Themes: Power of Love and Transformation
This suggests that Dahfu serves as a model of bravery for Henderson—a man who faces death and societal disapproval while pursuing what he believes is right. This example inspires Henderson to transition from a state of inertia to one of meaningful development. Dahfu's guidance is a significant part of this journey. Like Tommy Wilhelm in Seize the Day, Henderson is exposed to a range of obscure theories on self-creation and theosophical ideas about reincarnation. Many critics, including Eusebio Rodrigues in Quest for the Human: An Exploration of Saul Bellow's Fiction (1981), connect some of Dahfu's ideas to Wilhelm Reich's writings on the creation of the physical from the spiritual. Rodrigues even suggests that Dahfu is a composite character, drawing inspiration from King Gelele of Dahomey (as depicted by explorer Richard Burton, whom Bellow mentions in the novel), the "passionate convictions" of poet-mystic William Blake, and the "strange, daring theories" of Wilhelm Reich. There is little doubt that these writers' theories, which surface in various forms throughout Bellow's novels, are present in many of the concepts Dahfu shares with Henderson, such as "Imagination is a force of nature" or "the career of our species... is evidence that one imagination after another grows literal." However, an important aspect to consider is how Henderson processes these complex teachings. He is drawn in by Dahfu's charisma, not fully scrutinizing the logic of his mentor's statements but rather enjoying the interaction with such an influential figure. Similar to how Dahfu misunderstands Willatale's assessment that Henderson embodies "grun-tu-molani," or the will to life, interpreting it as wisdom (when it is simply good common sense, not original thought), Henderson uncritically accepts Dahfu's teachings as those of a wise man. Yet, he fails to complete most of the tasks Dahfu assigns him. When he tries to read the monographs his mentor brought back from medical school, he becomes frustrated and confused, eventually abandoning the readings to play solitaire. In summary, there is strong evidence that Dahfu is pivotal in Henderson's transformation; however, most of that evidence indicates that it is Dahfu's demonstration of accepting one's mortal condition with grace and dignity, rather than the persuasive strength of his arguments, that profoundly influences Henderson.
One of Dahfu's major influences is his representation of the power of love. In a detailed letter to Lily from the Wariri village, Henderson approaches the concept of love with a meticulous and somewhat pedantic mindset. He tells his second wife she "can call it love. Although personally I think that word is full of bluff." Henderson's low self-esteem makes him feel unworthy of love, causing him to withhold expressions of it. At one point, he lightheartedly mentions having "plenty of children" with his two wives, yet only two are named. In a desperate search for love, Ricey abducts a black infant and convinces herself she is the child's mother. Although Henderson fervently defends his daughter's kindness and innate goodness when the strict headmistress decides to expel Ricey from her elite boarding school, he ultimately leaves the responsibility of addressing his daughter's crisis to Lily, her stepmother. He ignores the cries of the black baby, as well as the diapers and other evidence of an infant in the home. Despite defending Ricey's character to the headmistress, there is no indication that he takes any action to help his daughter through the crisis that led her to kidnap a baby in a plea for love.
Similarly, Henderson travels to California to visit his eldest son, Edward, because he disapproves of Edward's lifestyle as a beach bum. While Henderson may not see the irony in his...
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paternal disapproval, it is apparent to the reader who is aware of Henderson's own rejection issues. He pressures Edward to become a physician, essentially urging his son to achieve a goal that Henderson himself was too afraid to pursue, thus embodying the stereotype of the American father who expects his son to fulfill his own unrealized dreams. Later, he becomes uneasy about Edward's marriage to a woman from Central America, fearing she will take advantage of his son. In both scenarios, he communicates only his anxieties and expectations, never his love for Edward.
More pressingly, Henderson avoids returning Lily's affection. His first marriage, to a woman from his family's social circle, was a failure. During that time, he started an affair with Lily Simmons, who might have been as attracted to his wealth as to him. When their relationship turns intimate, Henderson questions, "how can she love you—you—you!" He feels unworthy of love and suppresses the affection he could offer Lily, even after their marriage. They argue often, and he resents her desire to hang her portrait in the estate's grand hall. He deliberately embarrasses her when local women reluctantly visit and frequently criticizes her personal untidiness. His hostility towards the boarders who leave their cat in the guest cottage largely comes from the fact that Lily arranged the rental and enjoyed their company. On more than one occasion, he threatens suicide, knowing that Lily's cherished father took his own life, which makes his threat even more painful for her. In essence, although he admires Lily's zest for life and loves her radiant enthusiasm, he cannot fully express his love as it makes him vulnerable to unreciprocated feelings, and he does not believe he deserves anyone's love.
Upon returning from Africa, Leo Henderson emerges as a changed man, ready to freely give and receive love. By accepting his mortality, he realizes that love is the only definite human remedy for it. He recalls a suppressed memory of a worn-out bear with which he rode a roller coaster to entertain fairgoers in Canada, realizing their bond was love; they were "brothers in our souls." From this memory, Henderson identifies the core theme of Bellow's master narrative, a theme present in all his novels: "Whatever gains I ever made were always due to love and nothing else." He openly expresses his love for Romilayu as he leaves Africa and promises to "do better now" when he returns to Lily. On the plane, he offers love and comfort to a Persian orphan traveling alone to America. The novel ends with one of modern literature's most uplifting moments, as Henderson carries the child wrapped in a blanket and joyfully dances across the frozen tarmac in Newfoundland while the plane refuels.
How does Dahfu play a crucial role in Henderson's transformation from a man hindered by emotional stagnation to one who can fully and joyfully give and receive love? Initially, Dahfu offers Henderson something no one else does: unconditional friendship. Being considered worthy of such a bond by a charismatic figure is a revelation for Henderson. Additionally, Dahfu seems to offer Henderson the truth. As an act of love, he insists that Henderson embark on a journey toward transcendence. Dahfu shares his ideas about love and courage with Henderson, but his true impact lies in being a loving man who embodies both honor and courage.
Dahfu holds such a profound affection for his tribe that he chooses to leave his career in the "new world" and return to his people, fully understanding that Wariri kings typically have short life spans. Despite a political system working against him, his devotion to his people far surpasses any fear of rebellion. He treasures his wives, accepting that his future impotence will result in his death by strangulation. He even holds affection for Atti, a creature that could have once been his killer and now stands as a symbol of political unrest. Even when Henderson fails to meet expectations, Dahfu continues to care for him.
In terms of courage and love, Dahfu acts as Henderson's mentor, not only through his words but by embodying a person whose love for his world is his primary motivation. Dahfu's death further imparts to Henderson that, in the face of mortality, love is the most significant thing one possesses.
