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The Lais of Marie de France (12th Century)

Source: The Lays of Marie de France. London: Penguin.

The introduction to this volume discusses mostly scholarly matters which will be of little interest to first-time readers, but pp. 23-34 provide much useful information. Beginning on p. 126 there are very scanty notes to three stories, having to do with issues of translation. The most important point to note is that the medieval French lai bore roughly the same relationship to the longer, multi-episode romance as the modern short story does to the novel. They often incorporate magic and other marvels, and usually aim at entertaining rather than edifying their audience. Keep in mind that these lais were originally told in verse (see the sample original, p. 136), but that it is so much more difficult to write short rhyming lines in English than in the Breton dialect of Old French that prose is almost necessary.

Guigemar

The opening is a rather vague rebuttal to some critics of Marie about whom we know nothing. The word “Breton” could be equally applied to the inhabitants of Brittany in northwestern France or to Britons of England. Marie makes no clear distinction between the two, and authorities on both sides of the channel have claimed her. The lais are generally known as “Breton lais.” Her most likely source was Anglo-Saxon, still spoken by many commoners in the 12th Century, with many of the tales probably having even earlier sources in Old Welsh, the language in which the earliest Arthurian legends were told. Medieval lords often placed their sons in other lords’ homes to be educated. It was considered that natural parents were prone to be too indulgent of their children, and that a childhood spent in service at a noble home would induce the proper respect and manners expected of a nobleman. What different kinds of wounds are combined in the hind’s curse [89-122]? Solomon, as the richest king depicted in the Bible, was often used as an example in discussing riches [161-86]. What evidence is there that this a magic ship? In a society dominated by arranged marriages, especially in the upper classes, spouses were not necessarily expected to love each other. The combination of elderly husband and young wife was common enough, but much lamented and satirized in literature. How does Marie prepare you to be sympathetic with the wife’s adulterous desires [209-32]? What book is Venus casting into the fire in the painting [233-60]? Here’s an open question: why do you suppose this chamber has paintings of such an unlikely subject? How is the standard course of lovesickness played out in this part of the story [393-438]? Note how the lady’s virtue is illustrated by her faithful attendance at mass, even as her love for Guigemar develops. Toward the end of [464-95] Marie distinguishes between two kinds of attitudes toward love. What are the differences between them? What argument does Guigemar use against long courtship? The phrases “granted him her love” means that the couple made love, as the following sentences make clear. In Medieval imagery, Fortune was pictured as a woman who could abruptly and unexpectedly turn her wheel so that those on the bottom (with ill fortune) could suddenly find themselves spun to the top (with good fortune) and vice versa. Pledges made of pieces of clothing, etc. are commonplaces, but chastity belts are not. The youth Guigemar had raised is not his son: remember that nobles raised each others’ children. What evidence is there that magic is working on the side of the lovers in [655-90]? Fans of The Hobbit may recognize “Meriaduc” as the source of the name “Meriadoc,” or Merry. Tolkien was a distinguished Medievalist who worked many themes from literature into his fantasies. What do you think the symbolism of the two knots conveys about the nature of love [691-742]? How does Guigemar try to earn his lady? What important relationship remains unresolved at the end of this story? Note that it is expected that lays will be sung, rather than recited, in their original language.

Equitan

Note that this lay is definitely set Brittany (now part of modern France), in the city of Nantes. What two seemingly conflicting attitudes toward love are expressed in the third and fourth sentences of the second paragraph of this story? Seneschals are routinely depicted as villains in romances and lays because they were the gatekeepers to the courts who decided which entertainers would be employed in the courts. They were the natural enemies of writers, singers, etc., who took their vengeance in story after story. The one is this story, however, is unusual in being a good seneschal who ends badly. Perhaps the reason is that Marie, as a noble herself, did not share the prejudices of wandering jongleurs and such. Note how closely beauty and nobility are linked in describing the woman. There is no need to take literally the statement that “she had no equal in the kingdom.” It is routine in the Middle Ages to describe any attractive woman as the most beautiful in the land, or even the most beautiful who ever lived. Love is here personified as the feudal mistress of the King: he is “admitted into her service.” What causes him to resist his desire for the lady? What reasoning does he follow to argue that it will be good for the woman take him as her lover? What does his reasoning tell you about courtly love ideals? The lady uses some standard courtly love arguments against his suit. On what principle are they based? What do they tell us about Medieval society? How does the king use her own arguments against her? How does he seek to equalize the relationship? What is remarkable about this story is that after all this “high love” courtly conversation the affair takes a distinctly “low” turn, reminiscent of the plot of a fabliau (a bawdy tale of trickery, deceit, and raw sex, usually with a humorous point). Bleeding was a routine medical treatment used for all manner of diseases. People had themselves bled regularly as a preventative measure, and it was even done as a social event, with music and refreshments being provided. Why is this affair disapproved of by the courtiers? How does this story illustrate the traditional folklore pattern of “the trickster tricked?” With whom do you think we are expected to sympathize in this story?

Le Fresne

Superstitions about twins have been common in many cultures, though the one expressed by the knight’s wife in this story is uncommon. Tales of twins separated at birth are a staple of all kinds of marvelous tales. In the absence of safe abortion techniques, unwanted children were frequently killed in the Middle Ages. Others were abandoned on the doorsteps of churches, where it was hoped that they would be rescued and adopted. The motif of the piece of clothing or jewelry which identifies an abandoned child goes back at least to the story of Moses in the Bible and was common in Greek mythology. Although Western Europeans knew little of Constantinople, it was famed as a wealthy and luxurious city. The porter was the gatekeeper, the one who guarded the door (French porte ). How does Gurun come to love Le Fresne? Rich people who gave or left large sums or property to the Church were usually motivated by the hope that by doing so they would receive “remission of sins” by paying in this life for wickednesses that would not have to be paid for again in Purgatory after death. The aim was to hasten their movement into Heaven. Why doesn’t Gurun marry Le Fresne? La Codre’s name means “hazelnut tree.” Note how the mother is unwittingly drawn to her own abandoned daughter. This sort of instinctive tie between blood relatives was firmly believed in during the Middle Ages. The reason that La Codre’s marriage can be invalidated is that the Church did not recognize the marriage ceremony in itself to be binding until the couple had had intercourse with each other. Presumably they abstain, so the marriage is null and void. Why is Gurun able to marry Le Fresne now when he couldn’t before? How is a happy ending provided for all?

Bisclavret

Garwaf is obviously related etymologically to werewolf. Belief in such creatures was widespread in the Middle Ages. Note that they are prone to dwell in forests, routinely considered dangerous and frightening places. The insatiably curious wife who worms out her husband’s secret only to use it against him may be modeled on the Biblical example of Delilah and Samson. Why is tearing the wife’s nose off considered a particularly terrible punishment? Torture was used routinely in criminal investigations. In fact, the testimony of witnesses was often considered untrustworthy unless it was confirmed under torture; but its use against a nobleman’s wife would be most unusual unless there were grounds for suspecting her of a crime. Medieval Europeans, like many of the world’s people, believed in the inheritance of acquired characteristics. Few women can be expected to marry werewolves, but what lessons might this story have been trying to convey to its female readers?

Lanval

The story of the adulterous affair between Lancelot and Guinevere was known to almost every upper-class person in the Middle Ages. Eventually it brought about the ruin of Camelot, the court of King Arthur (Guinevere’s husband). After being retold for generations, Guinevere’s reputation became rather soiled, as this lay reflects. Arthur was originally Cornish, from the area immediately across the channel from Cornwall. He is portrayed as having conquered all of England, which bordered the still-barbaric lands of Scotland where dwelt the savage Scots and Picts. A very high percentage of Arthurian tales are set at Pentecost because it was associated with the miraculous. See Acts 2:1-13 for an account of the first Pentecost. See p. 2 of the Ovid guide for an explanation of the reference to Semiramis. Octavian was the original name of the first Roman Emperor, Augustus. Both are examples of extreme wealth. A “shift” is an undergarment somewhat like a slip. Note how Lanval pledges his exclusive love to the lady, quite spontaneously and voluntarily. “She granted him her body” means that they made love. A “boon” is a favor of some kind, in this case a magic one. Even in ordinary love affairs secrecy was crucial, but here it has a magical quality. “He was neither foolish nor ill-mannered”: this sort of understated complement by negation is common in Medieval narratives. What is the “one dish” that Lanval has in abundance [153-88]? Note that among other generous deeds, Lanval gave clothes to the jongleurs (reciters of poems and tales). As a writer herself Marie takes this as a sign of high virtue. [St. John’s Day] In early Arthurian stories, Gawain is the greatest of all knights, renowned for his courtesy and prowess. Later Lancelot tends to supplant him. When Lanval refuses Guenevere’s proposition, what reason does he give her? How does she react? Stories like this are common: a shameless woman propositions a man and is rebuffed and takes her revenge by accusing him of trying to seduce her. Such tales are obviously popular among men who want to blame women for all sexual aggression. The direct address to the reader/listener at the end of section [311-51] is another typical Medieval narrative device. The king’s use of the term “vassal” is meant to be insulting here. There is great irony, of course, in the king defending the queen’s honor when she in fact has attempted to betray him; but what does the king seem to be most worried about? The “pledges” are hostages to guarantee his return. A palfrey is a small horse, often used for carrying loaded packs, suitable for women to ride. Why is the beauty of the damsel so important in [509-46]? Why do you think it is important that the maiden be wearing clothing which partly reveals her body? Her description reveals her to be an absolutely stereotyped Medieval beauty. Avalon is the magical island where the fairies dwell. Medieval fairies were normal-sized and indistinguishable from human beings except by their extraordinary beauty and magical powers. They were often mischievous or even cruel; but this one seems to take compassion on Lanval. What do you think is the lesson taught in this story, and how effectively is it conveyed?

Les Deux Amanz

Jealous fathers who wish to prevent their daughter’s marriage are commonplace in fairy tales, of course; but only rarely is it suggested that the father’s motivation may be incestuous desire, though that probably lurks in the background of many of these stories. Women were often reputed to be skilled in the brewing of magic potions. This earned some of them a comfortable living, but also got some of them burned as witches. The young woman wearing nothing but her shift would give the young man a definite advantage, since the clothes of the wealthy were often extremely heavy. What would you say is the moral of this story? What is your reaction to it?

Yonec

Another variation on the old man/young wife theme. It is routinely assumed in fiction that any elderly man foolish enough to wed a beautiful young woman deserves whatever he gets. If he is foolish enough to be jealous, he is then asking for trouble. Do you see any inconsistency in this reasoning? The lady’s curses show that she knows her Ovid and is aware that Achilles gained virtual immortality by being dipped into the River Styx in Hades (though his mother absent-mindedly failed to note that his heel, by which she was holding him, remained dry). Note how the lady’s wishes have been influenced by stories she has read–like Marie’s. Why do you think the lady makes the hawk-knight say that he believes in God? Corpus domini means “body of the lord,” in this case the sanctified bread, the host of the eucharist. “Sported” means “made love.” What does this story seem to be saying about how beauty is maintained in women? Note the authorial interjection at the end of [257-96]. According to the lover, what has betrayed their secret? The marvelous castle where the lady finds her dying lover is described in a stereotypical way that makes it obviously magical. [St. Aaron] How does religion seem to function in this story? How does it relate to love?

Laüstic

St. Malo is a remarkably well-preserved (actually largely reconstructed) Medieval seaport in Brittany which is a major tourist destination today. What are the two motives which lead the lady to love the knight? Note that prudent (secretive) love is good love. What stereotyped image of Spring familiar from earlier works is repeated here? How does Marie attempt to make the reader sympathize with the lovers instead of the husband?

Milun

This story takes place on both sides of the English Channel. Note once more that a person can fall in love with the mere reputation of another, without ever physically meeting him or her. This story is unusual in that it tells of a illicit premarital affair. It is wise not to overgeneralize about the patterns of Medieval courtly love. Given what happens in the rest of the story, why do you think it begins with this unusual illicit relationship? Medieval women might get by with concealing a pregnancy because their clothes were voluminous and swollen bellies were considered attractive. Many “maidens” in Medieval illuminations look distinctly pregnant to us. Mont St. Michel is a famous seaside fortress/monastery, formerly an island, on the coast of Brittany. The theme of the unknown adversary is a common one. Often there is a special relationship between the combatants. A frequent case is that two lovers find themselves fighting each other. Why do you suppose the son does not kill his stepfather as in Yonec?

Chaitivel

What is said in the second paragraph about the comparative attitudes of women and men? The melee, or wild, unstructured group combat which kills the four men was so dangerous that it was eventually banned, to be replaced with the more structured tournament events such as jousting. The ending is somewhat ambiguous. Normally any woman who took more than one lover was severely condemned. What do you think the ending means?

Chevrefoil

The love of Tristan (Tristrem, Tristran, Tristram) and Iseult (Yseult, Ysolt, Isolde) was told all over Europe, from Iceland to Italy. Tristan and Iseult had fallen in love when he was bringing her back from Ireland to be the bride of his king and uncle, Mark. They mistakenly drank a magic potion which plunged them into an irresistible passion for each other which they nevertheless managed to keep hidden, though it was often suspected, and ultimately revealed, resulting in Tristan’s banishment. This is a small episode from that extremely well-known tale. Explain the symbolism of the hazel and the honeysuckle.

Eliduc

This story begins most unusually, with a married couple actually in love, but it soon takes a typically Medieval turn. Note the recurrence of the possessive father motif. Remember that a palfrey is not a war-horse. A “girdle” is a ribbon worn around the waist as an ornament, not a piece of constricting underwear. According to the chamberlain, what are Eliduc’s good qualities as a potential lover? In what ways does Marie try to solicit our sympathy for Eliduc? Note that he is fully aware that Christianity forbids bigamy. In the Middle Ages divorce was also illegal. The incident of the storm is probably inspired by that in Jonah 1. Similar stories occur elsewhere in Medieval narratives. What is the function of the weasels in this story? Women could indeed take up a life of celibacy, with the permission of their husbands; but the notion that the husband would then be free to remarry is pure fantasy. How does Marie try to cast a positive light on this story? Judging by this and the other stories, what seem to be her highest values?

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Last revised May 17, 2001.

The Song of Songs

All references to the Song of Songs are to Michael V. Fox’s translation as published in The Song of Songs and the Ancient Egyptian Love Songs (Madison: University of Wisconsin Press, 1985), pp. 82 94.

The Song of Songs, also known as the Song of Solomon and the Canticle of Canticles, has long puzzled readers because its themes seem to have nothing to do with the religious concerns of the rest of the Bible. How it came to be classed among the sacred works called “The Writings” in the Hebrew Bible is unknown. The earliest rabbis whose opinions we have are certain that it cannot possibly mean what is says literally. If it is among the sacred books, it must have a sacred meaning. Some rabbis even argued that as the most mysterious of books, it must have the most profoundly spiritual of meanings. The consensus of first-century Jewish scholars was that the poem was an allegory of God’s love for his people, Israel. Modern literary scholars generally agree that the brief references to Solomon were added after the fact to rationalize its place in the scriptural canon. Solomon was said to have three hundred wives and seven hundred concubines, and was therefore stereotyped as a great lover who might have written such a work. However, the language and style of the work indicate that it was written at least 500 years after his time. Most likely the poems were composed by different hands and different times and assembled into this “anthology” at a later date. Michael Fox has taken the liberty in this translation of trying to reconstruct what he thinks may have been the original shape of the book, which means occasionally moving verses around to make more convincing sense. Generally, however, his translation follows the Hebrew text’s order.

Early Christian scholars followed the rabbinical lead by agreeing that these verses could not possibly depict worldly love. Since they routinely interpreted almost all of the Hebrew Bible (which they called “The Old Testament”) in allegorical terms, this was only natural. Some thought that the Song of Songs voiced Christ’s love for his Church; but the eventual Christian consensus was that they concerned God’s love for the Virgin Mary. She figures in Christian thought as the spouse of God. Medieval exegetes went to extraordinary lengths to explain away the obvious sensuality of these verses. Bernard of Clairvaux, for instance, argued that “kiss me with the kisses of his mouth” must not mean ordinary physical kisses because it was too indirect an expression. A man might kiss a woman with his mouth, but he would not kiss her with kisses. Something more spiritual is meant. He also recommended that monks and priests not be allowed to study the book while they were still young and prone to inflamed passions. Almost all Christian musical settings of the Songs are hymns to the Virgin. Since the text was sung in Latin, the listeners probably thought very little about the literal meaning of the words.

Allegorical interpretation has fallen out of fashion, and in modern times numerous attempts have been made to explain (or explain away) this book. One group made a valiant effort to compare the poems to Arabic wedding songs, arguing that they might have been recited at ancient Jewish weddings. However, the parallels are quite weak and there is no evidence for such use. Besides, the very subject matter seems to have remarkably little to do with marriage. The same objection undermines the theory that the poems are meant to depict God’s ideal for marital relations. Besides, the latter theory is anachronistic, hardly any but the most radical fringe groups in Christianity considered sensuality and desire even within marriage to be a good thing. For centuries Christians and most Jews (Moses Maimonides’ influence is important here) had a strongly ascetic bias. The concept of sensuous Christian marriage is only decades old, not traditional at all, as is the modern Jewish attitude toward sexuality. Of course, it is conceivable that at the time of their writing, these verses reflected attitudes more like modern ones that like those prevailing in the intervening centuries: Jacob was certainly passionate about Rachel. But it is still hard to see in them an endorsement of marriage.

The artistic importance of these verses (probably a collection of short, related poems, rather than a single work) lies in their intrinsic beauty and in the enormous influence they have had on later writers, painters, and musicians. They also reveal to us many interesting aspects of ancient Jewish attitudes toward sexuality.

The labels in parentheses have been assigned by the translator in an effort to sort out who is speaking when. It is clear that some lines are uttered by a woman, some by a man, and some by groups of people. The labels vary. Some translations rather misleadingly label the speakers as “bride” and “bridegroom,” but in the original there is no indication of who speaks each poem or even where one poem leaves off and another begins.

p. 26:

Scented oils were frequently used in antiquity as a combination skin lotion and perfume. The king mentioned here was traditionally taken to be Solomon until Christians began to conceive of him as God himself. What evidence is there that the blackness referred to in the second poem has nothing to do with race? In many cultures light skin has been prized as a sign of nobility in women; what in this poem suggests the reason for this association? Some modern translations try to evade the suggestion that darkness might have been considered unattractive by altering the introduction to “I am black and I am beautiful;” but that goes against the poet’s clear intent. It is not clear whether the complaint of the woman is an assertion of desire for equal property rights for women or a metaphorical statement about her control over her own body. Note the recurring instances of tension between young women and their brothers in these poems. Note the strong assertiveness of women’s desires in these verses, which goes even further than the Egyptian poetry. Note the many instances of references to smells and tastes, also like the Egyptian poetry. Michael Fox suggests that the beloved’s eyes are compared with doves because her fluttering eyelashes are reminiscent of a dove’s fluttering wings. Fox’s translation of the “lily of the valley” passage is most unusual, but interesting. Whereas most translations make the woman’s statement out to be a boast, what does his version convey? The “girls of Jerusalem” (usually called “daughters of Jerusalem”) The statement “do not bestir love,/before it wishes” has been variously interpreted. The obvious meaning is, don’t try to seduce someone who is too young, but that doesn’t seem to fit with the surrounding messages. Some have argued that it means that lovemaking should be gradual and gentle. Others take it as a warning that aroused love can be dangerous if not handled carefully.

p. 27

The speech by the “boy” beginning “Arise, my beloved,” is perhaps the most famous in the book, frequently set to music in its Latin translation combined with the introduction as “Quam pulchra es.” The old King James translation of the bird as a “turtle” has amused and puzzled many modern readers, but in the Renaissance the word meant “turtledove.” “The Voice of the Turtle” is the name of a musical group that performs and records Jewish music from the Middle Ages and Renaissance. What season is especially associated with love in this poem? How is the setting different from that envisioned in the earlier poems? Note how the girl repeatedly compares her beloved to a gazelle or deer. The poem that begins “On my bed night after night” is one of two about women searching for their beloveds in the city streets. Can you characterize these women? The following section is one of only two portions of the Song of Songs explicitly about Solomon and one of the few to make any reference to marriage. Some scholars have argued this may have been used as a marriage hymn, but we have no evidence for such usage. The cedars of Lebanon were associated with Solomon because he had imported them for use in building the famous First Temple. The final poem on this page uses image that many modern readers have found difficult and strange. We have already explained Fox’s theory about the dove metaphor. He also argues that seen from a distance, a dense flock of black goats streaming down a mountainside might well suggest the waving tresses of a dark-haired girl. In an age of minimal oral hygiene a woman who had white teeth and wasn’t missing a single one might well exceptional. What lines suggest that the woman has all her teeth? Round red cheeks were much praised in Medieval and Renaissance Europe as well, though the usual comparison there was to apples rather than pomegranates. Lengthy necks have been admired in many ages as well. What might the poet be referring to when he uses the metaphor of the shields which are hung from David’s tower?

p. 28

The breast/fawn metaphor seems strange at first, but it is their delicacy and gentle movements and the fact that they are a perfectly matched pair that the poet has in mind. “The mountain of myrrh” and “hill of frankincense” may describe an imaginary land of love, or they may be simple metaphors for the “mound of Venus.” What snares does the boy say have “captured his heart”? Lebanon was more fertile and wooded than much of Israel, and often figures here as a garden spot. The “locked garden” (surrounded by a wall with a locked gate) has often been read as a metaphor for the woman’s body. If this is the case, then the following speeches take on a strongly sexual meaning. What evidence is there that the subject is lovemaking rather than picnicking? Many ancient Egyptian and Middle Eastern love poems use “sister” as a term of affection for a beloved woman. Although the Egyptians did not entirely share the powerful incest taboos of the Jews (the Pharaohs routinely married their sisters), even they do not seem to have intended the term literally. The section “I slumbered, but my heart was alert,” begins a sort of little poetic dramatic dialogue. Note the image of the waiting lover drenched with dew, which we encountered earlier in Japanese poetry. This section is often cited in the arguments of those who argue against the idea that the Song of Songs consist entirely of marriage hymns. What about it might be used to support such arguments? Note the “lover outside the door” theme which parallels Egyptian and Roman poems on the same theme. This is the second of the two poems in which the woman goes looking for her beloved, but this time she is assaulted and robbed by the guards. The meaning is obscure, but these lines certainly underline the power of her passion. This poem can also be seen as a variation on the regretful woman theme: “I turned him down, and now I’m sorry.” Such poems are often written by men fantasizing about women, but there are also documented examples by real women.

p. 29

Note how many of the same images applied earlier to the girl are now applied by her to the boy. Beauty was not a characteristic solely of women in the ancient world. Some of the images do seem to suggest specifically male muscularity, such as thighs like marble pillars. The “ivory bar” suggests white skin adorned with dark hair (“lapis lazuli”). “Belly” is sometimes a euphemism in Hebrew poetry for “sexual organ,” and that may well be the case here. The repetition of several lines from earlier suggests folksong traditions in which same formulas are used over and over in various contexts. The reference to threescore (60) queens and fourscore (80) concubines suggests a king like Solomon, though it does not equal the numbers he accumulated at the height of his power. How can we tell that the girl is not to be numbered among the queens and concubines? The “morning star” is the planet Venus, often visible just before dawn, and considered particularly beautiful in both Hebrew and ancient Greek traditions. Note the praise of curves: the admiration of hard-bodied females with flat stomachs à la Janet Jackson is a very recent development.

p.30

The poet continues to use place-names which the audience would be familiar with as metaphors for the beloved’s beauty. “Thrums” are fringes. “A king is captured by the locks [of hair]” is traditionally taken to concern Solomon, though it can as easily simply mean that the girl is beautiful enough for a king to love. The idea that a man can be metaphorically ensnared by a woman’s beautiful hair is one of the oldest and most enduring images of love. The metaphor of the woman’s body as a garden is made even clearer when the woman is compared to a palm. Fox assumes this is a date palm, common in ancient Israel. Note the repetition here of the theme “let us go out into the fields to make love.” The speech by the girl wishing her lover were like a brother has no perverse intent. What does she say would be the advantages of having his status be the same as that of one of her brothers? Love’s power is frequently understood in the ancient world to be both highly desirable and very dangerous: “as strong as death.” In Hebrew poetry parallelism is the most common of poetic devices. To say that “love is as strong as death” is parallel to saying that jealousy is “as hard as Sheol.” In this period, classical Jewish concepts of the afterlife had probably not yet evolved, and “Sheol” is routinely used as a synonym for “death.” It was understood as the land where all dead spirits went, good and bad alike, much like the Greek Hades. Only later did it become a label for Hell, an interpretation that did not prevail among Jews until after the fall of Jerusalem to the Romans in 70 CE. This description of the overwhelming power of love is strikingly like Sappho’s and Medieval Christian and Arabic views on the subject, and very unlike the playful Hellenistic and Roman attitudes. What is the poet saying about jealousy? The dialogue between the brothers and the girl is one of Fox’s most daring pieces of reconstruction, trying to make sense of some of the more obscure passages in the book. His translation suggests a brotherly refusal to recognize that their little sister has grown up and is ready for love. The second of the passages referring explicitly to Solomon uses him as the basis for a comparison: the boy would rather have his beloved than all the riches of Solomon.

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Created by Paul Brians

Kalidasa: The Recognition of Sakuntala

Source: Kalidasa: The Loom of Time. Penguin Books.

Your assignment is to read Abhinjnanasakuntalam (The Recognition of Sakuntala) plus its related notes. Begin by reading the biographical note in the front of the book, the Introduction, Sections I, III, VI, VII, X, and XIII and Appendix III on pp. 320 & 321. There are two kinds of notes in this book. Terms which are used in more than one of the works are explained in alphabetical order in the glossary on pp. 283-305, and other notes on the play appear on pp. 334-339 as well as in footnote. Be sure to use these notes to explain obscure references, etc.

The claim that the ancient Athenians invented drama may hold true for the West, but Indian writers argue that theater was highly developed even earlier in Sanskrit. No plays survive from those early times, however, and the dates of Kalidasa, the greatest of the Sanskrit playwright, while much disputed, are clearly centuries later–perhaps a millennium later–than Aeschylus and his fellow tragic writers. Abhijnanasakuntalam and Kalidasa’s other plays were written for a refined court audience. The dialogue of the upper-class characters was delivered in Sanskrit, the classical language, and that of women and commoners in prakrit, the common speech. Despite these lofty origins, Kalidasa’s plays have remained popular.

There is no tradition of tragedy in India, and Kalidasa’s plays always have happy endings. In Hinduism, everyone has an infinite number of chances to achieve enlightenment and liberation from the wheel of rebirth. A life that ends badly is only a prologue to another opportunity. Hence the basic premises on which tragedy is based are lacking.

Sakuntala is by far the best-known of Kalidasa’s plays. In Delhi there is a modern auditorium called the “Sakuntalam Theater.” The play was translated into German and English in the 18th Century, and greatly impressed the great poet and playwright Johann Wolfgang von Goethe, who was influenced by it to create an “introduction in the theater” to his Faust and helped to spread knowledge of Kalidasa in the West. The initial consonant is pronounced “sh,” and you will often see the title rendered as “Shakuntala.”

Benediction

Just as ancient Greek drama was part of a religious ritual (honoring Dionysus), so there is a religious aspect to classical Hindu drama. The play begins with a hymn of blessing which would have been sung rather than recited. The play would have been enhanced throughout by dances and songs. The “Benediction” is addressed to Lord Siva in his eight Rudras, or forms, mentioned each in turn and listed in the footnote on p. 169. The Creator is Brahma, who otherwise plays little role in Hindu devotions. Note the insistence on the multifaceted nature of the divine, so different from the Islamic insistence on its unity. For the devout Hindu, this play is more than a captivating love story: it is a religious drama on at least two levels. On the simplest level it teaches the doctrine of karma, that our experiences are influenced by our acts earlier in this life and in past lives. It is also an allegory of the relationship between the worshiper and the sacred. Each play is also expected to convey a certain set of emotions and attitudes called a rasa. Here the rasa is composed of various forms of eroticism and love. It also has a political aspect in that the playwright is flattering the royal line of the ruler for whom he is writing.

Prologue

Goethe was so impressed by this traditional Indian dramatic device of introducing the play through dialogue between the actors and the director that he added such a prologue to his Faust.Sanskrit poetry, like Japanese poetry, is generally classified according to season. Note the image of the bees in the Actress’ song. What associations do bees seem to have in this play?

Act One

The earliest version of this story is told in the Mahabharata, and would have been known to everyone in the audience. It is characteristic of Hinduism, however, that there is no insistence on following an “orthodox” version, and that there are always alternative traditions, such as the one that Kalidasa follows. Be sure to read the short excerpt from Mahabharata on pp. 320-321 and compare what the audience might have expected to see with the actual action of the play. Note especially how the actions and character of Duhsanta have changed. Whereas Westerners are used to religion demanding a single standard of morality for everyone (or at most having slightly different emphases for men and women), in Hinduism that which is good for a person of a certain age, social standing, or caste, may be bad for another. Each person must follow his or her dharma (duty). Most kings loved to hunt, but it was disapproved of by Brahmins, and hunting is forbidden in the sacred grove where the ascetics live. Suta compares the king to Siva (also spelled “Shiva”), alluding to a myth in which Siva, angered because he had not been invited to a great sacrifice, pursued and killed the “lord of the sacrifice” who had transformed himself into a deer. Indra is a storm god who is depicted in the Vedas as driving a chariot drawn by a pair of horses. Clearly the stage cannot have been vast enough to depict the pursuit of the deer realistically. What means does the poet use to convey the chase vividly? According to the Introduction to this volume, what is significant about the deer the king is chasing? Note how the poet keenly observes the visual effects of traveling at great speed in language that resembles modern filmed space travel effects.

In Hinduism, the ideal final stage of life is asceticism: the practitioner goes to live in the forest without worldly possessions, engaging in prodigious feats of meditation and self-denial, hoping to achieve liberation from the cycle of rebirth. Skilled ascetics could accumulate so much spiritual power that they sometimes posed a threat even to the gods, as we shall see later. Few people actually achieve the extremes of the ascetic ideal, but such people are highly respected and honored. There is no pressure, however, for each individual to emulate the ideal, since if one is not ready for such austerity in this life there will always be opportunities to carry it out in lives to come, when one has accumulated the necessary karma. The King’s arrows are cruel in the context of the Hermitage; the audience would respect this view without necessarily agreeing that they themselves should stop hunting or eating meat. What simile does the ascetic use to describe the effect of arrows on deer? Note that heaps of flowers are common sacrificial offerings to the gods. How do the ascetics link the king’s role as a benevolent ruler with their objections to hunting. The blessing of the ascetic foreshadows the ultimate theme of this play: the birth of a son who will one day be the greatest of kings. In Western drama foreshadowing is used to heighten suspense or to create a sense of doom threatening human happiness. In Sanskrit drama foreshadowing instead creates a sense of purpose, of inevitability, linked to the concept of karma. The wheel, symbol of the reign of the benevolent emperor Asoka, is pictured on the flag of modern India as a symbol of Hinduism. Fire is central to Hindu ritual. Originally animals were sacrificed and burned as in Judaism or ancient Greek practice, but fruits, flowers, incense, etc. are more commonly sacrificed today. The Himalayas have long been famed as the site of particularly devout mystics, giving rise to the Western stereotype of the guru on the mountain top. How do the ascetics convey that they appreciate the king’s skill with the bow despite their objections to his hunting? In what way does the king’s description of the grove make clear that it is a place of penitential prayer and meditation, different from other areas of the forest? Note the significance of specifying that the deer feed on dharba shoots.

What do you think is symbolized by the king setting aside his jewels and bow when he visits the Hermitage? In the Western tradition, the suggestion of a love encounter in a hermitage would be considered blasphemous: but the king is not expected at his stage of life to be an ascetic: he is in the “householder” stage, appropriate for love and marriage. Note the preference for the natural over the cultivated, a common theme in much Western poetry as well. Keep track of the ways in which Sakuntala is compared to various plants. What characteristics link her to the trees? To other plants? Why is watering trees which are no longer blooming particularly virtuous? The ascetics wear clothing made of rough, simple materials such as bark. The fact that Anasuya says the vine has chosen the mango hints at the fact that although Sakuntala may be free to choose her own husband, like a princess, despite the many statements to the contrary. Note the strong emphasis on proper hospitality, very important in traditional Hinduism. Sakuntala is almost inhospitable to the king because of her embarrassment, and later her passion for him will cause her to be disastrously inhospitable to Durvasa. The traditional Indian ideal of feminine beauty involves a narrow waist, large, round breasts, and swelling buttocks. Explain the meaning of the quatrain at (19) beginning “Though inlaid in duckweed the lotus glows.” The mango is often associated with love and is a “male” plant. Kama, the god of love, targets with mango-shoot arrows those he wishes to inspire with love. The image of two plants intertwined symbolizing a human embrace is also common in European poetry, where plants are often said to spring up from the graves of unfortunate lovers to intertwine in death. Here the symbolism is happier: men and women are meant for each other.

Sakuntala’s behavior from here on must be interpreted as reflecting a highly desirable quality in a young woman: modesty. Do not jump to the conclusion that Sakuntala is not just as interested in love and marriage as her friends: she is simply more demure and hides it better. In all this talk about loving vines, remember that human souls could be reincarnated not only as animals but as plants. All living things are related in Hinduism. How does Sakuntala learn that she may be married soon? It is a cliché of courtly literature from all over the world that the exceptional youth–male or female–discovered in obscure surroundings must have a mysterious noble background. As we will see, Sakuntala’s ancestry can be considered superior even to the king’s. At (22) we encounter the image of the bee, referred to in the opening. What draws the bee to Sakuntala? Why is it appropriate for the bee to call to mind King Duhsanta? His speech at (24) begins by referring to his own greatness as “chastiser of the weakness” without revealing his true identity, but they see immediately that he is a noble. Note how Sakuntala reveals her true feelings in her aside to herself, though she coyly continues to brush aside her friends’ teasing suggestions. There can be no doubt that she has fallen instantly in love with the handsome young king. The Vedas are the oldest Hindu scriptures, and are still recited regularly.

We now learn that Kanva is only Sakuntala’s foster father. An Apsara is a beautiful divine woman such as those depicted on temple carvings. They often figure in myths as tempering the excessive power achieved by extreme ascetics, as here. Such power is not necessarily bad just because the gods are fearful of it. In Hinduism, the gods are not supreme. There is a larger spiritual order to which gods and humans alike are subject. In what way is Sakuntala like a flash of lightning? The King’s description of Sakuntala at (29) contains all the stereotypes of intense erotic passion, though he pretends to think that they are the result of her labors (which, after all, have hardly been extreme). The ring which will play so large a part in the following plot is now offered. The play is often referred to as The Ring of Recollection. How can the king tell she is interested in him though she does not look at him? Why do you think that at this precise moment the off-stage warning against the king’s coming is uttered? What is the symbolism? The “tusker” is of course an elephant. The King’s hunting party has started a stampede. Why do you think Sakuntala is suddenly afflicted with a number of problems which prevent her leaving immediately?

Act Two

Comic figures such as Madhavya are standard in Hindu drama. He speaks Prakrit, the language of ordinary people, rather than Sanskrit. His complaints about the hunt could be interestingly compared to the complaints of the herald about warfare in one of the early scenes of Aeschylus’ Agamemnon. Heavy hips are considered highly desirable in a woman, partly because they are associated with the bearing of healthy children. “May you live long” is a standard address to a king upon greeting or leaving him. Note how the General acknowledges that hunting is disapproved of in certain quarters. See endnote 12. Why do you suppose the General hopes Madhavya will continue to oppose hunting? The desire to hunt is here called a “strong passion,” and such passions are major obstacles to enlightenment; but in fact the king’s passion for hunting has been overwhelmed by another, even stronger passion. Endnote 7 explains why Sakuntala may be beyond the reach of Madhavya even though he is King. What do the metaphors listed at (11) have in common, beginning with “A flower whose fragrance none has dared to smell”? The latter part of this speech suggests that such divine beauty could only be produced by the accumulation of great amounts of good karma in previous existences. The tribute the hermits pay is their devotion which brings the blessings of the gods on the kingdom.

Note how the first hermit, despite his own asceticism, approves of the king’s dedication to the worldly life: each must play his appropriate role. Gods (Rama in particular) and great Kings are often portrayed as destroyers of demons. Again, the dialogue foreshadows the next important plot development, which simultaneously (and not coincidentally) provides the king with the excuse he has been longing for to stay with the hermits. How is the rushed courtship of the king justified in a way that was not the case in the Mahabharata?

Act Three

This act begins and ends with the king alone, framing his intensely romantic encounter with Sakuntala and setting it off in contrast. Cooling salves were used in high summer, and can also signify that the user is burning with passion. The churning of cream into butter is one of the most common activities of Indian life and a frequent symbol for creation. Kama’s flowered arrows are again referred to. When Kama disturbed Siva’s meditations, he wrathfully destroyed the love-god with fire emanating from his third eye. Note how Duhsanta tracks Sakuntala almost like a detective. How does each of the “clues” remind him of some attractive aspect of his beloved? The heat of her passion has literally cooked her lotus-blossom bracelets. Which of the symptoms of love which the king lists are familiar from the love-sickness symptoms used by Western poets such as Ovid? What does the metaphor about the river flowing to the ocean imply about the status of Sakuntala herself? Like many lovers in Western fiction, she is so far gone in love that she will soon die if she does not find relief. Therefore the king cannot properly be blamed for courting her so hastily. Why is it important that the king learn of her love by overhearing her rather than more directly? Why do you think that Sakuntala refers specifically to the Inner Apartments as the place the King must be longing to return to? With typical Hindu emphasis on variety, there are no fewer than eight kinds of marriage described in traditional law, of which Gandharva is the voluntary union of a couple in love without any ceremony or consent of their parents. Although it is rarely invoked, theoretically it is as binding as any other kind of marriage. However, it depends entirely on the trustworthiness of the man. The story of Siva’s destruction of Kama is again alluded to at (34). The offstage voice calling for Sakuntala to leave refers to the traditional belief that sheldrakes, though devoted couples in the daytime, always slept apart at night. Just as the king began his pursuit of Shakuntala by tracing the “clues” left behind by her passage, so at the end of the act he contemplates the traces left behind of her time with him (39). At the end of the scene we hear of the demons which threaten to disturb the ascetics’ rituals. Is the king himself in any way similar to these demons and to the wild elephant which disturbed them earlier?

Act Four

The physical union of the lovers is delicately left off stage. It becomes apparent that the Gandharva marriage has been consummated and the king has been gone for some time. Note the ominous foreshadowing in Anasuya’s second speech. Duhsanta is fated to forget his bride even before the fatal curse is uttered. The incident by which Durvasa’s rage is aroused may seem slight, but the duty to travelers is a sacred one. Because the girl forgot to honor Durvasa, Duhsanta will forget to honor her. How does this shift the responsibility for the lapse of memory, compared to theMahabharata? When Anasyua somewhat mollifies Durvasa, he cannot take back his curse, but he modifies it. Similarly, when in Greek mythology Hera blinded Teiresias, Zeus could not undo the divine curse, but compensated for it by giving him internal sight: the gift of prophecy. A more familiar example is the partial undoing of the curse in “Sleeping Beauty.” Even the noble moon, which through its association with healing herbs gives life, must set. The metaphor refers to the departure of the king. Kanva is informed of Sakuntala’s pregnancy in a way that makes clear that the gods are involved. Note the emphasis on the child she carries. Unlike most Western love stories, this is a great love because it will produce a great offspring. Hindus ritually wash at sunrise, before eating. What hopes do the women have for her child? Note how Sakuntala is adorned by a miracle (caused by her stepfather’s powers), another sign that this union is blessed, despite its inauspicious beginning. An Indian bride’s feet are decorated with red lac. Brides are expected to weep upon leaving the family home for their husband’s; they are going off to a largely unknown life, leaving the familiar comfort of home behind. Sarmisttta, the daughter of the king of demons, married Yayati according to the Gandharva rite and gave birth to Puru, founder of the line from which Duhsanta is descended. Thus the parallel to Sakuntala involves both her extraordinary origins and the noble destiny of her son. The song by the invisible spirits further endorses this union, which is clearly blessed by many forces even while it lies under the curse of Durvasa. Why is such a situation more plausible in this setting than in, say, a Christian setting? Even the vines with which Sakuntala was earlier identified “weep” at her departure by shedding their leaves. Kanva clearly understands the necessity of this marriage in a way that is truly exceptional for a Hindu father. His acceptance of it would be more striking for an Indian audience than a modern American one. The parallel between Sakuntala and the vine having been reaffirmed, how is her identification with the doe also reasserted?

The lessons that Kanva gives Sakuntala in being a good wife are highly conventional. What qualities do they seem to value? Sakuntala is alarmed at her friends’ suggestion that she use the ring to remind Duhsanta of her identity because it implies that he may indeed forget her. Since they have never told her of the curse, she does not understand the true urgency of their warning. A Western equivalent to the saying “A daughter is wealth belonging to another” is “A daughter’s a daughter until she’s a wife, but a son is a son for the rest of your life.” But why, according to Kanva is he satisfied to “lose” Sakuntala?

Act Five

The greatest differences between the Mahabharata version and Kalidasa’s come in this act. Look for the way in which the king’s motives are emphasized. Note how the forgetfulness of the Chamberlain foreshadows the forgetfulness of the king. The sun, the Cosmic Serpent, and the king must all labor unceasingly. “The sixth” referred to is the king’s legal tax noted earlier. Note how Duhsanta is praised as a hard-working, dutiful lord although we have earlier seen him at leisure. It is important that his good character be established firmly. The umbrellas refer to provide shade (Latin umbra ) from the heat of the tropical sun rather than shelter from rain. The King illustrates “kinship’s perfect pattern” because he treats his subjects as if they were all his relatives. The vina is a traditional bowed string instrument. How is Lady Hamsavati’s song another instance of foreshadowing? What is the king’s reaction to the coming of the hermits? What does it reveal about his character? Note how alert the king is to any fault he may have committed. When the ascetics enter, they foreshadow the disaster to come through their feelings of unease. What is the meaning of the poem at (13)? How does the king’s reaction to Vetravati’s praise of Sakuntala’s beauty illustrate his character? What metaphor springs up in the king’s struggles to remember that reminds us of his earlier enthusiasm for Sakuntala? Why does Vetravati praise him as virtuous for hesitating? The king is at first cynically skeptical of Sakuntala, but her outburst which begins “Ignoble man” is convincing in its natural spontaneity. What hint is there in his comments to himself that the King is being attracted to her all over again? Sakuntala’s final words indicate she wants to die; but instead of being swallowed by the earth, she snatched up into the sky by the Apsara Misrakesi. Even this miracle cannot convince the king of the truth. What does convince him that Sakuntala’s words may well have been true?

Act Six

Fishermen were low-caste because they were involved in killing animal life; but this one sarcastically replies that the brahmins who consider themselves the very highest caste kill animals when they sacrifice them in rituals. Fish swallowing marvelous rings turn up in many folk tales, both Eastern and Western. Note how frequently the important actions, such as the king’s recovery of his memory, take place offstage. Because the audience knows the story already, it is not crucial to evoke suspense and provide climactic moments as in Western drama; what is important is to evoke the relevant moods. The spring festival in honor of Kama is a wild celebration called “Holi,” now dedicated to Krishna. Note that in the conversation between the two court ladies the image of the bee and the mango blossom is repeated. Typical of the Indian preference for variety, Kama–unlike Cupid–has no fewer than five different kinds of arrows, each of which causes a different kind of love. The king is not behaving like a tyrant in forbidding the celebration of the spring festival; his grief has actually prevented the coming of spring. Note that the king is a painter. Several prominent monarchs of both India and China were distinguished painters. What pious lesson does the king draw from his failure to remember Sakuntala? How does the state of the painting reflect the king’s devotion to Sakuntala? The pairs of geese and deer which the king wants to paint symbolize love and marriage. The king is crazed by contemplating the picture and becomes jealous of the painted bee which hovers where he wants to be. Why does the king hide the painting when Queen Vasumati approaches, according to Misrakesi? Duhsanta’s extraordinary honesty and decency is reconfirmed by his scrupulous reaction to the announcement of the merchant’s death. At this time, widows were not allowed to inherit, but their unborn children might. Even though it means the loss of a fortune, he scrupulously inquires whether any of the widows is pregnant. The phrase “I had implanted myself in her” alludes to the belief that a man reproduces himself in his son. Duhsanta is in despair because it seems he will never have a son to be his heir. Note the female bodyguard; such guards were often used to guard the women’s quarters without endangering their chastity. The king imagines that the voices taunting him belong to demons. The king is roused from his crazed stupor by this therapeutic challenge and reaffirms his skills as a demon-fighter, though mistakenly at first. The “twice-born” are upper-caste people like the king. The royal swan was supposed to have the ability to separate milk from water. How is the inevitability of karma stressed even as the king is called upon to kill the demon offspring of Kalanemi (35)?

Act Seven

The play takes place in three basic settings: the idyllic but lowly world of the hermitage, the dazzling but worldly palace, and the transcendent celestial regions. Duhsanta has had to pass through all these to perform his dharma. Again we have skipped a climactic scene: the king’s victory over the demons. Sharing the throne of Indra was a proverbial extreme honor. “Golden sandal” refers to sandalwood paste, smeared on the chest as a refreshing, sweet-smelling salve. What is the king’s virtuous reaction to Matali’s lavish praise? The Ganga is the heavenly aspect of the Ganges River, the most sacred stream in India. Just as Duhsanta met Sakuntala initially because of his reverence for the ascetics on Earth, so he is reunited with her through his reverence for the divine ascetic Marica, son of Brahma and father of Indra, who is king of the gods. Thus he resembles Duhsanta, father of the king of men. He plays a major role in the creation myths. His penance is described in extreme form at (11). Marica is so absorbed in his meditations that he has lost all track of his body, so that a snake has shed its skin on his torso to create a second sacred thread (usually a piece of twine worn by all Brahmin males); but this is more than a symbol of mere negligence since a snake-skin thread is also characteristic of Siva.. Again the throbbing arm of the king foreshadows his reunion with his bride. A boy who rough-houses with lion cubs is obviously something out of the ordinary. Naughtiness is boys is often more than half-admired as a sign of manly spirit, as the king’s speech at (15) makes clear. Note that the true consummation of this romance is not the reunion of the loving couple, but the encounter of the king with his son, destined to be the greatest of kings. Note the outline at (20) of the conventional view of the ideal life for a Kshatriya: wealth and power in youth, self-denial and spirituality in old age. One last time the king exhibits a sense of morality by not asking about Sakuntala. In many countries, particularly Muslim ones, it is considered highly offensive to inquire after a man’s wife or in any way imply that he may have one. What attitudes toward women do you think are reflected in such customs?

Sakuntala’s single braid is a sign of mourning. To what does she attribute her sufferings when the king falls prostate before her? According to ancient Hindu thought the earth is composed of seven island continents. How does the final speech of the king reflect the ideas of the Brahmin-priests who dominated Hinduism? The last line reflects the highest wish of a pious Hindu: to be liberated from the cycle of rebirth ( samsara ). What can you say about the relationship of erotic love to religion in this play?

More study guides for Love in the Arts:

 

 

Last revised January 3, 2002

Nizami: Layla and Majnun (1188)

Source: The Story of Layla and Majnun, by Nizami. Trans. R. Gelpke. Omega Publications, 256 Darrow Road, New Lebanon, NY 12125. Phone: 800-443-7107 or 518 794-8181. ISBN #0-930872-52-5.

Begin by reading the first two pages of the “Postscript” which begins on p. 200, where it is made clear that there are many retellings of this tragic love story. Nizami’s is perhaps the most famous (even immortalized in two songs by Eric Clapton: “Layla” and “I Am Yours”). One theory of how it evolved is that there were a number of poems in Arabic in which a poet named “Qays” complained of frustrated love for his Layla. By gleaning various details from these poems, a legend was gradually built up which imagined their story. Nizami, writing in Persian rather than Arabic, long after the legend had reached its definitive form, rendered it into an ornate romance (a long narrative of love or adventure). The original is in verse, though our translator has rendered into prose. If the writing seems rather more dense and elaborate that a modern novel, remember that this is not a novel, but a long poem.

The setting, even then, was exotic. Nizami was writing for a sophisticated urban audience in one of the richest and most sophisticated empires in the world, about a long-ago imaginary past of nomadic Arab life. But both Nizami’s and Qays’ cultures had in common that men and women were rigidly separated, marriages were arranged, and love played a much larger role in fantasy than in real life. One of your tasks is to analyze how a love story functions in a culture which discourages real-life love affairs.

I

A Bedouin is a nomad. A zephyr is a wind. What is the one thing lacking to make the Sayyid happy? Remember how important this is when you read the rest of the story. “Corn” here, as in all British translations, is not maize, which was unknown in Europe until after Columbus, but wheat or other cereal grains. Note how Nizami’s technique employs piling metaphor on metaphor. This sort of writing is often compared to Islamic art, elaborate patterns entirely covering the surface of the decorated object. Great delight is taken in the ingenuity with which these metaphors are crafted, and there is no imperative to “get on with” the story. “Qays” means “moon.” It used to be believed that gemstones actually emitted light rather than merely reflecting it. “Decennium”=tenth year.

II

What metaphors suggest that a woman’s beauty can be dangerous? What is the meaning of Layla’s name, and how does it relate to Qays’? The Qur’an strictly forbids the drinking of wine, but metaphors of intoxication are commonplace in Arabic and Persian verse, particularly in Sufi poetry. What attitudes toward “first love” seem to be conveyed here? Note how their love becomes a kind of “homework” in the final poem.

III

For the story of Joseph and the pit, see Genesis 37. Whereas a love like this would be considered a cute “crush” in our culture, in their culture Qays and Layla are falling into a scandalous madness. What metaphor is used for Qays’ being bound to Layla? Why does Layla’s family sequester her? What is Layla’s reaction?

IV

Note that even as a young boy Qays/Majnun sings to console himself. How does his behavior compare with Layla’s? Does this mean that he loves her more than she loves him? Keep asking yourself these questions throughout the story. What are the main symptoms of Majnun’s lovesickness? In Medieval Persian and European thought alike, lovesickness was a disease, clinically described in medical textbooks. The tradition that links madness and poetic inspiration goes back at least to the ancient Greeks. The “Evil Eye” is a curse. Much Muslim literature reflects deep beliefs in fate.

V

Note how the chapter opens with the day “getting dressed.” What do the two lovers see in each others’ faces? Note the musical metaphors. Why are candles and torches appropriate metaphors here? The “whirling dervishes” are Sufi mystics whose whirling dance propels them into a state of religious ecstasy. What does the last line of the chapter mean: “He escaped from Layla in order to find her.”

VI

A “ghazel” is a traditional song form, either secular or sacred. It spread with Persian culture to North India and is still widely popular. What effects of Qays’ madness does the narrator seem especially concerned about? What is the objection of Layla’s father to Majnun? What does it suggest about the relationship between love and marriage in this culture? How is his objection ironic?

VII

Majnun’s dramatic rending of his garments and the repeated references to him as naked are meant to be extreme: Islamic culture strongly disapproves of nakedness, and it is never depicted in art, unlike the Greek/Roman/European tradition. How does Majnun proclaim his rejection of all human authority? What are the two opposing kinds of reactions that other people have to him? The Book of Life records all living souls: so what does it mean that Majnun’s name has been as if torn out of the Book? The bulk of this chapter is Majnun’s statement of ultimate separation from the rest of humanity. According to Nizami, what is the difference between true and false love? In what sense is Majnun’s love still alive?

VIII

The Kaaba in Mecca (spelled “Caaba” here) is the most sacred site in Islam. This ancient shrine was reputedly constructed by Abraham, cleansed of its idols by Muhammad, and is the goal of pilgrimage ( hajj ) of every pious Muslim. What does Majnun pray for when he is at the Kaaba? His reaction would have been seen as not merely rebellious but wildly blasphemous.

IX

Why do the members of Layla’s tribe want Majnun punished?

X

Name one of the significant ways in which Majnun’s father urges him to heal himself. Parsley was supposed to have medicinal effects.

XI

The exaggerated terms in which Majnun addresses his father are not meant to be blasphemous. Such exaggeration was a traditional form of respect, and the strength of Majnun’s passion can be measured by the strength of his resistance to this man whom he respects so highly. How does he use the concept of fate to argue with his father? The fable that Majnun tells resembles the famous Aesop fable of the fox and the crow, but it is only loosely connected to the boy. How does he explain what the fable means to him?

XII

What ambiguous reaction do people have to Majnun? What effect do his poems have on his audience?

XIII

Note the violent, predatory metaphors attached to Layla at the beginning of this chapter. What attitudes do they seem to reflect? How do you think a society holding such attitudes would be liable to treat young women? Is Layla blamed for the harm she does? How is her reaction to their love different from Majnun’s? In what way does she suffer more than he? How does Layla hear constantly of Majnun’s love for her? How does their unhappiness cause happiness?

XIV

How are the nature images in the second paragraph rather unusual? What quality do they have in common? In Islamic thought Paradise is literally a garden. Why is Layla so hurt by the poem she overhears? How is Layla’s relationship with her mother similar to that of Majnun to his father? How is it different?

XV

What is Ibn Salam’s one fatal flaw? “Inshallah”=if God is willing. Pious Muslims make no statement about the future without adding this expression to remind themselves that all is in God’s hands.

XVI

Note that Majnun’s belief that he can convey his poems to his beloved is not entirely wrong, though he is mistaken about the means. Majnun thoughtlessly commits even the sin of drinking wine in his absorption with thoughts of Layla. How does Nawfal try to heal Majnun? What causes him to be so fanatically devoted to this cause?

XVII

Note how Majnun treats all those who care the most about him.

XVIII

Why is it insulting to call someone a glass bottle? The metaphor of wine as blood is a common one, especially in the Hebrew Bible. Think of the Battle Hymn of the Republic. Why doesn’t Majnun join the fighting?

XIX

Note that although Majnun will not draw his real sword, he is free with “the sword of his tongue.”

XX

What finally tires the combatants? Why would her father rather let Layla be killed than married to Majnun? What is Nawfal’s response? It doesn’t really seem to match with his previous actions. How has he changed in his attitude toward Majnun?

XXI

Note that all of Majnun’s metaphors have to do with being offered hope of winning Layla and then failing to do so. It is not so much the failure he blames Nawfal for as the hope.

XXII

Earlier it was said that Majnun had become alienated from hunting. Now we see how this change has developed. What effect does this episode seem designed to have upon the reader’s attitude toward Majnun?

XXIII

Why does Majnun identify with the stag? The poem in this chapter was set to music (from this translation) by Eric Clapton in the song “I Am Yours,” on the album, Layla and Other Assorted Love Songs. The theme is a familiar one: “Every little breeze/seems to whisper ‘Louise’.” Explain the two final similes in the last sentence.

XXIV

Friday is the holiest day of the week in Islam, when preaching as well as praying is done at the mosque. Note the dramatic crescendo of images of blackness.

XXV

Insane people were often kept in chains and beaten in the Middle Ages, both East and West, under the impression that the demons possessing them might be forced to flee if they were treated badly enough. How does Majnun turn his chains into a metaphor when he is crying out to Layla?

XXVI

Is Layla a coward for not speaking out to her father? Explain. Go-betweens are routinely used to negotiate marriages in cultures where arranged weddings are standard. Muslims believe that Jesus could raise the dead, though they reject the Christian belief that he is the son of God. He is merely one of the greatest of the prophets. Note the boundaries of “the world” from which riches can be fetched: Byzantium to the west, China to the east; Europe is over the horizon. What does the final paragraph tell us about the values of these people? Note that Layla literally has no say in her marriage.

XXVII

That a man would marry a woman without her consent should not be surprising: many cultures expect couples to marry without even speaking to each other beforehand. How does Ibn Salam’s reaction to Layla reveal unusual sensitivity? Note that in this romance there are no villains: everyone is motivated by deeply-held beliefs and feelings. Why do you think Layla can defy Ibn Salam in private although she could not reject him in public?

XXVIII

The wicked stranger uses the standard clichéd image of womanly unfaithfulness shared by Medieval cultures both East and West. The idea that women are more driven by desire than men is a standard feature of this image. This was directly contradicted during the Victorian age when it came to be believed that men were much more sexual than women. How do you think the earlier idea arose, and what effects would it have had on the treatment of women? It is suggested in the opening of this chapter that this figure may be a demon rather than a human. What evidence is there to support this idea?

XXIX

What does the last line of his poem mean: “Yours, if I die, will be the blood that flows”?

XXX

Note that although racial prejudice is somewhat milder in the Islamic world, where many of Believers are dark-skinned, nevertheless, black is still used as a symbol of evil, just as in the West. Note that Islamic propriety does not allow even the mad Majnun to go completely naked. Why does his father call Majnun “soul of your father”? What do you think of his advice to Majnun?

XXXII

Does Majnun’s reaction to his father’s death soften our reaction to his treatment of him? Explain.

XXXIV

Why does Majnun throw away the part of the scrap of paper with Layla’s name written on it?

XXXV

What amazing influence does Majnun exercise over the animals that surround him in the wilderness? How does it influence your feelings about Majnun?

XXXVI

This chapter represents a typical narrative technique from traditional Islamic World literature: the story within a story. What is the lesson that the king is taught in this story?

XXXVII

In both the Christian and Islamic worlds, knowledge of and belief in astrology was widespread, though both Christian and Islamic theologians were often hostile to it. Belief in fate is widespread in Islam, but the planets are not to be worshipped as gods, as Majnun is doing.

XXXVIII

Majnun learns the lesson of a good Muslim that the stars can grant nothing. Note the strong emphasis on God’s omnipotence, insisted on even more strongly in Islam than in Christianity. Majnun’s dream expresses God’s blessing and the wisdom he has gained.

XXXIX

Layla’s speech as reported by the old man makes clear the distinction between her situation and Majnun’s. Explain.

XL

The king of whom Layla speaks is, of course, God. A pious Muslim will always begin a letter with praise for God, and this is an particularly elaborate example. The cucumber referred to is globe-shaped. The tearing of clothes is an ancient and widespread act of ritual mourning. Note that it is taken for granted that one can be a great poet without writing. This is essentially an oral culture.

XLI

In what way do Majnun’s praises of Layla resemble her praises of him? A “bosquet” is a small wood. What is his reaction to her letter? Is he being fair to her?

XLII

Although Majnun is described in this chapter as being stark naked, all illustrations of the romance show him wearing a loincloth. “Naked” often has a loose meaning in Islamic texts; women lacking a veil and with arms bared are commonly referred to as “naked” even today. It is difficult to know exactly what Nizami imagined, but clearly Majnun has been reduced to an almost inhuman level. Salim’s name means “sound” in the sense of “healthy.” What is the lesson taught by the “Story of the Shah and the Dervish”?

XLIII

Although not all slaves in the Islamic world were black, and most Muslim blacks were not slaves, the stereotype of black slavery existed and turns up repeatedly in passages such as this. When Layla and Majnun communicate with each other they emphasize the brevity to life to console themselves; but here Majnun’s mother uses the same point to different ends. What is she arguing? How does Majnun defend himself against his mother’s pleas? What effect does her death have on your feelings about Majnun?

XLIV

Is Nizami’s little sermon on the brevity of life at the end of this chapter related to earlier passages on the same theme? How?

XLV

How does Layla react to Majnun’s apology? Note that she at last breaks with her long-standing passivity.

XLVI

Note that the consummation of their love is achieved through song rather than any physical gesture. Muslims believe that delicious, non-intoxicating wine will be served the Faithful in paradise.

XLVII

What draws Salam to Majnun?

XLVIII

Halwa (or “halva” is made of ground sesame seed and sugar). Why does Majnun reject the food that Salam offers him? To a certain degree Majnun is a model, the archetype of the lover; but he is also an object lesson, a warning. Be prepared to discuss the ambiguity of his role.

XLIX

“Islam” means “submission,” i. e. submission to the will of God. The opening of this chapter contains very traditional Islamic wisdom. How does Layla react to Ibn Salam’s death?

L

Medieval people believed that frustrated love-longing could lead eventually to death. The image of a woman being married to her grave is a common one from ancient Greek times forward.

LI

Why do people avoid Layla’s grave?

LII

Note that Majnun’s penultimate words are addressed to God, but his ultimate words are addressed to Layla.

LIII

What is the “pearl” that has vanished from the “white shell”? In what way could this be said to be an at least partially happy ending?

More study guides for Love in the Arts:

 

Last revised 11/2/02

Walter M. Miller, Jr.: A Canticle for Leibowitz (1959)

Introduction

Although A Canticle for Leibowitz was published as a book in 1959, one version of it was written earlier. The first section, also entitled “A Canticle for Leibowitz” (now “Fiat Homo” [“Let There Be Man”]) appeared in 1955, the second section appeared as “And the Light Is Risen” (“Fiat Lux” [“Let There be Light”]) the next year, and the conclusion appeared in 1957 as “The Last Canticle” (“Fiat Voluntas Tua” [“Thy Will Be Done”]), all in The Magazine of Fantasy and Science Fiction. When he reworked the material for the novel, Miller made substantial changes and additions. Although he published a few stories before and after, and wrote most of a sequel to Canticle, at his death this remained his only successful work. The sequel, Saint Leibowitz and the Wild Horse Woman was almost finished when he committed suicide, and was completed by Terry Bisson and published in 1997. Canticle is widely considered a classic, has never been out of print, and is widely taught in science fiction courses.

Written during the height of 50s concern over the danger of nuclear war, Canticle was the most literarily successful science fiction novel written on the subject until Russell Hoban’s Riddley Walker (1980). Part of the novel’s success derives from its richly realized setting, a post-holocaust America where scraps of pre-war knowledge are gathered and preserved by a Catholic Church which no longer understands that knowledge. The novel takes for granted familiarity with the idea that after the fall of the Roman Empire, knowledge was preserved in Western Europe almost exclusively in small, isolated communities of priests and monks during a centuries-long dark age, recopied by men who often understood little of the ancient manuscripts of which they were the custodians.

There have been scores of novels set after a nuclear war in a neo-Medieval setting, but none so lovingly developed on the basis of a detailed study of the original Middle Ages. Miller remained a Catholic through much his life, though in tension with the Church, (he turned bitterly against it toward the end, as is evident in Saint Leibowitz and the Wild Horsewoman). Most SF is highly critical of religion when it touches on the subject at all; but Canticle is distinguished by its serious consideration of religious issues, even though it sometimes departs from orthodoxy. Miller obviously could not have anticipated Vatican II’s movement away from the use of Latin, and he imagines its revival in the new Dark Age, with the English of our age functioning only as an archaic ceremonial language.

The other most memorable feature of the books is the delightful portrait of the feckless brother Francis. Richly detailed characterization and real wit are both unusual in SF, and have helped to make this work a classic. “Fiat Homo” is clearly the strongest part of the work, which suffers to some degree as a novel from the very long time spans which separate each of its sections. Like The Martian Chronicles, it is well to remember that each section was composed separately and can still be read rewarding on its own.

Many of the following notes require looking up passages in the Bible. If you do not have a copy you can access searchable one at http://www.lib.uchicago.edu/efts/ARTFL/public/bibles/index.html. It offers both the Vulgate Latin version which Miller draws upon and the Revised Standard Version in English.

Fiat Homo

Chapter 1

“Saint Raul the Cyclopean”; in Greek mythology a cyclops has only one eye, in the center of his forehead. This saint was presumably a similarly deformed person genetically damaged by the lingering radiation of the nuclear war which provides the backdrop for the novel. In the discussion of the Church’s attitude toward such mutations, how can one tell that the Church (unlike its Medieval predecessor) does not dominate the culture of the time?

“Adonoi Elohim” (“Lord God”, more conventionally spelled “Adonai”): a specifically Jewish chant. Lurking in the background of this tale is the Medieval legend of the “Wandering Jew.”According to this legend (unsupported by anything in the Bible, but widely told), when Christ was carrying his cross to the place of crucifixion, he paused to rest at the threshold of a house. Its owner roughly told him to move on. Jesus sadly replied, “You move on too, until I return.” The householder was forced to wander about the earth, undying, regretting his cruelty to the Savior, until Christ should return at the last judgment. Although this mysterious figure shares certain features with the Wandering Jew, Miller is no antisemite. What qualities characterize this character?

“I’m not a sport” a mutant.

“Leibowitz Abbey.” “Leibowitz” is intended to be immediately recognizable as a Jewish name. When the pilgrim mocks Francis by commenting that his kind are “still writing things backward” he reveals that he is more comfortable with Hebrew, which is written from right to left. Francis, however, is too ignorant to figure all this out.

“vocational vigils” a period of testing to see whether a novice (would-be monk) has the vocation “calling”–determining whether he is suitable, and chosen by God) to be a full-fledged monk.

“Ash Wednesday.” Six weeks before Easter, the beginning of Lent, which was traditionally a period of repentance and penance, involving abstinence from meat and other pleasures.

“Apage Satanas!” “Begone, Satan!”

“The natural results seemed to appear ex opere operato:” “from the operation, not the operator (literally, “from the work having been worked”),: a theological phrase which maintains the the sacraments are rendered valid not by the holiness of the priest who performs them but solely through the performance of the appropriate action. Though Francis thinks himself unworthy to perform an exorcism, his effort apparently works.

“Beelzebub” devil (the name was originally an insulting Jewish pun on the name of the Canaanite god Baalzebul, whose name meant “Lord of Lords;” the pun means “Lord of the Flies,” and was commonly used later as a name for the Devil).

“Et ne nos inducas in . . .” “And lead us not into . . . ” The phrase from the Lord’s prayer which concludes with “temptation.”

What does the stranger mean by his reference to changing stones into bread? (Hint: see Matthew 4:1-4.)

“Libellus Leibowitz “ “Little Book of Leibowitz.” Note that some of the following Latin lines are immediately translated by Miller.

Beatus (“blessed”) is a term assigned to those who are regarded as especially saintly, but who are not yet officially designated as saints. In what way does Leibowitz’s status resemble that of Francis?

What is the pilgrim’s attitude toward Francis? What is Francis’ attitude toward the pilgrim? Which of them seems more intelligent? How can you tell? Explain the symbolism of the keystone.

“Repugnans tibi, ausus sum quaerere quidquid doctius mihi fide, certius spe, aut dulcius caritate visum esset. Quis itaque stultior me . . .” “Resisting you, I have dared to seek whatever seemed to me to be more learned than Faith, more certain than Hope, sweeter than Love (“charity”) Who is therefore more foolish than I?” “Faith, hope, and charity” are traditionally considered the three theological virtues (see 1 Corinthians 13:13) (SS).

“O inscrutabilis Scrutator animarum, cui patet omne cor, si me vocaveras, olim a te fugeram. Si autem nunc velis vocare me indignum . . .” “O inscrutable scrutinzer of souls, to whom every heart is open, if you had called me, once I would have fled from you. If however now you should wish to call me, though unworthy. . . .”

“Libera me . . .” “Free me,” translated below as “Set me free. . . .” Francis will repeat part of this same prayer in Chapter 2, just after asking Leibowitz to pray for him.

The two Hebrew characters on page 10 are explained later in Chapter 3.

“pagan cabals” “The Kabbalah consists of mystical Jewish interpretations of the Hebrew Bible. Here the term stands for any mystical teachings disapproved of by the Church.

Why is it ironic to call the buzzards a “heavenly host?”

The Paraclete is a mysterious figure mentioned in the Gospel of John traditionally interpreted as the Savior. Note from Rev. Victor Peri Bogdanoff (rcc@ultranet.com): The term “Paraclete” is used two ways in John’s Gospel: by the author in reference to “the whole scope of Jesus’ and ministry both before and after his resurrection” and by Jesus himself to refer to a mysterious figure that will be sent to the disciples after his death, to ‘be with them always.'” In the Catholic tradition in which Miller is working, the “Paraclete” is normally taken to be the Holy Spirit, the third member of the Trinity, especially as manifested at Pentacost when it descended among Christ’s disciples.

Explain the reference to the “Dove.” (Hint: see Matthew 3:16.)

The Flame Deluge here refers to the nuclear holocaust which destroyed civilization, but “Deluge” originally designates the Biblical flood which destroyed all creatures outside the ark.

Salamanders were supposed in the Middle Ages to be able to survive in fire, probably because they were often found in the ashes of fires where they had taken refuge in search of residual heat after the fires were out.

Radioactive isotopes of cobalt, strontium and cesium were all much in the news as a result of concern over fallout from atomic bomb testing.


Chapter 2

“Domine, libera nos” “O Lord, deliver us.”

“A morte perpetua” “from everlasting death.”

“te rogamus, audi nos” “We beseech thee, hear us.”

To what does the term “Simplification” seem to refer in this story?

What does it tell you about this society that the term “servus puer” is familiar to Francis?

“ending the matter without benefit of clergy” dying suddenly, without any opportunity to confess sins to a priest and prepare for death and receiving the Last Rites: Confession, viaticum (communion for the dying), and anointing (“extreme unction”).

What was the probable explanation of the transformations undergone by the “launching pad site?”

In the 50s pastrami and bagels were eaten mostly by Jews.

Blueprints, now rare, used to be the dominant method of reproducing architectural and engineering drawings. They consist of white lines on a blue background and are prone to fade if exposed too much to light.

What was the evident occupation of Leibowitz?

Leibowitz seems to have scrambled together a collection of miscellaneous junk and papers and shoved them in the “first tool box he happened to grab,” sealed it and labelled it “Top Secret” and sent his wife to take it to this location. Why? Did he succeed in accomplishing what he wanted to do?

“Beate Leibowitz, ora pro me!” “Blessed Leibowitz, pray for me!”

Ut solius tuae voluntatis mihi cupidis sim, et vocationis tuae conscius, si digneris me vocare. . . . Repetition of the same prayer translated by Miller above, in Chapter 1.

Promotor Fidei The formal title of the so-called “Devil’s Advocate,” who challenges claims to sainthood. See below, Chapter 7.

“Angelus Domini nuntiavit Mariae” “The angel of the Lord announced unto Mary” (see Luke 1:26-35); the prayer recited at sunrise, noon, and sunset, but traditionally associated especially with sundown, called the “Angelus.” It commemorates the mysteries of the Annunciation (when Gabriel appeared to Mary and received her assent to bear the Son of God) and the Incarnation (when the Son of God took on flesh in the womb of Mary) (SS).

A “beatus” can only be recognized as a full-fledged saint if the Church confirms that he or she has performed a certain number of miracles after death. Even a beatus must have some documented miracles; a saint needs even more. In modern times the rules restricting the recognition of saints ( “canonization”) have become rather strict.

The passage about the debate over Mary’s “Preternatural Gifts” is a parody of the sort of tangled debate that led to the declaration of the Virgin’s “immaculate conception” (the doctrine that she was conceived without original sin, though the term is often confused with “virgin birth” the doctrine that she conceived Jesus while remaining a virgin) in 1854. The Dominicans are famous for their conservative theology (they were the order which ran the Renaissance Holy Inquisition).

What does the existence of “New Rome” suggest?


Chapter 3

What does Father Cheroki’s name suggest about his ethnic origin, given that the novel is set in the southwest of the old United States?

Since the monks very much want to have Leibowitz recognized as a saint, why is Father Cheroki so exasperated with Brother Francis?

What is a succubus? (Look it up.)


Chapter 4

What does it tell us about the social system of America that Father Cheroki “came of baronial stock?”

“Arkos” suggests “ark.” There are two arks in the Bible: Noah’s, which preserved human and animal life through the flood and the Ark of the Covenant, the box which contained the tablets of the Jewish law. It is thus an appropriate name for a preserver of knowledge in a post holocaust era (Olsen 140). But Ken Smith points out in a private communication that the word is Greek for “bear,” and that when Arkos is first introduced in the second paragraph of this chapter, “he reminded Cheroki of a were-bear only incompletely changed into a man.”

Why is Cheroki so hostile to the idea that the pilgrim was a miraculous appearance of Leibowitz?

“Benedicamus Domino” “Let us bless the Lord”: the standard greeting among monks. The standard response is “Deo gratias”–“Thanks be to God;” but Francis’ timidity is indicated by the hesitant question marks after each word in his reply.

“Magister meus,” “My Master.”


Chapter 5

Antiphon for Maundy Thursday: “Mandatum novum do vobis: ut diligatis invicem . . .” I give you a new commandment: to love one another” (John 13:34). Maundy Thursday is the day before Good Friday. This antiphon is sung during the “Maundy Laving” (see below, Chapter 25).


Chapter 6

What rationale does the legend say the creators of nuclear weapons used to justify their creation of atomic arsenals?

What is the motive for the “Great Simplification?” Such a movement is frequently described in older post-holocaust literature. Do you find it probable or credible? Why or why not?

How long ago did the nuclear war take place?


Chapter 7

“Ecce Inquisitor Curiae. Ausculta et obsequere. Arkos, AOL, Abbas” “This is the inquisitor of the Curia. Hear and obey. Arkos. Albertian Order of Leibowitz. Abbot.”

“Inquisition” The Holy Inquisition was an often ruthless and bloody Church organization dedicated to rooting out heresy, run by the Dominicans. Its chief officers were called “inquisitors.”

“Catharism” technically a Medieval religion popular in Provence until it was crushed by the Pope and the king of France in the infamous Albigensian Crusade of the 13th Century. Like Manicheanism, its predecessor in antiquity, it argued that the world is the locus of a struggle between two divine powers, one good, the other evil. Christianity argued that God was both perfectly good and supreme, and rejected the notion that Satan, for instance, had any power independent of God’s. Why do you think Catharism might have revived in the time during which this story is set?

“advocatus diaboli” The officer of the Church whose job was to challenge the evidence presented to prove that someone was a saint. His title means literally “devil’s advocate,” but his role is by no means seen as evil. His concern is to be certain that Leibowitz did not become a monk before establishing with certainty that his wife was dead because the Church forbid married men to become monks or priests, although widowers could.

“Ecce quam bonum, et quam jucundum” Psalms 133:1: ” Behold how good and how delightful.”The psalm goes on “to live together as brothers in unity,” so it is particularly appropriate for this ritual in which the new monks receive the kiss of brotherhood (SS).

A “missal” is a book containing all the prayers necessary for celebrating the mass throughout the year, a breviary contains the prayers used to be recited at various hours of the day, and the Summa is probably St. Thomas Aquinas’ Summa Theologiae (1267-73), the standard theological treatise of the Catholic faith.

“Glorificemus” Let us glorify [the Lord].”

“Miserere mei, deus” “Have pity upon me, God.”

“audi me” ” hear me”


Chapter 8

“Extreme unction” the last rite of the Church, preparing the dying Christian for death and judgment, involving anointing the dying person with oil.

“postulator” the official responsible for advocating the canonization of a saint, the opposite of an advocatus diaboli.

“prothonotory” one of seven members of the College of Prothonotaries Apostolic, responsible for recording major events in the history of the Church.


Chapter 9

Why does the Abbot veto the proposal to build a printing press?


Chapter 10

“Sacerdos Magnus” “Chief Priest (pope).

“Dei imago” “image of God.”

Why are mutant offspring called the “Pope’s children?”

The reference to Jacob overcoming the angel refers to Genesis 32:23-33.


Chapter 11

“Appropinquat agnis pastor et ovibus pascendis.” “The shepherd approaches to feed the lambs and the sheep.”

“Genua nunc flectantur omnia.” “Now let all knees be bent.”

“Jussit olim Jesus Petrum pascere gregem Domini.” “Jesus once ordered Peter to feed the flock of the Lord.” (John 21:16)

“Ecce Petrus Pontifex Maximus.” “Behold Peter, the Supreme Pontiff” (that is, the Pope).

“Gaudeat igitur populus Christi, et gratias agat Domino.” “Let, therefore, the Christ’s people rejoice, and give thanks to the Lord.”

“Nam docebimur a Spiritu sancto.” “For we shall be taught by the Holy Spirit.”

“plain chant” unharmonized monophonic song, such as the Gregorian Chant traditionally used in Catholic liturgy.

“Sancte pater, ab Saptientia summa petimus ut ille Beatus Leibowitz cujus miracula mirati sunt multi” “Holy Father, from the highest Wisdom we ask that the Blessed Leibowitz, at whose miracles many have marveled.”

“dulia” “Veneration (as opposed to worship, which is given to God alone)” (SS).

“Gratissima Nobis causa, fili” “Your cause is most pleasing to us, on account of her Son.”

“sub ducatu sancti Spiritus” “under the guidance of the Holy Spirit.”

“miserere nobis” “Have mercy upon us.”

“Sancta Dei Genitrix, ora pro nobis,Sancta Virgo virginum, ora pro nobis” “Holy Mother of God, pray for us, Holy Virgin of Virgins, pray for us.” Invocations in a lengthy and repetitious chant called the Litany of the Saints, a traditional prayer that calls upon Mary and all the saints for their intercession on behalf of the faithful. (The following invocation, Omnes sancti martyres, is also part of this litany. SS)

“Omnes sancti Martyres, orate pro nobis” “All the holy martyrs, pray for us.”

“Veni, Creator Spiritus” “Come, Creator Spirit” One of the most famous chants of the liturgy, a hymn to the Holy Spirit, used for the feast of Pentecost or (as here) to in order to call down the guidance and insight of the Spirit (SS).

“Surgat ergo Petrus ipse” “Then let Peter himself arise.”

“Te Deum” “Thee, God” (a chant sung particularly in acts of solemn thanksgiving).

“sedarii” Bearers of the Papal chair on ceremonial occasions.

“licet adire” “He is allowed to approach.”

“sedarius” singular of sedarii.

Why is the clan chief described as “converted” in quotation marks?

“scala caelestis” heavenly stairs.

“His Supreme Unctuousness” a sarcastic description of this official’s behavior, not a real title.

“Behold Peter” Catholics believe that Jesus’ disciple Peter (formerly a fisherman) was the first Pope.

What evidence is there that despite all the impressive pageantry at New Rome, the Pope has little real power and knows little of the outside world?

“Noli molestare” “Do not molest” (warning on the pass).

“excommunicating” excommunication is the extreme penalty of the Church, forbidding the condemned to receive the sacraments, and therefore almost certainly condemning him or her to Hell.

The story ends with lavish descriptions of the continuation and proliferation of life. How can we tell they are ironically meant?

How does this story leave you feeling about humanity? Is it optimistic? Pessimistic? Purely nihilistic?


Fiat Lux

Chapter 12

What does the first paragraph tell you about America in 3174? Is the Church dominant? Is civilization increasing or decreasing?

“nuncio” papal ambassador.

“Caesar” figuratively, any secular authority, following Christ’s usage in Matthew 22:21.

What is the nature of the disagreement between Thon Taddeo Pfardentrott and Marcus Apollo? Note how the formal Spanish term of address”Don” has evolved into Thon.

“Sheba expects Solomon to come to her” reversing the Biblical story (1 Kings 10:1-13). What does this phrase mean in the context of the story?

“Sub immunitate apostolica hoc suppositium est. Quisquis nuntium molestare audeat, ipso facto excommunicetur” “This has been placed under apostolic immunity. Let whoever dares to molest the messenger be automatically excommunicated.”

What is the origin of the village name of “Sanly Bowitts?” What about the culture explains the evolution of this name?

“Cui salutem dicit” “To whom [Marcus Apollo] sends greetings.”

“Feast of the Assumption” August 15: the day celebrating the ascent of the Virgin Mary into Heaven.

“Quidam mihi calix nuper expletur, Paule. Precamini ergo Deum facere me fortiorem. Metuo ut hic pereat. Spero te et fratres saepius oraturos esse pro tremescente Marco Apollini. Valete in Christo, Amici.” “A certain chalice is filled up for me recently, O Paulo. Pray therefore to God to make me stronger. I fear that I am doomed to death. I hope that you and the brothers will pray more often for the trembling Marcus Apollo. Farewell in Christ, friends.” The image of the full cup, or chalice to symbolize bitter suffering is taken from Matthew 26:42, where Jesus prays that he may be spared his impending suffering.

“Texarkanae datum est Octava Ss Petri et Pauli, Anno Domini Termillesimo” “Given at Texarakana on the Octave of Saints Peter and Paul [July 6] in the year of our Lord, 3000.”

“vespero mundi expectando” “waiting for the evening of the world”

Why is old Benjamin said to have lived for 5,408 years?


Chapter 14

After centuries of preserving human knowledge, why are some of those in the Church not entirely happy about its spread? In what ways does history seem to be repeating itself?

“Logos” as used in John 1:1. Logos is far more than simply the Greek for “word.” It means something like: “meaning” or “underlying pattern, structure, purpose.”

“Veronica’s veil” according to legend, a woman named Veronica helped Christ on his way to be crucified by wiping his sweaty face with her handkerchief. An image of his face came off on the cloth, which was preserved and exhibited for many centuries. Some scholars think the story was born out of a misinterpretation of the Greek phrase “vera ikon,” meaning “true image.”

“De Vestigiis Antecessarum Civitatum” “On the Vestiges of the Preceding Civilizations.”

“Machina analytica” “analytical machine” (computers).

“Cave canem” “Beware of the dog” a not uncommon inscription on ancient Roman houses.

“Vexilla regis” The rest of the line is quoted and translated on the next page. The 6th-century poet and bishop Venantius Fortunatus composed a Good Friday hymn which begins “Vexilla regis prodeunt” (“the banners of the King advance,” hailing the Crucifixion). Dante Alighieri parodied it in the first line of the final canto of his Inferno (part of the Commedia DivinaDivine Comedy) in which the hymn is altered so that the banners referred to become the vast wings of Satan.

“Sancta Maisie, interride pro me” instead of the more common request to a saint–“pray for me”–he asks her to laugh for him. “Interride” is a pun on the more usual “intercede” (SS). “Maisie” is probably a reference to a popular radio comedy series starring Ann Sothern: “The Adventures of Maisie.”


Chapter 16

What evidence is there that Benjamin is the Wandering Jew, or some variation on that theme? What evidence is there later in the chapter that he doesn’t fit the Wandering Jew tradition precisely?

“prodigal” In this context, stray (though the word more specifically means “spendthrift.” This is an allusion to the story of the Prodigal Son in Luke 15:13-32, concerning a young man who wandered away but returned home at last.

Benjamin’s speech about the goat is a compound of several Biblical references. Goats traditionally symbolized the damned in Christianity, as sheep symbolized the saved (see Matthew 25:33), at least partly because of the ancient Jewish tradition of the “scapegoat”–a sacrificial animal on whose back all the sins of the community were laid when it was driven into the desert to be destroyed by the demon Azazel (see Leviticus 16:8-10). Benjamin also identifies the goat as the beast on which the “Whore of Babylon” (originally symbolizing ancient Rome) rides in Revelation 17:3 at the end of the world.

Saint Paul was by profession a tent-maker; so it is not inappropriate that Benjamin should be a tent-mender.

The Hebrew inscription in this chapter is the Shema, the central statement of faith in Judaism, from Deuteronomy 6:4, which Jews originally wore in a container on their forheads and posted beside their doors in a container called a mezzuzah. Modern Jews often wear it in a small mezzuzah on a chain around the neck. In the King James translation it is rendered as “Hear, O Israel: the Lord your God is One God.”

“Torquemada” Tomás de Torquemada, infamously cruel Spanish Inquisitor General in the late 15th century, largely responsible for causing the expulsion of the Jews from Spain under Ferdinand and Isabella.

How does Dom Paulo rationalize to himself Benjamin’s claims to have lived for thirty-two centuries? Miller is careful to provide plausible rationalist alternatives for the seeming miracles in this book.

In discussing Christian theology with Paulo Benjamin makes some typically Jewish criticisms: whereas Jews believe in only one, undivided God, Christians claim that God can be three (Father, Son, and Holy Spirit) and one at the same time; Christ’s resurrection (“life in death”) is not a part of traditional Jewish beliefs about the Messiah, who once born is never supposed to die; and Paul explains away the necessity to have faith in apparent absurdities in 1 Corinthians 1:17-25 in a passage that became a powerful tool against rationalism in the Middle Ages, whereas for Jews wisdom is identified with knowledge of and obedience to the Law.

“anchorite” a hermit, often living in the desert.

Why does Dom Paulo call the Jewish Messiah the “One-Who-Isn’t-Coming?”

“Come forth” Benjamin is referring to the story of Lazarus in John 11:1-44. What does he mean by alluding to this passage?

Manasses, Cyrus, Nebuchadnezzar, Pharaoh, Caesar” worldly rulers, all except Cyrus depicted as wicked in the Bible.

“Samuel warned us against them.” In Samuel 8 the Hebrews reject rule by religious leaders and beg the prophet Samuel for a king. In Samuel 8:10-18 he lists the many disadvantages of having a secular ruler, but at their insistence he crowns Saul whose reign turns out–as predicted–disastrously.

What precisely is the danger that Benjamin sees emerging at the present time? Why is he skeptical of the value of reemerging science and technology?

“El Shaddai” an ancient Hebrew name for God.

“Memento, Domine, Omnium famulorum tuorum” “Remember, Lord, all your servants.”


Chapter 17

What recent invention is threatening the survival of the abbey?

“How neighborly of the lion to lie down with the lamb?” Explain this speech on the basis of Isaiah 11:6.

“Tibi adsum” “I am here for you” (“at your service”).

Why does the statue in the last paragraph remind Paulo of Benjamin?


Chapter 18

This chapter begins with a reading based loosely on passages from the books of Job and Revelation in the Bible, but actually retelling the story of the Flame Deluge (nuclear war). Also alluded to is the story of the destruction of Sodom and Gomorrah (Genesis 19). In ancient Jewish tradition sheep (Genesis 22:1-13) or goats (Leviticus 16:15-22 are sacrificed as a substitute for human sacrifice, often to atone for sin. Although Christians reinstituted the concept of human sacrifice symbolically by considering the crucified Christ as the sacrificial “lamb of God,” (John 1:29) Jews and Christians both generally regard the reversion to literal human sacrifice as a great evil.

The word “holocaust” (Hebrew olah) has a complex history. Originally it designated a particular type of Hebrew sacrifice: one which was entirely consumed by fire instead of the usual practice in which most of the sacrifice was consumed by the priests. The term was ironically applied to the incineration of millions of Jews in Hitler’s Germany. Later writers, anticipating a global nuclear war, extended its meaning to apply to such a catastrophe.

The word “Name” is used instead of the actual name of the ruler of the nation that begins the war. “Pik-a-don” is Japanese for “flash-boom” and was the name initially given to the Hiroshima bomb by its victims. Miller is building on the Jewish tradition of not pronouncing the sacred name of God (YHWH) when reading aloud, but substituting Adonai (“Lord”) instead. In some early editions the scientist-magi’s name is misprinted “Backeneth” the first time instead of “Blackeneth.”

What does this story convey about Miller’s thoughts on the threat of nuclear war? Give as many details as possible.

“lectio devina” “divine reading.” The term refers to the monastic practice of “spiritual reading,” i.e. using scriptural and patristic texts as a springboard for meditation and contemplation. In this quotation devina is a misprint for divina (SS).

During the test of the new arc lamp, the monks recite the opening of Genesis (verses 1-5, given below in the familiar King James Version because of its literary influence; consult a modern translation for a more precise rendering of the original Hebrew):

“In principio Deus” In the beginning God.”

“Caelum et terram creavit” created heaven and earth.”

“Vacuus autem erat mundus” “The earth however was a formless void.”

“Cum tenebris in superficie profundorum” “with darkness on the face of the deep.”

“Ortus est Dei Spiritus supra aquas” “and God’s spirit hovered over the water.”

“Gratias Creatori Spiritui” “Thanks be to the Creator Spirit” (not in the Biblical text).

“Dixitque Deus: ‘FIAT LUX”” “and God said, ‘Let there be light.”

“Lucem esse bonam Deus vidit” “And God saw that the light was good.”

“Et secrevit lucem a tenebris,” and he divided the light from the darkness.”

“Lucem appellavit ‘diem’ et tenebras ‘noctes:'” “and he called the light ‘day’ and the dark ‘night’.”

“Vespere occaso” “Evening having fallen.”

“Lucifer” the monk shouts a common name for the devil when he is shocked, but “Lucifer” is originally also a name for the planet Venus and means “light-bringer.” The first matches in the 19th century were called “lucifers.”

“ortus est et primo die” and morning, the first day.”

What is the effect of having the monks recite this passage as they inaugurate the lamp?

Before light bulbs were developed, the first electric lights were noisy, expensive, but extremely brilliant arc lights like this. Looking directly at one is much like looking directly at a welding tool.


Chapter 20

“Flectamus genua” “Let us bend our knees” (a ritual genuflection, briefly kneeling on one knee) (SS).

“Levate” “Rise.”

“Oremus” Let us pray.

“et Spritus Sancti, Amen.”; “and of the Holy Spirit. Amen.”

“Sedete” “Be seated.”

“ad absurdum” “to an absurd length.”

What is the poet implying when he suggests that Leibowitz will become the new scapegoat?

Why does the abbot pretend that he is not worried about the study Thon Thaddeo’s companions have made of the abbey’s fortifications?

“et tu, Brute” “you too, Brutus” supposedly the last words of Julius Caesar, shocked that among those who stabbed him was his former friend and ally Brutus.

What is indicated about the men at the abbey by their reaction to Thon Thaddeo’s description of Monsignor Apollo’s unscientific beliefs about the refraction of light?

What is ironic about the young monk’s use of Saint Augustine in this discussion?

What foreboding prediction does Thon Thaddeo make about the course of science in the future?

Explain the meaning of the two paragraphs toward the end of the chapter which begin “He also suffered them to know how it might be saved. . . .”

What is signified by Benjamin’s appearance and speech?p>


Chapter 21

“Regnans in Excelsis” “Reigning in the highest.” The bull Regnans in Excelsis was the document published by Pope Pius V on February 25, 1570, excommunicating Queen Elizabeth I of England (SS).


Chapter 22

The first line indicates that this chapter is set in November, since the feast of All Saints is November 1 (SS).

“Vaquero” Spanish for “cowboy.”

“interdict” In the Middle Ages an interdict was imposed when the ruler of a country was excommunicated. Essentially the Church would go on strike, halting all masses, confessions, burials, weddings, etc., in the hope of arousing popular sentiment to force the ruler to submit to the pope.

What does this chapter have to say about the relationship between science and government?

“simoniac” A term used to characterize corrupt Church officials, particularly those who buy and sell Church offices (derived originally from the story of Simon Magus in Acts 8:9-24).

What is the significance of the fact that the names of the bishops who have signed Hannegan’s proclamation are unknown to the abbot?

“Diluvium Ignis” “Flame Deluge.”

Why might Thon Thaddeo be drawn to the theory that humanity is a recent invention developed by a pre-holocaust race? What effect would that fact have on the value of his scientific research?

“Lege” “Read!”

Thaddeo has been misled into thinking that humans were created in the 20th century by reading a fragment from Karel Capek’s 1921 play R.U.R. (Rossum’s Universal Robots), in which a scientist manages to breed artificial humans, called robotniki in the original Czech, translated as “robot” into English, becoming the word for “artificial human” in later writings. Click here for Ron Webb’s comments on this reference.

Over the whole course of the novel, who do you think turns out to be “right” about the importance of knowledge: Thaddeo or Paulo?

“ad Lumina Christi” “at the lights (‘lamps’) of Christ.”

“Nunc dimittis servum tuum, Domine. . . . Quia viderunt oculi mei salutare. . “ Excerpts from the gospel canticle that is sung during Compline, the night office, as a preparation for ending the day and going to bed, known as the Nunc dimittis (SS). The quoted portions means “Now let thy servant depart, O Lord [‘in peace” is omitted here]. . . . Mine eyes have seen Thy salvation.” The passage occurs originally in Luke 2:29-32 as the speech of Simeon, an elderly pious Jew who thinks he can now die in peace because he has seen the promised Messiah. What do you think is the speech’s significance in context of Canticle?

“For God doth know that in what day soever you shall eat thereof . . .” is from Genesis 3:4. What does this passage seem to mean in its original context? How does it relate to the subject of this chapter?

What does the last sentence of the chapter mean?


Chapter 23

“Ego te absolvo” “I absolve you” what a priest would say upon granting absolution for sins during confession.

“Cathartes aura regnans” “the reigning, purifying wind”–the buzzards’ God (SS).

How optimistic or pessimistic is the end of this chapter?


Fiat Voluntas Tua

The title comes from Luke 22:42, in which Jesus, facing crucifixion, prays to God to be spared, but concludes, “Nevertheless, let Thy will be done.” What tone does this set for the final section, given the original context of the speech?


Chapter 24

“manifest destiny” originally the 19th-century belief that the U.S. had the right to extend its power over all of America.

Adam and Christ, first paired by Paul (see 1 Corinthians 15), are traditionally taken to represent respectively humanity’s fall into sin and redemption from it. Here they represent the ambivalence of the new scientific age, full of both hope and fear.

“Wir marschieren weiter wenn alles in Scherben fällt” “We march further when everything falls to pieces” From a Nazi marching song glorifying war.

“Proteus vulgaris” This is a common amoeba named after the fact that it, like the ancient Greek God Proteus, has no fixed shape and can assume many forms. It would have in common with atrophy and entropy the quality of increasing disorder, as do the destructive forces of time which taunt would-be military conquerors in this passage. If you you have further suggestions about this reference, please write brians@wsu.edu. Click here for Ron Webb’s comments on this reference.

Lucifer: as noted above, the Devil is often referred to as Lucifer, here alluded to as the tempter of Eve. In the Canticle of the Brethren of the Order of Leibowitz, the phrase proclaims the fall of Lucifer from Heaven, where he was an angel until he rebelled against God (see Luke 10:18). The words are used as a code phrase to communicate the success of a nuclear bomb test. Remember that “Lucifer” had also been used earlier in reference to the arc lamp invented at the abbey. Instead of good triumphing over evil, then, the phrase could suggest the extinction of light.

“Kyrie eleison” “Lord, have mercy,” the Greek phrase occurs early in the Mass text.

The slashed “V” and “R” in the Canticle label the versicle (Versiculus) to be sung by one voice and its response (Responsum) by the massed choir (SS).

“bureaucratic Dutch boys” refers to a once-famous incident in the novel Hans Brinker, or the Silver Skates, in which a young boy saves his town by plugging a leak in a dike with his finger.

What is the point of the “Lady Reporter” sarcastically asking the Defense Minister whether he is in favor of Motherhood?

Just as Arkos, whose name begins with A, is the first of the abbots we meet, Zerchi, whose name begins with Z, is the last (Olsen 138). St. George is usually portrayed slaying a dragon. More information about St. George.

The Abominable Autoscribe would seem to be an advanced sort of word processor. Remember that when this novel was written the only computers in the world weighed many tons and filled large rooms but had less power than a common pocket calculator today.

“lèse majest&eacte;” “a French legal term which describes acts which are crimes because of the noble social status of the people against whom they are committed.

Father Zerchi ironically comments that if a computer can emulate a human soul, it can also “fall” like Adam and Eve. What tone does this passage set concerning technology?

What does the existence of incompatible American dialects imply about social organization?

Vulgate Latin would be the late Classical Latin of the Vulgate Bible, used by the Church for all official purposes until the mid-60s, and still used for official papal documents today.

“Oh, ye of little faith” is a quotation from is a quotation from Matthew 6:30.

“Before the cock crows thrice” refers to Christ’s prophecy on the night before his crucifixion that Peter will betray him (Matthew 26:34; Mark 14:30; John 13:38).

“Hinc igitur effuge” “Flee therefore from here.”

“Motu proprio” “on his own initiative” (literally “by his own motion.” This is also the title of a certain category of papal documents (SS).

“Anno Domini” Year of our Lord: A.D.

“Ab hac planeta nativitatis aliquos filios Ecclesiae usque ad planetas solium alienorum iam abisse et numquam redituros esse intelligimus” ” We understand that from this planet of their birth some sons of the Church have already gone off to the planets of alien suns, and will never return.” Intelligimus should be intellegimus (SS).

“Quo peregrinatur grex, pastor secum” “Where the flock wanders, the shepherd [goes] with it.”

“Casu belli nunc remoto” “The eventuality of war now having been removed.”

The essence of the message Dom Zerchi is trying to dictate has to do with a plan by the Church to promote emigration to other worlds in case of nuclear war; the vehicles referred to are rocket ships.

“Lazar” see note on Lazarus, Chapter 16

“Luciferum ruisse mihi dicis?” “Are you telling me that Lucifer has fallen?”

“Chris’tecum” An abbreviated “Christ be with you, used as a farewell like the old “God be with ye,” now abbreviated to “good-bye.”

“Cum spiri’tuo” “And with thy spirit.” A standard part of Catholic ritual, including the text of the Mass: “Dominus tecum; et cum spiritu tuo” “The Lord be with you; and with your spirit” (SS).

“Said the namesake of my namesake” Refers to a miracle performed by Joshua, the leader of the Hebrew invasion of Canaan, commanding the sun and moon to stand still so that there would be enough time to complete their victory in the valley of Gabaon. See Joshua 10:12-14. What does Joshua mean by saying that it would be useful to be able to perform this trick “in these times too?”

“et tu, Luna, recedite in orbitas reversas. . . .” “and you, Moon, move in reverse in your orbit” (literally, “go back into reversed orbits”–slightly different from the English version given in the just preceding sentence).

“bicephalous” two-headed.


Chapter 25

“dauntless Dutch boys” see note for the preceding chapter on “bureaucratic Dutch boys.”

The American War Department was changed to the more peaceful-sounding “Defense Department” after World War II.

What does this second press conference imply about the events the Defense Minister is so carefully denying?

Phoenix: a mythical bird that once every 500 years sets itself on fire and is reborn from an egg in the ashes.

Alpha Centauri is the nearest star (actually two stars) to Earth, about four light-years away. It is now believed to be incapable of having planets which could sustain life.

Why is “Joshua” an appropriate name for the leader of the Church’s project to emigrate to another planet?

Few of the names in this novel have obvious meanings, but “Grales” seems like an ironic reference to the Holy Grail of Medieval legend: the cup which Christ used at the Last Supper, which caught his blood on the cross, and for which King Arthur’s knights sought.

“Accedite ad eum” “Approach him.”

“lingua prima” first language.

Maundy laving: On Maundy Thursday (the day before Good Friday), the clergy (including the Pope) ceremonially wash the feet of some of the poor in commemoration of Jesus’ washing the feet of the disciples (John 13:5).

Latzar shemi “My name is Lazarus” (Hebrew).


Chapter 26

What has happened between the end of the last chapter and the beginning of this? Who started it?

Cain is famous being the first murderer in the Bible, having killed his brother (see Genesis 4:1-16).

What is the meaning of the quotation from Eleventh Pius?

“Non habemus regem nisi caesarem” “We have no king but Caesar.” See John 19:15. How does this relate to the preceding quotation?

“Grex peregrinus erit. Quam primum est factum suscipiendum vobis, jussu Sactae Sedis. Suscipite ergo operis partem ordini vestro propriam” “The flock will be a pilgrim [or “traveling, wandering”] one. As soon as possible the deed must be undertaken by you, by order of the Holy See. Undertake therefore the part of the work proper to your Order.” Sactae is a misprint forsanctae (SS).

Eminentissimo Domino Eric Cardinali Hoffstraff obsequitur Jethra Zerchius, A. O. L., Abbas. Ad has res disputandas iam coegi discessuros fratres ut hodie parati dimitti Roman prima aerisnave possint. “Jethrah Zerchi, A.O.L., Abbot, complies with the Most Reverend Lord Eric Cardinal Hoffstraff. I have already collected the brothers who will depart, so that, ready today, they can be sent off to Rome on the first airplane to discuss these matters.” Roman should be Romam (SS).

“the ass he rides into Jerusalem” see see Matthew 21:2-9.

“Excita, Domine . . .” Psalms 35:23.

“Retrahe me, Satanus, et discede” “Draw away from me, Satan, and depart.” Compare with Matthew 16:23. Satanus should be Satanas.

“burning bush” Exodus 3:1-6.

Is the Church escaping into space merely to preserve itself, or does it have other aims?

“Homo loquax nonnumquam sapiens” A humorous variation of “Homo Sapiens” (“Wise Man”) “Talkative–and sometimes wise–man” (SS).

“Discede, Seductor informis” “Depart, hideous [literally ‘shapeless’] Seducer.”

“Egrediamur tellure” “Let us leave Earth.”

“abbas” Literally “Father” in Hebrew, but used as the title of the head of an abbey: an abbot.

“Audi me, Domine” “Hear me, O Lord.”

“negotium perambulans in tenebris” “The pestilence that stalks in darkness.” (Psalms 91:6)

“Reminiscentur et convertentur ad Dominum universi fines terrae. Et adorabunt in conspectu universae familiae gentium. Quoniam. Domini est regnum; et ipse dominabitur.” “All the ends of the world shall remember and turn unto the Lord; and all the kindreds of the nations shall worship before Thee. For the kingdom is the Lord’s; and he will rule among the nations” (Psalms 22:27). Why is it ironic that this is the Psalm which happens to be scheduled for this night?

“de essentia hominum” “Of the essence of human beings.”

“Hoc officium, Fili–tibine imponemus oneri?” “This office, my Son–shall we impose this burden upon you?”

“honorem accipiam” I shall accept the honor.

“Crucis autem onus si audisti ut honorem, nihilo errasti auribus” “If however you heard the burden of the cross as an Ôhonor,Õ by no means have you erred with your ears.” The abbot thinks that Joshua mistook oneri “burden” for honori “honor” when he posed his original question (SS).

“Accipiam” I shall accept.

“the principle of Epikeia” The moral-legal principle that one can act against the letter of the law in a certain situation when it is supposed that the lawmaker would have allowed it, given the extenuating circumstances (SS). In this case the doctrine by which part of the Church–if separated from communication with the Roman hierarchy (in particular, the Pope)–may institute its own parallel hierarchy to assure the continuity of the Apostolic Succession (note by Steven A. Schoenig and Richard Reed).


Chapter 27

“Mori vult” “He wishes to die”

What is the essential disagreement between Father Zerchi and the Green Star representative?

“The serpent deceived me, and I did eat” Eve’s excuse for eating the forbidden fruit (Genesis 3:13).

Note that Poet from the previous story has become popularized as Saint Poet of the Miraculous Eyeball.

“Orbis Judicans Conscientias” “The globe (eye) which judges consciences.”

“Oculus Poetae Judicis” The eye of the Poet-Judge.”

“Non cogitamus, ergo nihil sumus” “We do not think, therefore we are nothing,” reversing René Descartes’ famous dictum, “I think, therefore I am.”.

“Evenit diabolus” The Devil comes forth.”


Chapter 28

“Domine, mundorum omnium Factor, parsurus esto imprimis eis filiis aviantibus ad sideria caeli quorum victus dificilior” translated “Lord, Maker of all worlds, spare especially these sons, travelling away to the stars of heaven, whose way of life [will be] more difficult.” Sideria should be sidera; dificilior should be difficilior.

Note the return of the buzzards which were circling overhead at the beginning of the novel.

“ABANDON EVERY HOPE YE WHO ENTER HERE” According to Dante’s Inferno,this is the message inscribed over the entrance gate to Hell.

“Golgatha” [More properly, Golgotha.] The “Mount of Skulls” called “Calvary” in Latin where Christ was crucified.

In your opinion, who wins the argument between Dom Zerchi and the young girl over euthanasia? Defend your opinion.


Chapter 29

“alter Christus” “Another Christ.”

“Te absolvat Dominus Jesus Christus; ego autem eius auctoritate te absolvo ab omni vinculo.”.”.”. Denique, si absolvi potes, ex peccatis tuis ego te absolvo in Nomine Patris”.”. .” translated “May the Lord Jesus Christ absolve you; I, moreover, by his authority absolve you from every bond.”.”.”. Finally, if you can be absolved, I absolve you of your sins in the name of the Father.”

“Dealba me.” “Whiten me.” (See Psalm 51:7, Revelation 7:14.)

“Dies Irae” Hymn about the Last Judgment, written by Thomas of Celano in the 13th Century and incorporated into the liturgy for the Catholic requiem (funeral) mass, obviously appropriate here considering both the plight of Zerchi and humanity in general.

“Fas est” This is a Medieval Latin phrase meaning roughly “It is lawful”–that is, according to divine law.

“Nisi baptizata es et nisi baptizari nonquis, te baptizo. . . .”Zerchi is being cautious, not at all certain that it would be proper to baptize something he suspects does not have a soul, so he covers himself by saying, roughly, “Unless you have been baptized, and unless you cannot be baptized, I baptize you. . . .”

“Domine, non sum dignus, sed tantum dic verbo” “Lord, I am not worthy, but only speak the word” Spoken by a Roman centurion to Jesus in Capernaum (Matthew 8:8), when Jesus offered to come and heal his servant: “Domine non sum dignus ut intres sub tectum meum: sed tantum dic verbo et sanabitur puer meus.” In the traditional Latin rite, the priest recites a modifed version of the centurion’s saying just before he receives the sacred host, substituting “anima” (“soul”) for “puer” (“servant”).

The first sacrament is baptism.

The Magnificat is the hymn of the Virgin Mary celebrating the fact that she is to bear the Christ (Luke 1:46-55). Dom Zerchi imagines that the newly-awakened Rachel is purely innocent, like Mary (born of an “immaculate conception,” free of all sin), and therefore does not need baptism, whose function is to wash away sins.

“Sic transit mundus” “Thus passes the world.” This is a play on the phrase used in a medieval ritual at the coronation of a pope. In the sight of the new pope, a cleric would burn some hemp and cry out, Sancte Pater, sic transit gloria mundi!, “Holy Father, thus passes the glory of the world!” He would then quench it and repeat the ritual twice more. It was meant to remind the pope of the transitory nature of earthly fame, so that he would keep humble and fix his priorities on eternal life (SS).

Tom Foster points out that the action of the last monk to enter the spaceship, slapping his sandals together, echoes such Biblical passages as Mark 6:11: “And whosoever shall not receive you, nor hear you, when ye depart thence, shake off the dust under your feet for a testimony against them. Verily I say unto you, It shall be more tolerable for Sodom and Gomorrha in the day of judgment, than for that city.”

The novel began with hungry vultures; it ends with hungry sharks. But whereas the vultures at least had a certain crude vitality, the sharks are presumably doomed like the rest of life on earth.

Is the ending of the novel optimistic, pessimistic, or something in between?

Recommended studies on A Canticle for Leibowitz:

Olsen, Alexandra H. “Re-Vision: A Comparison of A Canticle for Leibowitz and the Novellas Originally Published.” Extrapolation 38 (Summer 1997): 235-149.

Percy, Walker. “Walter M. Miller, Jr.’s A Canticle for Leibowitz.” In Rediscoveries: Informal Essays in Which Well-Known Novelists Rediscover Neglected Eowrks of Fiction by One of Their Favorite Authors. Ed. David Madden. New York: Crown, 1971.

Samuelson, David N. Visions of Tomorrow: Six Journeys from Outer to Inner Space. New York: Arno, 1975.

Senior, W. A. “From the Begetting of Monsters: Distortion as a Unifier in A Canticle for Leibowitz,Extrapoltion 34 (Winter 1993): 329-42.

Spector, Judith A. “Walter Miller’s A Canticle for Leibowitz: A Parable for our Time?” Midwest Quarterly 22 (Winter 1981): 337-45.

Spencer, Susan. “The Post-Apocalyptic Library: Oral and Literate Culture in Fahrenheit 451 and A Canticle for Leibowitz.” Extrapolation 32 (Winter 1991): 331-42.

Stoler, John A. “Christian Lore and Characters’ Names in A Canticle for Leibowitz.” Literary Onomastics Studies 11 (1984): 77-91.

Walker, Jeanne Murray. “Reciprocity and Exchange in A Canticle for Leibowitz,” Renascence 33 (1981): 67-85.
The Spring 2000 issue of Listening: Journal of Religion and Culture (vol. 35, no. 2) is devoted to “A Canticle for Leibowitz at Forty.”

More Science Fiction Study Guides


Notes by Paul Brians, Department of English, Washington State University, Pullman 99164-5020.

Latin translations by Michael Hanly and Hack C. Kim, Washington State University, nitpicked by various Latinists online to whom I am very grateful, including especially Steven A. Schoenig, S.J., whose most extensive other contributions are noted above (SS).


First published on the Web, April, 1995.
Version dated May 29, 2007.

Science Fiction Research Bibliography:A Bibliography of Science Fiction Secondary Materials in Holland Library, Washington State University

If you are doing research on science fiction, this bibliography is a good place to start. It is not a complete bibliography of SF research, only of that in the WSU library; and the call numbers may not match those in other libraries. It does not include works of science fiction as such.

Paul Brians is now retired, and this bibliography is no longer be updated, so it is bound to be incomplete; but it may still be useful.


REFERENCE WORKS:

Look for reference works and indexes first in the Reference Room, not in the regular stacks.


Encyclopedias and general checklists:

*Barron, Neil: Anatomy of Wonder 4: A Critical Guide to Science Fiction. (fourth edition) PN3433.8 .A63x 1995
This is among the most important standard reference works in the field, summarizing hundreds of pieces of fiction. It is especially strong on foreign SF, though this coverage was reduced in the fourth edition. Recommended especially for small libraries. The still-useful second (PN3433.5 .A6x) and third editions (HolRef PN3433.8 .A63x 1987) are also in the collection.

Bleiler, Everett F.: The Checklist of Science-Fiction and Supernatural Fiction. HolRef PN 3435 B55 1978 (replaces The Checklist of Fantastic Literature, 808.3 ZB616c)

Bleiler, Everett F. & Richard J. Bleiler. Science-Fiction: The Gernsback Years: A Complete Coverage of the Genre Magazines “Amazing,” “Astounding,” “Wonder,” and Others from 1926 through 1936. HolRef PS648.S3 B57 1998
Also available as an electronic resource for WSU users through Griffin.

Bloch, Robert N.: Bibliographie der utopischen und phantastischen literatur, 1750-1950. PT 148 1185 B5x 1984

Clarke, Ignatius Frederick: Tale of the Future: From the Beginning to the Present Day. (British) 3rd ed., PN 3448 S45c 56x (replaces 2nd edition, Z6207 P7 C48 1972)
The strong point of this survey is its coverage of early works, especially British fiction.

*Clute, John & Peter Nicholls, eds.: Encyclopedia of Science Fiction. HolRef PN3433.4 .E53 1993b
Generally considered the best of the encyclopedias. Articles on movements, themes, genres, as well as authors, etc.

Fletcher, Marilyn P. Reader’s Guide to Twentieth-Century Science Fiction. HolRef PN3433.8 R44 1989

*Gunn, James, ed. The New Encyclopedia of Science Fiction. PN 3433.4 N48 1988
Good as a supplement to Clute & Nicholls, above.

James, Edward & Farah Mendelsohn, eds. The Cambridge Companion to Science Fiction. PN3377.5.S3 C36 2003

*Magill, Frank: Survey of Science Fiction Literature: Five Hundred 2,000-Word Essay-Reviews of World-Famous Science Fiction Novels with 2,500 Bibliographical References. HolRef PN3448 S45 S88
Summaries, brief discussions, and selected bibliographies make this an excellent place to begin researching a particular work. Be sure to check the supplement listed below as well.

*Magill, Frank: Survey of Science Fiction Literature: Bibliographical Supplement. HolRef PN 3448 S45 S88 Suppl

Newman, John: Future War Novels: An Annotated Bibliography of Works in English Published Since 1946. HolRef R888.W37 N43x 1984

Nicholls, Peter, ed. The Science Fiction Encyclopedia. PN3448.S45 S29 Ê
Earlier, still useful, but now somewhat dated edition of Clute and Nicholls, above. Can be checked out.

Pringle, David. The Ultimate Guide to Science Fiction: An A-Z of Science-Fiction Books by Title. HolRef PN3448.S45 P75 1995

Reginald, Robert, ed.: Contemporary Science Fiction Authors. HolRef PS 374 S35 R44
Useful background information on major authors.

Reginald, Robert, ed.: Science Fiction and Fantasy Literature, A Checklist from Earlier Times to 1974. Hol Ref PS374.S35 R442x

Reginald, R. Science Fiction and Fantasy Literature, 1975-1991: A Bibliography of Science Fiction, Fantasy, and Horror Fiction Books and Nonfiction Monographs. HolRef PN3448.S45 R44x 1992

Searles, Baird: A Reader’s Guide to Fantasy. PS374.F27 S43x 1982

Tuck, Donald H.: The Encyclopedia of Science Fiction and Fantasy. HolRef Z5917 S36 T83
Replaced by more recent encyclopedias, but still contains some useful details about editions of early works for advanced researchers.

University of California at Riverside: Dictionary Catalog of the J. Lloyd Eaton Collection of Science Fiction and Fantasy Literature. HolRef PN 3448 S45 U59x v-13

Yntema, Sharon. More than 100 Women Science Fiction Writers. PN 3433.6 Y57x 1988

*Internet Speculative Fiction DataBase http://www.isfdb.org/


Now the standard source for identifying SF stories and novels.

Indexes to short stories:

Bowman, Ray: Bowman’s Index to the Magazine of Fantasy and Science Fiction. AP2 M2345x 1949/1983

Cole, Walter R.: A Checklist of Science Fiction Anthologies. Z5917 S36 C6 1975

Contento, William: Index to Science Fiction Anthologies and Collections. (2 vols) HolRef PS 374 S35 C6x
Great for locating in which magazines and anthologies a story has appeared. The excellent Contento indexes have now been subsumed into the online Locus Index to Science Fiction, which should be used instead whenever possible.

Durie, A. J. L.: An Index to the British Editions of The Magazine of Fantasy and Science Fiction with Cross-Reference to the Original American Edition. HolRef Z5917 S36 H35

Fletcher, Marilyn P.: Science Fiction Story Index. 2nd ed., 1950-1979, PN 3448 S45 F55x
Replaced by Contento, above; but circulates.

Halpern, Frank N.: International Classified Directory of Dealers in Science Fiction and Fantasy Books and Related Materials. Z286 F3 H34 1975
Now very dated.

NESFA: Index to the Science Fiction Magazines 1926-50. HolRef PN 3448 S45 I53x
All the NESFA indexes are now obsolete. Use Contento instead.

Parnell, Frank H. & Mike Ashley: Monthly Terrors: An Index to the Weird Fantasy Magazines Published in the United States and Great Britain. HolRef PS374.F27 P37 1985

Siemon, Frederick: Science Fiction Story Index 1950-1968. Z5917 S36 S5
Replaced by Contento, above.


Indexes to criticism and reviews:

Clareson, Thomas: Science Fiction Criticism: An Annotated Checklist. HolRef Z5917 S36 C55
This pioneering work is now outdated. Use Hall, below.

Hall, Halbert W.: Science Fiction Book Review Index 1923-1973. HolRef Z5917 S36 H35

*Hall, Halbert W.: Science Fiction and Fantasy Reference Index, 1878-1985: An International Author and Subject Index to History and Criticism PN3433.5.S35x 1987
This invaluable source, plus its supplements–listed below–is now available in an updated online version at as the Science Fiction and Fantasy Research Database.

Hall, H. W.: Science Fiction and Fantasy Reference Index, 1985-1991: An International Author and Subject Index to History and Criticism HolRef PN3433.5 S35x 1987 v.1, v.2

Hall, H. W.: Science Fiction and Fantasy Reference Index, 1992-1995: An International Subject and Author Index to History and Criticism. HolRef PN3433.4 S34x 1997

Tymn, Marshall B.: Research Guide to Science Fiction. HolRef PN 3448 S45 T93 1977x

Tymn, Marshall B.: The Year’s Scholarship in Science Fiction and Fantasy, 1976-79. PN 3433.8 T95x 1982
The Tymn and Schlobin indexes are replaced by Hall, above.

Tymn, Marshall B. & Roger C. Schlobin: The Year’s Scholarship in Science Fiction and Fantasy 1972-1975. PN 3448 S45 T94K (supplement to Clareson, above)


Film, illustrations, sound recordings, miscellaneous:

Burgess Meredith Reads Ray Bradbury. Record 287

Adler, Alan: Science Fiction and Horror Movie Posters in Full Color. PN 1995.9 P5 A

Baxter,John: Science Fiction in the Cinema. PN 1995.9 S26 B43

Beer, Gilian: Open Fields: Science in Cultural Encounter. PR468.S34 B44 1999
This interesting study of the rhetoric of science largely ignores SF, except for touching on books by Lem and Wells.

Bova, Ben: Vision of the Future: The Art of Robert McCall. ND237 M4116 B6 1982

Broderick, Mick. Nuclear Movies: A Filmography. PN1995.9.N9B76 1988
Replaced by the second edition, below.

Broderick, Mick. Nuclear Movies: A Critical Analysis and Filmography of International Feature Length Films Dealing with Experimentation, Aliens, Terrorism, Holocaust, and Other Disaster Scenarios, 1914-1990 [2nd ed.]. PN1995.9.N9B76 1991.
The most comprehensive guide to this subject.

Brosnan, John: Future Tense: The Cinema of Science Fiction. PN 1995.9 S26 B7

Bukatman, Scott: Blade Runner. PN1997.B596 B85 1997

Felshin, Nina: Disarming images: Art for Nuclear Disarmament. N 6512 D584 1984

Frank, Alan: The Science Fiction and Fantasy Film Handbook. PN 1995.9 S26 F73 1982

Freas, Frank Kelly: The Art of Science Fiction. NC 975.5 F74 A45

Gifford, Denis: Science Fiction Film. PN 1995.9 S26 C5

Greene, Eric: Planet of the Apes as American Myth: Race and Politics in the Film and Television Series. PN1995.9.P495 G74 1996

Hardy, Phil. Science Fiction: The Arum Film Encyclopedia PN1995.9.S26S345x 1991

Hendershot, Cynthia. Paranoia, the Bomb, and 1950s Science Fiction Films. PN1995.9.S26 H37 1999

Johnson, William: Focus on the Science Fiction Film. PN 1995.9 S26 J6

Kapell, Matthew & William G. Doty, eds.: Jacking in to the Matrix Franchise: Cultural Reception and Interpretation. Vancouver PN1997.M395 J33 2004

Kaveny, Roz. From Alien to The Matrix: Reading Science Fiction Film. PN1995.9.S26 K38 2005

Kevorkian, Martin. Color Monitors: The Black Face of Technology in America P94.5.A372 U558 2006

Kuhn, Annette, ed. Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema. PN 1995.9 S26 A818 1990

Kuhn, Annette, ed.: Alien Zone II: The Spaces of Science-Fiction Cinema. PN1995.9.S26 A8184 1999

Lee, Walt & Bill Warren: Reference Guide to Fantastic Films: Science Fiction, Fantasy, & Horror PN1995.9.F36L4

Lentz, Harris M., ed. Science Fiction, Horror & Fantasy Film and Television Credits Supplement: Through 1987. PN 1995.9 S26 L46

Lucanio, Patrick: Them or Us: Archetypal Interpretations of Fifties Alien Invasion Films. PN 1995.9 S26 L8 1987

Menville, Douglas: Things to Come (An Illustrated History of the Science Fiction Film). PN 1995.9 S

Napier, Susan Jolliffe: Anime from Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. NC1766 .J3 N37 2001 Ê

National Library Service for the Blind and Handicapped: Science Fiction: A Selected List of Books that have Appeared in Talking Book Topics and Braille Book Review. Holland Documents (on the 3rd floor), Stack 65,

LC 19.11

Nicholls, Peter: The World of Fantastic Films: An Illustrated Survey. PN 1995.9 F36 N53 1984

O’Neill, James: Sci-Fi on Tape: A Complete Guide to Science Fiction and Fantasy on Video. PN1995.9.S26 O53 1997

Parish, James Robert: The Great Science Fiction Pictures. PN 1995.9 S26 P37

Pickard, Roy: Science Fiction in the Movies, An A-Z. PN 1995.9 S26 P5 1978

Pohl, Frederik: The New Visions: A Collection of Modern Science Fiction Art. NC 1882.7 S35 N4 1982

Randall, David Anton: Science Fiction and Fantasy: An Exhibition. Z6676 15 no 21

Resnick, Michael: The Official Price Guide to Comic and Science Fiction Books. PN6725 .O33x 1983
Now very dated.

Sadoul, Jacques: 2000 AD: Illustrations from the Golden Age of Science Fiction Pulps. NC 986 S2213

Sammon, Paul M.: Future Noir: The Making of Blade Runner. PN1997.B596 S26 1996
Filled with fascinating inside information about the making of this seminal film.

Shapiro, Jerome F. Atomic Bomb Cinema: The Apocalyptic Imagination on Film. PN1995.9.W3 S52 2002

Shay, Don and Jody Duncan. The Making of T2: Terminator 2: Judgment Day PN1997.T397M35 1991, compact storage no. A5416

Skal, David. J.: Screams of Reason: Mad Science and Modern Culture. PN1995.9.H6 S58 1998

Slusser, George & Eric S. Rabkin, eds.: Shadows of the Magic Lamp: Fantasy and Science Fiction in Film. PN 1995.9 F36 S5 1985

Sobchak, Vivian Carol: Screening Space: The American Science Fiction Film. PN 1995.9 S26 S57 1987

Sobchak, Vivian Carol: The Limits of Infinity: The American Science Fiction Film 1950-1975. PN 1995.9 S26 S57 1980

Taylor, Al: Making a Monster: The Creation of Screen Characters by the Great Makeup Artists. PN 2068 T3

Telotte, J. P. A Distant Technology: Science Fiction Film and the Machine Age. PN1995.9.S26 T45 1999

Warren, Bill: Keep Watching the Skies! American Science Fiction Movies of the Fifties. PN 1995.9 S26 W37 1982

Weaver, Tom: Attack of the Monster Movie Makers: Double Feature Creature Attack: A Monster Merger of Two More Volumes of Classic Interviews. PN1995.9.S26 W43 2003

Willis, Donald C.: Horror and Science Fiction Films II. Ref. PN1995.9 H6 W53

Willis, Donald D.: Horror and Science Fiction Films: A Checklist. PN 1995.9 H6 W5

Willis, Donald: Variety’s Complete Science Fiction Reviews. HolRef PN 1995.9 S26 V37 1985

Wingrove, David, ed.: Science Fiction File Source Book. PN 1995.9 S26 S34x 1985


HISTORIES AND CRITICISM:

Aikon, Paul E.: Origins of Futuristic Fiction. PN 3433.8 A44 1987

Aldiss, Brian. The Detached Retina: Aspects of SF and Fantasy PR830.S35 A39 1995b

Aldiss, Brian: Billion Year Spree. PR 830 S35 A38 (superseded by Trillion Year Spree, below)

Aldiss, Brian: Hell’s Cartographers: Some Personal Histories of Science Fiction Writers. PS 129 H4 1975

Aldiss, Brian: The Pale Shadow of Science. PR 6051 L3 Z476 1985
Most of the content of this collection of essays is duplicated in other books by Aldiss, but it contains a handy defense of his choice of Mary Shelley as the founder of SF, plus useful essays on Stapledon, Philip K. Dick, and his own Helliconia trilogy.

Adliss, Brian: The Shape of Further Things. PR 6051 L3 Z5 1971

Aldiss, Brian: This World and Nearer Ones: Essays Exploring the Familiar. PR 6051 L3 T47 1981.
Miscellaneous prefaces and other brief articles, including ones on Dick, Vonnegut, and Tarkovsky’s Solaris.

Aldiss, Brian: Trillion Year Spree: The History of Science Fiction PR 830 S35 A38 1986b (replaces Billion Year Spree, above)

Amis, Kingsley: New Maps of Hell. 823.09 Am57n

Andriano, Joseph: Immortal Monster: The Mythological Evolution of the Fantastic Beast in Modern Fiction and Film. PS374.M544 A53 1999

Antczak, J.: Science Fiction: The Mythos of a New Romance. Educ PS 374 S35 A58 1985

Apter, T. E.: Fantasy Literature: An Approach to Reality. PN 3435 A65 1982

Armitt, Lucie: Contemporary Women’s Fiction and the Fantastic. PN3435 .A76 2000

Armytage, W. H.: Yesterday’s Tomorrows. CB 151 A77

Asimov, Isaac: Asimov’s Galaxy: Reflections on Science Fiction PS3551 S5 Z463 1989

Asimov, Isaac: Asimov on Science Fiction. PN 3433.5 A8

Asimov, Isaac & Martin H. Greenberg: Cosmic Critiques: How & Why Ten Science Fiction Stories Work. PN3377.5.S3C6 1990

Attebery, Brian: The Fantasy Tradition in American Literature from Irving to LeGuin. PS 374 F27 A8b

Attebery, Brian: Decoding Gender in Science Fiction. PS374.S35 A84 2002

Bailey, James O.: Pilgrims Through Space and Time: Trends and Patterns in Scientific and Utopian Fiction. PN 3448 S45 B47

Bainbridge, William Sims: Dimensions of Science Fiction. PN 3433.5 B35 1986

Bainbridge, William Sims: The Spaceflight Revolution: A Sociological Study. Science TL 788.5 B34

Barr, Marleen S. Alien to Femininity: Speculative Fiction and Feminist Theory [Part 1: Community Immortal Feminist Communities: A Recent Idea In Speculative Fiction “The Females do the Fathering!”: Reading, Resisting, and James Tiptree Jr. Eclipsing the Connecticut Yankee: Female Time Travelers Part 2: Heroism New Incarnations of Psyche: World-Changing Womanists Heroic Fantastic Femininity: Woman Warriors Part 3: Sexuality and Reproduction “Biological Wishful Thinking”: Strange Bedfellows and Phallic Fallacies Reproducing Reproduction, Manipulating Motherhood: Pregnancy and Power]. PN3433.6 .B37 1987

Barr, Marlene S. Feminist Fabulation: Space/Postmodern Fiction. PN3401.B38 1992

Barr, Marleen S.: Future Females: A Critical Anthology. PN 6071 S33 F84x

Barr, Marleen S.: Future Females, The Next Generation: New Voices and Velocities in Feminist Science Fiction Criticism. PS374.S35 F88 2000

Barr, Marleen S.: Genre Fission: A New Discourse Practice for Cultural Studies PS374.P64 B37 2000

Barr, Marleen S. Lost in Space: Probing Feminist Science Fiction and Beyond PS374.S35B33 1993

Barr, Marleen S., Ruth Salvaggio & Richard Law: Suzy McKee Charnas/Octavia Butler/Joan D. Vinge. PS 374 S35 B34 1986

Ben-Tov, Sharona: The Artificial Paradise: Science Fiction and American Reality. PS374.S35 B38 1995

Berger, Harold L.: Science Fiction and the New Dark Age. PN 3448 S45 B43

Bennett, Betty T. Mary Wollstonecraft Shelley: An Introduction. PR5398 .B46 1998

Biermann, Lillian: Images in a Crystal Ball: World Future in Novels for Young People. PN 3433.4 W4

Bleiler, E. F. Science Fiction: The Gernsback Years: A Complete Coverage of the Genre Magazines from 1926 through 1936. PS648.S3 B57 1998

Bleiler, E. F.: Science Fiction Writers: Critical Studies of the Major Authors from the Early Nineteenth Century to the Present Day. PS 374 B35 S36 1982

Blish, James: More Issues at Hand. PN 3448 S45 B47

Booker, M. Keith: Dystopian Literature: A Theory and Research Guide PN56.D94 B66 1994

Booker, M. Keith: Monsters, Mushroom Clouds, and the Cold War: American Science Fiction and the Roots of Postmodernism, 1946-1964. PS374.S35 B66 2001

Bova, Ben: Notes to a Science Fiction Writer. PZ4 B782 Nox

Bova, Benjamin W.: Notes to a Science Fiction Writer. PN 3377.5 S3 B6 1982

Bretnor, Reginald: The Craft of Science Fiction: A Symposium on Writing Science Fiction and Science Fantasy. PN 3377.5 S3 C7

Bretnor, Reginald: Modern Science Fiction: Its Meaning and Its Future. 809.3 B756m

Bretnor, Reginald: Science Fiction, Today and Tomorrow. PN 3448 S5 B7

Brians, Paul: Nuclear Holocausts: Atomic War in Fiction 1895-1984. PN 352 N83 B753x 1987

Bridenne, Jean Jacques: La litterature francaise d’imagination scientifique. 843.09 B763L

Brigg, Peter. The Span of Mainstream and Science Ficction: A Critical Study of a New Literary Genre PR888.S34 B75 2002

Broderick, Damien: The Architecture of Babel: Discourses of Literature and Science. PN55 .B74 1994

Broderick, Damien: Transrealist Fiction: Writing in the Slipstream of Science PN3433.5 .B76 2000

Bukatman, Scott: Terminal Identity: The Virtual Subject in Postmodern Science Fiction. PS374.S35 B84 1993

Buker, Derek M.: Science Fiction and Fantasy Readers’ Advisory: The Librarian’s Guide to Cyborgs, Aliens, and Sorcerers. Z688.S32 B85 2002

Calkins, Elizabeth: Teaching Tomorrow: A Handbook of Science Fiction for Teachers. Educ LB 1631 C29

Campbell, John W., et al.: Modern Science Fiction: Its Meaning and Its Future. 809.3 B7566m

Canaday, John. The Nucler Muse: Literature, Physics, and the First Atomic Bombs. QC791.96 .C36 2000

Card, Orson Scott. How to Write Science Fiction and Fantasy. PN3377.5.S3C37 1990

Carter, Paul Allen: The Creation of Tomorrow: Fifty Years of Magazine Fiction. PN 3448 S45 C36

Chapman, Edgar L. & Carl B. Yoke, eds. Classic and Iconoclastic History Science Fiction. PS374.S35 C58 2003

Chernaik, Laura: Social and Virtual Sace: Science Fiction, Transnationalism, and the American New Right HN90.M6 C43 2005

Cioffi, Frank: Formula Fiction? An Anatomy of American Science Fiction 1930-1940. PS 374 S35 C5 1982

Clareson, Thomas P.: Many Futures, Many Worlds: Theme and Form in Science Fiction. PN 3448 S45 M3

Clareson, Thomas P.: Science Fiction: The Other Side of Realism. PN 3448 S45 C5

Clareson, Thomas P.: Some Kind of Paradise: The Emergence of American Science Fiction PS 374 S35 C56 1985

Clareson, Thomas P.: A Spectrum of Worlds. PZ1 3542 Sp

Clareson, Thomas P.: Voices for the Future: Essays on Major Science Fiction Writers. PN 3448 S45 V6

Clarke, Ignatius Frederick: Voices Prophesying War. D445 C6

Colloque international de science-fiction: Actes du premier colloque international de science-fiction de Nice: Images de l ailleurs Espace interieur, ed. Jean Emelina & Denise Terrel. PN 3448 S45 C64x 1983

Conte, Joseph Mark: Design and Debris: A Chaotics of Postmodern American Fiction. PS374.C4 C66 2002

Cowart, David & Thomas L. Wymer: Twentieth-Century American Science Fiction Writers. PS 243 A45 v.8

Crosby, Janice. C. Cauldron of Changes: Feminist Spirituality in Fantastic Fiction. PS374.F27 C76 2000

Davin, Eric Leif: Pioneers of Wonder; Conversations with the Founders of Science Fiction. PS374.S35 D36 1999

Davies, Philip John, ed. Science Fiction, Social Conflict, and War. PN3433.5.S35 1990

de Camp, L. Sprague: Science Fiction Handbook. PN 3377.5 S3 D4 1975

de Camp, L. Sprague: Literary Swordsmen and Sorcerers: The Makers of Heroic Fantasy. PR830 F3 D4

Delany, Samuel R.: The Jewel-Hinged Jaw. PN 3448 S45 D4x

Delany, Samuel R.: The Motion of Light in Water: Sex and Science Fiction Writing in the East Village, 1957-1965, PS 3554 E437 Z475 1988

Delany, Samuel R.: Shorter Views: Queer Thoughts & the Politics of the Paraliterary. PS3554.E437 Z4756 1999

Delany, Samuel R.: Silent Interviews: On Language, Race, Sex, Science Fiction, and Some Comics: A Collection of Written Interviews PS3554.E437 Z476 1994

Delany, Samuel R.: Starboard Wine: More Notes on the Language of Science Fiction. PN 3433.5 D45x 1984

Del Rey, Lester: The World of Science Fiction 1926-1976: The History of a Subculture. PS374 S35 D4

Dery, Mark. The Pyrotechnic Insanitarium: American Culture on the Brink. NX180.S6 D48 1999

Dewey, Joseph: In a Dark Time: The Apocalyptic Temper in the American Novel of the Nuclear Age PS 374 A 65 D4 1990

Disch, Thomas M. The Dreams Our Stuff Is Made Of: How Science Fiction Conquered the World. PN3433.5 D57 1998

Donawerth, Jane: Frankenstein’s Daughters: Women Writing Science Fiction PS374.S35 D66 1997

Dozois, Gardner, ed.: Writing Science Fiction and Fantasy. PN337.5.S3W75

Dunn, Thomas P.: The Mechanical God: Machines in Science Fiction. PN3433.6 M4

Du Pont, Denise, ed.: Women of Vision. PS 374 S35 W64 1988

Eaton Conference on Science Fiction and Fantasy Literature: Bridge to Science Fiction. PN 3448 S45 E2 1979

Ellison, Harlan: Sleepless Nights in the Procrustean Bed. PS 3555 L62 S65 1984

Erlich, Richard D., and Dunn, Thomas P., eds.: Clockwork Worlds: Mechanized Enrivonments in Science Fiction. PN 3433.6C56 1983

Eshbach, Lloyd, ed.: Of Worlds Beyond: The Science of Science Fiction Writing. PN 3448 S45 E7

Evans, Hilary and Dik: Beyond the Gaslight: Science in Popular Fiction 1885-1905. PR 1309 S45 B4

Fernbach, Amanda: Fantasies of Fetishism: From Decadence to the Post-Human.

Ferns, C. S. Narrating Utopia: Ideology, Gender, Form in Utopian Litrature. PN3448.U7 F47 1999

Ferreira, Maria Aline Seabra: I Am the Other: Literary Negotiations of Human Cloning. PS374.H83 F47 2005

Ferrerar, Juan: La Novela de Ciencia Ficcion. PN 3448 S45 F38

Fischer, William B.: The Empire Strikes Out: Kurd Lasswitz, Hans Dominik, and the Development of German Science Fiction. PT 747 S34 F57 1984

Flanagan, Mary & Austin Booth: Reload: rethinking women + cyberculture PS151 .R45 2002 Ê

Franklin, Howard Bruce: Future Perfect: American Science Fiction of the Nineteenth Century. PN 3448 S45 F7

Fredericks, Casey: The Future of Eternity: Mythologies of Science Fiction and Fantasy. PN 3433.6 F7 1982

Freedman, Carl. Critical Theory and Science Fiction. PN3433.5 .F74 2000

Garber, Eric: Uranian Worlds: A Reader’s Guide to Alternative Sexuality in Science Fiction. PN 56 H57 G37x 1983. See newer edition, below.

Garber, Eric and Lyn Paleo: Uranian Worlds: A Reader’s Guide to Alternative Sexuality in Science Fiction, Fantasy, and Horror. PN56.H57G37x 1990

Ginn, Sherry. Our Space, Our Place: Women in the Worlds of Science Fiction Television. PN1992.8.W65 G56 2005

Glut, Donald F. The Frankenstein Archive: Essays on the Monster, the Myth, the Movies, and More. PN1995.9.F8 G59 2002 Ê

Goswami, Amit: The Cosmic Dancers: Exploring the Physics of Science Fiction. Sci. Q162 G7 1983

Goulart, Ron: Cheap Thrills: An Informal History of the Pulp Magazines. PS 379 G6

Gove, Philip Babcock: The Imaginary Voyage in Prose Fiction: A History of its Criticism and a Guide for its Study, with an Annotated Check Lis of 215 Imaginary Voyages from 1700 to 1800.PN 3432 G69 1961

Greenberg, Martin H.: Fantastic Lives: Autobiographical Essays by Notable Science Fiction Writers. PS 129 F3

Green, Roger Lancelyn: Into Other Worlds. 809 G825i

Greenland, Colin: The Entropy Exhibition: Michael Moorcock and the British “New Wave” in Science Fiction. PR 830 S35 G73 1983

Griffiths, John: Three Tomorrows: American, British, and Soviet Science Fiction. PN 3448 S45 G75x

Gunn, James: Alternate Worlds: The Illustrated History of Science Fiction. PN 3448 S45 G8

Gunn, James: The Discovery of the Future: The Ways Science Fiction Developed. PN 3448 S45 G81x

Haraway, Donna: The Haraway Reader HQ1190 .H364 2004

Harris-Fain, Darren: British Fantasy and Science-Fiction Writers, 1918-1960. Holref. PN451 .D52x v.255 Ê

Harris-Fain, Darren:British Fantasy and Science-Fiction Writers Since 1960. Holref. PN451 .D52x v. 261

Harris-Fain, Darren: Understanding Contemporary American Science Fiction: The Age of Maturity, 1970-2000. PS374.S35 H37 2005

Hartwell, David G.: Age of Wonders: Exploring the World of Science Fiction. PN 3433.8 H36 1984

Hartwell, David G. & Kathryn Cramer, eds.: The Space Opera Renaissance PS648.S3 S55 2006

Hassler, Donald M.: Comic Tones in Science Fiction: The Art of Compromise with Nature. PN 3433.8 H37 1982
Contains surprisingly little about SF, less about comedy. Examples discussed from Asimov, Clement, LeGuin, Pohl, Sturgeon

Hay, George, ed.: The Edward De Bono Science Fiction Collection. Z695.1 E4 N37

Hayles, N. Katherine: How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Q335 .H394 1999 (Owen Library)

Healy, Janet K. Miller: Simulated Realities: Contemporary Science Fiction, Golding and Robbe-Grillet. (Thesis) WSU L5 1980 H4

Heard, Alex: Apocalypse Pretty Soon: Travels in End-Time America. BR526 .H335 1999

Hellekson, Karen. The Alternate History: Refiguring Historical Time. PS374.H5 H44 2001

Hogeland, Lisa Maria. Feminism and Its Fictions: The Consciousness-Raising Novel and the Women’s Liberation Movement. PS374.F45 H64 1998

Hollinger, Veronica and Joan Gordon, eds.: Edging into the Future: Science Fiction and Contemporary Cultural Transformation. PS374 .S35 E37 2002 Ê

Hornum, Barbara G.: American Values and World View as Reflected in Science Fiction. Microfilm PN 3448 S45 H67x

Huntington, John: Rationalizing Genius: Ideological Strategies in the Classic American Science Fiction Short Story. PS 374 S35 H86 1989

Innes, Sherrie A. Tough Girls: Women Warriors and Wonder Women in Popular Culture. P94.5.W65 I56 1999

International Conference on the Fantastic in Literature and Film: Aspects of Fantasy: Selected essays from the Second International Conference on the Fantastic in Literature and Film, ed. by William Coyle PZ3435 I57 1981

International Conference on the Fantastic in Literature and Film: Contours of the Fantastic, Selected Essays from the Eighth International Conference on the Fantastic in the Arts, ed. Michele K. Langford. PN 56 F34 I58 1990

International Conference on the Fantastic in Literature and Film: The Scope of the Fantastic: Theory, Technique, Major Authors. PN 56 F34 I 57 1980 or PN 56 F34 I 57 1980a

International Conference on the Fantastic in the Arts: Spectrum of the Fantastic: Selected Essays from the Sixth International Conference on the Fantastic in the Arts, ed. Donald Palumbo NX 650 F36 I59 1985

International Conference on the Fantastic in the Arts: Reflections on the Fantastic: Selected Essays from the Fourth International Conference on the Fantastic in the Arts, ed. by Michael R. Collings PN 56 F34 I58 1983

Isaacs, Leonard: Darwin to Double Helix: The Biological Theme in Science Fiction. PR 830 S35

Ivison, Douglas, ed.: Canadian Fantasy and Science-Fiction Writers. PN451 .D52x v. 251 Ê

Jameson, Fredric: Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions. PS648.S3 J36 2005

Jarvis, Brian.: Postmodern Cartographies: The Geographical Imagination in Contemporary American Culture. GF91.U6 J37 1998b

Jarvis, Sharon: Inside Outer Space: Science Fiction Professionals Look at Their Craft PN 3433.5 I57 1985

Johnston, John. Information Multiplicity: American Fiction in the Age of Media Saturation. PS374.M43 J64 1998

Jones, A.: Deconstructing the Starships: Science, Fiction and Reality. PN3433.8 .J66x 1999

Kasack, Wolfgang: Science-Fiction Osteuropa: Beitrage zur russischen, polnischen und tschechischen phantastischen Literatur. PG 512 S35 1984

Keim, Heinrich: New Wave: die Avantgarde der modernen anglo-amerikanischen Science Fiction. PR 888 S35 K44 1983

Kerman, Judith B., ed. Retrofitting Blade Runner: Issues in Ridley Scott’s Blade Runner and Philip K. Dick s Do Androids Dream of Electric Sheep? PN1997.B283R4 1991

Ketterer, David: New Worlds for Old: The Apocalyptic Imagination, Science Fiction and American Literature. PS 374 S35 R4

Ketterer, David: Canadian Science Fiction and Fantasy. PR9192 S34 K48 1992

De Witt Douglas Kilgore: Astrofuturism: Science, Race, and Visions of Utopia in Space. PS374.S35 K43 2003 Ê

King, Betty: Women of the Future: The Female Character in Science Fiction. PS 374 S35 K44

Kitchin, Rob & James Kneale: Lost in Space: Geographies of Science Fiction. PN3433.6 .L67 2002

Knight, Damon: In Search of Wonder. 813.09 K743i

Knight, Damon: Turning Points: Essays on the Art of Science Fiction. PN 3448 S45t

Knight, Diana: Barthes and Utopia: Space, Travel, Writing PN75.B29 K55 1997

Kreuziger, Frederick A.: The Religion of Science Fiction PN 3433.6 K74 1986

Kumar, Krishan: Utopia and Anti-Utopia in Modern Times. HX806 K86 1987

Landon, Brooks: Science Fiction After 1900: From the Steam Man to the Stars. PN3433.8 .L36 1997

Larbalestier, Justine. The Battle of the Sexes in Science Fiction. PS374.S35 L29 2002

Lederer, Susan E.: Frankenstein: Penetrating the Secrets of Nature. PR5397.F73 F75 2002 Ê

Lefanu, Sarah. In the Chinks of the World Machine: Feminism and Science Fiction. PN 3433.6 L43x 1988

LeGuin, Ursula K.: Dancing at the Edge of the World: Thoughts on Words, Women, Places. PS 3562 E42 D36 1989

LeGuin, Ursula K.: The Language of the Night: Essays on Fantasy and Science Fiction. PN 3435 L4

LeGuin, Ursula K.: The Language of the Night: Essays on Fantasy and Science Fiction, rev. ed. PN3435.L4 1992

Le Guin, Ursula K.: The Wave in the Mind: Talks and Essays on the Writer, the Reader, and the Imagintion. PS3562.E42 W38 2004

Lem, Stanislaw: Microworlds: Writings on Science Fiction and Fantasy. PN 500 B25A5

Lenz, Millicent. Nuclear Age Literature for Youth: The Quest for a Life-Affirming Ethic. PN1009.A1L47 1990

Lerner, Frederick Andrew: Modern Science Fiction and the American Literary Community. PS 374 S35 L4 1985

Lewis, C. S.: Of Other Worlds. PR 6023 E926 O3 1967

Lofficier, Jean-Marc & Randy: French Science Fiction, Fantasy, Horror and Pulp Fiction: A Guide to Cinema, Television, Radio, Animation, Comic Books and Litrature from the Middle Ages to the Present. PQ637.F3 L64 2000

MaGuire, Patrick L.: Red Stars: Political Aspects of Soviet Science Fiction. PG 3098 S5 M38 1985

Malik, Rex, ed.: Future Imperfect: Science Fact and Science Fiction. PN 3433.2 F8

Malzberg, Barry N.: The Engines of the Night: Science Fiction in the Eighties. PN 3433.8 M34

Malmgren, Carl Carryl. Worlds Apart: Narratology of Science Fiction. PN3433.5.M35 1991

Manlove, C.: Science Fiction: Ten Explorations PS 374 S35 M36 1986

Mannix, Patrick. The Rhetoric of Antinuclear Fiction: Persuasive Strategies in Novels and Films. PS374.N82M36 1992

Matthew, Robert. Japanese Science Fiction: A View of a Changing Society. New York: Routledge, 1989. PL 747.57 S3 M37 1989

McCaffery, Larry: Across the Wounded Galaxies: Interviews with Contemporary American Science Fiction Writers (Benford, Burroughs, Butler, Delany, Disch, Gibson, le Guin, Russ, Sterling, Wolfe) PS 374 S35 M39 1990

McCaffery, Larry: Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction. PS374.S35S76 1991

McKnight, Stephen A., ed. Science, Pseudo-Science, and Utopianism in Early Modern Thought. Q125.S43463 1992

McNelly, Willis: Science Fiction: The Academic Awakening. PN 3448 S45 S3

Melzer, Patricia: Alien Constructions: Science Fiction and Feminist Thought. PS374 S35 M45 2006

Meyers, Walter E.: Aliens and Linguists: Language Study and Science Fiction. PN 3448 S45 N46

Merrick, Helen & Tess Williams, ed.: Women of Other Worlds: Excursions Through Science Fiction & Feminism. PN98.W64 W66x 1999

Michael, Magali Cornier: Feminism and the Postmodern Impulse: Post-World War II Fiction. PR888.I45 M53 1996

Millies, Suzanne: Science Fiction Primer for Teachers. PN 3448 S45 M5

Moskowitz, Samuel: Explorers of the Infinite. PN 3448 S45 M65

Moskowitz, Samuel: Seekers of Tomorrow. PN 3448 S45 M66

Moskowitz, Samuel: Strange Horizons: The Spectrum of Science Fiction. PN 3448 S45 M665

Moylan, Tom: Demand the Impossible: Science Fiction and the Utopian Imagination. PS 374 U8 M69 1986

Moylan, Tom: Scraps of the Untainted Sky: Science Fiction, Utopia, Dystopia. PN3433.6 .M69 2000

Myers, Robert E., ed.: The Intersection of Science Fiction and Philosophy: Critical Studies. PN 3433.6 I 57 1983

Nadeau, Robert: Readings from the New Book on Nature: Physics and Metaphysics in the Modern Novel. PS374 P45 N3

Nahin, Paul J. Time Machines: Time Travel in Physics, Metaphysics, and Science Fiction. PS374.S35N34 1993

Nicholls, Peter, ed.: Science Fiction at Large: A Collection of Essays by Various Hands about the Interface Between Science Fiction and Reality. PN 3448 S45 S28

Nicholls, Peter, ed.: The Science in Science Fiction. SCI Q 162 S4127 1982

Nye, David E.: Narratives and Spaces: Technology and the Construction of American Culture. E169.1 .N816 1997

O Leary, Stephen D.: Arguing the Apocalypse: A Theory of Millennial Rhetoric. BL501.O44 1994

Olsen, Lance: Ellipse of Uncertainty: An Introduction to Postmodern Fantasy. PN 56 F34 O47 1987

Panshin, Alexei: Science Fiction in Dimension: A Book of Explorations. PN 3448 S45p

Panshin, Alexei and Cory: The World Beyond the Hill: Science Fiction and the Quest for Transcendence. PN 3433.5 P26 1989

Parker, Helen N.: Biological Themes in Modern Science Fiction. PN 3433.6 P37 1984

Parrinder, Patrick: Science Fiction: Its Criticism and Teaching. PN3448 S45 P37x

Pawling, Christopher, ed.: Popular Fiction and Social Change. PN 3344 P66 1984b

Perkins, Michael: The Secret Record. PN 56 E7 P4

Pettman, Dominic: After the Orgy: Toward a Politics of Exhaustion. BL503.2 .P47 2002

Philmus, Robert M.: Into the Unknown: The Evolution of Science Fiction from Francis Godwin to H. G. Wells. PR 830 S35 P5

Philmus, Robert M.: Visions and Re-visions: (re)Constructing Science Fiction. PR830.S35 P57 2005

Pierce, Hazel: A Literary Symbiosis: Science Fiction/Fantasy Mystery. PN 3433.6 P54 1983

Pierce, John J.: Foundations of Science Fiction: A Study in Imagination and Evolution. PN3433.8 P54 1987
Vol. 1 of a useful three-volume history of SF treated by theme.

Pierce, John J.: Great Themes of Science Fiction: A Study in Imagination and Evolution. PN 3433.8 P544 1987
Vol. 2 of the series. (Vol. 3 has not yet appeared.)

Plattel, Martin G.: Utopian and Critical Thinking. HX 806 P5513

Platt, Charles: Dream Makers: The Uncommon People Who Write Science Fiction. PN 165 P56x

Pohl, Frederik: The Way the Future Was: A Memoir. PS3566 036 Z47

Porter, Jennifer E. & Darcee L. McLaren, eds.: Star Trek and Sacred Ground: Explorations of Star Trek, Religion, and American Culture. PN1995.9.S694 S72 1999

Pournelle, Jerry & Jim Baen, eds.: The Science Fiction Yearbook. PZ 1 S45x 1985

Rabkin, Eric S.: The Fantastic in Literature. PN 56 P34 R3

Rabkin, Eric S.: No Place Else: Explorations in Utopian and Dystopian Fiction. PR 830 U7 N6 1983

Rabkin, Eric S., Martin H. Greenberg, and Joseph D. Olander: The End of the World. PN 3433.6 E6 1983

Randall, David: Science Fiction and Fantasy: An Exhibition Jan-April 1975. Z6676 I5 no. 21

Reilly, Robert, ed.: The Transcendent Adventure: Studies of Religion in Science Fiction. PR 830 S35 T73 1985

Ridgway, Jim and Michele Benjamin: PsiFi: Psychological Theories and Science Fictions. PN 56 P93 R53x 1987

Riley, Dick: Critical Encounters: Writers and Themes in Science Fiction. PS 374 S35 C74

Roemer, Kenneth M., ed.: America as Utopia. PS 374 U8 A47

Rogow, Roberta: Futurespeak: A Fan’s Guide to the Language of Science Fiction. PN3433.4.R64 1991

Rose, Lois: The Shattered Ring: Science Fiction and the Quest for Meaning PN 3448 S45 R6

Rose, Mark: Alien Encounters: Anatomy of Science Fiction . PN 3433.8 R6

Rose, Mark: Science Fiction: A Collection of Critical Essays. PN 3448 S45 S27

Rosenberg, Daniel & Susan Harding, eds.: Histories of the Future. PS374.F73 H57 2000

Rottensteiner, Franz: The Science Fiction Book: An Illustrated History. PN 3448 S45 R65

Rotschild, Joan, ed.: Machina ex Dea: Feminist Perspectives on Technology. T14.5 M3 1983

Ruddick, Nicholas. Ultimate Island: On the Nature of British Science Fiction. PR830.S35.R845 1993

Russ, Joanna: The Image of Women in Science Fiction in Images of Women in Fiction: Feminist Perspectives, ed. Susan Koppelman Cornillon. PN3411.C6 1973

Russ, Joanna: To Write Like a Woman: Essays in Feminism and Science Fiction. PS147 R87 1995.

Russell, Miles, ed. Digging Holes in Popular Culture: Archaeology and Science Fiction. PN3433.6 .D54 2002

Sabella, Robert. Who Shaped Science Fiction? PS374.S35 S18 2000

Saciuk, Olena H., ed. The Shape of the Fantastic: Selected Essays from the Seventh International Conference on the Fantastic in the Arts. PN 56 F34 I58 1986

Sadler, Frank: The Unified Ring: Narrative Art and the Science-Fiction Novel. PN 3377.5 S3 S2 1984

Sammons, Martha C.: A Better Country: The World of Religious Fantasy and Science Fiction. New York: Greenwood Press, 1988.

Sandison, Alan & Robert Dingley, eds.: Histories of the Future: Studies in Fact, Fantasy and Science Fiction. PS374.F73 H57 2000

Samuelson, David: Visions of Tomorrow: Six Journeys from Outer to Inner Space. PS 374

Sargent, Lyman Tower: British and American Utopian Literature. 1516-1975. PR 149 U8 S3x & PR149.U8S3x 1988

Sawyer, Andy & David Seed, eds.: Speaking Science Fiction: Dialogues and Interpretations. PN3433.2 .S67 2000

Sayer, Karen & John Moore, ed.: Science Fiction: Critical Frontiers. PS374.S35 S333 2000

Schafer, Martin: Science Fiction als Ideologiekritik?. PS 374 S35 S28 1977

Schaffner, Val: Lost in Cyberspace: Essays and Far-Fetched Tales. PS3569.C46L6 1993

Schlobin, Roger C.: Urania’s Daughters: A Checklist of Women Science Fiction Writers, 1692-1982.

Scholes, Robert E.: Science Fiction: History, Science, Vision. PN 3448 S45

Scholes, Robert E.: Structural Fabulation: An Essay on Fiction of the Future. PR 830 S35 S3

Schulz, Hans-Joachim: Science Fiction. PN 3433.6 S34x 1986

Schwenger, Peter: Letter Bomb: Nuclear Holocaust and the Exploding Word. PN98.D43S39 1992

Science Fiction Writers of America: Writing and Selling Science Fiction. PN 337.5 S3 S3 1982

Scott, Melissa: Conceiving the Heavens: Creating the Science Fiction Novel. PN 3377.5 .S3 s37 1997

Seed, David: Anticipations: Esays on Early Science Fiction and Its Precursors. PR830.S35 A58 1995

Shinn, Thelma J.: Worlds Within Women: Myth and Mythmaking in Fantastic Literature by Women. PS 374 F27 S45 1986

Slusser, George E. & Eric S. Rabkin, eds.: Aliens: The Anthropology of Science Fiction. PN 3433.6 A44 1987

Slusser, George E. & Eric S. Rabkin, eds.: Hard Science Fiction. PN 343.2 H37 1986

Slusser, George E., Eric S. Rabkin & Robert Scholes, eds.: Bridges to Fantasy. PN 56 F34 B7 1982

Slusser, George E., Eric S. Rabkin & Robert Scholes, eds.: Coordinates: Placing Science Fiction and Fantasy. PN 3433.2 C66 1983

Slusser, George E. & Eric S. Rabkin, eds.: Fights of Fancy: Armed Conflict in Science Fiction and Fantasy PN3433.6 F54 1993

Slusser, George E. & Eric S. Rabkin, eds.: Intersections: Fantasy and Science Fiction. PN 3433.2 I58 1987

Slusser, George E. & Eric S. Rabkins, eds.: Mindscapes: The Geographies of Imagined Worlds. PN 3435 M55 1989

Slusser, George E. & Eric S. Rabkin, eds.: Storm Warnings: Science Fiction Confronts the Future. PS 374 F86 S86 1987

Slusser, George & Eric S. Rabkin, eds.: Styles of Creation: Aesthetic Technique and the Creation of Fictional Worlds. PN3433.5.S894 1992
Interesting essays on various aspects of style in SF.

Slusser, George E. & Tom Shippey, eds. Fiction 2000: Cyberpunk and the Future of Narrative. PN3433.6F53 1992

Slusser, George E., Gary Westfahl, & Eric S. Rabkin, eds.: Immortal Engines: Life Extension and Immortality in Science Fiction and Fantasy. PN3433.2 I56 1996

Smith, Curtis C., ed.: Twentieth-Century Science Fiction Writers. PS 374 S35 T89

Smith, Nicholas D.: Philosophers Look at Science Fiction. PS 374 S35 P4 1982

Spaulding, A. Timothy: Re-Forming the Past: History, the Fantastic, and the Postmodern Slave Narrative. PS374.S58 S66 2005

Spinrad, Norman: Science Fiction in the Real World. PN3433.5.S65 1990

Spittel, Olaf R. Science-Fiction: Essays. PN 3433.5 S34x 1987

Stableford, Brian W.: Scientific Romance in Britain, 1890-1950. PR 888 S35 S73 1985b

Staicar, Tom: Critical Encounters II: Writers and Themes in Science Fiction. PN3433.8 C73 1982

Staicar, Tom: The Feminine Eye: Science Fiction and the Women Who Write It. PS 374 S35 F45 1982

Stocker, Jack H., ed.: Chemistry and Science Fiction. PS374.S35 C48 1998

Stockwell, Peter. The Poetics of Science Fiction. PN3433.6 S76 2000
Interesting explorations of stylistic patterns in SF.

Suvin, Darko: Victorian Science Fiction in the UK: The Discourses of Knowledge and Power. PR878 S35 S8 1983

Suvin, Darko: Metamorphosis of Science Fiction. PN 3448 S45 S897

Suvin, Darko: Positions and Presuppositions in Science Fiction. PN 3433.8 S88 1988

Swanson, Roy A.: Voices for the Future: Essays on Major Science Fiction Writers. PN 3448 S45 V6

Swinfen, Ann : In Defence of Fantasy: A Study of the Genre in English and American Literature since 1945. PR 888F3 S94 1984

Tatsumi, Takayuki: Full Metal Apache: Transactions Between Cyberpunk Japan and Avant-Pop America. PL747.55.T37

Tymn, Marshall B.: Science Fiction: A Teacher’s Guide and Resource Book. PN 3433.7 S35 1988

Tymn, Marshall B.: Science Fiction: Fantasy, and Weird Fiction Magazines PN 3433 T9 1985

Wagar, W. Warren: Terminal Visions: The Literature of Last Things. PN 56 E63 W33 1982

Waller, John: Fabulous Science: Fact and Fiction in the History of Scientific Discovery. Q125 .W266 2002

Walsh, Chad: From Utopia to Nightmare. HX 806 W2 1972

Warner, Marina. Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self ÊPN56.M53 W37 2002 (missing)

Warrick, Patricia S.: The Cybernetic Imagination in Science Fiction. PN 3448 S45 W34

Weaver, John A., Karen Anijar & Toby Daspit, eds. Science Fiction Curriculum, Cyborg

Weber, Ronald: Seeing Earth: Literary Responses to Space Exploration. PS 228 O 96 W43 1985

Weintraub, Pamela: The Omni Interviews. Sci QH 311 046 1984

Westfahl, Gary: The Mechanics of Wonder: The Creation of the Idea of Science Fiction. PS3513.E8668 Z95 1998
A defensive of the importance of formative role of editor Hugo Gernsback over John Campbell in the creation of modern SF.

Westfahl, Gary: Science Fiction, Children’s Literature, and Popular Culture: Coming of Age in Fantasyland PS374.S35 W44 2000

Westfahl, Gary, ed.: Space and Beyond: The Frontier Theme in Science Fiction. PS374.S35 S63 2000

Westfahl, Gary & George Slusser, eds. Nursery Realms: Children in the Worlds of Science Fiction, Fantasy, and Horror. PN56.5 .C48 N87 1999

Wolfe, Gary K.: Critical Terms for Science Fiction and Fantasy: A Glossary and Guide to Scholarship. PN 3435 W64 1966

Wolfe, Gary K.: The Known and the Unknown: The Iconography of Science Fiction. PS 374 S35 W34

Wollheim, Donald A.: The Universe Makers: Science Fiction Today. PN 3448 S45 W57 1971

Wolmark, Jenny: Aliens and Others: Science Fiction, Feminism and Postmodernism PN3433.6.W65 1994

Wolmark, Jenny, ed.: Cybersexualities: A Reader on Feminist Theory Cyborgs and Cyberspace. PN3433.6 .C83 1999

Wu, Dingbo and Patrick D. Murphy, eds. Science Fiction from China. PL 2658 E8 S36 1989

Yoke, Carl B. Phoenix from the Ashes: The Literature of the Remade World. PS 374 R39 P48 1987

Yoke, Carl B. and Donald M. Hassler, eds.: Death and the Serpent: Immortality in Science Fiction and Fantasy. PN 3433.6 D4 1985

Yuen, Wong Kin, Gary Westfahl & Amy Kit-sze Chan: World Weavers: Globalization, Science Fiction, and the Cybernetic Revolution. PN3433.5 .W67 2005


Studies of individual authors:

Various:

Arbur, Rosemarie: Leigh Brackett, Marion Zimmer Bradley, and Ann McCaffrey: A Primary and Secondary Bibliography. PS 374 S35 A73x

Keulen, Margarete. Radical Imagination: Feminist conceptions of the Future in Ursula Le Guin, Marge Piercy, and Sally Miller Gearhart. PS374.F86K48 1991

Zahorski, Kenneth J.: Lloyd Alexander, Evangeline Walton Ensley, Kenneth Morris: A Primary and Secondary Bibliography. PS 228 F35 Z35x

Aldiss:

Aldiss, Brian. The Twinkling of an Eye. PR6951 L3 Z478 1998
Aldiss’ autobiography is best on his youth; has little to say about his fiction except for Greybeard, Barefoot in the Head, and the Helliconia trilogy.

Collings, Michael R.: Brian Aldiss. PR 6051 L3 Z6 1986

Griffin, Brian: Apertures: A Study of the Writings of Brian W. Aldiss. PR 6051 L3 268 1984

Henighan, Tom. Brian Aldiss. PR6051.L3 Z69 1999

Anthony:

Collings, Michael R.: Piers Anthony. PS 3551 N73 Z6 1983

Asimov:

Asimov, Isaac: In Joy Still Felt: The Autobiography of Isaac Asimov, 1954-1978. PS3551 S5 Z515

Asimov, Isaac: In Memory Yet Green: The Autobiography of Isaac Asimov, 1920-1954. PS3551 S5 Z517

Asimov, Isaac: It’s Been a Good Life PS3551.S5 Z473 2002

Freedman, Carl: Conversations with Isaac Asimov. PS3551.S5 Z465 2005

Gunn, James E. Isaac Asimov: The Foundations of Science Fiction PS3551.S5 Z62 1996

Ballard, J. G.:

Brigg, Peter. J. G. Ballard. PR6052.A46 Z59 1985

Delville, Michel. J. G. Ballard. In process.

Stephenson, Gregory. Out of the Night and Into the Dream: A Thematic Study of the Fiction of J. G. Ballard PR6052.A46Z88 1991

Blish:

Ketterer, David: Imprisoned in a Tesseract: The Life and Work of James Blish. PS 3503 L64 Z74 1987

Bradbury:

Greenberg, Martin Harry & Joseph D. Olander, eds.: Ray Bradbury. PS 3503 R167 Z85

Reid, Robin Anne. Ray Bradbury: A Critical Companion. PS3503 .R167 Z86 2000

Touponce, William F.: Ray Bradbury and the Poetics of Reverie. PS 3503 R167 Z88 1984

Weist, Jerry: Bradbury: An Illustrated Life: A Journey to Far Metaphor.” PS3503.R167 Z93 2002 Campbell

Berger, Albert I. Magic that Works: John W. Campbell And the American Response to Technology. PS3553 A47 Z59 1993
A brilliantly researched study of SF’s most influential editor.

Clarke:

Hollow, John: Against the Night, the Stars: The Science Fiction of Arthur C. Clarke. PR6005 L36 Z69 1983

Olander, Joseph D.: Arthur C. Clarke. PR 6005 L36 Z56

Delany:

Delany, Samuel R. Correspondence. PS3554.E437 Z48 2000

McEvoy, Seth: Samuel R. Delany. PS 3554 E437 Z78 1985

Peplow, Michael W. & Robert S. Bravard: Samuel R. Delany: A Primary and Secondary Bibliography, 1962-1972. Z8223.2 P46

Reid, Robin Anne: Arthur C. Clarke: A Critical Companion. PR6005 L36 Z57 1997

Russell, Miles, ed. Digging Holes in Popular Culture: Archaeology and Science Fiction. PN3433.6 D54 2002

Sallis, James, ed. Ash of Stars: On the Writing of Samuel R. Delany. PS3554.E437 Z55 1996

Weedman, Jane Branham: Samuel R. Delany. PS3554 E437 Z75

Dick:

Carrère: I Am Alive and You Are Dead: A Journey Into the Mind of Philip K. Dick. PS3554.I3 Z63 2004

Greenberg, Martin Harry. ed.: Philip K. Dick. PS 3554 I3 1983

Mackey, Douglas A.: Philip K. Dick. PS 3554 I3 Z75 1988

Robinson, Kim Stanley: The Novels of Philip K. Dick. PS 3554 I3 286 1984
Consists mostly of summaries of Dick’s novels, published and unpublished. Useful selected bibliography.

Sutin, Lawrence. Divine Invasions: A Life of Philip K. Dick PS 3554 I3 Z89 1989

Umland, Samuel J., ed. Philip K. Dick: Contemporary Critical Interpretations. PS3554.I3 Z795 1995
The best of the various volumes of collected essays on Dick.

Warrick, Patricia S.: Wind in Motion: The Fiction of Philip K. Dick PS 3554 I3 Z92 1987

Williams, Paul: Only Apparently Real. PS 3554 I3 Z93 1986

Dickson:

Thompson, Raymond H.: Gordon R. Dickson: A Primary and Secondary Bibliography. Z82308 T47 1983

Ellison:

Weil, Ellen and Gary K. Wolfe: Harlan Ellison: The Edge of Forever. PS3555.L62 Z95 2002

Gibson:

Cavallaro, Dani: Cyberpunk and Cyberculture: Science Fiction and The Work of William Gibson. PS3557.I2264 Z64 2000

Olsen, Lance: William Gibson. PS3557.I2264Z76x 1992

Ellison:

Weil, Ellen & Gary K. Wolfe: Harlan Ellison: The Edge of Forever. PS3555.L62 Z95 2002

Gilman:

Gilman, Charlotte Perkins: A Journey from Within: The Love Letters of Charlotte Perkins Gilman, 1897-1900. PS 1744 G57 Z48 1995

Gilman, Charlotte Perkins: A Nonfiction Reader, ed. Larry Ceplair. HQ1413.G54 A3 1991

Gilman, Charlotte Perkins: The Living of Charlotte Perkins Gilman: An Autobiography. PS1744 G57 Z5 1972

Gough, Val & Jill Rudd, ed.: A Very Different Story: Studies on the Fiction of Charlotte Perkins Gilman. PS1744.G57 Z89 1998

Hill, Mary A.: Charlotte Perkins Gilman: The Making of a Radical Feminist. HQ1413.G54 H54

Kessler, Carol Farley: Charlotte Perkins Gilman: Her Progress Toward Utopia, With Selected Writings. PS1744.G57 Z73 1995

Knight, Denise D.: Charlotte Perkins Gilman: A Study of the Short Fiction. PS1744.G57 Z734 1997

Meyering, Sheryl L. Charlotte Perkins Gilman: The Woman and Her Work. PS1744.G57 Z63 1989

Scharnhorst, Gary: Charlotte Perkins Gilman. PS1744.G57 Z85 1985

Scharnhorst, Gary: Charlotte Perkins Gilman: A Bibliography. Z8342.415 .S32 1985

Heinlein:

Blish, James. Heinlein in Dimension: A Critical Analysis. PS3515.E288 Z8 Ê

Franklin, H. Bruce: Robert A. Heinlein: America as Science Fiction. PS3515.E288 Z67 Ê

Heinlein, Robert A.: Grumbles from the Grave. PS 3515 E288 G7 1990

Olander, Joseph D.: Robert A. Heinlein. PS 3515 E288 Z84

Stover, Leon E.: Robert A. Heinlein PS 3515 E288 Z98 1987

Herbert:

Herbert, Brian. Dreamer of Dune: The Biography of Frank Herbert. PS3558.E63 Z68 2003

Levack, Daniel J. H.: Dune Master: A Frank Herbert Bibliography. PS 3558 E63 Z65 1988

Hubbard:

Widder, William J.: The Fiction of L. Ron Hubbard: A Comprehensive Bibliography & Reference Guide to Published and Selected Unpublished Works. Z8420.665.W53 1994

Lee

Haut, Mavis: The Hidden Library of Tanith Lee: Themes and Subtexts from Dionysos to the Immortal Gene. PR6062.E4163 Z69 2001

LeGuin:

Bittner, James W.: Approaches to the Fiction of Ursula K. LeGuin. PS 3562 E42 Z56 1984

Bloom, Harold: Ursula K. LeGuin. PS 3562 S42 Z952 1986

Bucknall, Barbara J.: Ursula K. LeGuin. PS 3562 E42 Z58

Cogell, Elizabeth Cummins: Ursula K. LeGuin: A Primary and Secondary Bibliography. Z8495.88 .C63 1983

Davies, Laurence & Peter Stillman: The New Utopian Politics of Ursula K. Le Guin’s The Dispossessed. PS3562.E42 D576 2005

De Bolt, Joe, ed.: Ursula K. Le Guin, Voyager to Inner Lands and to Outer Space. PS 3562 B42 Z96

Selinger, Bernard.: LeGuin and Identity in Contemporary Fiction. PS 3562 E42 Z88 1988

Slusser, George E.: Farthest Shores of Ursula K. LeGuin. PS 3562 E42 Z9

Spivack, Charlotte: Ursula K. LeGuin. PS 3562 E42 Z92 1984

White, Donna R.: Dancing With Dragons: Ursula K. LeGuin and the Critics. PS3562.E42 Z985 1999

Leiber:

Byfield, Bruce: Witches of the Mind: A Critical Study of Fritz Leiber PS3523.E4583Z54x 1991

Staicar, Tom: Fritz Leiber. PS 3523 E4583 Z86

Lem:

Ziegfeld, Richard E.: Stanislaw Lem. PG 7158 L392 Z53 1985

Swirski, Peter: Between Literature and Science: Poe, Lem, and Explorations in Aesthetics, Cognitive Science, and Literary Knowledge. PS2642.S3 S95x 2000

Lindsay:

Wolfe, Gary K.: David Lindsay. PR 6023 I58115 Z96 1982b

Lovecraft:

Derleth, August: Some Notes on Lovecraft. PS 3523 O833 D4 1971

Joshi, S. T.: H. P. Lovecraft. PS 3523 O 833 Z7 1982

Joshi, S. T., ed.: H. P. Lovecraft: Four Decades of Criticism. PS 3523 O833 Z66

Joshi, S. T., ed.: H. P. Lovecraft and Lovecraft Criticism: An Annotated Bibliography. Z8520.9 J67 1981

Lovecraft, H. P. Lord of a Visible World: An Autobiography in Letters. PS3523.O833 Z48 2000

Lovecraft, H. P. & Willis Conover: Lovecraft at Last. PS 3523 O833 Z526

Owings, Mark with Jack L. Chalker: The Revised H. P. Lovecraft Bibliography. Z8520.9 O93

Shreffler, Philip A.: The H. P. Lovecraft Companion. PS 3523 O833 Z86

Miller, Walter M. Jr.:

Listening: : A Canticle for Lebowitz at 40. AP2 .L5515

Roberson, William H.: Walter M. Miller, Jr.: A Bio-Bibliography. Z8575.56 1992

Moorcock, Michael:

Greenland, Colin: Michael Moorcock: Death is no Obstacle. PR6063.O59Z534x 1992

Priest, Christopher:

Butler, Andrew M.: Christopher Priest: The Interaction. PR6066.R55 Z65 2005

Orwell:

Stansky, Peter, ed.: On Nineteen Eighty-Four PR 6029R8 N644 1983 [See also many other studies of Orwell which contain discussions of Nineteen Eighty-Four.]

Russ

Cortiel, Jeanne. Demand My Writing: Joanna Russ/Feminism/Science Fiction. PS3568.U763 Z56x 1999

Shaw:

Wolf, Milton T., ed.: Shaw and Science Fiction. PR5366 .A15 v. 17

Shelley:

Making Monstrous: Frankenstein, Criticism, Theory. PR5397.F73B68 1991

Silverberg:

Chapman, Edgar L. Road to Castle Mount, The: The Science Fiction of Robert Silverberg. PS3569.I472 Z57 1999

Elkins, Charles L. & Martin Harry Greenberg, eds. Robert Silverberg’s Many Trapdoors: Critical Essays on His Science Fiction. PS3569.I472

Smith:

Sanders, Joe: E. E. Doc Smith. PS 3537 M349 Z87 1986

Stapledon:

Fiedler, Leslie A.: Olaf Stapledon: A Man Divided. PR 6037 T18 Z66 1983

McCarthy, Patrick A.: Olaf Stapledon. PR 6037 T18 Z77 1982

Strugatsky:

Potts, Stephen W. The Second Marxian Invasion: The Fiction of the Strugatsky Brothers. San Bernardino, Calif: Borgo Press, 1991.

Sturgeon:

Menger, Lucy: Theodore Sturgeon. PS 3569 T875 Z78

Tiptree:

Tiptree, James. Meet Me at Infinity. PS3570.I66 A6 2000

Verne:

Costello, Peter: Jules Verne: Inventor of Science Fiction. PQ 2469 Z5 C66

Smyth, Edmund J., ed. Jules Verne: Narratives of Modernity PQ2469.Z5 J833 2000

Vinge:

Frenkel, James, ed. True Names by Vernor Vinge and the Opening of the Cyberspace Frontier. PS3572.I534 T78 2001

Vonnegut:

Boon, Kevin Alexander, ed.: At Millennium’s End: New Essays on the Work of Kurt Vonnegut. PS3572 .O5 Z535 2001

Merrill, Robert. Critical Essays on Kurt Vonnegut. PS3572.O5Z62 1990

Morse, Donald E. Kurt Vonnegut. PS3572.O5Z78x 1992

Morse, Donald E. The Novels of Kurt Vonnegut: Imagining Being an American. PS3572.O5 Z786 2003

Wells:

Bergonzi, Bernard: The Early H. G. Wells: A Study of the Scientific Romances. 823 W462z6

Bergonzi, Bernard: H. G. Wells: A Collection of Critical Essays. PR 5777 H2 1976

Geduld, Harry M., ed. The Definitive Time Machine: A Critical Edition of H. G. Wells s Scientific Romance.

H. G. Wells Society: H.G. Wells: A Comprehensive Bibliography. Z8964.8 H2

Haining, Peter: The H. G. Wells Scrapbook. PR 5776 H16

Hammond, J. R.: H. G. Wells: Interviews and Recollections. PR 5776 H12x

Haynes, Roslynn D.: H. G. Wells: Discoverer of the Future. PR 5776 S35 H28

Hillegas, Mark Robert: The Future as Nightmare: H. G. Wells and the Antiutopians. PR 5777 H5

Huntington, John: The Logic of Fantasy. PR 5778 S35 H8 1982

Kargarlitskii, Iulii: The Life and Thought of H. G. Wells. PR 5776 K313 1966a

Ketterer, David, ed.: Flashes of the Fantastic: Selected Essays from the War of the Worlds Centennial: Nineteenth International Conference on the Fantastic in the Arts. PN56.F34 I58 1998

MacKenzie, Norman & Jeanne: H. G.Wells: A Biography. PR 5776 M3 1973b

MacKenzie, Norman & Jeanne: The Time Traveller: The Life of H. G. Wells. PR 5776 M3

Marvin, Thomas E.: Kurt Vonnegut: A Critical Companion. PS3572.O5 Z766 2002

McConnell, Frank: The Science Fiction of H. G. Wells. PR 577 M3 1981

Raknem, Ingvald: H. G. Wells and His Critics. PR 5777 R3

Scheick, William J. and J. Randolph Cox: H. G. Wells: A Reference Guide. Z 8964.8 S34 1988

Smith, David C.: H. G. Wells: Desperately Mortal: A Biography. PR 3774 S54 1986

Stover, Leon E.: The Prophetic Soul: A Reading of H.G. Wells’s Things to Come, Together with His Film Treatment, Whither Mankind? and the Postproduction Script (Never Before Published). PN1997 T42863 S78 1987

Wagar, W. Warren: H. G. Wells: Traversing Time. PR5777 .W37 2004

Williamson, Jack: H. G. Wells: Critic of Progress. PR 5777 W5

Williamson:

Williamson, Jack: Wonder’s Child: My Life in Science Fiction. PS 3545 I557 Z477

Zelazny:

Krulik, Theodore: Roger Zelazny PS 3576 E43 Z75 1985

PERIODICALS:

Note: this is a list only of periodicals containing criticism and reviews. It is not a list of all the science fiction magazines in the library.

Analog. PZ1 A1 A48

Astounding. Microfilm PZ1 A1 A48 (first issue reprinted in PZ1 A77x)

Extrapolation: A Journal of Science Fiction and Fantasy. AP M2344 The full text of issues from 1997 to the present is available online through ProQuest Direct to subscribers. Password required.

Fantasy Newsletter. AP 2 F35x

Foundation. (subscription cancelled 1995) PS 374 S35 F68

Galileo. PS 648 S3 G34

The Magazine of Fantasy and Science Fiction. AP2 M2344 (older issues on microfilm)

New Venture. PN 3448 S45 N4

Omni. AP2 O45x

Science Fiction Horizons. PN 3448 S45 S2

Science Fiction Studies. PN 3448 S45 S34


Originally mounted April 20, 1996.

Last revised April 25, 2008.

Romanticism

If the Enlightenment was a movement which started among a tiny elite and slowly spread to make its influence felt throughout society, Romanticism was more widespread both in its origins and influence. No other intellectual/artistic movement has had comparable variety, reach, and staying power since the end of the Middle Ages.

Beginning in Germany and England in the 1770s, by the 1820s it had swept through Europe, conquering at last even its most stubborn foe, the French. It traveled quickly to the Western Hemisphere, and in its musical form has triumphed around the globe, so that from London to Boston to Mexico City to Tokyo to Vladivostok to Oslo, the most popular orchestral music in the world is that of the romantic era. After almost a century of being attacked by the academic and professional world of Western formal concert music, the style has reasserted itself as neoromanticism in the concert halls. When John Williams created the sound of the future in Star Wars, it was the sound of 19th-century Romanticism–still the most popular style for epic film soundtracks.

Beginning in the last decades of the 18th century, it transformed poetry, the novel, drama, painting, sculpture, all forms of concert music (especially opera), and ballet. It was deeply connected with the politics of the time, echoing people’s fears, hopes, and aspirations. It was the voice of revolution at the beginning of the 19th century and the voice of the Establishment at the end of it.

This last shift was the result of the triumph of the class which invented, fostered, and adopted as its own the romantic movement: the bourgeoisie. To understand why this should have been so, we need to look more closely at the nature of the style and its origins.

Origins:

Folklore and Popular Art

Some of the earliest stirrings of the Romantic movement are conventionally traced back to the mid-18th-century interest in folklore which arose in Germany–with Jakob and Wilhelm Grimm collecting popular fairy tales and other scholars like Johann Gottfried von Herder studying folk songs–and in England with Joseph Addison and Richard Steele treating old ballads as if they were high poetry. These activities set the tone for one aspect of Romanticism: the belief that products of the uncultivated popular imagination could equal or even surpass those of the educated court poets and composers who had previously monopolized the attentions of scholars and connoisseurs.

Whereas during much of the 17th and 18th centuries learned allusions, complexity and grandiosity were prized, the new romantic taste favored simplicity and naturalness; and these were thought to flow most clearly and abundantly from the “spontaneous” outpourings of the untutored common people. In Germany in particular, the idea of a collective Volk (people) dominated a good deal of thinking about the arts. Rather than paying attention to the individual authors of popular works, these scholars celebrated the anonymous masses who invented and transmuted these works as if from their very souls. All of this fantasizing about the creative folk process reflected precious little knowledge about the actual processes by which songs and stories are created and passed on and created as well an ideology of the essence of the German soul which was to be used to dire effect by the Nazis in the 20th century.

Nationalism

The natural consequence of dwelling on creative folk genius was a good deal of nationalism. French Romantic painting is full of themes relating to the tumultuous political events of the period and later Romantic music often draws its inspiration from national folk musics. Goethe deliberately places German folkloric themes and images on a par with Classical ones in Faust.

Shakespeare

But one of the early effects of this interest in the folk arts seems particularly strange to us moderns: the rise and spread of the reputation of William Shakespeare. Although he is regarded today as the epitome of the great writer, his reputation was at first very different. Shakespeare was a popular playwright who wrote for the commercial theater in London. He was not college-educated, and although his company had the sponsorship of King James, his work was not entirely “respectable.”

Academic critics at first scorned his indiscipline, his rejection of their concepts of drama which were derived in part from ancient Roman and Greek patterns. A good play should not mix comedy with tragedy, not proliferate plots and subplots, not ramble through a wide variety of settings or drag out its story over months or years of dramatic time; but Shakespeare’s plays did all these things. A proper serious drama should always be divided neatly into five acts, but Shakespeare’s plays simply flowed from one scene to the next, with no attention paid to the academic rules of dramatic architecture (the act divisions we are familiar with today were imposed on his plays by editors after his death).

If the English romantics exalted Shakespeare’s works as the greatest of their classics, his effect on the Germans was positively explosive. French classical theater had been the preeminent model for drama in much of Europe; but when the German Romantics began to explore and translate his works, they were overwhelmed. His disregard for the classical rules which they found so confining inspired them. Writers like Friedrich von Schiller and Goethe created their own dramas inspired by Shakespeare. Faust contains many Shakespearean allusions as well as imitating all of the nonclassical qualities enumerated above.

Because Shakespeare was a popular rather than a courtly writer, the Romantics exaggerated his simple origins. In fact he had received an excellent education which, although it fell short of what a university could offer, went far beyond what the typical college student learns today about the classics. In an age drunk on the printing and reading of books he had access to the Greek myths, Roman and English history, tales by Italian humanists and a wide variety of other materials. True, he used translations, digests, and popularizations; but he was no ignoramus.

To the Romantics, however, he was the essence of folk poetry, the ultimate vindication of their faith in spontaneous creativity. Much of the drama of the European 19th century is influenced by him, painters illustrated scenes from his plays, and composers based orchestral tone poems and operas on his narratives.

The Gothic Romance

Another quite distinct contribution to the Romantic movement was the Gothic romance. The first was Horace Walpole’s Castle of Otranto (1765), set in a haunted castle and containing various mysterious apparitions such as a gigantic mailed fist. This sort of thing was popularized by writers like Ann Radcliffe and M. L. Lewis (The Monk) and eventually spread abroad to influence writers like Eugène Sue (France) and Edgar Allan Poe (the U.S.). Rejecting the Enlightenment ideal of balance and rationalism, readers eagerly sought out the hysterical, mystical, passionate adventures of terrified heroes and heroines in the clutches of frightening, mysterious forces. The modern horror novel and woman’s romance are both descendants of the Gothic romance, as transmuted through such masterworks as Charlotte Bronte’s Jane Eyre and her sister Emily’s Wuthering Heights. Another classic Gothic work, Mary Shelley’s Frankenstein, is often cited as a forerunner of modern science fiction.

Medievalism

The Gothic novel embraced the Medieval (“Gothic”) culture so disdained by the early 18th century. Whereas classical art looked back constantly to the ancient Greeks and Romans, the Romantics celebrated for the first time since the Renaissance the wilder aspects of the creativity of Western Europeans from the 12th through the 14th centuries: stained glass in soaring cathedrals, tales of Robin Hood and his merry men, and–above all–the old tales of King Arthur and the knights of the round table. This influence was to spread far beyond the Gothic romance to all artistic forms in Europe, and lives on in the popular fantasy novels of today. Fairies, witches, angels–all the fantastic creatures of the Medieval popular imagination came flooding back into the European arts in the Romantic period (and all are present in Faust).

The longing for “simpler” eras not freighted with the weight of the Classical world gave rise to a new form: the historical novel. Sir Walter Scott (1771-1832) was by far its most successful practitioner. Although credit for writing the first historical novel should probably go to Madame de Lafayette for her La Princess de Clèves (1678), Scott is generally considered to have developed the form as we know it today. Almost forgotten now, his novels like The Bride of Lammermoor and Ivanhoe nevertheless inspired writers, painters, and composers in Germany, France, Italy, Russia and many other lands.

Emotion

The other influential characteristic of the Gothic romance was its evocation of strong, irrational emotions–particularly horror. Whereas Voltaire and his comrades had abhorred “enthusiasm” and strove to dispel the mists of superstition; the Gothic writers evoked all manner of irrational scenes designed to horrify and amaze. Romantic writers generally also prized the more tender sentiments of affection, sorrow, and romantic longing. In this they were inspired by certain currents contemporaneous with the Enlightenment, in particular the writings of Voltaire’s arch-rival, Jean-Jacques Rousseau.

Rousseau

Rousseau was a moody, over-sensitive, even paranoid sort of fellow, much given to musing on his own feelings. Like the Englishman Samuel Richardson, he explored in his fiction the agonies of frustrated love–particularly in his sensationally successful novel The New Heloise–and celebrated the peculiar refinement of feeling the English called “sensibility” which we call “sensitivity.” Of all aspects of Romantic fiction, the penchant for tearful sentimental wallowing in the longings and disappointments of frustrated protagonists is most alien to modern audiences. Only in opera and film where the power of music is summoned to reinforce the emotions being evoked can most modern audiences let themselves go entirely, and then only within limits.

The great minds of the 20th century have generally rejected sentimentalism, even defining its essence as false, exaggerated emotion; and we tend to find mawkish or even comical much that the Romantic age prized as moving and beautiful. Yet there was more than cheap self-indulgence and escapism in this fevered emotionalism. Its proponents argued that one could be morally and spiritually uplifted by cultivating a greater sensitivity to feelings. The cultivation of empathy for the sufferings of others could even be a vehicle for social change, as in the works of Charles Dickens. That this emotionalism was sometimes exaggerated or artificial should not obscure the fact that it also contained much that was genuine and inspiring. It is not clear that we have gained so much by prizing in our modern literature attitudes of cynicism, detachment, and ruthlessness.

Of all the emotions celebrated by the Romantics, the most popular was love. Although the great Romantic works often center on terror or rage, the motive force behind these passions is most often a relationship between a pair of lovers. In the classical world love had been more or less identical with sex, the Romans treating it in a particularly cynical manner. The Medieval troubadours had celebrated courtly adultery according to a highly artificial code that little reflected the lives of real men and women while agreeing with physicians that romantic passion was a potentially fatal disease. It was the romantics who first celebrated romantic love as the natural birthright of every human being, the most exalted of human sentiments, and the necessary foundation of a successful marriage. Whether or not one agrees that this change of attitude was a wise one, it must be admitted to have been one of the most influential in the history of the world.

This is not the place to trace the long and complex history of how the transcendent, irrational, self-destructive passion of a Romeo and Juliet came to be considered the birthright of every European citizen; but this conviction which continues to shape much of our thinking about relationships, marriage, and the family found its mature form during the Romantic age. So thoroughly has love become identified with romance that the two are now generally taken as synonyms, disregarding the earlier associations of “romance” with adventure, terror, and mysticism.

Exoticism

Another important aspect of Romanticism is the exotic. Just as Romantics responded to the longing of people for a distant past, so they provided images of distant places. The distances need not be terribly great: Spain was a favorite “exotic” setting for French Romantics, for instance. North Africa and the Middle East provided images of “Asia” to Europeans. Generally anywhere south of the country where one resided was considered more relaxed, more colorful, more sensual.

Such exoticism consisted largely of simple stereotypes endlessly repeated, but the Romantic age was also a period in which Europeans traveled more than ever to examine at first hand the far-off lands of which they had read. Much of this tourism was heavily freighted with the attitudes fostered by European colonialism, which flourished during this period. Most “natives” were depicted as inevitably lazy, unable to govern themselves while those who aspired to European sophistication were often derided as “spoiled.” Many male travelers viewed the women of almost any foreign land one could name as more sexually desirable and available than the women at home, and so they are depicted in fiction, drama, art, and opera.

Just as Scott was the most influential force in popularizing the romantic historical novel, exoticism in literature was inspired more by Lord Byron–especially his Childe Harold’s Pilgrimage (1812-1818)–than by any other single writer. Whereas the Romantic lyric poetry of Coleridge, Shelley, Keats and Wordsworth had a negligible influence outside of their native tongue, the sweep of Byron’s longer poems translated well into other languages and other artistic media.

Romantic exoticism is not always in tension with Romantic nationalism, for often the latter focused on obscure folk traditions which were in themselves exotic to the audiences newly exposed to them. Goethe’s witches were not more familiar to his audience because they were Germanic, unlike, say, the Scottish witches in Macbeth.

Religion

One of the most complex developments during this period is the transformation of religion into a subject for artistic treatment far removed from traditional religious art. The Enlightenment had weakened, but hardly uprooted, established religion in Europe. As time passed, sophisticated writers and artists were less and less likely to be conventionally pious; but during the Romantic era many of them were drawn to religious imagery in the same way they were drawn to Arthurian or other ancient traditions in which they no longer believed. Religion was estheticized, and writers felt free to draw on Biblical themes with the same freedom as their predecessors had drawn on classical mythology, and with as little reverence.

Faust begins and ends in Heaven, has God and the devil as major characters, angels and demons as supporting players, and draws on wide variety of Christian materials, but it is not a Christian play. The Enlightenment had weakened the hold of Christianity over society to the extent that some at least, like Goethe, no longer felt the need to engage in the sort of fierce battles with it Voltaire had fought, but felt instead free to play with it. A comparable attitude can be seen in much of the work of the English Pre-Raphaelite painters who began in mid-century to treat Christian subjects in the context of charmingly “naive” Medievalism.

The mixture of disbelief in and fascination with religion evident in such works illustrates a general principal of intellectual history: artistic and social movements almost never behave like rigid clock pendulums, swinging all the way from one direction to another. A better metaphor for social change is the movement of waves on a beach, in which an early wave is receding while another advances over it, and elements of both become mixed together. For all that many of its features were reactions against the rationalist Enlightenment, Romanticism also incorporated much from the earlier movement, or coexisted with the changes it had brought about.

Individualism

One of the most important developments of this period is the rise in the importance of individualism. Before the 18th Century, few Europeans concerned themselves with discovering their own individual identities. They were what they had been born: nobles, peasants, or merchants. As mercantalism and capitalism gradually transformed Europe, however, it destablized the old patterns. The new industrialists naturally liked to credit themselves for having built their large fortunes and rejected the right of society to regulate and tax their enterprises. Sometimes they tried to fit into the traditional patterns by buying noble titles; but more and more often they developed their own tastes in the arts and created new social and artistic movements alien to the old aristocracy. This process can be seen operating as early as the Renaissance in the Netherlands.

The changing economy not only made individualism attractive to the newly rich, it made possible a free market in the arts in which entrepreneurial painters, composers, and writers could seek out sympathetic audiences to a pay them for their works, no longer confined to handful of Church and aristocratic patrons who largely shared the same values. They could now afford to pursue their individual tastes in a way not possible even in the Renaissance.

It was in the Romantic period–not coincidentally also the period of the industrial revolution–that such concern with individualism became much more widespread. Byron in literature and Beethoven in music are both examples of romantic individualism taken to extremes. But the most influential exemplar of individualism for the 19th century was not a creative artist at all, but a military man: Napoleon Bonaparte. The dramatic way in which he rose to the head of France in the chaotic wake of its bloody revolution, led his army to a series of triumphs in Europe to build a brief but influential Empire, and created new styles, tastes, and even laws with disregard for public opinion fascinated the people of the time. He was both loved and hated; and even fifty years after his death he was still stimulating authors like Dostoyevsky, who saw in him the ultimate corrosive force which celebrated individual striving and freedom at the expense of responsibility and tradition.

We call the reckless character who seeks to remold the world to his own desires with little regard for morality or tradition “Faustian,” after Goethe’s character, but he might as well be called “Napoleonic.”

The modern fascination with self-definition and self-invention, the notion that adolescence is naturally a time of rebellion in which one “finds oneself,” the idea that the best path to faith is through individual choice, the idea that government exists to serve the individuals who have created it: all of these are products of the romantic celebration of the individual at the expense of society and tradition.

Nature

The subject of the relationship of Romanticism to nature is a vast one which can only be touched on here. There has hardly been a time since the earliest antiquity that Europeans did not celebrate nature in some form or other, but the attitudes toward nature common in the Western world today emerged mostly during the Romantic period. The Enlightenment had talked of “natural law” as the source of truth, but such law was manifest in human society and related principally to civic behavior. Unlike the Chinese and Japanese, Europeans had traditionally had little interest in natural landscapes for their own sake. Paintings of rural settings were usually extremely idealized: either well-tended gardens or tidy versions of the Arcadian myth of ancient Greece and Rome.

Here again, Rousseau is an important figure. He loved to go for long walks, climb mountains, and generally “commune with nature.” His last work is called Les Rêveries du promeneur solitaire (Reveries of a Solitary Walker). Europe had become more civilized, safer, and its citizens now felt freer to travel for the simple pleasure of it. Mountain passes and deep woods were no longer merely perilous hazards to be traversed, but awesome views to be enjoyed and pondered. The violence of ocean storms came to be appreciated as an esthetic object in any number of paintings, musical tone poems, and written descriptions, as in the opening of Goethe’s Faust.

None of this had been true of earlier generations, who had tended to view the human and the natural as opposite poles, with the natural sometimes exercising an evil power to degrade and dehumanize those who were to drawn to it. The Romantics, just as they cultivated sensitivity to emotion generally, especially cultivated sensitivity to nature. It came to be felt that to muse by a stream, to view a thundering waterfall or even confront a rolling desert could be morally improving. Much of the nature writing of the 19th century has a religious quality to it absent in any other period. This shift in attitude was to prove extremely powerful and long-lasting, as we see today in the love of Germans, Britons and Americans for wilderness.

It may seem paradoxical that it was just at the moment when the industrial revolution was destroying large tracts of woods and fields and creating an unprecedentedly artificial environment in Europe that this taste arose; but in fact it could probably have arisen in no other time. It is precisely people in urban environments aware of the stark contrast between their daily lives and the existence of the inhabitants of the wild who romanticise nature. They are attracted to it precisely because they are no longer unselfconsciously part of it. Faust, for instance, is powerfully drawn to the moonlit landscape outside his study at the beginning of Goethe’s play largely because he is so discontented with the artificial world of learning in which he has so far lived.

Victorianism

Scholars of English literature are prone to make much of the distinction between the Romantic and Victorian Ages, but for our purposes the latter is best viewed as merely a later stage of the former. The prudish attitudes popularly associated with Queen Victoria’s reign are manifest in Germany and–to a lesser extent–in France as well. Victoria did not create Victorianism, she merely exemplified the temper of the time. But throughout the Victorian period the wild, passionate, erotic, even destructive aspects of Romanticism continue in evidence in all the arts.

Reactions

Like the Enlightenment, Romanticism calls forth numerous counter-movements, like Realism, Impressionism, Neo-classicism, etc.; but like the Enlightenment, it also keeps on going. None of these were entirely to replace the Romantic impulse. Hard-bitten naturalism in fiction and film coexists today with sweeping romanticism; there are large audiences for both. The contemporary vogue for “Victorian” designs is just one of many examples of the frequent revivals of Romantic tastes and styles that have recurred throughout the twentieth century.

Looking back over the list of characteristics discussed above one can readily see that despite the fact that Romanticism was not nearly as coherent a movement as the Enlightenment, and lacked the sort of programmatic aims the latter professed, it was even more successful in changing history–changing the definition of what it means to be human.

More Study Guides for 18th and 19th Century European Classics

 

 

Goethe’s Faust

Note: This study guide is based on the translation of Walter Kaufmann titled Goethe’s Faust (Anchor Books) which omits most of Part II.

This work is rich in wonderful contradictions and conflicts. Faust: A Tragedy is the title given his masterpiece by Johann Wolfgang von Goethe. Yet it might almost as easily be described as a musical comedy, in that it has many comic passages, features many songs, and lacks a tragic ending. Faust himself is not a classic tragic figure either. In fact, his characteristic yearning for experience and knowledge created a type for the romantic age still known as the Faustian hero, though he can easily seem more of a villain than a hero; and the purported villain–Mephistopheles–is one of the most likable characters in the play. His yearnings draw him toward the heavens, yet he is also powerfully attracted to the physical world. The book was designed to be read rather than performed, yet many scenes are wonderfully designed for effective stage presentation.

It is useless to try to figure out what the “real” point of Faust is, or which of the many views of life it presents is the correct one. It is par excellence the Romantic masterwork precisely because it explores a wide variety of polar opposites without resolving them. Goethe has created a microcosm of life, trying to preserve its complexity, its tensions, and its dynamism. Appreciating the work’s complexity and enjoying it should be your goal.

One the most important tensions expressed in this work is between learning and experience. Faust himself rejects scholarship for life, but it would be a mistake to suppose that Goethe unequivocally endorses this view. Mephistopheles, who is usually both truthful and wise, warns him against this enthusiasm for raw experience; and Goethe himself was a scholar and bureaucrat who greatly valued the learning of the past and aimed at joining the pantheon of classic writers. Faust is a part of Goethe, but so is Mephistopheles.

This is a work that can be hugely entertaining, but only if one understands its references and ideas. These notes are meant to help you enjoy the work by pointing you to significant passages that need careful thought and providing crucial information on some difficult references. They are meant not to hand you a simple interpretation, but to stimulate thought about the work that can lead to an interpretation.

There are several passages in the Bible which must be read in connection with specific lines in the play.

None of them will take more than a few minutes to read.

Prologue in Heaven

In this overture to his drama Goethe creates a quaint and slightly comic Heaven in which the encounter between Goethe and Mephistopheles is planned. What signs can you find that Goethe does not intend this scene seriously to portray an orthodox Christian Heaven? To “intone” an “air” is to sing a song. A “tourney” is a tournament or conflict.

Raphael is describing a traditional concept called “the harmony of the spheres” in which each planetary sphere in the solar system emits a tone which blend together into a sort of heavenly music. In what way does the concept of a “tourney” conflict with this concept? What astronomical system is represented by Raphael’s description of the sun and its “brother spheres” moving around the earth? How does this system relate to that described by Gabriel, who describes the earth as revolving and fleeing through space? What references to motion can you find in the speeches of the three archangels? Can you find any pattern in the order in which they describe various kinds of motion? (Hint: look at the scale of things.) What contradiction is contained in the last line of Michael’s speech?

Mephistopheles’ witty, ironic tone in addressing God is quite different from that of the sober debate in the book of Job (be sure to read today’s brief assignment in Job; any translation of the Bible will do). But what are the basic similarities between the story in the Bible and this scene? After the angels have been praising God for his unfathomable splendor, how does Mephistopheles criticize God? Why is the Devil represented as being more interested in humanity than is God? What criticism does he make of humanity’s gift of reason?

How effectively does The Lord answer Mephistopheles? What are the chief characteristics of Faust that Mephistopheles describes? The Lord seems to agree with Mephistopheles’ description of Faust’s greatest fault when he says “Man errs as long as he will strive.” But he seems to value striving when he says “man’s activity can easily abate,/He soon prefers uninterrupted rest;/To give him this companion hence seems best/Who roils and must as Devil help create.” What reasons do you think Goethe might have had for having the Lord express two such opposite views of the roles of striving and activity? In what way does he say the Devil actually helps him to carry out his will?

Faust has studied all of the major subjects in which a Renaissance scholar could receive a degree, so can be understood to have exhausted traditional learning. What is his attitude toward his education? In what way does he feel he is smarter than others? What activity has he turned to after rejecting formal education? At line 386, where is he looking? At line 398? What contrast does he draw between these two sights? Worms and dust traditionally symbolize death; look for this symbolism to reappear. What do the images of imprisonment and escape here convey about Faust’s mood?

Nostradamus was a Renaissance prophet and astrologer; which of his roles is relevant in this context (line 420)?macrocosm is the universe at large, depicted in the Renaissance as a series of concentric circles surrounding the earth marking the orbits of the moon, sun, planets, and stars.

In this context the macrocosm is the universe at large, depicted in the Renaissance as a series of concentric circles surrounding the earth marking the orbits of the moon, sun, planets, and stars. How does viewing it make Faust feel? In lines 446-453 he envisions a dynamic version of the traditional Renaissance image of the “Great Chain of Being,” seemingly influenced by Jacob’s vision in Genesis 28:11-12). What is his reaction to it? Notice how Mephistopheles’ preference for the Earth in the Prologue in Heaven foreshadowed Faust’s preference for the Earth Spirit over the image of the macrocosm. Faust imperiously conjures the Earth Spirit to appear before him: what is his reaction when it actually appears? How does Faust react to its taunts? What does the Spirit mean when it says to him that he is a “Peer of the spirit that you comprehend/Not mine!”? Why does Faust call himself “image of the godhead?” (See Genesis 1:27)

Why is Faust so irritated when Wagner, his student, thinks that he has been reading classical literature and practicing rhetoric? What are the main points of the two sides of the debate between Faust and Wagner? What is Faust’s attitude toward classical study? What does this classical proverb (variously attributed to Seneca, Horace, and Hippocrates), quoted by Wagner, mean: “art is forever,/and our life is brief?” When Wagner claims that study of ancient writings is valuable because it helps us enter into the spirit of the time, how does Faust answer him? Why is Wagner’s final speech probably intensely irritating to Faust? How does it relate to what they have been discussing earlier? Which of the two do you agree more with? Why?

In line 808 Faust expresses his gratitude toward Wagner for having rescued him from the despair into which the Earth Spirit’s taunts had cast him; but he almost immediately plunges back into depression. He speaks to the absent Spirit, expressing his humiliation. The contrast he makes between fantasy and realism starting in line 640 is a typical romantic complaint about the rationalist period from which he was emerging. He is looking back with nostalgia to the Middle Ages, when the imagination was allowed freer rein and is repelled by the narrow rationalism of the eighteenth century. How does Faust again use the imagery of worms and dust in lines 652-659? The skull he sees on his shelf acts as a traditional memento mori: a reminder of death which some devout monks kept by their beside in the Middle Ages to remind them that they were mortal; but why might he realistically have a skull on his shelf? The bottle which is the next object to catch his eye almost certainly contains laudanum: opium dissolved in alcohol. It was an extremely common drug and relatively cheap. Though it could not cure diseases, it made people feel better–unless they took too large a dose, in which case they would pleasantly drop off to sleep and die. This quality made it not only the renaissance equivalent of aspirin but the drug of choice for suicide. How does he propose to prove “that mortals/Have as much dignity as any god”? In lines 712-719 Faust is contrasting himself with Hamlet in Act 3, Scene 1 of the play (ll. 55-88). Note the Choir of Women. A similar group of women are going to appear at the end of the play, linked to the theme of salvation. Why doesn’t he drink? Does the song of the angels bring him to religious faith? What effect does it have on him?

Before the City Gate

What kinds of activities are people engaging in on this Easter morning? Are any of them religious? What is the attitude of “Another Citizen” toward war? Can you compare the attitudes of the young women toward love with those of the soldiers? What does Faust seem to feel is the meaning of the Easter holiday? What is Wagner’s reaction to Faust’s enjoyment of the scene? The song sung by the peasants has the typical folk theme of a young girl seduced and abandoned, and strongly foreshadows the plot of the play. Why does Faust, who is normally completely skeptical about religion, tell the peasants who praise him for his medical services that they should thank God instead? Faust rather hysterically compares the medical efforts of his father and himself to the plague (“pest”), not because they really intended to murder anyone but because–as Goethe knew well– renaissance medicine was more harmful than helpful to patients. In using the image of flight to symbolize his longing for transcendence and escape he imagines himself pursuing the setting sun, personified as a god, as by the ancient Greeks and Romans. As the sun sinks into the west, he pursues it out over the billows (waves) of the Atlantic Ocean. This image of eternal vain pursuit is central to Faust’s ideas about himself, which will be reflected throughout the play in many forms. What is the basic contradiction in human nature that Faust describes in the last part of this speech? What is Wagner’s reaction to it? In what two directions does Faust then say his soul is torn?

When the black dog appears (a large, shaggy animal, not a French toy poodle), what does Faust see that Wagner cannot?

Study

Note that at the beginning of this scene Faust seems to be in a more nearly religious mood than at any other point in the play. Night, which was celebrated by romantic writers (in self-conscious contrast with the enlightenment), inspires in him a “holy dread.” What effect does the poodle have on this mood? When we learn that the poodle is really Mephistopheles, what do we realize he has accomplished in disturbing Faust?

When Faust “translates” the first verse of the Gospel of John, how does his vocabulary choice reflect his character? Based on what you read later, why do the spirits in the corridor say “One has been caught inside” in line 1259? During the Renaissance the salamander was thought to live in fire, the undene in water, and the sylph in air, while the kobold is a Germanic spirit associated with the earth. Thus each represents one of the traditional four elements of the natural world. Having exhausted the natural world, Faust will have to the demonic (“Hell’s progeny”). What is an incubus? (Look it up.)

Mephistopheles sets the tone for their whole relationship by greeting Faust sarcastically, belittling his prowess; but according to the traditions of the conjuring of spirits he is in real danger of being controlled if his intended victim can only identify his name. How does he distract him from that question? When Faust calls Mephistopheles “God of Flies” he is alluding to another traditional Jewish name for the Devil: Beelzebub. This passage is the source of the title of William Golding’s novel, Lord of the Flies. How does Mephistopheles’ definition of himself in lines 1336-1337 relate to what The Lord has to say about his role in the Prologue in Heaven? How does Mephistopheles argue that darkness is superior to light in lines 1348-1368? In what sense did darkness give birth to light? (See Genesis 1:1-5.) Why does Mephistopheles say that his favorite element is fire? Rather than portraying Mephistopheles as a force for evil against good, Faust understands him as sterility against creativity. Which of these two forces do both of them seem to feel is the stronger?

Why could the magic pentagram (the witch’s foot) in the doorway let Mephistopheles in though it now will not let him out? Notice that it is Faust who first raises the possibility of signing a contract with the Devil. Goethe repeatedly emphasizes that Faust is not seduced into evil by Mephistopheles: he is already drawn to it, and tries to make the Devil his tool. Why do you think Mephistopheles is so anxious to leave instead of immediately negotiating the contract? How does Mephistopheles manage to escape?

Study

Faust has to invite Mephistopheles into his study three times to symbolize his willingness to become involved in the evil the spirit represents. Why reasons does Faust give for saying there is nothing Mephistopheles can give him that he wants? How does Mephistopheles humiliate him when he declares that he wants to die in line 1571? Faust is like a patient who approaches a doctor, saying “I want to avoid heart disease, but don’t tell me to change my diet, exercise, or take drugs.” Perhaps because he is a bit nervous about the direction in which he is headed he is effectively ruling out just about everything that Mephistopheles could conceivably give him. When Faust gets into one of these melodramatic moods, Mephistopheles usually combats him with humor. Here it is his companion spirits who mock his words by saying he has “shattered the world” with his curses. Their song means, in essence, “Hey, relax, enjoy life!”

Faust has clearly read stories of other people who have signed contracts with the Devil and experienced disaster, and Mephistopheles tells the doctor that he will be Mephistopheles’ servant in hell, so why does Faust proceed with the negotiation? What examples does Faust give of the deceptive and transitory gifts the Devil has been known to provide? Why does Faust say that he is willing to die if he ever experiences a moment of complete satisfaction? Note these words: “If to the moment I should say:/Abide, you are so fair;” they are important at the end of the play. Mephistopheles insists on the signature being in blood to force Faust into taking a stereotypically self-damning step. He can hardly claim he didn’t know what he was getting into, since signing a contract with the Devil in blood is notoriously a damnable thing to do. Again and again Faust will seek to gloss over the true nature of his relationship to evil, and again and again Mephistopheles will rub his nose in it. Of the two longings Faust has spoken of before, which one does he say he now wants to pursue? Does he seek happiness? What warnings does Mephistopheles make about the probable outcome of their contract? Which of the two longings does Mephistopheles urge Faust to pursue? Notice the last two lines before the entry of the student mean in which Mephistopheles confirms that it is not he who is making Faust evil; Faust is evil already. Mephistopheles may in fact be seen in this play as the embodiment of the evil impulses within Faust. The fact that he is a lively and vivid character with a personality strikingly different from Faust’s own may obscure this symbolism, but Goethe repeatedly underlines it. Encheiresin naturae (l. 1940) is a technical term in alchemy having to do with the supposed way in which the spirit joints the soul to the body. Alchemists hoped to find an analogue to such a force in nature and use it produce to the magical “philosopher’s stone.” Mephistopheles here mocks their pretentious to knowledge. What career does Mephistopheles finally advise the student to take up, and what typically devilish reason does he give for doing so? People often wrote short poems or quotations in each other’s autograph books in Goethe’s time. What is the meaning of Mephistopheles’ inscription (“You shall be like God, knowing good and evil.”)? (See Genesis 3:1-5.)

Witch’s Kitchen

What is Faust’s attitude toward witchcraft? As when he forced him to sign in blood, Mephistopheles is maneuvering Faust into participating in obviously Satanic rituals so that he is forced to confront the evil nature of what he is doing. What alternative to drinking the magic potion does Mephistopheles offer Faust? Lines 2441-2442 sarcastically allude to the fact that in the Biblical account of creation God looks at each day’s work and sees that it is good (see Genesis 1). What does Mephistopheles suggest Faust should do with a beautiful woman should he find one? Compare this with what he actually does. In what ways does Mephistopheles say he has modernized his appearance? Line 2509 reflects the state of European civilization in the wake of the enlightenment, shorn of its religious superstitions, but no closer to virtue. It is important to keep reminding yourself that neither Goethe nor most of his readers believed in the traditional Devil. Mephistopheles is a symbol of evil–a very lively and vivid one–but still ultimately a symbol. In lines 2526-2527 he says that Faust can safely drink the potion because the latter is no novice at evil; he is sufficiently corrupted already to be “inoculated” against its dangerous effects. When Mephistopheles says that “Three in One and One in Three” is “illusion and not truth” he is of course mocking the Christian doctrine of the Holy Trinity. The belief that God can be simultaneously one and three persons is one of the most controversial aspects of Christian belief, giving theologians much exercise to explain this paradox in logical terms. Mephistopheles delights in pointing out such sore spots in conventional religion. Besides making him thirty years younger, what other effect does the magic potion have on Faust?

Street

A properly brought up young woman of this time would never allow herself to be picked up on the street. She is correct in saying she is not a “lady” (a term reserved for the nobility at this time): she belongs to the lower middle class. She is, however, naive in thinking that she is not “fair” (beautiful); her difficult life has not exposed her to public admiration before and is genuinely unaware of her beauty until she catches sight of herself bedecked in jewels later, in a mirror. What is Faust’s reaction to her virtuous rejection of him? Why does Mephistopheles say he cannot deliver her to him immediately? What devilish reason does he give to justify the delay?

Evening

How could Gretchen–the nickname for Margaret by which she is known in the play–recognize that Faust belonged to the upper classes (besides the shape of his forehead)? Faust is so moved by Gretchen’s obvious innocence that he wants to abandon the planned seduction. How does Mephistopheles shame him into proceeding with the seduction? Note how cleverly he provides a virtuous motive for doing evil. Gretchen is made both innocent and erotic at the same time as she slowly removes her clothes while singing a romantic song about the king of Thule (a mythical far-northern kingdom)? The audience becomes voyeurs while Gretchen remains an innocent young girl getting ready for bed. What effect does putting on the jewels have on Gretchen?

Promenade

How does Mephistopheles satirize the Church at the beginning of this scene?

The Neighbor’s House

How can you tell that Martha is not genuinely grieving for her missing husband? Why is she so eager for news of him? Mephistopheles’ clever compliments echo Faust’s addresses to her earlier. Whereas she had then denied being either a lady or beautiful, now she can deny only the former. Notice how cleverly Mephistopheles works Martha up into a rage against her missing husband by alternately telling her things that make her eager to be reunited with him and others that make her furious with him. She is angry that he left behind a request to have three hundred masses sung for the repose of his soul because such masses were very expensive. Supposedly he has spent all his wealth on another woman and then tried to impose an enormous debt on his wife.” How does Gretchen respond to Mephistopheles’ suggestion that she should get married? What is improper about the manner of mourning suggested by Mephistopheles in lines 2990-2991? How do you think Mephistopheles’ question on line 3006 affects her? Does her answer reveal blissful innocence or a guilty conscience? Watch for a speech by Gretchen later that implies the latter is the truth. Why is Martha so eager to meet the magistrate Mephistopheles says he will bring to her?

Street

Faust is eager to seduce Gretchen, which will ruin her; but he is reluctant to tell a lie. What argument does Mephistopheles use to demonstrate that this is an absurd distinction? Again we see that he is cleverly maneuvering Faust into doing something obviously evil and distasteful in order to gain his ends. What argument does Faust use to maintain that his promises of eternal love for Gretchen will not be a lie? What is the logical flaw in his argument? What attitude toward his situation does Faust express in his last line in this scene, and is it justified?

Garden

How does Faust kissing Gretchen’s hand remind her of her poverty? What does Martha seem to be aiming at in her conversation with Mephistopheles? Gretchen suffers from an acute case of low self-esteem. In what ways does this make her more vulnerable to Faust’s seduction? What hint is there in Gretchen’s long speech about her family that she is not entirely pleased with her mother? Can you describe how the relationship between them has developed between this passage and line 2163, when Faust and Gretchen reappear together as they stroll around the garden? The technique used here is not unlike a scene change in a film, where matters have progressed much farther than one would have expected in the brief moments they have been out of earshot, but because we could not hear what they were saying, we are not bothered by this fact. What does Gretchen say her reaction was when Faust first spoke to her? Against whom was her anger ultimately directed? Why? Have you ever encountered this sort of emotional reaction in real life? Gretchen’s sound moral instincts make her shudder when Faust first clasps her hands. Watch for that reaction to return later in the play. Notice how Faust’s inelegant but passionate “No, no end! No end! seems to be less directed toward Gretchen than toward the mocking voice of Mephistopheles within him pointing out that by swearing eternal life he is lying. Faust had insisted he would be sincere, and now he is trying to whip himself up into a frenzied passion that will make his declarations sincere; but Mephistopheles’ intervention has prevented this self-delusion from working. The very next words (uttered by Martha) ominously foreshadow the very “end” which Faust is trying to deny.

A Garden Bower

Gretchen says “I love you;” but the closest Faust comes to saying it is during the daisy-petal-plucking scene when he says “he loves you.” What does this difference reveal about each of them? Gretchen is mystified as to what Faust sees in her. She is a classic victim of sexual aggression: too young and naive to realize that the erotic attractions of her body more than compensate for her lack of sophistication. She is still so impressed by Faust’s social superiority that she cannot grasp that he is drawn to her for purely sexual reasons.

Wood and Cave

The “exalted spirit” to whom Faust is addressing his remarks is clearly not Mephistopheles since he alludes to the latter in ll. 3243-3245 as someone distinctly separate, so the spirit addressed has to be the Earth Spirit which Faust conjured up earlier in the play. This may seem inconsistent since we have no reason to think that Faust has maintained any relationship with this spirit, and in fact it is partly a remnant of a plan by Goethe to have the Earth Spirit play a much larger role in the story than he finally did. However, we may also interpret this as a typical piece of self-delusion on Faust’s part: he declines to accept that Gretchen is a gift of the Devil and instead tries to credit a less obviously evil source. What is he trying to achieve out here in the wilderness? Why does he say he has not succeeded? In ll. 3282-3292 Faust’s romantic claims to be “communing with nature” are crudely dismissed by Mephistopheles as a form of masturbation, one of many instances of sexual frankness that would be avoided by writers later in the nineteenth century. How does he tempt Faust to continue his affair with Gretchen? What clues are there in their dialogue that Faust has already made love with her repeatedly? In lines 3334-3335 Faust blasphemously proclaims that he is jealous when Gretchen goes to Mass and consumes the wafer which Catholics believe is transformed into the body of Christ. Mephistopheles answers him with a clever erotic blasphemy of his own, based on Song of Songs (known in some translations as “The Song of Solomon”) 7:3 in which breasts are compared to twin deer. Mephistopheles is saying that he is jealous of Faust when the latter enjoys Gretchen with her blouse off. Readers who don’t know their Bible thoroughly will miss this clear statement that Gretchen and Faust have already been making love. In fact, she is almost certainly pregnant at this point, as we will discover later. Faust is reduced to spluttering protests by this sly remark, which Mephistophles answers with yet another sexually-toned blasphemy, arguing that since God made women to be the partners of men, he was the first pimp. What evidence is there in Faust’s last speech in this scene that he knows perfectly well that he is destroying Gretchen? How does he rationalize completing her destruction?

Gretchen’s Room

What feelings does Gretchen express in her spinning wheel song? This song has been set to music several times, most famously by Franz Schubert, as “Gretchen am Spinnrad.” Compare her feelings to what Mephistopheles said she was feeling in the previous scene.

Martha’s Garden

How does Faust respond to Gretchen’s pointed questions about his religious beliefs? How does he manage to change this troublesome subject back to his love for her? What important error does Gretchen make in this debate which prevents her from understanding that Faust is evil? Why should the audience become alarmed when Faust suggests using a sleeping potion to drug Gretchen’s mother, based what we have seen earlier in the play? Why, although it is made clear a little later that Gretchen is no longer a virgin and is in fact probably pregnant at this point, does Goethe seem to evade that point by using ambiguous language here which could be misread to mean that they have never had sex together when in fact it is only that they have never slept in her bedroom all night before? How would you feel about a real girl who was willing to give her mother a dangerous drug so that she could have sex with her lover in the same bedroom? What is there about the portrait of Gretchen that tends to make us more forgiving of her than of her real-life equivalent? What effect does it have on our feelings about Gretchen that her mother never appears on stage? What cynical reason does Mephistopheles offer for Gretchen’s curiosity about Faust’s religious beliefs? Mephistopheles does not really take pleasure in sexual desire for its own sake–only for the evil it may lead to. He anticipates in his last line the disasters to come.

At the Well

What is your reaction to the character of Lieschen? How does she cause us to side emotionally with Gretchen? What techniques does Goethe use in this scene and elsewhere to avoid presenting Gretchen as a wicked sinner? How does this scene indirectly make us aware that Gretchen is pregnant?

City Wall

The Mater Dolorosa is the image of the Virgin Mary grieving for the sufferings of her son Jesus. Is Gretchen’s prayer to her a prayer of repentance? Explain.

Night. Street in Front of Gretchen’s Door

What is ironic about the name of Gretchen’s brother? What are his feelings about her? Does he really care about her for her own sake? How many days away is Walpurgis Night (April 30)? What is the subject of Mephistopheles’ serenade? Why does Mephistopheles insist on parrying Valentine’s thrusts while Faust thrusts at him? How does Valentine’s dying speech make us more sympathetic with Gretchen? Martha is correct in calling his self-righteous words blasphemous since he is presuming to be more judgmental than God, whereas it can be argued that Jesus taught that humans should be more forgiving than God, who is the only one who can send sinners to eternal damnation without hope of forgiveness (see Matthew 18:22-35).

Cathedral

Gretchen is at the funeral of her mother, killed by the sleeping potion, and of Valentine, killed by Faust. She is crazed with guilt and terror for her role in this catastrophe. When the evil spirit which acts as her guilty conscience refers to a foreboding presence which frightens her (“underneath your heart”), what is he talking about? The choir sings the famous opening lines from theDies Irae, the traditional chant describing the Day of Judgment which is sung during the mass for the dead. How are their words related to Gretchen? [Dies iræ, dies illa,/Solvet sæclum in favila; Day of wrath, on that day when the world shall dissolve in ashes; Judex ergo cum sedebit,/Quidquid latet adparebit,/Nil inultum remanebit; So when the judge takes his seat, whatever has been hidden will appear, nothing shall remain unpunished; Quid sum miser tunc dicturus?/Quem patronum rogaturus?/Cum vix justus sit securus; What shall I, a wretch, say? Who shall I ask to plead for me, when scarcely the righteous shall be safe?]

Walpurgis Night

The eve of May Day is here observed as a kind of Halloween, filled with Devil worship in the Harz mountains, where Goethe had spent a memorable night after hiking up the famous site of this scene. Much of the opening is sung, and Goethe uses a variety of devices to create the illusion of climbing on a static stage. What references to motion of various kinds can you find in this part of the scene? Note how even the trees are brought to life. Will o’ the wisps were spirits (actually phosphorescent swamp gas) that were believed to lead the unwary traveler deeper and deeper into the wilderness until he or she was lost and destroyed. Why is such a guide chosen to lead them up the mountain? How is the theme of striving which pervades the play reflected in the Half-Witch? What is Mephistopheles’ reply to Goethe’s hope that he will finally achieve the answers to many riddles at the Walpurgis Night celebration? In traditional witchcraft, some ceremonies were performed nude. How does Goethe do a satirical variation on this theme? Why does Mephistopheles speak as if he were losing his power in lines 4092-4094? Is he really commenting on the impending Last Judgment or on the decline of religion in the age of Enlightenment? Keeping in mind the latter interpretation, notice how he ridicules the Huckster-Witch (a huckster is a sleazy, dishonest merchant). Lilith is rarely (and unclearly) alluded to in the Bible, but Jewish tradition makes her the first, rebellious wife of Adam, and later a symbol for everything evil about women. The impudently erotic song Faust sings as he dances with the young witch is modelled on the Song of Songs 7:7-8, in which a woman’s breasts are compared to fruit growing on a tree which man may climb up to gather. Note that Mephistopheles and the old witch use much more obviously obscene metaphors in the following exchange. What effect does the enlightenment rationalism of the Proktophantasmist have on the Walpurgis Night celebration? In mythology, Perseus rescued Andromeda by cutting off the head of Medusa, whose gaze could turn a person to stone. Goethe here blends that story with a traditional tale of a young woman who persisted in wearing a velvet band around her neck night and day. When her new husband removed it while she slept, her head fell off. She had earlier been executed, but kept alive by the witchcraft of the band. One theory has it that the story was inspired by the red thread which was tied around the necks of those intended for the guillotine during the French Revolution, to mark the place where the blade should fall. The American author Washington Irving retold a version of this story in “The Adventure of the German Student” (1824). This blending of northern European and Greco-Roman mythology is very typical of Goethe. This imagery also foreshadows the fact that Gretchen has been condemned to the executioner’s ax. How in this scene does Faust make it unequivocally clear that he had made love with Gretchen before this time?

Dismal Day

This is the only scene in the play which Goethe left in the original prose. Perhaps he thought its depressing subject was better suited to prose than poetry. Faust, feeling at last some qualms of conscience, has fled Gretchen again to commune with nature in the countryside. Evidently quite a while has passed since Walpurgis Night, for Gretchen has despaired after the night in which her mother and brother both died, feeling that she is to blame. Abandoned, she has killed the infant fathered by Faust by drowning it in a forest pool; but she has been caught, tried, and condemned to death. Infanticide by guilt-ridden young mothers was quite common at this time, and is hardly unknown today, though it has always been strongly outlawed in Europe since the advent of Christianity. Mephistopheles has just informed Faust of all this as the scene begins, and we must infer what has happened from his reaction and from what follows. Faust again tries to appeal to the Earth Spirit (addressing him as “infinite spirit”) to try to undo his relationship to Mephistopheles. How does Mephistopheles answer his hysterical accusations and turn the blame back around onto Faust? Mephistopheles proposes to stand guard, but Faust must be the one to actually help her escape from prison, just as in the duel with her brother Mephistopheles parried while Faust was forced to strike. The decisions involving moral responsibility must be Faust’s alone, despite his constant efforts to shift responsibility to Mephistopheles.

Dungeon

The character of Gretchen was inspired in the first place by a real-life story Goethe had heard of a young woman who was seduced and abandoned, who killed her illegitimate child, was condemned to death, and whose repentant lover joined her in prison to share her fate. In what important way does this scene differ from the original incident? Having been either directly or indirectly responsible for the death of her mother, brother, and baby, Gretchen has gone insane with guilt. As she sings madly in her prison cell, she blends the classical myth of Tereus and Procne (which involves cannibalism and rape) with a similar Germanic tale in which the victim is turned into a bird. In whose voice is she singing?

Who does she think is coming when she hears Faust and Mephistopheles enter? How does she speak differently than she might have if her madness did not prevent her from recognizing Faust, and how does that create a powerful effect on him? What has she learned that she did not understand earlier that explains why he seduced her? European brides wear wreaths of flowers on their wedding day to symbolize their unbroken virginity, so the torn wreath symbolizes her fall from virtue. Gretchen imagines that someone else has stolen and killed her baby, and complains of the sensational street ballads that are being composed about her crime. What evidence is there that Gretchen, though mad, has recovered much of her sensitivity to evil? In what way does line 4490 say more than Gretchen intends? At what point does she seem to emerge from her madness into relative sanity? When she imagines that she can still see Valentine’s blood on Faust’s hand Goethe is of course alluding to the famous scene in which Shakespeare’s Lady Macbeth, guiltily sleepwalking, imagines that Duncan’s blood is still staining her hands (Macbeth, Act V, Scene 1, ll. 39-59). Why does she feel that she has to be buried “a little aside” from her mother and brother? How are you affected by her mad vision of seeing her baby still struggling in the pond? Although Faust never proposed to her, she has obviously been dreaming of wedlock since she fantasizes that the next day is to be her wedding day. The theme of the tragic young woman wed to death is a very old motif, going back at least to the ancient Greeks, with Sophocles’ Antigone being a classic example. Where the translation says “My veil!” (line 4583), she actually says “My [bridal] wreath!” The original has more directly sexual connotations.. As she imagines her own execution, she is finally saved–why? What is her final reaction toward Faust? What is the meaning of her last cry as she ascends into Heaven? How many different interpretations can you give it?

Charming Landscape

This scene’s setting in the Elysian Fields is similar to setting of the Prologue in Heaven, since both are antiquated, unbelievable versions of heaven used for their symbolic rather than their religious value. This part of the play was written under the powerful influence of Goethe’s conversion to classicism at the very time when many romantics were turning away from it. He divided Part II of Faust into five acts like a classical drama (Part I had been modeled on Shakespeare’s looser structure) and introduced into it many figures from Greek and Roman antiquity. What does it mean that both a Christian and a pagan heaven can exist in the same play? Accompanied by the mythical Aeolian harps of antiquity (carved stones which produced music when the wind blew through them), Ariel–a spirit from Shakespeare’s The Tempest–helps to revive Faust after his traumatic experience of Part I. Since he has done nothing to deserve this, such as repenting his evil deeds, why do you suppose it happens? What does it tell us about Goethe’s beliefs? His dramatic intentions? The river Lethe in classical mythology was the boundary between life and Hades, the land of the dead. Here its function is quite different, influenced by Dante Alighieri’s use of it in the opening of the Purgatorio, where saved souls wash away their sins in a sort of post-mortem baptism. The racketing sound of Phoebus Apollo’s chariot, drawing the sun over the horizon, is as old-fashioned, creaky, and implausible as the cosmological opening of the Prologue in Heaven. Rather than repenting, what does Faust vow to do when he reawakens? Compare the passage on the rising sun in lines 4695-4714 with the earlier passage on the setting sun in lines 1074-1099. What are the major differences? What are the similarities?

Open Country

Our translation now skips a vast portion of Part II. Be sure to read the “Synopsis of omitted portions” on pp. 32-44. Much of this part of the play wanders far afield from the central narrative of the old Faust legend; and although it was highly thought of by German romantic scholars, it has seldom caught the imaginations of other readers. Faust has been given a seaside kingdom by the Emperor, which he has enlarged by diking and draining the swampland–a common practice from the Middle Ages onward in Holland and southwestern Germany. The wanderer who appears in this scene is playing the role played by the gods in Ovid’s Metamorphoses, when they test the hospitality of villagers by appearing in the guise of wandering beggars. Only an old couple named Baucis (the woman) and Philemon (the man) are willing to open their houses and cupboards to them, and only they are preserved when the rest of the village is drowned in a flood. Goethe expects his readers to know their Ovid well enough to recognize the names and make the proper associations. The wanderer is amazed to find the former seacoast where he was washed up years ago has become part of Faust’s kingdom. How does Philemon’s attitude toward this fact differ from Baucis? What is Goethe implying about the relative moral sensitivities of men and women?

Palace

How does Faust’s reaction to the ringing of Baucis and Philemon’s chapel bell compare with his reaction to the bells of Easter Morning in Part I? What does the difference tell us about the development of his character? Lynceus, the palace lookout (another classical figure), sees Faust’s merchant fleet returning? What evidence is there that he is using illicit means to conduct this trade? In line 11188 Mephistopheles alludes ironically to the Christian doctrine of the Trinity, discussed above. Why is Faust’s line “One would as soon no more be just” ironic? As you would find it you followed up the reference to I Kings 21, King Ahab envied the vineyard of his subject Naboth. His wicked wife arranged for Naboth to be killed so that Ahab could seize it. Thus Mephistopheles is clearly preparing us to expect the deaths of Baucis and Philemon as Faust plays the role of Ahab.

Deep Night

Faust rages at Mephistopheles for his killing of Baucis and Philemon; but why might one see him as responsible for their deaths anyway?

Midnight

As in a Medieval morality play like Everyman, allegorical figures enter who symbolize the approach of death. They also parallel the four horsemen of the Apocalypse: death, war, famine, and plague (see Revelations 6:1-8). In this context “Want” and “Need” mean “poverty.” Why is Faust not threatened by them? What does it tell us that Guilt cannot reach Faust? “Care” is used here in the sense of “worries, troubles.” Why is she the only one of the sisters to reach Faust? Does Faust’s wish to abandon witchcraft in lines 11404-11407 mark a change from his earlier attitudes? What philosophical conclusions does Faust draw from his life experience in lines 11433-11452? In what ways are these different from his earlier attitudes? In what ways the same? How does Care’s next speech hint that Mephistopheles may not win his end of the bet with The Lord, though in line 11485 he says he will send Faust to Hell? Since it is pitch black and Faust can see nothing anyway (he never realizes he’s been blinded), and since the effect cannot possibly be shown in the play, what is the point of having Faust be blinded at the end of this scene?

Large Outer Court of the Palace

As Mephistopheles has the Lemures (zombies patched together out of dead body parts) dig Faust’s grave, the former meditates on the absurdity of death, which is a frequent theme in his speeches. What does Faust think the digging outside is accomplishing? How does Mephistopheles sarcastically prophesy that all his hopes are in vain, and how does this comment connect with the Baucis and Philemon story in Ovid? Many readers have felt that Faust’s final speeches are meant to show a benign attitude that justifies his salvation; but has he actually changed? He does say, “Abide, you are so fair,” so why aren’t the terms of the contract fulfilled? What in Mephistopheles’ speech following his death hints that he realizes this fact?

Entombment

As Kaufmann points out in the introduction, this was the last scene Goethe wrote, a wildly comic, blasphemous account of how Faust is saved, as if he wanted to underline that the final scene must not be taken seriously as a scene of orthodox redemption. It has utterly failed to achieve that goal with most scholarly readers, partly because they are too embarrassed by its obscenities even to discuss it. The Hell’s Mouth, like the heavens depicted earlier, is an obsolete bit of stage apparatus. During the Middle Ages and Renaissance such a prop was often used in religious dramas depicting Christ delivering the holy patriarchs from Limbo after his Crucifixion (there was such a prop listed in the inventory of Shakespeare’s theater). What in Mephistopheles’ speech indicates that it is not to be taken seriously? Psyche is the Greek mythological name for the human soul. How is the effort to capture the soul made grossly physical in this scene? Why does Mephistopheles call the angels “devils in disguise?” How is the Devil traditionally related to angels? What sight ultimately distracts Mephistopheles so that the angels are able to make off with the soul? Is he attracted by their virtue?

Mountain Gorges; Forest, Rock, and Desert

An “anchorite” is a religious hermit, usually living in the wilderness. They are given Latin names: Pater Ecstaticus, The Ecstatic Father; Pater Profundus, The Father of the Deeps; and Pater Seraphicus, The Seraphic (angelic) Father. How does Faust’s salvation in this Neoplatonic Heaven differ from that preached by conventional Christianity? In what ways is it similar to his rebirth at the opening of Part I? How does his journey through the levels of Heaven relate to the main themes of the play? According to the beliefs of Faust’s time, the souls of unbaptized infants went to Limbo in Hell. Here they are given the more Romantic role of guiding the soul to Heaven. Since The Lord said at the beginning of the play that “Man errs as long as he will strive” why do the angels here seem to quote him as stating that “Who ever strives with all his power,/We are allowed to save”? A “chrysalis” is the cocoon out of which a butterfly hatches. What seems to be the ultimate power that draws Faust into Heaven? The Doctor Marianus is a theologian (not a medical doctor) specializing in the veneration of the Virgin Mary, “heaven’s queen.” Why is he presented as being in the “highest, cleanest cell?” What is the significance of the Magna Peccatrix (woman who has sinned greatly)? See Luke 7: 36-50. She has been traditionally confused with Mary Magdalene, who is discussed elsewhere; and Goethe probably meant her to be identified as such; but which of her characteristics is particularly relevant here? What is relevant in the story of the Mulier Samaritana (Samaritan woman) in John 4:1-30? Maria Aegyptica , whose story of sin and repentance is told in the Medieval Acts of the Saints, is the third of these women. How does Gretchen (Una Poenitentium, A Penitent) fit in with them? Her role her is clearly modeled on that of Dante’s Beatrice in The Divine Comedy, in which the poet’s human beloved is transformed into an agent of salvation. In what way are the defeat of Mephistopheles and the salvation of Faust caused by the same force? The final lines of the play are mistranslated. They actually say, “Eternal womanhood draws us onward.” Considering the themes of the rest of the play, why is this a fitting ending? Since Goethe was clearly not a Christian, why do you suppose he wrote this scene in Heaven? Since Faust never repented his sins and did no notably virtuous deeds and never expressed any religious faith, why do you think he is saved?

18th and 19th Century European Classics (Humanities 303)

 


Related Links

There is also an edition of Christopher Marlowe’s much easier play on the same subject, Doctor Faustus.

The libretto of Gounod’s opera based on Faust, in French and English.
An essay on alchemy in Faust

Notes by Paul Brians, Department of English, Washington State University, Pullman 99164-5020.

First published June 14, 1995.

Last revised April 15, 2015.

Study Guides


Study Guides to Various Works and Other Course Materials

Grouped here are study guides prepared by Professor Paul Brians of Washington State University for the use of students in his classes. Nonprofit users are welcome to use and reproduce them for educational purposes so long as full credit is given to the author and the URL of the original is included, though online “mirrors” are not allowed. Please link to these pages rather than cloning them on your own site. Feel free to make corrections and/or additions by writing Prof. Brians at paulbrians@gmail.com.

Science Fiction Film
Science Fiction
18th and 19th Century European Classics (Humanities 303)
Love in the Arts
World Literature in English of India, Africa, and the Caribbean
World Civilizations
Helpful Hints for Writing Class Papers
Science Fiction Film
Science Fiction
18th and 19th Century European Classics (Humanities 303)
Love in the Arts
World Literature in English of India, Africa, and the Caribbean
The Bible as Literature

The Magic of Christmas

Commonly Misinterpreted Passages from the Bible
Part 1:

Commonly Misinterpreted Passages from the Bible
Part 2:

Commonly Misinterpreted Passages from the Bible
Part 3:

 

 

 

World Civilizations
Helpful Hints for Writing Class Papers

About these Study Guides

I created these study guides to help my students prepare for literature classes. They are meant to serve several functions.

  1. Some of them provide background to help readers understand what they are reading and why they are reading it (the historical status of the works).
  2. They provide useful information, explaining allusions, obscure terms, etc. in the texts and provide translations of passages written in languages other than English.
  3. They try to focus students’ attention on issues that we will discuss in class.

Rationale

One of the most common student complaints in literature classes is that they can’t figure out what the teacher expects them to get out of the assignments. Homework turns into a massive guessing game, failing which, students wait for the teacher to clarify things in class. This makes for sluggish or nonexistent discussions. Students using these guides can read with more purpose. They know what issues I am going to want to them to deal with in class and can prepare much better.

I require my students to prepare written answers to the questions in these guides and come to class prepared to answer any one of them. At the beginning of class I collect the notes along with the quizzes. Not every question must be answered in the notes but they must show a diligent effort at preparation. Since I began using these guides, few students come to class without having both read and thought about the assignment, and discussions have improved enormously. Plagiarism of someone else’s notes is grounds for failure in the class, like any other kind of plagiarism.

Questions & Answers about Using the Study Guides

Isn’t this a lot of work?
For the more serious students, the guides simplify homework because they know what to concentrate on. Many things which would have to be puzzled out or looked up and simply explained. However, one of my goals is to encourage students to work harder and more productively.
But it’ll take forever to answer all these questions!
But you don’t have to write answers to all the questions. Many are simply ways of drawing your attention to features of the text I want you to notice. Others have simple answers you can easily recall if you have done the reading. Yet others are opinion-based or open-ended: you can easily answer them without notes. I expect substantial notes, at least a page or so of detail, for each assignment, to document that you are indeed preparing for class. Notes which cover only the first part of the assigned reading will be considered unsatisfactory.
But I have a great memory! Isn’t this note-taking a waste of time?
Writing something down makes you think about it in a different sort of way. It makes you focus and define your thoughts. These notes can also provide a great basis for papers you write later. I don’t require very many or very long papers in my classes. Instead, these notes and quizzes make up the bulk of the writing you will do. Think of them as a massive take-home final exam that you’re writing a bit at a time: all open book!
Won’t these guides inhibit discussion? They seem to foreclose some interpretations and privilege others.
To some degree this is true. While I hope fewer off-the-wall misreadings will occur, original readings are not required in the same way as in traditional classes. However, original thinkers seem to find it possible to offer their own readings, especially when they have mine to bounce them off of.
But what if I think some of what the guides say is just wrong?
No problem. Disagree. I change the contents of the guides in response to student comments all the time. These are not meant to be authoritative. They’re just one professor’s take based on his experience teaching these texts over the years. I not only welcome correction; I encourage it. Send corrections or suggestions to paulbrians@gmail.com.
But won’t students be inhibited about disagreeing with you if they know your opinion ahead of time?
Not in my experience. In fact, students are able to ponder my opinions ahead of time, plot out their disagreements, and prepare to disagree. We have cut way down on the incidence of students being surprised and embarrassed in class when I disagree with them. By exposing my views first, I lower the risk for students rather than raising it. Discussions are far more lively now than before I started using the guides, and I’ve changed my own readings several times on the basis of student insights.
Aren’t these a kind of amateur Cliff’s Notes or Masterplots that students can use as substitutes for really reading the texts?
Judge for yourself. I don’t think so. I try to provide information that isn’t obvious; but to do well on the quizzes, you have to do your own reading.
I’m not one of your students. How can I use these guides?
Actually, it’s people like you who I hope will become the main users for this Web version of my study guides. Use them as a set of notes to help you understand what you are reading. Ignore any parts you find uninteresting or unhelpful. But non-WSU students need to be aware that if you copy these notes and turn them in it will be quite easy for any teacher to track down the source of your plagiarism, thanks to the excellent searching tools of the Web.
I’m a teacher. Can I reproduce these for my students?
Sure, so long as you aren’t printing them in a published book. Edit them, excerpt them, so long as you cite me as the source on your copies. Permission is granted for such use to nonprofit users only. If you have handouts of your own that you think are useful or interesting, send me a copy, or put them on the Web and send me the URL. I’d like to see a clearing house of classroom handouts where we could all share the fruits of each others’ labors. Why do we all have to reinvent the wheel?

Paul Brians’ Study Guides FAQs

I originally created these study guides for the use of my students at Washington State University, but I am happy that they have become popular with thousands of others. However, because they have become so popular, I cannot deal with all of the e-mail that comes my way concerning them. If you are about to write me about a study guide, please read through the following first.

May I have permission to reprint one of your study guides?
I routinely grant permission for such reproduction if it is done for a nonprofit educational purpose, but I like to be notified. Drop me an e-mail if you do this, please. Reproductions should include the URL of the original (omitting the outdated “:8080” string that many people are still using, please) and cite me as author. Commercial publishers should write me to negotiate reprint rights.
May I create a mirror of one of your study guides?
I rarely grant permission for mirrors. A Chinese group in Taiwan created a Chinese-language version of one of my guides with my permission, and a federal agency mirrored another of my resources for the exclusive use of employees on its intranet, behind a firewall which made the original inaccessible to them. More ordinary requests to mirror my pages are usually denied, for several reasons. 1) I like to retain control over my work, updating it whenever I need to. 2) I like people to be able to browse from one of my pages to another, exploring my site at will. 3) The only recompense I get for this work comes from “hits” showing on my counters–and visitors to mirrors don’t trip my counters.

Feel free to link to my pages, but I do like to know about it when you do.

Can you send me the answers to the questions in your study guide?
The study guides are designed to prompt careful, thoughtful readers to work out their own answers as they read through the texts discussed. I do not have a file of answers to send out. I’m occasionally willing to give advice to a student or teacher who has made an honest effort to work out an answer and wants to check with me to see whether they’ve hit on what I was thinking of; but I don’t run an answering service for the study guides.
Where can I find more study guides?
You’ll find a list of all my study guides on this page in the above right list, as well as in the site navigation on the left. For serious research in the humanities, see The Voice of the Shuttle and the eServer. But often you’ll turn up more useful material about literary and philosophical topics in a quick visit to a moderate-sized library. A librarian can often show you valuable resources in a few minutes that you could search for in vain for hours on the Internet.
I was just wondering, what do you think the principal motivations of each of the characters is and how does the conclusion relate to the introduction? (Or other obviously teacher-assigned questions).
Your teacher wants you to do these assignments yourself. I am not in the business of undermining the work of my colleagues at other schools.
an u help me write my paper its due tommorow im desperate!!!!
Please spare me this sort of thing. In the first place, you’re writing an English professor–this is not the time to use sloppy Internet-speak. I won’t nit-pick your prose, but at least take the trouble to hit the shift key to create proper capitals, and punctuate your sentences. In the second place, I’m a teacher, and I frown on my own students getting someone else to do their work. If you were my student I’d report you to the authorities and try to have you kicked out of school, so I’m not likely to do the homework of a total stranger. “Desperate” almost always means the writer didn’t care enough about the assignment to get started early–another of my pet peeves.
I don’t have time to read the book. Can you give me a plot summary?
My goal in creating these guides to encourage readers to engage closely with texts than I care about. The last thing I want to do is help somebody avoid reading them. The only study guide which contains a plot summary is the one on Rushdie’s Satanic Verses, for reasons which are explained there. Good assignments should not be doable by merely reading my guides and ignoring the assigned texts. If you’re able to get a passing grade out of your teacher by using my work alone you’re not only cheating the teacher, you’re cheating yourself of some wonderful experiences.
Why do you write about so many different topics?
Although my title is “Professor of English,” my degrees are in Comparative Literature; and I have always been interested in comparative arts and humanities topics. Most of my courses include some music, art, or philosophy, along with traditional literary texts. I consider my field to be the history of ideas. You’ll find very few traditional English and American literary works discussed here–my colleagues at WSU take care of that sort of thing.
I want more information about using these study guides.
Try reading the above section, About These Study Guides.
Can I take a course from you online?
Sorry, I’m retired now, and no longer offering online courses.
What’s your e-mail address?
paulbrians@gmail.com
Keep it clear, short, polite, and observe the above warnings, and I may well write back to you. But be aware that I sometimes travel and am not answering my e-mail.