Abstract
Greene, it has often been remarked, reveals a more tender concern for his sinners than for his saints, for those contravening the doctrines of the church than for those faithful to its tenets. It has been charged that he had, as an advocate of Catholicism, become restless and subversive, lapsing into theological unorthodoxy as his allegiance to the church weakened. The ‘pious’ in his novels — a woman with no more to confess than the abbreviation of her prayers one evening, or proud of her arrest for having possessed a religious painting — do indeed emerge as anathema to his protagonists, who are generally appalled at the frequent concern of the devout with trivia instead of the cultivation of charity and love. As the priest remarked: ‘it sometimes seemed to him that venial sins — impatience, an unimportant lie, pride, a neglected opportunity — cut you off from grace more completely than the worst sins of all.’1 Conversely, those characters who have offended against the church and are aware of some grave misdemeanour weighing upon their conscience arouse the author’s sympathy, even his admiration, with the implication that it is only after one has transgressed and repented that true faith can be achieved — a principle of which the church could scarcely approve since it implied an encouragement to sin. Frank Kermode put the case in its strongest form, applying to Greene the wry comment offered by Blake, that Milton was ‘of the devil’s party without knowing it’.
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Notes
The opposing views of reviewer and editor are discussed in Helen Gardner, Religion and Literature (London: Faber & Faber, 1971), pp. 121f.
In a letter Greene wrote to Elizabeth Bowen, printed in E. Bowen, Graham Greene and V.S. Pritchett eds, Why Do I Write? (London: P. Marshall, 1948), p. 32.
Michael W. Higgins, ‘Greene’s Priest’ in Peter E. Wolfe ed., Essays in Graham Greene: an annual review 3, and Terry Eagleton, Exiles & Emigrés: studies in modern literature (New York: Shocken, 1970), p. 109.
Raymond Chapman, ‘The Vision of Graham Greene’ in Nathan A. Scott ed., Forms of Extremity in the Modern Novel (Richmond, CA: John Knox Press, 1965), pp. 92–3
Cates Baldridge, Graham Greene’s Fictions: the virtues of extremity (Columbia: University of Missouri Press, 2000), p. 68.
Martin Buber, The Eclipse of God, trans. Maurice Friedman (Harper: New York, 1957), p. 129.
James Noxon, ‘Kierkegaard’s Stages and A Burnt-Out Case’ in the Review of English Literature 3 (1962), p. 90.
Heinz Antor, ‘Graham Greene as a Catholic Novelist’ in P. Erlebach and T.M. Stein eds, Graham Greene in Perspective (Frankfurt-on-Main: Peter Lang, 1991), p. 91.
Helen Gardner ed., The Divine Poems of John Donne (Oxford: Clarendon Press, 1978), p. 9.
Wayne C. Booth, The Rhetoric of Fiction (Chicago: University of Chicago Press, 1967), p. 361
W.B. Stein, ‘The Aspen Papers; a comedy of masks’, in Nineteenth Century Fiction 13 (1958), p. 199
Anthony Trollope, The Duke’s Children (Oxford: Oxford University Press, 1977), pp. 470–1.
Evelyn Waugh, ‘Felix Culpa’, first published in The Tablet in 1948 and reprinted in Samuel Hynes ed., Graham Greene: a collection of critical essays (Englewood Cliffs, NJ: Prentice Hall, 1773), p. 95.
F.N. Lees, ‘Graham Greene: a comment,’ Scrutiny 19 (1952–53), 36
Karen M. Radell, Affirmation in a Moral Wasteland: a comparison of Ford Madox Ford and Graham Greene (New York: Peter Lang, 1987).
J.C Whitehouse, Vertical Man: the human being in the Catholic novels of Graham Greene, Sigrid Undset, and Georges Bernanos (New York: Garland, 1990), p. 51
Gabriel Marcel, Être et Avoir trans. Katherine Farrar (New York: Harper, 1955), pp. 196–7.
Waugh, ‘Felix Culpa’ and Canon Joseph Cartmell, ‘A Postscript to Evelyn Waugh’ published in Commonweal 48 (16 July 1948), pp. 325–6
Cf. Alan Grob, ‘The Power and the Glory: Graham Greene’s Argument from Design’ in Criticism 11 (1969), p. 1.
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© 2006 Murray Roston
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Roston, M. (2006). The Heart of the Matter. In: Graham Greene’s Narrative Strategies. Palgrave Macmillan, London. https://doi.org/10.1057/9780230287082_3
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