Tag: classics (Page 4 of 4)

Daniel Deronda

Book cover for Daniel Deronda, by George Eliot
Daniel Deronda

Daniel Deronda, by George Eliot (English classic)

“Crushed by a loveless marriage to the cruel and arrogant Grandcourt, Gwendolen Harleth seeks salvation in the deeply spiritual and altruistic Daniel Deronda. But Deronda, profoundly affected by the discovery of his Jewish ancestry, is ultimately too committed to his own cultural awakening to save Gwendolen from despair.”


Daniel Deronda is one of several books on My Favorite Clean Fiction that was written to give readers a vision of Zion as a national homeland for the Jews in Palestine. (For others, see the evangelical Christian novels by Bodie and Brock Thoene.) One of the things unique about this particular novel is that George Eliot published it to promote Zionism before the term Zionism even existed. Here is an example of what I mean from the character Mordecai, who becomes Daniel’s mentor:

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Reading the Classics for Fun

I’ve just uploaded updates for two important files on my web site. The first, “Wholesome Literature—A Realistic Choice,” is a rewrite of the essay previously entitled “Wholesome Literature—the Intelligent Choice” for a general religious audience. The original essay began as a literary spotlight to a group of women in my church almost twenty years ago. Of all my literary essays, it was the one with the most potential for revision to a more general audience. After several attempts over the past decade  to make that revision, I finally produced something that satisfies me!

The second document I updated was “My Favorite Clean Fiction.” I now provide a link for each author who has books in the public domain to his or her list of free ebooks on Project Gutenberg‘s web site. I also simplified my list and added descriptions for almost all of the titles.

As I collected descriptions, I couldn’t help but notice how many of them weren’t written to draw a popular audience, particularly those describing the classics. That seems a shame to me, because so many of the classics really are great stories. If the descriptions were written to capitalize more on the story and less on the meaning, the books might find a wider audience. For example, here’s a boring description of The House of the Seven Gables by Nathaniel Hawthorne:

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The Devil’s Disciple

The Devil’s Disciple, by George Bernard Shaw (Irish classic, play)

“Set in Colonial America during the Revolutionary era, the play tells the story of Richard Dudgeon, a local outcast and self-proclaimed ‘Devil’s disciple’. In a twist characteristic of Shaw’s love of paradox, Dudgeon sacrifices himself in a Christ-like gesture despite his professed Infernal allegiance.”


Book cover of The Devil's Disciple, by George Bernard Shaw
The Devil’s Disciple

The above description sounds serious, but the play itself is quite satirical. While Dudgeon is certainly a Christ figure, he is an unlikely and irreverent one, although he fills this role in a way I don’t find offensive. I love satire, however, so if you don’t, you might come away from this play with a different opinion. The mix-up of identities that leads to Dudgeon going to the gallows will inevitably remind readers of the switch that occurs between Charles Darnay and Sydney Carton in A Tale of Two Cities, by Charles Dickens. One of the primary differences between Carton and Dudgeon, however, is that Carton acts on feelings of sincere love, and Dudgeon sets out to sacrifice himself for entirely different reasons:

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The Idiot and Daystar

The Idiot, by Fyodor Dostoevsky (Russian classic)

“. . . a saintly man, Prince Myshkin, is thrust into the heart of a society more concerned with wealth, power and sexual conquest than with the ideals of Christianity. Myshkin soon finds himself at the center of a violent love triangle in which a notorious woman and a beautiful young girl become rivals for his affections.”

Daystar, by Kathy Tyers (Christian fiction, Evangelical)

After fleeing to their sanctuary world for safety with other telepathic Sentinels, members of the Caldwell family must decide whether to accept or reject the claim of a previously unknown family member that he is Boh-Dabar, the prophesied Messiah.


Okay, I know what you’re thinking—that only a person with a very strange brain would talk about a Russian classic and a Christian science fiction novel in the same breath. Despite the obvious differences between these two books, they are based on the same premise: What would happen if Jesus Christ came to live among a particular group of people? How would He act? How would people react to Him? What would He require of those people individually and as a community?

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Faust and Adam Bede

Faust, Part 1, by Johann Wolfgang von Goethe (German classic)

“The story concerns the fate of Faust in his quest for the true essence of life. . . . Frustrated with learning and the limits to his knowledge, power, and enjoyment of life, he attracts the attention of the Devil (represented by Mephistopheles), who makes a bet with Faust that he will be able to satisfy him; a notion that Faust is incredibly reluctant towards, as he believes this happy zenith will never come. . . . In the first part, Mephistopheles leads Faust through experiences that culminate in a lustful relationship with Gretchen, an innocent young woman.”

Adam Bede, by George Eliot (English Classic)

“The story of a beautiful country girl’s seduction by the local squire and its bitter, tragic sequel is an old and familiar one which George Eliot invests with peculiar and haunting power.”


Black and white cover for Faust, by Johann Wolfgang von Goethe, with illustrations by Harry Clarke, translated by Bayard Taylor
Faust

I suggested the play Faust for my book group because I had seen so many references to it in other literature and understood it to be one of the greatest pieces of literature written in German. I couldn’t remember reading any German literature with the group, which made it a book that would require us to stretch a little. Actually, it made us stretch a lot. I was the only one who had finished the first part on the evening of the review. (Since I was leading the discussion, I was motivated!) I was only able to get through it by relying heavily on a commentary. Because Faust is a play, a considerable bit of action simply isn’t in the text, and for that reason, I do suggest consulting a commentary if you are reading it for the first time and not taking a class.

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