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In "Though One Rose From the Dead," William Dean Howells masterfully navigates the nuanced terrain of human relationships and moral dilemmas, employing a realist style that emphasizes character development and social commentary. Set against the backdrop of American society in the late 19th century, Howells delves into themes of love, betrayal, and the supernatural, as a woman confronts her estranged husband after his unexpected return from the grave. The narrative intertwines elements of psychological introspection with the period's socio-political issues, reflecting Howells' commitment to portraying everyday life with authenticity. William Dean Howells, known as the "Dean of American Letters," was a significant literary figure whose works often explore the complexities of American identity and social issues. His own experiences as a literary critic, editor, and ambassador helped shape his understanding of human nature and societal norms. Living through a transformative era, Howells sought to illuminate the moral struggles faced by individuals, blending his personal insights with a broader cultural critique in this gripping tale of resurrection and redemption. I highly recommend "Though One Rose From the Dead" to readers interested in nuanced explorations of morality and human emotion, as well as those who appreciate American realism. Howells'Äô keen observations and evocative prose invite readers to reflect on the intricacies of life, making this work a timeless piece worthy of contemplation.
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You are very welcome to the Alderling incident, my dear Acton, if you think you can do anything with it, and I will give it as circumstantially as possible. The thing has its limitations, I should think, for the fictionists, chiefly in a sort of roundedness which leaves little play to the imagination. It seems to me that it would be more to your purpose if it were less pat in its catastrophe, but you are a better judge of all that than I am, and I will put the facts in your hands, and keep my own hands off, so far as any plastic use of the material is concerned.
The first I knew of the peculiar Alderling situation was shortly after William James's Will to Believe came out. I had been telling the Alderlings about it, for they had not seen it, and I noticed that from time to time they looked significantly at each other. When I had got through, he gave a little laugh, and she said, "Oh, you may laugh!" and then I made bold to ask, "What is it?"
"Marion can tell you," he said. He motioned towards the coffee-pot and asked, "More?" I shook my head, and he said, "Come out, and let us see what the maritime interests have been doing for us. Pipe or cigar?" I chose cigarettes, and he brought the box off the table, stopping on his way to the veranda, and taking his pipe and tobacco-pouch from the hall mantel.
Mrs. Alderling had got to the veranda before us, and done things to the chairs and cushions, and was leaning against one of the slender, fluted pine columns like some rich, blond caryatid just off duty, with the blue of her dress and the red of her hair showing deliciously against the background of white house-wall. He and she were an astonishing and satisfying contrast; in the midst of your amazement you felt the divine propriety of a woman like her wanting just such a wiry, smoky-complexioned, blackbrowed, black-bearded, bald-headed little man as he was.
Before he sat down where she was going to put him he stood stoopingly, and frowned at the waters of the cove lifting from the foot of the lawn that sloped to it before the house. "Three lumbermen, two goodish-sized yachts, a dozen sloop-rigged boats: not so bad. About the usual number that come loafing in to spend the night. You ought to see them when it threatens to breeze up. Then they're here in flocks. Go on, Marion."
He gave a soft groan of comfort as he settled in his chair and began pulling at his short black pipe, and she let her eyes dwell on him in a rapture that curiously interested me. People in love are rarely interesting--that is, flesh-and-blood people. Of course I know that lovers are the life of fiction, and that a story of any kind can scarcely hold the reader without them. Yet lovers in real life are, so far as I have observed them, bores. They are confessed to be disgusting before or after marriage when they let their fondness appear, but even when they try to hide it they are tiresome. Character goes down before passion in them; nature is reduced to propensity. Then, how is it that the novelist manages to keep these, and to give us nature and character while seeming to offer nothing but propensity and passion? Perhaps he does not give them. Perhaps what he does is to hypnotize us so that we each of us identify ourselves with the lovers, and add our own natures and characters to the single principle that animates them. But if we have them there before us in the tiresome reality they exclude us from their pleasure in each other and stop up the perspective of our happiness with their hulking personalities, bare of all the iridescence of potentiality which we could have cast about them. Something of this iridescence may cling to unmarried lovers, in spite of themselves, but wedded bliss is a sheer offense.
I do not know why it was not an offense in the case of the Alderlings unless it was because they both, in their different ways, saw the joke of the thing. At any rate, I found that in their charm for each other they had somehow not ceased to be amusing for me, and I waited confidently for the answer she would make to his whimsically abrupt bidding. But she did not answer very promptly even when he had added, "Wanhope, here, is scenting something psychological in the reason of my laughing at you."
Mrs. Alderling stood looking at him, not me, with a smile hovering about the corners of her mouth, which, when it decided not to alight anywhere, scarcely left her aspect graver for its flitting. She said at last in her slow, deep-throated voice, "I guess I will let you tell him."
"Oh, I'll tell him fast enough," said Alderling, nursing his knee, and bringing it well up toward his chin, between his clasped hands. "Marion has always had the notion that I should live again if I believed I should, and that as I don't believe I shall, I am not going to. The joke of it is," and he began to splutter laughter round the stem of his pipe, "she's as much of an agnostic as I am. She doesn't believe she is going to live again, either."
Mrs. Alderling said, "I don't care for it in my case."
That struck me as rather touching, but I had no right to enter uninvited into the intimacy of her meaning, and I said, looking as little at her as I need, "Aren't you both rather belated?"
"You mean that protoplasm has gone out?" he chuckled.
"Not exactly," I answered. "But you know that a great many things are allowed now that were once forbidden to the True Disbelievers."
"You mean that we may trust in the promises, as they used to be called, and still keep the Unfaith?"
"Something like that."
Alderling took his pipe out, apparently to give his whole face to the pleasure of teasing his wife. "That'll be a great comfort to Marion," he said, and he threw back his head and laughed.
She smiled faintly, vaguely, tolerantly, as if she enjoyed his pleasure in teasing her.
"Where have you been," I asked, "that you don't know the changed attitude in these matters?"
"Well, here for the last three years. We tried it the first winter after we came, and found it was not so bad, and we simply stayed on. But I haven't really looked into the question since I gave the conundrum up twenty years ago, on what was then the best authority. Marion doesn't complain. She knew what I was when she married me. She was another. We were neither of us very bigoted disbelievers. We should not have burned anybody at the stake for saying that we had souls."
Alderling put back his pipe and cackled round it, taking his knee between his hands again.
"You know," she explained, more in my direction than to me, "that I had none to begin with. But Alderling had. His people believed in the future life."