![]() Working his way through a labyrinth of allusions towards this trailblazing conclusion, Mathews has to beware of over-imposing his Nietzschean insights to the imbalance of his interpretation. Contra previous interpretations of this scene offered by Carla Arnell and Rob Hardy which see this ‘as a movement of resolution and closure’ (142), Mathews contends that such readings go ‘against every lesson that the novel teaches about the contingency of the world in which Murdoch shows how the mythical scripts humanity once used to make sense of the world’s patterns are really seductive traps’ (142). The trajectory of this essay is from the stone on the shore of Lake Silvaplana which Nietzsche called ‘Zarathustra’s Rock’ to the rock to which Moy at the end of The Green Knight returns the stone she had taken. ![]() ![]() Augmenting previous readings foregrounding Levinas and Schopenhauer by Kanan Savkay and Miles Leeson respectively and drawing together multiple critical interpretations of Murdoch’s ‘dizzying multiplication of references’ (136) in this heavily intertextual late work, Mathews persuasively argues the case for the centrality of Nietzsche to its interpretation. ![]() Mathews focuses on Murdoch’s penultimate novel through the lens of Nietzsche’s concept of eternal retour. In this chapter, ‘The Scrambled Script’: Contingency and Necessity in Iris Murdoch’s The Green Knight’, Peter D. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |