236Indexplot of, 32stories of old times in, 29, 30, 33, 38structural faults in, 27superstitions and, 35tone change in, 36undersea adventure in, 35, 37unity in, 27, 28Waldere tale and, 29, 31Bethea, Dean, 226, 230biblical/religious references, 2, 75, 77, 79Catholicism/Protestantism, 120–121,171–172, 177Christmas and, 226, 227, 228, 229in Don Quixote, 62Hebrew Bible and, 64Lord of the Rings and, 113, 119, 120–121in Moby-Dick, 146Bildungsroman, 87Blake, Kathleen, 11–24Bloom, Allan, 100–101Bloom, Harold, xiii–xiv, 131Blue Belt (tale), 34Boissier, M., 6Bolt, Robert, 123–130Bone, Robert, 75–84Booth, Alison, 132, 138Brewer, D.S., 96Bridge, The (Dickinson), xiv“Broken Tower, The” (Crane), xivBrontë, Charlotte, 40, 85–94pseudonym of, 89Brower, Reuben A., 185Browning, Robert, xiiiBuckley, Jerome, 87Burney, Fanny, 183, 185, 186, 190, 192Lord Orville caricature of, 187, 188Burney-Richardson hero, 185, 186, 187, 191Byron, Lord George Gordon, xiiiCCampbell, Joseph, 123–124, 126, 207–208, 210Camus, Albert, 123, 127–128Cane (Toomer), 76Cantos, The (Pound), 158Carroll, Lewis, 11–24Castle East o’ the Sun and West o’ the Moon (fairytale), 34Cervantes, Miguel de, 51–62biography, 53–54death of, 52, 53innocent plays and, 28Childe Roland to the Dark Tower Came(Browning), xiiiCicero, 7–8Cid, the (El Cid), 158Cinna (poet), 102Classic Line: A Study in Epic Poetry, 157–166Collier, Richard J., 196Conal Gulban (story), 35Cook, Albert, 157–166Cornelius, Michael G., 195–205Crane, Hart, xivDDante Alighieri, 96, 158“David Copperfield and the Emergence of theHomeless Hero” (Herst), 39–49David Copperfield (Dickens), 87adulthood theme in, 42Agnes and, 46–48central figure/situation and, 42character of, 42degradation and, 43–44Dora and, 45, 46early book titles and, 41–42‘happy ending’ and, 47, 48, 49heroism and, 40, 44–45, 47, 48<strong>home</strong> theme and, 41, 46–47Micawber and, 44Murdstone, Grinby and, 43, 49narratives, 46–47, 48orphanhood theme, 41, 47–48poetic justice and, 47retrospective narration and, 48–49selfhood and, 41, 42, 43, 46, 48Steerforth and, 42–43, 44, 45Tommy Traddles and, 44–45Uriah Heep and, 42, 43, 44De La Vars, Lauren P., 215–223Death of Beowulf, 28, 37Deresiewicz, William, 133Dickens, Charles, 39–49, 87, 132, 172–173‘Dickens hero,’ 40Dickens Hero: Selfhood and Alienation in theDickens World, The, 39–49Dickinson, Emily, xiiiDivine Comedy, The (Dante), 96Dombey and Son (Dickens), 41Don Quixote (Cervantes), 51–62, 167bachelor Sampson and, 56, 61chivalric code and, 51, 54, 58creation of reality in, 168
Index 237Duke, Duchess and, 58, 60failure and, 55, 56heroism and, 57honesty/candor in, 56illusions of, 52, 53, 58imagination and, 60irony in, 55, 58knight-errant theme, 52, 53, 54, 56, 57language and, 60, 168moods in, 61narratives, 56–57, 60–61religious kernel and, 62romances and, 54Sancho Panza in, 52, 54, 58, 59, 60, 61, 62dragon/monster slayingin Beowulf, 32, 33–34in Lord of the Rings, 112Waldere tale and, 31EEliot, George, 87, 131–139, 170Harold Bloom on, 131real name of, 131Ellison, Ralph, 76Empson, William, 23English Novel: Form and Function (VanGhent), 167–181Epic of Gilgamesh, The, 63–74afterlife/underworld and, 66Babylonian versions of, 64, 65, 66, 69, 72–73BCE origin of, 64biblical references, 64, 67, 69, 71Bull of Heaven in, 67, 70, 71Enkidu in, 63, 65, 66, 67–68, 68–71fame and, 66–67goddess Ishtar in, 67, 68, 70heroism and, 63, 66, 67–68, 73Humbaba in, 66, 68, 70, 71immortality and, 71–72modern translations of, 65mortality/immortality and, 71, 72, 73motivation in, 65–66narratives, 65–66, 68, 69, 70, 71, 72–73polytheistic culture and, 67sun/sky gods in, 67Uruk and, 64, 65, 66, 67, 68Utnapishtim in, 67, 71–72world’s oldest known story, 64epic traditionepic hero, 163, 167, 196epic poems, 26, 158, 166epic stories, 27strength of, 32, 37two kinds of epic, 63–64Euripides, 2Evelina (Burney), 188–189Everett, Dorothy, 197, 200, 201Ffeminist beliefs, 137Fielding, Henry, 170, 171Fire Next Time, The (Baldwin), 76Forbes, Cheryl, 228–229Forster, E.M., 41–42Frye, Northrop, 135GGarrett, Peter K., 132–133Gil Bas, 40Gilmour, Robin, 48Girard, M., 6Glover, T.R., 1–10Go Tell It on the Mountain (Baldwin), 75–84biblical references, 79, 80, 81biographical foundations in, 77blackness, evil and, 80, 81Harlem ghetto and, 76, 77identity and, 82John Grimes in, 75, 77, 79, 80, 81, 82language in, 76metaphorical possibilities in, 79moral evasion in, 80–81narratives, 80, 81Negro Church and, 77, 81race relations in America and, 79, 32rejection and shame in, 79–80, 81self-hatred and, 80, 81sexual/racial freedom and, 77Great Decade of poetry, xiiiGreat Expectations (Dickens), 87Greek tragedy, 135Green, Richard Hamilton, 197, 201Grettis Saga, 36Gudmund, Aroson (Bishop of Holar), 34Gulag Archipelago (Solzhenitsyn), 99HHamlet, xiiiHamm, Jean Shepherd, 225–232“Harlem Renaissance” movement, 75
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Bloom's Literary ThemesfAlienationD
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Bloom’s Literary Themes: The Hero
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viContentsGo Tell It on the Mountai
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, Series Introduction by Harold Blo
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Series Introduction by Harold Bloom
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xivVolume Introduction by Harold Bl
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VirgilT.R. Glover argues that what
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VirgilBut perhaps the most incongru
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Virgilindividual may accept it with
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VirgilHorace. 23 Probably Virgil sh
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10Virgil(A. i. 488). It will hardly
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Alice's Adventures in Wonderland 13
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Alice's Adventures in Wonderland 15
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Alice's Adventures in Wonderland 17
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Alice's Adventures in Wonderland 19
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Alice's Adventures in Wonderland 21
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Alice's Adventures in Wonderland 23
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Beowulf,.“Beowulf ”by W. P. Ker
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Beowulf 27nothing beyond it, in tha
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Beowulf 29the practice of Beowulf i
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Beowulf 31important subject-matter;
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Beowulf 33that the main story is re
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Beowulf 35is matter of history that
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Beowulf 37The character and persona
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David Copperf ield(Charles Dickens)
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David Copperfield 41another version
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David Copperfield 43with abilities
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David Copperfield 45‘dearest girl
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David Copperfield 47She would marry
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David Copperfield 49‘domestic joy
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52Miguel de Cervantesromances of ch
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54Miguel de Cervantessaying, ‘it
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56Miguel de CervantesA wonderful th
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58Miguel de Cervantesdanger of bein
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60Miguel de Cervantesof those who c
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62Miguel de CervantesSome of them,
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64The Epic of Gilgameshtraditional
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66The Epic of Gilgameshuntil I kill
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68The Epic of GilgameshHumbaba. Rem
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70The Epic of Gilgamesh“Match”
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72The Epic of Gilgameshhis immortal
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74The Epic of GilgameshMason, Herbe
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76James BaldwinThe best of Baldwin
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78James Baldwingeneration, born rou
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80James BaldwinThe Negro child, rej
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82James Baldwincould only come from
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Jane Eyre(Charlotte Brontë),.“Ja
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Jane Eyre 87Jane Eyre is a Bildungs
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Jane Eyre 89narrow-minded in their
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Jane Eyre 91tant pattern that will
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Jane Eyre 93ends, they have been ma
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Julius Caesar(William Shakespeare),
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Julius Caesar 97a loyal Roman who d
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Julius Caesar 99Brutus now orders h
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Julius Caesar 101the relationship b
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Julius Caesar 103Like Sophocles’s
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Julius Caesar 105tion in purely aes
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108J.R.R. TolkienOne function of my
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110J.R.R. Tolkiena very uncomfortab
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112J.R.R. Tolkienits sheath, tighte
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114J.R.R. Tolkien“Thank goodness,
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116J.R.R. TolkienHowever, by the ti
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118J.R.R. Tolkienin which the defen
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120J.R.R. Tolkienelsewhere of “Go
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A Man for All Seasons(Robert Bolt),
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A Man for All Seasons 125and his co
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A Man for All Seasons 127he rises f
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A Man for All Seasons 129Like water
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Middlemarch(George Eliot),.“Middl
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Middlemarch 133imaginative concerns
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Middlemarch 135Ladislaw, he says:
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Middlemarch 137But what if Dorothea
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Middlemarch 139A new Theresa will h
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142Herman Melvilleentrust his deare
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144Herman Melvillecomes at last to
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146Herman Melvillehis defiance. “
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148Herman MelvilleI am cold myself
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150Herman Melvillesheer strength of
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152Herman Melville“If any of thos
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154Herman Melvillerestored. He is i
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The Odyssey(Homer),.“The Man of M
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The Odyssey 159Through all the “c
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The Odyssey 161sense men get exactl
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The Odyssey 163that Ithaca affords
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The Odyssey 165Ogygia is joyful for
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A Portrait of the Artistas a Young
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A Portrait of the Artist as a Young
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A Portrait of the Artist as a Young
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A Portrait of the Artist as a Young
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A Portrait of the Artist as a Young
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A Portrait of the Artist as a Young
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A Portrait of the Artist as a Young
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184Jane Austenthe novel, only to ju
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