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Influences of Greene's works
Graham Greene biography
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Graham Greene is Britain’s “main literary expert”1 in the contemporary world. The Heart of the Matter is one of the most important Catholic novels of Greene. Along with Brighton Rock and The Power and the Glory, it belongs to the group of his novels popularly called 'Catholic trilogy'. The membership of the 'fallen' world in Greene's novels produces tensions and longings which can only stop with the passage of time. In other words, it carves the Cross:
"The Cross is not only a unique event in time, but also something inherent in human life and which has to be lived through by every individual, who must ascend his own Calvary and die on his isolated Cross so that he may have the possibility of returning to God."2
The Heart of the Matter, like The Power and the Glory, has a title based on the chief theme it deals with. Like other Catholic novels of Greene, it deals with the themes of God and His mercy, and the issues related to sin, damnation, sainthood and salvation. It also presents a conflict between the love of woman and love of God. It brings out the infiniteness of God's mercy and the impenetrability of the workings of the human heart as well as those of God. On the other hand, we can say that Greene emphasizes the mysteriousness of the workings of the human heart and also the mystery of God. The title phrase takes place after the opening of the novel's second part, when Scobie, momentarily alone in the night time and looking up at the stars, asks the question: "If one knew the facts, would one have to feel pity even for the planets? If one reached what they called the heart of the matter?"3 Thus, the title of the novel is meaningful and appropriate, for there is only one central theme―the heart of the matter―that is compassi...
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...gan Paul, 1962),
p.185.
7. Kenneth Allott and Miriam Farris, The Art of Graham Greene (London:
Hamish Hamilton, 1951), p. 217.
8. J. P. Kulshrestha, Graham Greene: The Novelists, p. 105.
9. Ibid., p.106.
10. Laurence Lerner, "Graham Greene", The Critical Quarterly (Autumn, 1963) p. 222.
11. J. P. Kulshrestha, Graham Greene: The Novelists, p. 109.
12. Marie-Beatrice Mesnet, Graham Greene and the Heart of the Matter (London:
The Cresset Press, 1954), p. 89.
13. F. N. Lees, "Graham Greene: A Comment", Scrutiny, XIX (October 1952) p. 37.
14. Arnold Kettle, An Introduction to the English Novel, Vol. II (London: Arrow
Books, 1962), p. 185.
15. Cedric Watts, A Preface to Greene (London and New York: Longman, 1997), p. 98.
16. R. H. Miller, Understanding Graham Greene (Columbia: University of South Carolina
Press, 1990), p. 112.
Ed. Harold Bloom. New York: Chelsea House Publishers, 1985. McQuade, Donald, ed., pp. 113-117.
Damrosch, David, et al., ed. The Longman Anthology of British Literature: Vol. B. Compact ed. New York: Longman - Addison Wesley Longman, 2000. p. 2256
... the Green Knight: A Collection of Critical Essays. Englewood Cliffs. NJ: Prentice Hall, Inc., 1968.
Abrams, M. H. The Norton Anthology of English Literature. New York; W. W. Norton & Company, Inc., 1993.
There are numerous instances of ambiguity in Nathaniel Hawthorne’s “The Birthmark”; this essay hopes to explore critics’ comments on that problem within the tale, as well as to analyze it from this reader’s standpoint.
Greenblatt, Stephen, and M. H. Abrams. The Norton Anthology of English Literature. 9th ed. Vol. A. New York: W.W. Norton, 2012. Print
Harmon, William, and C. Hugh Holman. A Handbook to Literature. New Jersey: Prentice Hall, 1996.
In Nathaniel Hawthorne short story “Young Goodman Brown,” he takes us on a journey of the human heart, in which he would later coin the phrase that “there is a fund of evil in every human heart”. Though the story is filled with dark gloomy imagery, Hawthorne was able to keep us wanting to know more base on the fact its Salem village. With the uses of symbolism, the author incorporate nature such as the “deep forest”, and “Faith” the newly wife of young Goodman brown working hand in hand to illustrate the purpose of the story. Hawthorne shows us that our faith should not dictate base on the perception of others, as a result, would be compromised and weaken.
...at matter can be a means of grace” (Hendricks 9). Through her use of religious symbolism, O’Connor’s character of The Misfit gives her audience hope that a gruesome character could find grace, but consequently, he fails to recognize grace when it appears in front of him.
...is simple truth we learn that man must acknowledge when his work is complete and then chose to focus on that which is better and cannot be taken away from us – time spent in communion with the Lord, memories shared with loved ones, and rest. But, most importantly, from this passage we learn that man must not put his faith in anyone or anything else but the Lord, for he is sufficient to provide for our needs and desires. He knows each person before their birth, he gives each of them a purpose in life, salvation from their sins, a place to dwell God’s presence after death, and selfless love. Man’s only true need is salvation from the sins that have condemned him. The only way to receive that salvation is through faith in God. Christ’s sacrifice on the cross has allowed man to do that, anything more is futile for he alone is sufficient and his work is complete.
As Marlow assists the reader in understanding the story he tells, many inversions and contrasts are utilized in order to increase apperception of the true meaning it holds. One of the most commonly occurring divergences is the un orthodox implications that light and dark embody. Conrad’s Heart of Darkness brims with paradoxes and symbolism throughout its entirety, with the intent of assisting the reader in comprehending the truth of not only human nature, but of the world.
"For Christ also died for sins once for all, the just for the unjust, so that He might bring us to God, having been put to death in the flesh, but made alive in the spirit; in which also He went and made proclamation to the spirits now in prison, who once were disobedient, when the patience of God kept waiting in the days of Noah, during the construction of the ark, in which a few, that is, eight persons, were brought safely through the water. Corresponding to that, baptism now saves you—not the removal of dirt from the flesh, but an appeal to God for a good conscience—through the resurrection of Jesus Christ, who is at the right hand of God, having gone into heaven, after angels and authorities and powers had been subjected to Him."
These verses are about the passions of Christ before his crucifixion. History says that traditional station of the Cross begins in Via Dolorosa, which is one of the principal east-west streets of Jerusalem. Today on this street we can find the chapel of Flagellation and Covent of the sister of Zion. Our Lord, Jesus, has borne his cross a part of the route and they came out of Jerusalem. The soldiers compelled a man Simon, by name, from Cyrena a town from North Africa, to bear the cross of Jesus. Some theologists believe that Simon was a Jewish man anthers believe that he was a black man. But the most important is that he had the great privilege to bear the Jesus' cross.
Abrams, M.H., ed. The Norton Anthology of English Literature. 6th ed. Vol. 2. New York: Norton, 1993.
Many people find theology a very esoteric field of study, and Christian doctrine regarding the life of the soul can seem quite difficult to comprehend for non-Christians and Christians alike. The conceit in “A Drop of Dew,” which employs common images and processes straight from the natural world, enables Marvell to sum up a commonly held view of the soul’s journey with creativity and cleverness. Its symbolic elements also help Marvell to evade avoid sounding either preachy or pedantic. It is this mastery of the conceit and other devices of figurative language, so delicately and feelingly demonstrated in “On a Drop of Dew,” that has made Marvell an enduring figure in the world of poetry.