A brilliant sequel to Ben-Hur -- a colourful, compelling tale of love, ambition, and faith, set in ancient Rome. In the original novel of Ben-Hur, Messala is seriously injured in a chariot race with his boyhood friend, Ben-Hur -- who had been imprisoned, based in part on Messala's mistaken accusation that he had tried to assassinate the Roman procuator of Judaea. Now, in this sequel by Lois Scouten -- complete with another chariot race in a harrowing incident of road rage -- we follow Messala, witnessing the collapse of his once-passionate romance with Iras the Egyptian, his subsequent journey to health, his fluctuating fortunes in Roman society, and his attraction to various Roman beauties before he finds marital contentment in a new love. And we experience the tension Messala feels between loyalty to his own Roman heritage and his growing interest in the new religion of Christianity.
Messala's once-passionate romance with Iras the Egyptian collapses, in this tale that follows his subsequent journey to health, his fluctuating fortunes in Roman society, and his attraction to various Roman beauties before he finds marital contentment in a new love.
Lois Silverstein was born in New York. She has lived in Boston, Montreal, Pensacola, San Francisco, and currently lives in Berkeley. Lois received her B.A. from Barnard College, her M.A. from Hunter College, City University of New York, and her Ph.D. from McGill University. She works as a writing consultant, Expressive Arts Therapist and College Literature Instructor. Lois has written and published three novels, five books of poems, essays, and reviews, and produced and performed in VALIA: The Story of a Woman of Courage. She is married to Dick Coleman and she has one son, Julian Steinberg.
This study also examines the connections among the plots: how Clarissa's self-scrutinizing response to the pressures of test and trial, and her refusal to achieve respectability at the expense of her integrity, is explained by her pursuit of Christian prudence; and how Lovelace's inability to fathom the disappearance of his tempter function after the rape, as well as his inability to respond as does Belford to Clarissa's exemplary influence, is an expression of his nature as protagonist in the Don Juan plot. Richardson conducts all three plots concurrently, Bueler demonstrates, by exploiting the psychologically and dramatistically rich resources of simultaneous dialogue and soliloquy inherent in the epistolary genre.
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