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The marvels of Adams's novel are his remarkably nuanced and fully realized characters. Esther, the free-thinker, wants to share her lover's faith and "is trying to get it by reason"--but doesn't initially understand that a person "can never reason yourself into it." Mr. Hazard, the minister, is confident that he will "succeed in drawing her into the fold, because his lifelong faith, that all human energies belonged to the church, was on trial, and, if it broke down in a test so supreme as that of marriage, the blow would go far to prostrate him forever." Esther's principles of independence and self-education collide with Hazard's desire to steer her into submission as his wife and fellow believer.
But my favorite character is relegated to a supporting role: Catherine, a recent transplant from the frontiers of Colorado, befriends Esther and dazzles New York society with her innocence, naivete, and sincerity. It's never really quite clear, however, whether her simplicity is the genuine article or just a show mocking the pretensions of her admirers. As one of the intellectuals who lightheartedly teases her wonders, there was "a little doubt whether she was making fun of him or he of her, and she never left him in perfect security on this point."
The novel sparkles with banter and quarrels, jokes and ripostes, but any attempt to reproduce the humor in a short review would fall flat: Adams's witticisms are dependent upon context and character. Still, I caught myself laughing out loud often at the book's cleverness and hilarity.
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The commentary is directed primarily to Christians, and to Protestants specifically. She raises an interesting point that Christians who "get their Scripture" solely from the lessons that are read aloud as part of Sunday services, are only exposed to a reading from Esther once every three years: Esther 7:1-6,9-10; 9:20-22. This clearly is not the best way to experience a book of the Bible that is a cleverly constructed "novella" with exciting characters, court intrigues, and dizzying plot reversals. She encourages Christians to imitate Jews by reading the book repeatedly, aloud, and in its entirety. As Bechtel points out, "It is a book, after all, about the struggle to be faithful in the midst of an increasingly unfaithful culture. It is a story of courage, faith, and deliverance. It is the story of men and women working together with a God who is not always obvious, but who is always gracious."
To use this commentary most effectively, you need to have a copy of the New Revised Standard Version Bible (preferrably with the Apocrypal/Deuterocanonical books) since the biblical text is not printed in the commentary. You do not need any knowledge of Hebrew (or Greek), however. Where an understanding of the Hebrew is essential, Bechtel provides clear explanations. One example, her explanation of how the Hebrew words for "enslavement" and "destruction" are homophones, serves as a very plausible explanation of why the King could have been so easily duped into signing a death warrant for the Jewish people.
Although Bechtel presents the shorter, Hebrew version of Esther as the "best text," she does examine the Additions to Esther (those passages that are found only in the Greek and Latin versions of the text) in a brief Appendix.
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Of the three, Esther Waters is the most fully developed and it is certainly the most engaging for a modern reader. In it, a woman has a child out of wedlock, and not only survives (through a variety of trials that are dispassionately but unflinchingly depicted) but in a manner of speaking prospers (Compare this for example with Elizabeth Gaskell's *Ruth*, written some 40+ years earlier).
A great read. An important milestone in the transition from moralism to realism in English fiction. An Irish writer who played an important role in the Irish literary renaissance in the early years of the 19th century.
Well worth the read.
Esther felt just like a chump. "My trunk," she sobbed, " has lost its trump!"
Fun, fun book......
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