User:Erhernandez/sandbox: Difference between revisions

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<blockquote>The quest involves a departure of the hero from his common-day world to seek the power of the gods in the underworld, the eternal kingdom of death and dreams from which all men emerge; his motive is provided by the threat of some natural or human calamity which will overtake his people unless the power of the gods can be borrowed or the gods themselves be recon-</blockquote>{{pg|348|349}}

<blockquote>ciled with the people. The quest is also an initiation into a higher level of existence. . . .{{sfn|Slotkin|~~1972~~|p=10}}</blockquote>

<blockquote>ciled with the people. The quest is also an initiation into a higher level of existence. . . .{{sfn|Slotkin|1973|p=10}}</blockquote>

In his definition Slotkin provides four characteristics for the heroic quest: the escape from everyday life, the threat in life that is the source for the action, the subsequent confrontation with the gods of the underworld, and the resultant higher level of existence. In addition to the three basic elements for myth, these four characteristics for the heroic quest are apparent in ''Dream''.

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with the characteristics of his adversary. On a tertiary level, an act of violence functions as a purifying act. This cleansing ability of violence enables the Hipster to lessen tensions from the past, coming to terms with the traumas in his previous life. The context of the act of “swinging” determines the outcome of the con-

flict. Because men are viewed as “a collection of possibilities,” the context is

predominant in stimulating the different possibilities present in men. Moreover,

“success or failure of an action in a given context reacts upon the character

and therefore affects what the character will be in the next context”.{{sfn|Mailer|1959|p=353-354}} Therefore, not only conflict, but also the success in a conflict, is extremely important for the positive evolution of the character of the Hipster.

The nature of violence, as it is outlined in the philosophy of the Hipsters,

echoes one of the underlying characteristics of American mythology. Slotkin

notices that “the myth of Regeneration became the structuring metaphor of

the American experience”.{{sfn|Slotkin|1973|p=5}} In ''Dream'', this thesis of “Regeneration” is further elaborated. Mailer put the theory of violence developed in “White Negro” into practice through the actions of the novel’s protagonist. Barry H. Leeds and Laura Adams have assigned a great deal of importance to the moments of violence in their studies of the novel, and indeed the plot of the novel centers on the momentum of inevitable violence. These conflicts push the action of the novel forward and at the same time function as pivotal moments in the emergence of Rojack as a hero in the legacy of “White Negro.” Parallel with the outbursts of violence described in the novel, Mailer assigns other characteristics of Hip to his protagonist, completely in line with the Hip-notion of “to swing.” Moreover, the contexts in which the conflicts take place are in all cases illustrative of the character of the respective adversaries and stimulate Rojack in unearthing his necessary talents. In this respect, the context emphasizes the importance of the conflict.

The first conflict in the novel is Deborah Kelly’s murder. Rojack strangles

his wife in an act of brutal and barbaric ferocity. In the act of killing Deborah, Rojack discovers his ability to “swing.” In line with the Hip-philosophy, it is the body—“the paradise of limitless energy”—that guides Rojack safely to “victory.” It seems that Rojack’s body has taken over: “I had meant . . . to make it no more than a slap, but my body was speaking faster than my brain”.{{sfn|Mailer|1965|p=30}} Rojack is at the height of his powers at the moment of violence. The powers needed to thrive in a conflict are derived from the fact that by murdering Deborah, Rojack is able to lessen the tensions generated by his depressing marriage to the wealthy and dominant Deborah Kelly.

Corresponding to the Hip meaning of “to swing,” Rojack is able to encapsulate

Deborah’s energy and power: “For ten or twenty seconds she strained in balance, and then her strength began to pass, it passed over tome, and I felt my arm tightening about her neck”.{{sfn|Mailer|1965|p=31}} These forces, derived from

the character of his wife, will prove to be necessary for Rojack to combat the

following enemies on his perilous journey. Murdering Deborah enables Rojack

to cast his cowardice aside and unearth a courage he never expected to

possess. For the first time, Rojack cracks the mold he has been fitted in and

starts leaving his depressing life behind, determined to cast aside the high society life.

Murdering Deborah is only the onset for his journey into the dark abyss

of American society. However, in the act of murder, Rojack caught a glimpse

of how life could be. In the novel this image of Rojack’s new life is presented

by the use of the metaphor of a jewelled city: “I had the mental image I was

pushing with my shoulder against an enormous door which would give inch

by inch to the effort. . . . But I had had a vision of what was on the other side of the door, and heaven was there, some quiver of jewelled cities shining in the glow of a tropical dusk”.{{sfn|Mailer|1965|p=31}}

Enforced by the “inner certainty that his rebellion is just”{{sfn|Mailer|1959|p=343}}, Rojack decides to continue his perilous odyssey, determined to reach this “jewelled city.”

In the next ascending stage of the journey, Rojack engages in combat with

the former prizefighter, Romeo. In a dark and gloomy nightclub they dispute

over the favor of the beautiful blond singer Cherry. When Rojack tries to

come close to Cherry in order to start a conversation, Romeo and Tony, both

small time crooks in the New York underworld, start bullying him around.

In normal circumstances, Rojack wouldn’t try to take on a “tough guy,” but

strengthened by the courage he discovered in murdering Deborah and motivated

by the fierce desire he feels for Cherry, Rojack prepares to “swing.”

Rojack senses “the implicit rhythms” of his adversary Romeo and mirrors

his opponent’s behavior in order to gain Cherry’s favour. Rojack outclasses

his adversary in wit and masculinity and is therefore able to scoop Cherry away. The prime motivation for Rojack’s actions is found in his longing

for Cherry: “It was the glitter of light in Cherry’s eyes, bright and prideful.

That fed the anger to stare back into Romeo’s eyes”.{{sfn|Mailer|1965|p=106}} Rojack’s sexual motivation to seek danger is an illustration of yet another important quality of Hip apparent in this confrontation. In the life view of the Hipster, competition for (sexual) pleasure plays an important role. This results from the major significance Mailer attributed to sex. In his opinion “good sex” has the power to refresh a human being, while bad sex cripples and destructs men’s personality. Rojack, however, is on the right track. When

@@ Line 45: / Line 45: @@
 <blockquote>The quest involves a departure of the hero from his common-day world to seek the power of the gods in the underworld, the eternal kingdom of death and dreams from which all men emerge; his motive is provided by the threat of some natural or human calamity which will overtake his people unless the power of the gods can be borrowed or the gods themselves be recon-</blockquote>{{pg|348|349}}
-<blockquote>ciled with the people. The quest is also an initiation into a higher level of existence. . . .{{sfn|Slotkin|1972|p=10}}</blockquote>
+<blockquote>ciled with the people. The quest is also an initiation into a higher level of existence. . . .{{sfn|Slotkin|1973|p=10}}</blockquote>
 In his definition Slotkin provides four characteristics for the heroic quest: the escape from everyday life, the threat in life that is the source for the action, the subsequent confrontation with the gods of the underworld, and the resultant higher level of existence. In addition to the three basic elements for myth, these four characteristics for the heroic quest are apparent in ''Dream''.
@@ Line 129: / Line 129: @@
 with the characteristics of his adversary. On a tertiary level, an act of violence functions as a purifying act. This cleansing ability of violence enables the Hipster to lessen tensions from the past, coming to terms with the traumas in his previous life. The context of the act of “swinging” determines the outcome of the con-
 {{pg|352|353}}
+flict. Because men are viewed as “a collection of possibilities,” the context is
+predominant in stimulating the different possibilities present in men. Moreover,
+“success or failure of an action in a given context reacts upon the character
+and therefore affects what the character will be in the next context”.{{sfn|Mailer|1959|p=353-354}} Therefore, not only conflict, but also the success in a conflict, is extremely important for the positive evolution of the character of the Hipster.
+The nature of violence, as it is outlined in the philosophy of the Hipsters,
+echoes one of the underlying characteristics of American mythology. Slotkin
+notices that “the myth of Regeneration became the structuring metaphor of
+the American experience”.{{sfn|Slotkin|1973|p=5}} In ''Dream'', this thesis of “Regeneration” is further elaborated. Mailer put the theory of violence developed in “White Negro” into practice through the actions of the novel’s protagonist. Barry H. Leeds and Laura Adams have assigned a great deal of importance to the moments of violence in their studies of the novel, and indeed the plot of the novel centers on the momentum of inevitable violence. These conflicts push the action of the novel forward and at the same time function as pivotal moments in the emergence of Rojack as a hero in the legacy of “White Negro.” Parallel with the outbursts of violence described in the novel, Mailer assigns other characteristics of Hip to his protagonist, completely in line with the Hip-notion of “to swing.” Moreover, the contexts in which the conflicts take place are in all cases illustrative of the character of the respective adversaries and stimulate Rojack in unearthing his necessary talents. In this respect, the context emphasizes the importance of the conflict.
+The first conflict in the novel is Deborah Kelly’s murder. Rojack strangles
+his wife in an act of brutal and barbaric ferocity. In the act of killing Deborah, Rojack discovers his ability to “swing.” In line with the Hip-philosophy, it is the body—“the paradise of limitless energy”—that guides Rojack safely to “victory.” It seems that Rojack’s body has taken over: “I had meant . . . to make it no more than a slap, but my body was speaking faster than my brain”.{{sfn|Mailer|1965|p=30}} Rojack is at the height of his powers at the moment of violence. The powers needed to thrive in a conflict are derived from the fact that by murdering Deborah, Rojack is able to lessen the tensions generated by his depressing marriage to the wealthy and dominant Deborah Kelly.
+Corresponding to the Hip meaning of “to swing,” Rojack is able to encapsulate
+Deborah’s energy and power: “For ten or twenty seconds she strained in balance, and then her strength began to pass, it passed over tome, and I felt my arm tightening about her neck”.{{sfn|Mailer|1965|p=31}} These forces, derived from
+{{pg|353|354}}
+the character of his wife, will prove to be necessary for Rojack to combat the
+following enemies on his perilous journey. Murdering Deborah enables Rojack
+to cast his cowardice aside and unearth a courage he never expected to
+possess. For the first time, Rojack cracks the mold he has been fitted in and
+starts leaving his depressing life behind, determined to cast aside the high society life.
+Murdering Deborah is only the onset for his journey into the dark abyss
+of American society. However, in the act of murder, Rojack caught a glimpse
+of how life could be. In the novel this image of Rojack’s new life is presented
+by the use of the metaphor of a jewelled city: “I had the mental image I was
+pushing with my shoulder against an enormous door which would give inch
+by inch to the effort. . . . But I had had a vision of what was on the other side of the door, and heaven was there, some quiver of jewelled cities shining in the glow of a tropical dusk”.{{sfn|Mailer|1965|p=31}}
+Enforced by the “inner certainty that his rebellion is just”{{sfn|Mailer|1959|p=343}}, Rojack decides to continue his perilous odyssey, determined to reach this “jewelled city.”
+In the next ascending stage of the journey, Rojack engages in combat with
+the former prizefighter, Romeo. In a dark and gloomy nightclub they dispute
+over the favor of the beautiful blond singer Cherry. When Rojack tries to
+come close to Cherry in order to start a conversation, Romeo and Tony, both
+small time crooks in the New York underworld, start bullying him around.
+In normal circumstances, Rojack wouldn’t try to take on a “tough guy,” but
+strengthened by the courage he discovered in murdering Deborah and motivated
+by the fierce desire he feels for Cherry, Rojack prepares to “swing.”
+Rojack senses “the implicit rhythms” of his adversary Romeo and mirrors
+his opponent’s behavior in order to gain Cherry’s favour. Rojack outclasses
+his adversary in wit and masculinity and is therefore able to scoop Cherry away. The prime motivation for Rojack’s actions is found in his longing
+for Cherry: “It was the glitter of light in Cherry’s eyes, bright and prideful.
+That fed the anger to stare back into Romeo’s eyes”.{{sfn|Mailer|1965|p=106}} Rojack’s sexual motivation to seek danger is an illustration of yet another important quality of Hip apparent in this confrontation. In the life view of the Hipster, competition for (sexual) pleasure plays an important role. This results from the major significance Mailer attributed to sex. In his opinion “good sex” has the power to refresh a human being, while bad sex cripples and destructs men’s personality. Rojack, however, is on the right track. When
+{{pg|354|355}}