blur and blunt more than they intensify” (65, 67). Gregg continues to examine another “Biblical pattern” in his essay, the Christ parallel, citing symbols and images to argue the classification of D-503 as the Christ figure yet, he remains “doubtful whether its artistic integration into the novel as a whole is entirely successful,” noting that Zamyatin’s “symbolic patterns. Richard Gregg is no exception to this discussion, and, in his essay “Two Adams and Eve in the Crystal Palace: Dostoevsky, the Bible, and We,” he characterizes D-503’s account of OneState as a tragic counterpart to the Biblical tale. With characters drawing direct parallels between their “mathematically perfect li” in OneState and Paradise of the Old Testament, We, with its Genesis theme, has been a popular subject of scholarly discussion (Zamyatin 4). Religious allusions and imagery play a prominent part in Yevgeny Zamyatin’s classic dystopian novel, We.
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