Most of Saul Bellow's novels employ polarities that structure the dramatic development of each work. The central character becomes conscious of these polarities after he encounters various antagonists who either illustrate one of these dimensions or force the hero to acknowledge them as part of himself. On the one hand, there are the characters who challenge and perhaps even repudiate the definition of self that the hero has formulated. On the other hand, there are the "reality instructors" who may present alternative philosophical perspectives, but ironically their very life style seems to call these options into question. In some works the same individual is the vehicle for repudiation and redemption, but in most works different characters perform these roles.
Bellow has never been circumspect about the themes he explores and the justifications he seeks. From Dangling Man to Mr. Sammler's Planet, the Bellow hero has been faced with the challenge of reconciling the views he has of himself with those that others have of him. The major narrative structure is controlled by the hero who must decide whether to conform to the pattern of existence that surrounds him, or to explore new possibilities. He may ultimately not discover what he seeks, but the search itself is of prime significance. In Dangling Man, The Victim, The Adventures of Augie March, and Seize the Day only ambiguous resolutions are attained. In contrast, Henderson the Rain King, Herzog, and Mr. Sammler's Planet end much more optimistically; however, only in the last of these do we discover a character who has not merely contemplated a new lifestyle, but one who has actually attempted to put it into practice.
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