04887oam 22007574c 450 991096178580332120200115203623.097814411482611441148264978147421158114742115859781441121370144112137410.5040/9781474211581(CKB)3230000000213839(StDuBDS)AH25702550(MiAaPQ)EBC1748423(Au-PeEL)EBL1748423(CaPaEBR)ebr10866875(CaONFJC)MIL615666(OCoLC)893331169(OCoLC)1138648144(UtOrBLW)bpp09257460(UtOrBLW)BP9781474211581BC(Perlego)1978311(EXLCZ)99323000000021383920110727d2012 uy 0engur|||||||||||rdacontentrdamediardacarrierVictorian parables Susan E. Colón1st ed.London New York Continuum International Pub. Group 2012.1 online resource (xiii, 158 p.)Continuum new directions in religion and literatureFormerly CIP.Uk9780826443489 0826443486 9781441146502 1441146504 Includes bibliographical references (pages [139]-152) and indexPreface \ 1. Parable as Literature, Literature as Parable \ 2. The Extraordinary in the Ordinary: Parable and Realism \ 3. "The Parable of Actual Life": Charlotte Yonge's The Heir of Redclyffe \ 4. Prodigal Sons in the Fiction of Margaret Oliphant \ 5. "The Agent of a Superior": Stewardship Parables in Our Mutual Friend \ Afterword \ Notes\ Bibliography \ Index"The familiar stories of the good Samaritan, the Prodigal Son, and Lazarus and the Rich Man were part of the cultural currency in the nineteenth century, and Victorian authors drew upon the figures and plots of biblical parables for a variety of authoritative, interpretive, and subversive effects. However, scholars of parables in literature have often overlooked the 19th-century novel, assuming that realism--the fiction of the probable and the commonplace--bears no relation to the subversive, iconoclastic genre of parable. But the Victorian literary engagement with the parable genre was not merely a matter of the useful or telling allusion. Susan E. Colón shows that authors such as Charles Dickens, Margaret Oliphant, and Charlotte Yonge appreciated the power of parables to deliver an ethical charge that was as unexpected as it was disruptive to conventional moral complacency. Against the common assumption that the genres of realism and parable are polar opposites, this study explores how Victorian novels, despite their length, verisimilitude, and multi-plot complexity, can become parables in ways that imitate, interpret, and challenge their biblical sources."--Provided by publisherThe familiar stories of the good Samaritan, the prodigal son, and Lazarus and the rich man were part of the cultural currency in the nineteenth century, and Victorian authors drew upon the figures and plots of biblical parables for a variety of authoritative, interpretive, and subversive effects. However, scholars of parables in literature have often overlooked the 19th-century novel, assuming that realism bears no relation to the subversive, iconoclastic genre of parable. In this book Susan E. Colòn shows that authors such as Charles Dickens, Margaret Oliphant, and Charlotte Yonge appreciated the power of parables to deliver an ethical charge that was as unexpected as it was disruptive to conventional moral ideas. Against the common assumption that the genres of realism and parable are polar opposites, this study explores how Victorian novels, despite their length, verisimilitude, and multi-plot complexity, can become parables in ways that imitate, interpret, and challenge their biblical sources. New directions in religion and literature.English fiction19th centuryHistory and criticismLiterary studies: c 1800 to c 1900Parables in literatureChristianity and literatureEnglandHistory19th centuryChristianity in literatureEnglish fictionHistory and criticism.Parables in literature.Christianity and literatureHistoryChristianity in literature.823/.809REL013000LIT000000bisacshColón Susan E.942630UtOrBLWUtOrBLWUkLoBPBOOK9910961785803321Victorian parables4337571UNINA