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Christianity impact on literature
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Nearly everyone is familiar with the character of Christ. While understandings of Christ as a figure of faith may vary, he is universally recognized as a historical figure. The world knows that Christ was called “Son of God,” he called people to love, and he died a painful death on the cross. He has become such an important figure that images of him show up frequently in literature. Thomas Foster, author of How to Read Literature Like a Professor, outlines a wide range of characteristics common in Christ-like figures. In his list of descriptors, Foster suggests characters might be Christ figures if they have wounds reminiscent of the crucifixion, suffer in agony, or are self-sacrificing—and this is only the beginning of his list (126). Readers repeatedly identify Christ figures in literature, both because of the well-known characteristics Foster describes in his chapter on Christ figures and because readers find them through their own understandings. In Yu Hua’s …show more content…
novel To Live, the main character’s son, Youqing, is a Christ figure who contributes to the theme of personal growth in his father Fugui. To Live tells the tragic but inspiring story of Fugui Xu and his family living in twentieth century China through Fugui’s reflective narration. Fugui’s family members, including his parents, wife Jiazhen, daughter Fengxia, and son Youqing, as well as other relatives and friends, each ultimately die while Fugui continues to live. Each character plays an important role in how and why Fugui lives his life, even after experiencing tragedy and hardships. Hua creates these characters as familiar individuals in a variety of ways, particularly in Youqing because of his Christ-like characteristics and actions. Youqing’s Christ-like characteristics become apparent through Foster’s description of a Christ figure. Foster first suggests that characters in literature do not need to possess all the characteristics of Christ, just some of them (130). As a young boy, Youqing demonstrates several of the characteristics Foster lists, including being “self-sacrificing,” using a “humble mode of transportation,” and coming to “redeem an unworthy world” (126). Another important point Foster makes is that “Christ figures are where you find them, and as you find them. If the indicators are there, then there is some basis for drawing the conclusion” (130). Though Foster does not specify these characteristics, Youqing is also a Christ figure because he is a “Good Shepherd” and has a relationship with his father that resembles the relationship between Christ and God. The combination of characteristics Foster lists and other familiar ideas of Christ help to form an image of Youqing as a Christ figure. One of the most prominent characteristics in Youqing is how he continually makes sacrifices for those around him, much like Christ.
Youqing first makes considerable sacrifices for his family by caring for their lambs. In the novel, his father Fugui explains how the “family’s two lambs relied entirely upon Youqing to feed them. Doing such hard work at home took away from Youqing’s time, so he always had to run to school…One time it snowed but he still ran to school barefoot in the snow” (99-100). In his care of the lambs, Youqing makes a physical sacrifice by running barefoot through the snow. He also sacrifices his time and energy, which is particularly notable because he is just a ten-year-old child. Even Fugui notices and shows concern for his child when he notes, “he looked pathetic, being just that age when kids never want to get up” (98). Still, Youqing does what he knows is necessary for the survival of his family. At the same time, Fugui grows as a father by showing concern for his son’s
sacrifices. Christ’s ultimate sacrifice came at the end of his life when he died to save others. Similarly, Youqing’s ultimate sacrifice comes when he dies for his principal during her delivery. Because the principal needs a transfusion, Youqing proudly donates his own blood. Fugui describes Youqing as “so ecstatic” because his blood type was the only one that matched (150). Unfortunately, Youqing could not know that “the people in the hospital wouldn’t stop taking [his] blood” (150). Eventually, Youqing dies because of his sacrifice for the principal. While Fugui finds his death heartbreaking, the sacrifice led to good things. Not only does the principal survive, but Fugui is also able to reunite with her husband, Fugui’s old friend Chunsheng. Reconnecting with Chunsheng helped Fugui to regain control over his rage about Youqing’s death. He says, “No longer did I want to kill anyone. Who could have guessed that Chunsheng would suddenly appear?” (156). While the pain of Youqing’s death lingers some, the boy was able to give his life like Christ so others could healthy, happy lives. Through his death, his father Fugui grows as a person because he is able to move past his anger and heartbreak. Related to Youqing’s sacrifice is his role in his family’s life. Like Christ, who came to redeem a world full of people who were not worthy of his sacrifice, Youqing was born into a family that needed him, but did not deserve him. Even Fugui admits to this: “When he was still in Jiazhen’s stomach I had hit him, so he was scared of me” (91). Even before he was born, Fugui treated Youqing poorly. Later, as a young child, Youqing did not want to speak to Fugui he felt mistreated. Fugui is unworthy of his son’s love, but Youqing grows up to have a positive impact on Fugui and the rest of his family. Not only is Youqing a son (and thus highly valued in the Chinese society), but he also brings happiness and support to his family. When his wife first returns from the city with baby Youqing, Fugui shares how “as soon as Jiazhen came back, our family was complete,” particularly Youqing’s presence made his daughter Fengxia happier (56). Unfortunately, Fugui realizes “he came to suffer with me. I feel it’s my son I’ve let down the most” (57). Fugui feels unworthy of his son and sorry that the child had been born into a tragedy- and poverty-stricken family. Still, Youqing brings the family together when he is born, and as he grows, he helps support the family by caring for the lambs. His father Fugui shows personal growth through is realization of why his mistakes make him unworthy of Youqing’s love and sacrifice. Another connection Youqing has with Christ is how he travels. Christ is known for travelling on foot when he was teaching. Youqing travels using a similar humble mode of transportation, but instead of walking like Christ, he runs everywhere. Because of the lambs, the need to go to school, and the family’s home in the country, he travels long distances on foot. His running bothers Fugui because of the condition of his shoes: “What kind of shoes were these? The soles were worn so thin that they were almost unwearable, and the laces and front part of one shoe had completely fallen off” (99). While Christ did not run, he travelled on foot and presumably had dirty, worn shoes comparable to Youqing’s. Youqing’s humble mode of transportation also becomes an important part of his character later on. After winning a race at his school, Youqing stays humble and minimizes his success. Fugui observes that “after finishing, he didn’t even have to struggle to catch his breath. One at a time, he just lifted up the soles of his feet, wiped them on his pants, and put on his cloth shoes as if nothing had happened” (129). Both his interaction with Fugui and the physical state of his body after running a long distance helps maintain Youqing’s modesty because he does not boast winning. Like Christ, Youqing travels humbly, unconcerned about how he gets where he needs to be. His father Fugui grows through this mode of transportation because he sees his son’s success during a time when he is frequently frustrated with Youqing. Youqing’s sacrifice for his lambs has already been established, but his relationship with the lambs also defines him as a Christ figure. Christ, who is often called the “good shepherd,” also cared for sheep, though not literally (The HarperCollins Study Bible, John 10:11). Fugui describes how his son cares for the family’s lambs: “Youqing would bring grass to them three times a day… and give his two lambs a hug” (104). Not only does Youqing care for the lambs, but he also puts them before himself and mourns their eventual death because of their importance. Fugui observes Youqing after school, when “he had to cut more grass, and only after he fed the lambs he would eat himself” (98). Later, after the lambs are killed to feed the community, “Youqing was inside, weeping so hard his shoulders were shaking. ‘They took my lambs and slaughtered them,’ he whimpered. ‘They killed both of them’” (119). The death of the lambs is particularly traumatizing for Youqing and he weeps because of his love for them. Christ cared for his sheep (followers) in a way similar to how Youqing cares for his lambs, both because he loves them and his father needs him to help for the family’s survival. The final, and perhaps most significant characteristic Youqing shares with Christ, is a relationship between father and son. Though not all who know about Christ believe in God as his father, the important relationship between God (the father) and Christ (the “Son of God”) is a focal point for Christianity. On the darker side of this relationship, Christ cries out, “My God, my God, why have you forsaken me” during his crucifixion because God called him to die (The HarperCollins Study Bible, Mark 15:34). Hua creates a similar situation between Fugui and Youqing: “I hit him with all my strength…He started wailing like a baby, but I didn’t care… But Youqing was, after all, still a kid, and before long he really couldn’t take it. He begged me, ‘Daddy, please don’t hit me” (94). Youqing cries out in pain to his father just like Christ and in both instances, the sons are at the mercy of their fathers, begging for an escape to their physical and emotional pain. In contrast to this painful image, this relationship between father and son is shown in a loving, positive light. Fugui still demonstrates love for his son various times throughout To Live. Fugui reminisces of Youqing: “I realized that I would have to start being more careful about scolding him and hitting him… I bought Youqing five fen worth of candy. This was the first time that I had bought anything for my son. I felt I should show Youqing that I loved him” (123). Most importantly, Fugui grows from mistreating his son to loving him and recognizing the importance of demonstrating that love. Like God with Christ, Fugui has a complex and meaningful relationship with Youqing. Throughout To Live, Fugui grows as a father and human because of his relationship with Youqing. This is evident in his movement from beating his son to realizing that Youqing needs his love. He grows as he moves his attention from Youqing’s ruined shoes to his success as a runner and when he moves past Youqing’s death and reconnects with his old friend Chunsheng in the hospital. Foster suggests that Christ figures are present in literature because “the writer wants to make a certain point. Perhaps the parallel deepens our sense of the character’s sacrifice…Maybe it has to do with redemption, or hope, or miracle” (132). In the case of To Live, Hua uses Youqing not only to share a kind, caring, and innocent character like Christ in a tragedy-ridden story, but to also emphasize a theme of growth that is evident in Fugui because of his son. The life and death of Christ undoubtedly provide meaning for the Christian life. Similarly, Youqing, as a Christ figure, provides meaning for the lives of the people closest to him, particularly his father Fugui.
One reason Finny is an archetypal Jesus is because Finny preaches his ideas to his peers. For example, Finny invents a game called blitzball after being disappointed by other sports. “Blitzball was the surprise of the summer. Everybody played it…” (39). The rules of blitzball were completely improvised by Finny. He was able to create a game with no losers and everyone is a winner. There is really no end to it and Finny is able to teach the people playing the game that, “You always win at sports.” (35). Additionally, Finny plans the Winter Carnival. He plans the first Devon Winter Carnival and his peers listen to him and help him set it up. He inspires a new event and since it was Finny’s idea, everyone follows his instructions and helps him. Finny is the only person who would be a...
McMurphy from One Flew Over the Cuckoo's nest and Luke from Cool hand Luke. Are both men that are similar to each other and that both can be used as examples of someone being a christ figure. The two of them in there own way we're able to be leaders of there peers and to have the trust from them, and to do it in a non violent way. Luke and McMurphy both get there men to stand up against the Boss and Big Nurse to do what is good for them. They both died while suffering. Just like Christ did.
To define what it means to be a Christ Figure in Literature, “A Christ Figure, also known as a Christ-Image is a literary technique that the author uses to draw allusions between their characters and the biblical Jesus Christ. The Christ Figure is a spiritual or prophetic character who parallels Jesus, or other spiritual or prophetic figures.” (Wikimedia
Thomas C. Foster in his work How to Read Literature Like a Professor argues that even though characters may display evil characteristics, their religious values overpower and express “themselves in connection with the [character’s] role within society” (Foster 125). Literary characters may display some of the same characteristics as Christ while accomplishing actions with “redemption, hope, or miracle” (132). Jay Gatsby in F. Scott Fitzgerald’s The Great Gatsby symbolically resembles a Christ figure—sacrificing himself to save Daisy from the law, outstretching his arms towards hope, and coming to West Egg to retrieve Daisy’s unworthy world.
Brown, Raymond. A Crucified Christ in Holy Week: Essays on the Four Gospel Passion Narratives. Collegeville, Minnesota: The Liturgical Press, 1986.
The novelist with Christian concerns will find in modern life distortions which are repugnant to him, and his problem will be to make them appear as distortions to an audience which is used to seeing them as natural; and he may be forced to take ever more violent means to get his vision across to this hostile audience. When you can assume that your audience holds the same beliefs you do, you can relax a little and use more normal ways of talking to it; when you have to assume that it does not, then you have to make your vision apparent by shock to the hard of hearing you shout, and for the blind you draw large and
2. Wright, James. "Saint Judas." Approaching Poetry, Perspectives and Responses. Ed. Meg Spilleth. Boston: Bedford/St. Martin's, 1997. 70.
Literature has been a medium for getting messages across for centuries. Various authors from Aesop to Shakespeare have used writing as a vehicle to get a message across to their audiences. All of these authors are widely respected and admired for their works. One author who transcends her peers and breaks away from traditional secular teaching is Flannery O’Connor. She is widely known for her usage of Christian themes to get across a message of our worlds need for a savior in Jesus Christ. Her style of writing is unique in that she conveys spiritual messages in everyday, fun-to-read stories. This is important as it creates a medium in which she can spread the gospel in a clever manner. Image books stated, “Her expert craftsmanship, her uncanny ability for characterization, the depth and intensity of her morality-combined in strict discipline-make her one of this generation’s most respected authors” (Books, Image 1). Flannery O’Connor uses various themes to get across a religious message, but the two that have a large impact are grace and suffering. The themes of grace and suffering can be seen in her short stories, “A Good Man Is Hard To Find”, “The River”, and “The Lame Shall Enter First”. The themes of grace and suffering in Flannery O’Connor’s short stories are used to represent Jesus Christ dying on the cross for our sins.
With her courage and tenacity, Min has always been striving for success growing up. She started working at seventeen years old to support her family. In her situation, the necessity of supporting her family is very significant in her life. In Chinese tradition, parents do not expect anything from their sons and daughters, but the sense of respect towards the hard work that Chinese parents do for their kids---it is a must that successful men and women support their parents with their free-will. These people are grateful that their parents gave them existence---creating opportunities for searching ethical
A Christian, when faced with the challenge of writing, finds himself in a dilemma: how is he to complete the task? Should he create an allegory? Should he try to teach a lesson reflecting God’s glory? Or should he follow secular trends and current desires in literature? To this, many Christians would say, “Certainly not!” Dorothy L. Sayers and Flannery O’Connor both aim to answer the first question of any Christian writer: How do I write a story with my beliefs?
I have always loved to read. While most children prefer watching television, I would rather read a book. About two years ago I read the book The Maze Runner, by James Dashner. After reading this book, I realized just how much Christ effects literature. I learned that we can see aspects of Christ in books written by secular authors. You can find Christian allegories that the author didn’t even realize they were writing.
Moreland, J.P., and Wilkins, Michael, ed. Jesus Under Fire: Modern Scholarship Reinvents the Historical Jesus. Grand Rapids, MI: Zondervan Publishing House, 1995.
Biblical references are a technique used in literature by authors to alter readers perceptions. The readers beliefs are challenged by using biblical references in literature. In “The Gospel According to Mark” by Jorge Luis Borges, Borges uses many biblical references to give readers a different view of the main character. With the biblical references being used in “The Gospel According to Mark”, readers are able to portray the main character, Baltasar Espinosa as a Christ-like person. Borges’ use of biblical references is important because it allows him to challenge the reader’s religious beliefs.
Characterization has been established as an important part of literature as it allows authors to fully develop characters’ personalities, allowing readers to understand the characters and their actions. In the poem Judith, the author uses adjective phrases to describe Judith and Holofernes’ personalities. The diverse contrast in their nature highlights the heroic qualities in Judith, which teach the reader to have faith in God, as that is where her courage and strength stems from. Therefore, characterization can further be used as a technique to establish major themes in a work of
"Open Book Newsletter No. 1: The Bible and Western Literature by Peter J. Leithart January, 1991." Biblical Horizons » No. 1: The Bible and Western Literature. N.p., n.d. Web. 27 Jan. 2014.