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By Murray Krieger

Murray Krieger: a reader. no longer a guy who trifles round with literature.

I can't do the fellow justice. here's an excerpt from his preface:

Here back, my method—of separating reductive metaphors
and of evaluating the volume of their dominance over the
work and the world—becomes particular in The vintage imaginative and prescient,
while its use in The Tragic imaginative and prescient is implicit merely. I test to
justify it as a process in my creation to the later quantity
and write my Epilogue to emphasize this solidarity of process
and to make transparent its software to every one of the works or
authors I deal with. in truth, might be to stress the conformity of
this moment quantity to the process of the first, I summarize
retrospectively (pp. 19-21 of The vintage imaginative and prescient) the grasp-
metaphors of the works taken care of in The Tragic imaginative and prescient. notwithstanding
I am confident that my summaries emerged out of these
earlier analyses, they have been now not as transparent to me initially as they
came to be as soon as my approach crystallized with the writing of
The vintage Vision.

from the again cover:
Originally released individually, The Tragic imaginative and prescient and The
Classic imaginative and prescient are now to be had in paperback as significant other
volumes less than the new identify, Visions o f Extremity in Modern
Literature. Murray Krieger has written a new advent
to the set.
From stories of The Tragic Vision:
"A very complete publication certainly, with not just a purpose of tragedy
and the description of a new literary process ('thematics') yet
perceptive analyses of fourteen novels ranging from Dostoevski
The fool to Camus' The Stranger.... I understand of po feedback
that confronts us so powerfully with that first part of each
tragic course— the adventure of stark, staring evil, the demoniac
the sizeable, the absurd. From now on, we can speak approximately
'the tragic vision' with major precision/'— R. B. Sewall in Y
“ Professor Krieger's . . . thesis is an unique one, and the means
by which he helps it show a thorough familiarity
not simply with literary strategy and procedure yet additionally with
philosophic and aesthetic intent. . . . A lasting, legitimate, and livel
approach to a couple of the sleek world's such a lot influential and
disturbing novels/"— Christian Century
M urray okay rieger is Professor of English and Comparative
Literature and Director of the software in serious conception at the
University of California at Irvine. He is additionally Professor of English
at the collage of California at Los Angeles. A former
Guggenheim felloyv, he is a prime authority on literary thought
and feedback. His different books comprise The Play and position of
Criticism (The Johns Hopkins Press, 1967), A Window of
Criticism, and The New Apologists for Poetry.

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As we dropped right into a hotter and denser air, the inflexible timber of the highlands— the larches and symmetrical firtrees— gave w ay to the softness, the grace and straightforwardness of a lux­ uriant crops. I felt i used to be leaving abstraction for all times . . . M y abstemiousness had long past to my head and that i used to be under the influence of alcohol with thirst as others are with wine . . . all my appetites broke out with unexpected vehemence. (18 7-18 eight ) In Italy Marceline deteriorates speedily. Her lunar features, way more admirable in Gide than in Lawrence, can't flourish in Michel’s nation. The very perfumes which the sense-worship­ ing Michel craved are too powerful for her as, in her disease, her basic asceticism materializes in her being, or particularly dematerializes—spiritualizes—her vanishing being. yet Michel persists until eventually her loss of life. B y what aberration, what obstinate blindness, what planned folly did I convince myself, did I principally try to convince her that what she sought after used to be nonetheless extra gentle and heat? W h y did I remind her of m y convalescence at Biskra? (195) In either novels the moon and the frost of a northern moun­ tain seem to characterize the foremost possibility to lifestyles, other than that Gide 6 T h is is seemingly a favourite sym bolic complicated fo r sleek novel­ ists. It serves much more centrally for Thom as Mann, as, for instance, within the “ Snow ” bankruptcy of T h e M agic M ountain or in demise in Venice. and naturally there's M elville’s nice bankruptcy on “ T h e W hiteness o f the W h ale” in his M oby D ick, whose identify personality has a “ hump like a snowhill. ” 44 uprising and the “ nation of discussion” isn't really unqualifiedly yes that the threatened energy must be preserved. Michel fears possessions as Rupert fears possessive­ ness and as Gerald seeks either. Michel and Rupert shun the lunar and its female claims, worry absorption through it, and, have been it simply attainable, may extinguish its cool, unchanging rays. yet there's in it for Michel an said ethical caliber, although a lot it seeks to restrain his said licentiousness, whereas Rupert particularly unearths there just a ruthlessness of blind aggrandize­ ment that profoundly intimidates his justly precious freedom. Lawrence, then, doesn't look, like Gide, to have greater than a unmarried constellation of values in ladies in Love. within the experience during which i've been talking of Gide’s kingdom of debate, Lawrence turns out to not have long gone past monologue. And, missing the self-distrust that Gide so constantly evidences, Lawrence doesn't right here embrace something like a sad imaginative and prescient. no longer, i assume, that he ever intended to or that the radical unavoidably suffers for no longer having it. yet to work out, for all its similarities to Gide’s paintings, that it comes to not have this imaginative and prescient should still for our pur­ poses be instructive, even though it can be inappropriate to the unconventional or to any judgment of it that should continue from nonetheless in­ whole an research. The clutch of nothingness lurks, prepared for the ultimate seizure, approximately the entire characters in ladies in Love, Rupert and Ursula in addition to Gerald and Gudrun.

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