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It is mortal because it is not godlike: it is incapable <strong>of</strong> solving the problem. Thisactual weakness <strong>of</strong> apparent strength is a significant theme in the drama. Manfredrecalls having visited the placewhere the Caesars dwelt,And dwell the tuneless birds <strong>of</strong> night; amidstA grove which springs through levell’d battlements,And twines its roots with the Imperial hearths (3.4.22-25).<strong>The</strong> apparently world-conquering power <strong>of</strong> the Caesars could not preserve their ownhearths against time or even against their own human enemies. <strong>The</strong> battle is not to thestrong. Even the power <strong>of</strong> the spirits who have dominion over the world is sometimesunavailing: they cannot bring peace to one mortal (1.1.147), nor force him to kneel(2.4.35-6), and the greatest <strong>of</strong> them cannot make Astarte utter a word (2.4.114). It is,<strong>of</strong> course, the tension caused by unachieved desire which drives most narrative, andthat is the case even here, in a drama <strong>of</strong> magic and supernatural beings: it is theweakness, the mortality, which creates the interest.Nonetheless, those who are apparently godlike, the various spirits, emphasize theirdifference from humanity by questioning Manfred’s claim that he is like them(1.1.161-1), and by calling him “Child <strong>of</strong> Clay” (1.1.131,133), “son <strong>of</strong> mortals”(1.1.135), “Child <strong>of</strong> Earth” (2.4.35), and “Son <strong>of</strong> Earth” (2.2.32). Manfred uses thislast title for himself, when talking to the Witch <strong>of</strong> the Alps (2.2.28-9). <strong>The</strong>se titles arereminiscent <strong>of</strong> two Biblical references: the first is the creation <strong>of</strong> Adam from the soil(or “the dust <strong>of</strong> the ground” in the KJV) in Genesis 2:7; the second, and perhaps moreimportant, is the repeated usage in the Bible <strong>of</strong> ‘son <strong>of</strong> man’ as an identifier <strong>of</strong> amortal, a descendant <strong>of</strong> Adam and Eve, as it is used for Jesus <strong>of</strong> Nazareth. Thisreiteration reinforces the humanity <strong>of</strong> the hero.Often, however, Manfred attempts to deny that humanity. In his conversation withthe Witch <strong>of</strong> the Alps, Manfred refers to other mortals as “creatures <strong>of</strong> clay” (2.2.58),and says that, when he met them, “I felt myself degraded back to them, /And was all260

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