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• W1934780091 abstract "Today nobody will stop at faith; they all go further. It would perhaps be rash to inquire where to, but surely a mark of urbanity and good breeding on my part to assume that in fact everyone does indeed have faith, otherwise it would be odd to talk of further. (Kierkegaard 42) Patrick White said he wanted to write a novel about saints--those who ride invisibly in Chariot of faith as apostles of truth (qtd. in Malouf 13). At centre of hook Riders in Chariot Himmelfarb Jew expresses his frustration at being unable to visualize riders, hidden zaddikim (Riders 172); it was a question also formulated by Kierkegaard as he speculated in Fear and Trembling on possibility of what strange 'movements of infinity' might lie concealed within ordinary man in street, such as pipe-smoking cheesemonger as he vegetated in dusk (42). Kierkegaard felt he himself did not have faith, but that Hegelians--the objects of his satire--who believed they were going by means of a dialectic of compromise, had in fact not yet attained this state of half-knowledge. The world of ethics and reasoning is not that of faith and spirituality, which is both ordinary and inscrutable. Like Kierkegaard's cheesemonger, White's Mrs Godbold knows the grey hours when world evolves, and the wheels of her Chariot are solid gold (Riders 73); and Mary Hare, in her mystical union with nature, sees in colours of sunset swingeing trace-chains of light when wheels plough fields of tranquil sky (25). White's ambitious tapestry of imagery is founded on evocation of such moments of dusky or smoky indirect communication, as his riders recreate through their interweaving yet distinct lives story of Crucifixion against backdrop of a broad canvas ranging from Eden to apocalypse. In this context, I shall suggest, Chariot-deity that revolves between heaven and earth becomes governing aegis not only of riders but also of novelist, (1) as he puts his trust in meaningful relationship of his disparate materials--a relationship that will have power to evoke a sense of ethereal. There would appear to be a renewed interest in work of Patrick White, after a period of relative neglect (Malouf 12-13). My own article relates to continuing debate in White studies about degree to which his vision evolves organically from his materials, or to what extent it is superimposed, a design palpable (Colmer 288), too contrived for comfort (Steven 79). White was himself suspicious of schematic interpretations of his work, presumably owing to dangers of reductionism; though his writing with its allegorical flavour and its wealth of theological, poetic and metaphysical references does understandably invite such interpretations and gives them legitimacy. Gavin D'Costa has described way in which three riders could be seen as representing three religious traditions which are then synthesized within that of fourth rider, artist. (2) I would like to further suggest that all riders in fact embody aspects of struggle for realization, and gradually link up into a coherent picture as novel itself progresses. They all live on fringes of social acceptability, yet each has a specific contribution to make to spirituality of social fabric: Mary Hare with her enhanced observation of natural process; Himmelfarb with his analytical powers; Mrs Godbold with her endurance and practicality; Alf Dubbo with his ability to mingle emotional colours into harmonious patterns. This sketchmap of characteristics is White's starting-point for a deeper investigation. As characters develop and interweave, in response to contact with Chariot, they generate insights which form part of a more comprehensive vision of activity. My aim is to detail extent to which White's immersion in his symbolic materials forms basis for a complex synthesis of emotional links which could be termed artistic faith. …" @default.
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• W1934780091 date "2009-10-01" @default.
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• W1934780091 title "The Evolution of Artistic Faith in Patrick White’s Riders in the Chariot" @default.
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