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Christian Victorian Literature

Christian Victorian Literature

Category Archives: For the Student of Literature

Is the Novel Inherently Protestant?

06 Wednesday May 2015

Posted by ChristianVictorianLiterature in For the Student of Literature, Misc.

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Elizabeth Gaskell, novel, Protestant Reformation, Protestantism, Robinson Crusoe

What good will it be for someone to gain the whole world, yet forfeit their soul? Or what can anyone give in exchange for their soul? – Matthew 16:26

Joseph Bottum argues in his article “The Novel as Protestant Art” in Books & Culture: A Christian Review that the novel is and has always been an art form that is quintessentially Protestant. The genre of the novel never existed before the Protestant Reformation because prior to it, Christian salvation, according to Bottum, had never been understood as an individual responsibility. Instead, the church – its teachings, sacraments, indulgences and penances – acted as the agent of salvation. Only after the Five Solas of the Reformation (by scripture alone, by faith alone, by grace alone, in Christ alone, and glory to God alone) could a writer pen a character’s conversion to Christ on an island all alone solely by reading the Bible, thus fulfilling all of the Five Solas. This scene occurred in what many consider to be the first English novel, Robinson Crusoe:

[When] we reach the central moment of the novel, Robinson Crusoe finally reads the Bible he has brought from the wrecked ship, and – without a church community or a teacher to aid him, sheerly from the power of the divine text itself on an individual conscience – he writes, “I threw down the Book, and with my Heart as well as my Hands lifted up to Heaven, in a kind of Extasy of Joy, I cry’d aloud, Jesus, thou Son of David, Jesus, thou exalted Prince and Saviour, give me Repentance!”

Like no other art form, the novel presents the greatest in-depth study of the psyche and the consciousness – in other words, the soul – ever. No previous genre delved so deeply into such self-awareness or focused so entirely on the soul on its journey of salvation. Unified narrative elements, such as plot, character and theme achieve this. And the novel as a genre reaches its height of unified soul-searching in the Victorian Era. Consider Elizabeth Gaskell’s Mary Barton, a social problem novel that values individual reformation – a change of heart – above economic and political reform. Such an approach defines her book as inescapably Protesant. Bottum comments:

However powerfully our society controls us, it is an epiphenomenon created by the metaphysical drama of the soul. However completely our culture shapes us, it is, on the cosmic scale, only the prismatic spray tossed up by individuals acting out their individual salvation plays. Where, except in the reformation of many separate selves, could we find a solid basis for change in their society and culture?…. Only the soul has true metaphysical weight and consequence, and the novel is the story of a soul’s journey.

Novels imply the existence of an all-powerful Creator-God guiding the destinies of the characters in his stories. And the destination of every true soul-searcher is God-likeness – sanctification. The heroine learns lessons, swallows her pride (or prejudice), comes out the other end wiser, older, maturer, a better person – more sanctified. None of this would be possible without an ordered, meaningful universe where individual lives themselves contain meaning, just waiting to be discovered. Bottum says, “The journey of the self is the deepest, truest thing in the universe, and the individual soul’s salvation is the great metaphysical drama played out on the world’s stage.”

In university, I was devastated to hear the novel (Pride and Prejudice given as an the penultimate example) more or less written off as a symbol of the bourgeoisie, functioning to reinforce class division. So I am somewhat pleased to read Bottum’s take; I agree that considering the religious beliefs of a writer should come before whatever social analysis (Marxist, feminist, postcolonialist, etc) but are often never given the time of day because Marxism etc. hold religion to be merely a function of class. However, Bottum is Catholic, and I get the sense that his article is critical of the novel’s Protestant stranglehold. He says he wishes he could go back and “start over, pretending the march of modernity and the parallel histories of the novel and the self hadn’t happened.” What do you think? Do you perceive the novel as the journey of the soul? Leave your thoughts below.

 

 

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Introducing “The Discerning Christian Reader: Christian Perspectives on Literature and Theory” Ed. by Barratt, Pooley and Ryken

08 Wednesday Jan 2014

Posted by ChristianVictorianLiterature in For the Student of Literature

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the discerning christian reader christian literary criticism

“If the world is charged with God’s glory, the poet and critic alike are called to recognize it, celebrate it, and interpret it.”

The Discerning Christian Reader: Christian Perspectives on Literature and Theory presents a collection of academic essays on exactly what the title describes, literature and the theories concerning literature that absorb the university today. The authors are almost all professors of English literature at various universities across the United States and England and pool together their diverse expertises in theory, genre and eras to offer a wide-ranging overview of literary criticism from a Christian perspective. From Romanticism to Marxism and Shakespeare to Margaret Atwood, every reader should be able to find something of interest in here.

The book also touches upon the value of literature for Christians and its role in a fallen world. One of my favourite takeaways from the book is U. Milo Kaufmann’s observation in his article Milton’s Paradise Lost that the loss of paradise is a central preoccupation of western literature. The book also offers frameworks through which Christians can understand not only literature but theory. Donald G. Marshall boldly claims that “the social order implicit in every genuine community of interpretation finds its adequate model only in the Christian understanding of the church.”

Although the essays have been grouped into sections, they can stand alone and be read in any order. I personally read the essays at various times over a couple of years, reading David Barratt’s “Time for Hardy: Jude and the Obscuring of Scripture” upon finishing Thomas Hardy’s Jude the Obscure, for example. The book ends with extensive recommendations for further reading.

Published in 1995 by Inter-Varsity Press, this book’s interpretative work on literature from a Christian standpoint is anything but out-of-date. The Discerning Christian Reader is a good place to start for the Christian student of literature seeking literary criticism from a Biblical lens.

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