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• W215620589 abstract "A general problem encountered by critics and readers of is ambiguity in trying to distinguish Moses Herzog's voice from that of Saul Bellow. Outside use of direct quotation to present hero's speech, indirect presentation of hero's words in novel sometimes obliterates delimitations between author and hero. Many critics and readers take it for granted that Moses, especially in displaying his philosophical, intellectual, ethical, and philanthropic viewpoints, serves as a mouthpiece for and thus theme of novel resides in optimistic moralistic values proposed by Bellow to act as counterweight to prevalent pessimistic attitudes or cultural nihilism of modern West. In a speech delivered to students of Beijing University in 1986, Brigitte Scheer-Schaezler, a critic of obviously Moses Herzog's identity with Saul Bellow's. In her speech, she conveyed ideas such as, One of Bellow's most explicit passages refuting cultural pessimism is contained in in which Bellow allows himself to become really temperamental, angry, witty, and sharply ironical (5). Suzanne Evertsen Lundquist, another critic of wrote, Bellow, through mouth of Herzog, has demonstrated paradox of textual metaphor (38). Andrea Mannis presupposed that Moses's of Nietzsche's words equals Bellow's own: Herzog admires these men as well, particularly Nietzsche, in whom recognizes courage to question as has never been questioned before. Thus Bellow's opinion of Nietzsche is mixed (28). M. Al Quayum similarly notices affinity between of hero and that of author when he makes following statement: Despite separate identity enjoys in fictive world of novel, he also shares temperamental affinities with his author and comes to represent latter's voice and sentiment in many ways (44). Such mixing of character's and author's voices not only ignores Bellow's artistic assertions on principles of fictional characters but may cause misunderstanding: readers may not see Moses as a character of individual perspectives. In his 1976 Nobel speech, Bellow observed that human types have become false and boring and that those identifiable personalities that we derived from many famous European novels actually represented an awful phenomenon (Nobel Lecture 80). He favored Elizabeth Bowen's of characters: they not created by writers. They preexist and they have to be found (Nobel Lecture 82). Clearly, Bellow refuted notion that he spoke through mouth of Moses to convey his own philosophy; thus, readers might be misled if they blur division between discourses of hero and author. As readers, we should clarify that Bellow's sits primarily upon his artistic design for story of Moses, as Bellow seeks to make all parts contribute to final message of novel. The author's speech and hero's thus must both be defined spherically to make clear interactions, agreements, contemplations, or confrontations between them. Mikhail M. Bakhtin's (1895-1975) proposition of double narration serves partially as criteria for clarifying those vague and problematic discourses in Herzog, because notions of double narration involve a fundamental belief that author's and character's should be separated. (1) The author and hero must be two completely different identities. The hero must create his own field of vision and unique perspective, define himself, design his own life, and decide his own fate; thus the real-life definition of hero and the artistic dominant of his image are fused into one (Problems of Dostoevsky's Poetics 51). In spite of those prominent contributions made by Bakhtin, I maintain that there is a further breakdown of his discourse into two subdivisions: visible and invisible authorial discourse. …" @default.
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• W215620589 date "2005-01-01" @default.
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• W215620589 title "Saul Bellow and Moses Herzog" @default.
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