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By Edward A. Abramson

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Cohen goes on to state that "on the human The Natural 21 level it is hopelessly improbable" because "over-reliance upon myth tends to reduce the characters to mere functionaries. . If the protagonists of The Natural were to remove their masks we would discover that there is nothing behind them" (Cohen, 29-30). This is a sounder observation, as the weight of the mythic structure serves to obfuscate the more naturally human aspects of the characters and to lead the tale into odd and somewhat implausible areas, such as those discussed in the first section of this chapter.

The biblical interpretation places this suffering in a much wider context: that of Judaism, the Jewish people, and Jewish history. In this sense, suffering may provide a meaning of life, placing the Jew in the context of the divine—or the divinely chosen. " Rather than acceptance, the attitude presented in the novel can be seen instead as one of understanding, as Morris tells Frank, "If you live, you suffer. Some people suffer more, but not because they want" (TA, 116). Morris does not seek out or enjoy suffering; he simply recognizes the human condition for what it is.

He is sure that Memo has hit the boy, but she says no: He reached for the brake. " (TN, 125) Roy cannot recall his groaning, but when he returns to search for the body, there is nothing there. As in The Great Gatsby, the protagonist does not see that the woman to whom he is attracted is corrupt. Even when Memo, like Daisy, refuses to stop the car, Roy is still besotted with her. There are other parallels between Roy and Gatsby, the most important being that they desire to recover an idealized period from their past—an impossibility for both.

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