and the Fall in PL.” PMLALeonora Leet Brodwin. “Miltonic Allusion in Absalom and Achitophel: Its Function in the Political Satire.”Albert R. Cirillo. “‘Hail Holy Light’ and Divine Time in PL.“Jackson Cope. “PR: Inner Ritual.”Milton StudiesClifford Davidson. “Sceptre and Keys and Visual Images in PL.” Dalhousie ReviewMario A. DiCesare. “PL and Epic Tradition.”Milton StudiesMichael Fixler. “Milton's Passionate Epic.”Milton StudiesRoland Mushat Frye. “Reason and Grace: Christian Epistemology in Dante, Langland, and Milton.”Action and Conviction in Early Modern EuropeDavid G. Hale. “Milton and the Body Politic.” Read at the Northeastern Language AssociationO. B. Hardison, Jr. “Written Records and Truths of Spirit in PL.” Milton StudiesLawrence W. Hyman. “The Unwilling Martydom in SA.” Tennessee Studies in Literature, XIIIThomas Kranidas. “A View of Milton and the Traditional.”Milton StudiesAnthony Low. “Angels and Food in PL.” Milton StudiesLouis Martz. “Chorus and Character in SA.” Milton StudiesPatrick Murray. “Milton's Theology: A New Perspective.”Irish Ecclesiastical RecordAnts Oras. “Darkness Visible: Notes on Milton's Descriptive Procedures in PL.” All These to Teach: Essays in Honor of C. A. Robertson.B. Rajan. “PL: the Providence of Style.”Milton StudiesSister M. Hilda Bonham, i.h.m. “The Anthropomorphic God of PL.” Papers of the Michigan Academy of Science, Arts, and LettersRussell E. Smith, Jr. “Adam's Fall.”ELHJohn M. Steadman. “Milton's Rhetoric: Satan and the ‘Unjust Discourse.'”Milton StudiesArnold Stein. “Satan's Metamorphoses: the Internal Speech.”Milton StudiesSamuel S. Stollman. “Samson's ‘Sunny Locks the Laws': An Hebraic Metaphor.”SCNCharles D. Tate, Jr. “Vondel's Reputation in England.”Recent Articles of Related Interest: Robert Ellrodt (University of Nice). “Le Parades Terrestre de Milton.”

Othello's Pearl

HRISTIAN imagery in Othello has been noticed for some time, and is sufficiently accepted by now that, if Iago be not devilish and Desdemona divine, the burden of proof is on the skeptic. Several features of the action strongly suggest that Othello's soul is at stake, and it is plausible to conclude, as many have done who have noticed the imagery,2 that Othello's tragedy is a version of Adam's fall. It is apparent, however, that Othello resembles Adam only in the most general way. The Christian tradition is so various that it is anything but a self-evident key, and the footing is no surer here than elsewhere in distinguishing between those backgrounds which are important to a given work and those which are merely incidental. It may be that Othello is cut from Adam's pattern only to the extent that parallels to Adam-or, for that matter, to Christ and Satan-will be inevitable in a literature absorbed with temptation, sin, and redemption. Perhaps the number of Adams that lurk in the pattern of literary works does not so much have special significance for the individual work as confirm Northrop Frye's suggestion that the story of the fall underlies all of literature.8 Without discounting the relevance of Adam, I suggest here a Biblical parallel which focuses more directly upon the central issue of the play, and also does more justice to the crucial role of Desdemona. If Othello is a version of Adam, then Desdemona becomes a puzzle, for she fits no traditional conception of Eve. Not that she has escaped the parallel: her reputation has, in fact, suffered occasionally because her audience-suspicious that she is no better than she should be-have sometimes acted like subtle Venetians themselves. It is possible to consider her a spoiled schoolgirl, whose disobedience kills poor Brabantio, or-with an insight peculiar to disappointed fathers-to conclude that the marriage would not have lasted in any case,4 but there is little question that Desdemona's part in Othello's fall is the reverse of Eve's. It is nowhere better suggested than in Shakespeare's image of the pearl. The Biblical context which most clearly reflects the central issue of Othello is Christ's parable of the merchant. At first glance, the relevance of the parable

The Tempest of Axel Heyst

W H AT STRIKES the reader of Victory almost immediately is that this piece of fiction seems curiously unnovelistic: a novel, perhaps, only by hlandy definition. Closely allied to Nostromo and Under Western Eyes in theme, concerned with man's commitment to guilty action, the responsibility of the self to circumstances, the final production of Conrad's great middle period dispenses with properties of which its predecessors make extensive use. Its landscape is nearly barren of the immediate facts of social life: of manners, for example, the intimate form of social motives, and of politics, their public form. Such facts give landscape, setting, an historical or pseudo-historical position and relevance. But the scene of action in Victory is significant in the measure of its abstraction from history. It lhas only a nominal connection with the mapped and limiting world, froni which people arbitrarily arrive and to which they, like Morrison, as conveniently depart. Life in Sourabaya is confined, through sharply angled cinematic glimpses, to the recreational pastimes of gambling, persecution, conspiracy, and calumny in Schomberg's second-rate hotel for transients: if an image of society, then an image grotesquely stylized. And the island of Samburan, where the main action occurs, is located, as Lena correctly observes, virtually in empty space. Here the need to perform man's first duty to himself, his first since Adam's fall and the beginning of history, does not exist, thanks to the miraculous presence of limitless stores of food and a Chinese cook. Neither of these places has identity: the cultural identity of Hardy's Casterbridge, James's London and Paris, Joyce's Dublin; the kind which Conrad himself gives, in Nostromo, to Sulacco. Sourabaya and Samburan are merely views; they can be seen but they cannot be felt.

In Adam's Fall

In Adam's Fall

From Adam's fall to Huldy's Bonnet

From Adam's fall to Huldy's Bonnet

From Adam's Fall to Huldy's Bonnet

From Adam's Fall to Huldy's Bonnet

"From adam's fall to Huldy's Bonnet"

"From adam's fall to Huldy's Bonnet"