The Color Purple Contents
- The Color Purple: Social and political context
- The Color Purple: Religious and philosophical context
- The Color Purple: Literary context
- Textual help
- Letter 1
- Letter 2
- Letter 3
- Letter 4
- Letter 5
- Letter 6
- Letter 7
- Letter 8
- Letter 9
- Letter 10
- Letter 11
- Letter 12
- Letter 13
- Letter 14
- Letter 15
- Letter 16
- Letter 17
- Letter 18
- Letter 19
- Letter 20
- Letter 21
- Letter 22
- Letter 23
- Letter 24
- Letter 25
- Letter 26
- Letter 27
- Letter 28
- Letter 29
- Letter 30
- Letter 31
- Letter 32
- Letter 33
- Letter 34
- Letter 35
- Letter 36
- Letter 37
- Letter 38
- Letter 39
- Letter 40
- Letter 41
- Letter 42
- Letter 43
- Letter 44
- Letter 45
- Letter 46
- Letter 47
- Letter 48
- Letter 49
- Letter 50
- Letter 51
- Letter 52
- Letter 53
- Letter 54
- Letter 55
- Letter 56
- Letter 57
- Letter 58
- Letter 59
- Letter 60
- Letter 61
- Letter 62
- Letter 63
- Letter 64
- Letter 65
- Letter 66
- Letter 67
- Letter 68
- Letter 69
- Letter 70
- Letter 71
- Letter 72
- Letter 73
- Letter 74
- Letter 75
- Letter 76
- Letter 77
- Letter 78
- Letter 79
- Letter 80
- Letter 81
- Letter 82
- Letter 83
- Letter 84
- Letter 85
- Letter 86
- Letter 87
- Letter 88
- Letter 89
- Letter 90
The Color Purple as a Bildungsroman
Genre expectations
Celie’s personal progress is consistent with an important literary genre known as Bildungsroman, sometimes referred to as ‘coming of age’ novels. The Bildungsroman is a literary genre that began in Germany and spread throughout Europe in the nineteenth century. The form focuses on the psychological and moral growth of the protagonist from youth to adulthood and character change is an important part of this process.
The Bildungsroman depicts and criticises aspects of a society that cause the protagonist to suffer in some way. The protagonist is usually male, sensitive and socially inferior and the narrative features some loss or reversal which ultimately changes the course of his life. Charles Dickens’ David Copperfield (1850) and Great Expectations (1861) are classic examples of the genre.
Female protagonists, although rare, also feature in novels such as Charlotte Bronte’s Jane Eyre (1847) and George Eliot’s The Mill on the Floss (1860) but there is a significant difference between male and female protagonists in terms of their perceived roles and consequent freedom of choice. Whereas men were encouraged to be independent and were not domestically or morally constrained, the opposite was true for women, who were traditionally expected to remain submissive, dependent and obedient.
Tamar Katz’s article in Harold Bloom’s Alice Walker (1988) suggests that The Color Purple is a ‘type of’ Bildungsroman since it not only traces Celie’s psychological growth but also teaches or instructs the reader as they read the collection of letters.
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