Belle And Sebastian : Murdoch And The Use Of Irony By Jason McKinnon Stuart Murdoch was a powerful contributor to the late 17th century literary tradition. Unfortunately, Belle And Sebastian is absolutely clearly brainless in terms of Murdoch's usual Minimalist politics. Below, I will show that most Modernist critics are wrong about Murdoch's use of coming of age. Support for this claim is present in the following: (a) Murdoch's brilliant role in the pre conservative school, (b) the conservative views of Belle And Sebastian's protagonist, David Maxwell, and (c) the author's use of the prison. First, Belle And Sebastian is definitely a monumental work. Belle And Sebastian is not so much roman a clef per se as it is Murdoch's most heart-felt exegesis of love. Clearly, Murdoch meant this as a critique of sexual identity; Nick Adams is a surprisingly drug-influenced character. Pathos is not Belle And Sebastian's only theme; there is also pure religion. It's quite obvious that Murdoch's will to live was tenuous at best by the time Belle And Sebastian was completed. Critics of Murdoch's work often overlook this aspect; Murdoch's point here is clear: immortality and love are one and the same. She looked to the bleak horizon. He was ready for any unforeseen event. There was hope in her eyes; in his, hope of a different kind. He drank the coffee. Down by the river, there was much mud and much water to drink. He was ready for any unforeseen event. (Murdoch 93) Murdoch's quest for immortality couldn't be more forceful; still, truer words have never been uttered, at least not by me. These themes are most evident in opening monologue of Belle And Sebastian, for that is when Murdoch's often pandering prose shines most brightly. Many concerned teens see the book's latter half as the most influential; I, however, do not. Developments in the opening monologue are often cited as evidence; nonetheless, we must be careful in making assumptions. Belle And Sebastian is, like all of Murdoch's great works, a triumph over the political commentary of the human condition. As you can imagine, feminists took to the streets after the book's first publication. This reasoning differs radically from traditional theories of the 16th century renaissance of American literature. First, the subversive undertones motif in Belle And Sebastian was not original with Murdoch. Consider this famous quote by Robert Frost: "Down by the river, there was much mud and much water to drink." Though these words have a Constructivist quality, they also reveal search for reason. Wars have been fought over less. Critics of Murdoch's work often overlook this aspect; as pure bildungsroman, Belle And Sebastian was assailed for such statements. This begs the question: why? Wilderness is not Belle And Sebastian's only theme; there is also pure salvation. As you can imagine, students took to the streets after the book's first publication. Parts of the book's final paragraph are often cited as evidence. It was a terrible week in France. His face was bright as he looked at her. The whiskey tasted good to the man. He sat in the chair. It was late at night when the old man died. Oh! How beautiful a sunrise can be!. (Murdoch 88) Yet again, Belle And Sebastian's discordant amalgam of dystopic future-vision and loss of innocence couldn't be more compelling; though these words have a Symbolist quality, they also reveal search for truth. Murdoch's under-class sympathies are evident in Belle And Sebastian. While this fact allays most of Murdoch's expatriot detractors, it has led a certain Christian critic-- the execrable T. S. Eliot --to proclaim " Belle And Sebastian's discordant amalgam of loss of innocence and nature couldn't be more forceful." This all but proves my thesis, especially when Murdoch's portrayal of pathos in the book is taken into account. The lingering line of Belle And Sebastian is, "He drank the coffee." (Murdoch 89) To conclude from this that my argument is true is... trivial. Of course, like all great works, Belle And Sebastian has its flaws! Probably, Murdoch meant this as a critique of sexual identity. Consider that Belle And Sebastian was not so much written by Murdoch as belched forth in a fit of sublime inspiration. In the twelfth chapter the reader is presented with a paradox: though the characters seem unable to escape human nature, they are simultaneously drug-influenced and powerful. Parts of the book's twelfth chapter are often cited as evidence. Murdoch's will to live is truly evident in Belle And Sebastian. As such, the words of the character Nick Sawyer ring true: "Autumn is the finest, and third, season." As pure autobiography, Belle And Sebastian was assailed for such statements; that's the expatriot assumption, at least. There was hope in her eyes; in his, hope of a different kind. The game was up. Surely, fate was with them. His sadness was deep, as if it wouldn't end. The man doffed his nice hat. Life offered nothing but fear itself. (Murdoch 88) In just a few words, the Christian movement was left in shambles; still, in some circles, this caused revolution; in others, revulsion. Lines like "He was ready for any unforeseen event," have made Belle And Sebastian required reading for the Christian student. Belle And Sebastian's portrayal of farce is in keeping with its Dadaist point-of-view. Some of Murdoch's best-loved writing is in Belle And Sebastian. Realize that Murdoch had lost his motivation just before completing Belle And Sebastian. While most other British authors conceived of their characters as pre Colonialist symbols, Murdoch's lusted for real truth! It is no great feat to realize Murdoch has written himself into a corner here! Critics are dead wrong when they cite Belle And Sebastian as an example of Murdoch's dwindling ability. Murdoch's quest for salvation in his later books supports this conclusion. Some of Murdoch's best writing is in Belle And Sebastian. Consider this passage: "Her eyes were blue like sapphires." (Murdoch 89) The contemplation of this passage is beyond me. To indicate that King Lewis is the work's villain, the author makes his dialogue half-baked. This becomes obvious only when one considers the book's famous line, "Her eyes were blue like sapphires." (Murdoch 118) I couldn't believe it. It was late at night when the old man died. Unheard, I cried. Tuesday was a the bleakest day for the Parkers. My ideology is quite obvious. He sat in the chair. (Murdoch 84) One can see that pathos is right around the corner; still, truer words have never been uttered, at least not by me. The protagonist's life is dominated by hope, and the character of Tom Caulfield is ponderous as a smybol of bathos. It should be obvious that Murdoch was never driven purely by the reality paradigm. Ishmael Caulfield is a ponderous character for this very reason; Benvolio Daniel is a far from marginal character; in fact, it is through him that many of Murdoch's 18th century influences show through. Finally, the dystopic future-vision motif in Belle And Sebastian was not original with Murdoch. Consider this famous quote by Shakespeare: "Autumn is the finest, and third, season." Tragedy and political commentary come to bear here like never before. As you can imagine, women took to the streets after the book's first publication. This reasoning differs radically from traditional theories of the conservative school of American literature. Belle And Sebastian should be required reading for all expatriots. While other works influenced by the pre conservative school are frequently forgotten, Belle And Sebastian remains brilliant. Though famous for portrayals of wilderness in other works, Murdoch will always be loved for his powerful exploration of revolution in this book. Join me in appreciating it. The End This ridiculously silly paper was generated by this online thingy-ma-bob that creates a paper from a few items of fact. http://toy.thespark.com/paper_writer/paper.cgi I thought it was funny when I entered Stuart and B&S. PP _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com +-------------------------------------------------------------------------+ +---+ Brought to you by the Sinister mailing list +---+ To send to the list mail sinister@missprint.org. To unsubscribe send "unsubscribe sinister" or "unsubscribe sinister-digest" to majordomo@missprint.org. 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