In Evgeny Zamyatin’s dystopian novel We, readers encounter numerous Biblical images and references—images of Paradise and references to Christ—that form two independent patterns and allow the novel to function on two different levels. The first level explores how the characters themselves, the Numbers of OneState, view the events in the novel, especially the rebellious actions of the main female character, I-330. The second level, however, functions on an extra-textual level and reflects how readers, and maybe even Zamyatin himself, view those same events, as well as I-330’s behavior. Many scholars of Russian literature have investigated these religious images; Richard Gregg, in particular, focuses on them in his article “Two Adams and Eve in the Crystal Palace: Dostoevsky, the Bible, and We.” He uses multiple examples from the novel to argue that D-503 is the novel’s Christ figure and his understanding of We thus remains primarily on the first level; he seems to view OneState exactly as the numbers do. However, when we investigate We on the second level, we discover that the examples Gregg excludes from his argument or even his own examples reveal, as I will argue, that the real Christ figure in the novel is not D-503, but I-330.
To turn to the first level in the novel, we must examine the perception of the Numbers of OneState. These Numbers make a tremendous effort to liken their society to the Eden of Genesis:
The old legend of Paradise—that was about us, about right now… We helped
God finally overcome the Devil—because that’s who it was that pushed people to break the commandment and taste freedom... And we’re simple and innocent again, like Adam and Eve. (Zamyatin, 61)
In this level of interpretation, I-330 is depicted as...
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... of Christ. This essay also demonstrates that when it comes to We, scholars are often torn: some, like Gregg, see D-503 as the novel’s Christ figure, while others, like Barratt, view him as only a disciple and therefore place I-330 in a more prominent role. These multiple interpretations highlight the novel’s uncertainties and its inherent slipperiness. They exist because the novel does not offer closure to readers, and more importantly, it is told from the unreliable perspective of D-503. This alone makes analyzing the novel a difficult task. Despite this difficulty, this essay has but one goal: to explore both the role that I-330 plays in We and the symbolic meaning behind her behavior. She threatens authority, stands “above” other characters and is made to suffer on the Bell; thus, as this paper maintains, she emerges as the novel’s one and only Christ figure.
To begin with, the dual narratives of the text here present a unique mixture of chronology and perspective. Moreover, noteworthy is also McBride’s usage of the rhetorical strategy of alternate chapters and parallelism. This can be seen when McBride remarkably places related chapters together to juxtapose the life of his mother and that of himself. This allows one to observe the parallelism in the two lives; and perhaps more importantly, understand the significance Ruth’s life has had on McBride. For example, McBride places the chapters “Shul” and “School” next to each other. Here, both Ruth and James are struggling and are trying to fit in but are rejected due to racial and social conflicts. Another example is, “The New Testament” and “The Old Testament.” Both of these chapters revolve around the embarrassment Ruth and James feel for their circumstances. In “The Ne...
To begin with, the dual narratives of the text here present a unique mixture of chronology and perspective. Moreover, noteworthy is also McBride’s usage of the rhetorical strategy of alternate chapters and parallelism. This can be seen when McBride remarkably places related chapters together to juxtapose the life of his mother and that of himself. This allows one to observe the parallelism in the two lives and to understand the significance Rachel's life had on McBride. For example, McBride places the chapter titled “Shul” and “School” next to each other with each giving a view of the problems they faced in school. Here both Ruth and James are struggling and are trying to fit in but are rejected due to racial and social conflicts. Another example is “The New Testament” and “The Old Testament.” Both of these chapters revolve around the embarrassm...
There is no end to the ambiguity in Nathaniel Hawthorne’s “The Minister’s Black Veil”; this essay hopes to explore this problem within the tale.
René de Chateaubriand, François. The Beauties of Christianity. The Hebrew Bible In Literary Criticism. Ed. and Comp. Alex Preminger and Edward L. Greenstein. New York: Ungar, 1986. 445.
The central figures in these three works are all undoubtedly flawed, each one in a very different way. They may have responded to their positions in life, or the circumstances in which they find themselves may have brought out traits that already existed. Whichever applies to each individual, or the peculiar combination of the two that is specific to them, it effects the outcome of their lives. Their reaction to these defects, and the control or lack of it that they apply to these qualities, is also central to the narrative that drives these texts. The exploration of the characters of these men and their particular idiosyncrasies is the thread that runs throughout all of the works.
During Russia’s transition to communism in the early 20th century, conflict and unease permeated every part of life. Nothing was stable and very little of what the Bolsheviks had fought for had come to fruition by the time the USSR disbanded in 1991. The “classless society”, which was to work together for the prosperity of everyone, never became a reality. In the end, the majority of Russia’s 20th century was an utter failure on a grand scale. However, there were many amazing products of the system do to the great importance of education in Russian culture. Priceless novels were written, timeless movies were made, and great scientific endeavors were realized despite the rigid control placed upon Russian persons by the government. In fact, some of the most memorable written works of the time were written protests to the creativity-stifling situation many writers found themselves in. Because of the danger to their lives should the wrong people be upset by their writings, Yevgeny Zamyatin and Mikhail Bulgakov wrote their most popular, Soviet-life condemning novels under the guise of satire. Even though they’re satirizing the same subject, in both We and The Master and Margarita respectively, they take very different paths to do so.
164-69. Rpt. in Contemporary Literary Criticism. Ed. Jeffrey W. Hunter. Vol. 341. Detroit: Gale, 2013.Artemis Literary Sources. Web. 5 May 2014.
Dostoyevsky's writing in this book is such that the characters and setting around the main subject, Raskolnikov, are used with powerful consequences. The setting is both symbolic and has a power that affects all whom reside there, most notably Raskolnikov. An effective Structure is also used to show changes to the plot's direction and Raskolnikov's character. To add to this, the author's word choice and imagery are often extremely descriptive, and enhance the impact at every stage of Raskolnikov's changing fortunes and character. All of these features aid in the portrayal of Raskolnikov's downfall and subsequent rise.
Often times in literature, we are presented with quintessential characters that are all placed into the conventional categories of either good or bad. In these pieces, we are usually able to differentiate the characters and discover their true intentions from reading only a few chapters. However, in some remarkable pieces of work, authors create characters that are so realistic and so complex that we are unable to distinguish them as purely good or evil. In the novel Crime and Punishment, Fyodor Dostoevsky develops the morally ambiguous characters of Raskolnikov and Svidrigailov to provide us with an interesting read and to give us a chance to evaluate each character.
Bloomfield, Morton W. New Literary History. Winter ed. N.p.: The Johns Hopkins University Press, 1972. Print. Vol. 2 of Allegory as Interpretation. 3 vols. First.
Stillinger, Jack, Deidre Lynch, Stephen Greenblatt, and M H. Abrams. The Norton Anthology of English Literature: Volume D. New York, N.Y: W.W. Norton & Co, 2006. Print.
The notion of the author has often been disputed when it comes to critical literary studies. The argument centers around one basic question: Should the author be considered when looking at a text? There are numerous reasons given as to why the author is important or why the ...
Russian author Fyodor Dostoevsky was among those philosophical thinkers who grappled with the task of explaining why evil exists in a world created by a perfect god. Despite the powerful influence of Christianity in his early childhood and throughout his life, Dostoevsky encountered difficulties in answering this question, which he described, “Nature, the soul, God, love – all this is understood by the heart, not by the mind” (Gibson 1973, 9). Nevertheless, Dostoevsky not only felt obligated to discover a solution to the problem, but also “responsible to his fellow believers for its success or failure” (Gibson 1973, 169). This quest for a solution to the problem of theodicy ultimately led Dostoevsky to write The Brothers Karamazov, a novel that attempts to explain the need for evil in the world. In posing his solution to this problem, Dostoevsky explains the necessity of suffering for the realization of human redemption, as well as the role of Christ’s atoneme...
While confronting Dostoevsky’s Notes from Underground seems a difficult task initially, one must be able to transcend the elaborate diction and parodies, and comprehend the author himself, while also taking root the message Dostoevsky had originally intended in the time it was addressed. Understanding the author himself, along with the period in which the work was written, augments one’s overall discernment of the passage. In the age he wrote, Dostoevsky must have seemed eccentric and outlandish; nevertheless, looking back on him from today with a literary understanding of modernism, he appears ahead of his time. His central premise, although difficult to determine amongst the satire, is humanity’s necessity for freedom and religion, specifically Christianity.
Throughout the book, “Crime and Punishment,” by Fyodor Dostoevsky, we see key words that play major roles in the plot and development of the story. Five words, in particular, act as front-runners in symbolic themes; they are crime, punishment, poverty, suffering, and child. There is no doubt that these words play a major factor in the novel because not only do we see these words often, but also we experience the words as they are lived through by many of the major characters. What some readers might not realize is that Dostoevsky does not let only one of the words dominate a scene in the book; they are intermingled concepts. Where there is one of the five major words of the novel, Dostoevsky usually accompanies it with another. All five of the words are dependent of each other and without one of them, the novel would not demonstrate the story and powerful themes that Dostoevsky was looking to present.