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• W2323986226 abstract "When John Marcher makes his initial attempt to pin down that or other (457) (1) awaiting him, compares it metaphorically to a beast crouching in a jungle. battle with unknown thing, therefore, becomes fight with creature that springs inevitably. And the definite lesson from Marcher maintains, that a man of feeling didn't cause himself to be accompanied by a lady on a (458). lady Marcher here refers to is story's heroine, May Bartram. What Marcher means is that would under no circumstances divulge his secret to Bartram, because [h]is conviction, his apprehension, his obsession, in short, wasn't a privilege could invite a woman to share (457), even though needs desperately her encouragement and comfort. Marcher seems heroic and even slightly arrogant in his preparation for battling with that dangerous hidden beast. Curiously enough, from start to finish James never takes any pains to dwell upon meaning of beast, rendering it an elusive, inexplicable mystery that both baffles and entices readers and scholars alike. A quick review of story's critical heritage shows that where critics are quite evasive in articulating profound meaning of beast, others, exemplified by editors of Bloom's Major Short Story Writers: Henry James, seem more ready to take it as merely a symbol of protagonist's doomed love and fate. But there are many gaps in story, editors accentuate, which indicates to make his ideas concrete; for instance, never elaborates upon beast or the original source of Marcher's obsession. Marcher is simply obsessed (Bloom 32). reluctance to clarify typifies his allusive writing style, which serves his artistic end in this tale, and Marcher's obsession is closely connected with beast mystery. To resolve beast mystery, scholars set out to investigate its origin, making seminal discoveries.Jessie Ryon Lucke argued in 1953 that, despite professing composition of this elaborated fantasy [to be] accidental (Preface to 'The Altar' 246) and cannot be retraced, beast image should be originally inspired by Hawthorne's Blithedale Romance, of which James sings high praises in Hawthorne (1879) and remarks emphatically on one paragraph where he (Hollingsworth) would glare upon us from thick shrubbery of his meditations, like a tiger out of ajungle, make briefest reply possible ... (Major Stories 564). After a meticulous comparison of two stories in theme, structure, and style, particularly of similar fate in two pairs of protagonists, Hollingsworth and Marcher, Zenobia and Bartram, Lucke contends, James's substitution of Beast for tigeris mere substitution. That beast was a tiger is explicitly set forth in second chapter of 'The Beast in theJungle' (530). Lucke's conclusion seems convincing apparently, for few critics later re-examine origin and meaning of beast or put forth revisionist interpretation but conveniently postulate beast as tiger. (2) Two consequential questions pop up when subjecting Lucke's conclusion to close scrutiny: first, is substitution of beast for tiger a mere substitution?; second, is beast really a tiger as she claims? Another close reading of text shows that beast is not defined in any of its eleven appearances while tiger appears solely in tiger-hunt metaphor, which serves to evince Marcher's fanciful heroism. (3) beast, therefore, may not be a tiger at all, and substitution could be a studied one. Unlike apparent confusion about tiger/beast in The Beast in Jungle, depiction of tiger elsewhere seems invariably vivid and definite, whether it is in Awkward Age (1898), in which Fanny Cashmore looks like some beautiful tame tigress who might really coerce attention (76), or in Ambassadors (1903), where Gloriani becomes the glossy male tiger, magnificently marked, in whose garden Strether senses something covertly tigerish, [. …" @default.
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• W2323986226 date "2015-09-22" @default.
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• W2323986226 title "Henry James's Apocalyptic Prophecy: British Empire, Biblical Revelation, and The Beast in the Jungle" @default.
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