FAMILIAR W I G U I T Y : A STUDY OF HERMAN MELVILLE'S
BARTLEBY THE SCRIVENER, COCK-A-DOODLE-Dm!,
AND
BENITO CERENO.
T h o m a s Ramon Kubicek
B.A.,
S i r George Williams University,
1970.
A T H E S I S SUBMITTED I N PARTIAL FULFILLMENT O F
THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF AFtTS
i n the Department
of
English
@
T h o m a s Ramon K u b i c e k 1 9 7 9
SIMON FRASER UNIVERSITY
August 1979
T h i s t h e s i s m a y n o t be
A 1 1 r i g h t s reserved.
reproduced i n w h o l e o r i n p a r t , by photocopy
or other m e a n s , w i t h o u t permission of t h e a u t h o r
APPROVAL
Name :
Degree:
Thomas Ramon Kubicek
Master of Arts
Title of Thesis:
Familiar Ambiguity: A Study of Herman
~elville's Bartleby The Scrivener,
cock-A-~oodle-DOO!,
- And Benito Cereno.
Examing Committee:
Chairperson:
Jerald Zaslove
Robin Blaser
Senior Supervisor
Evan Alderson
Roy Miki
Warren Tallman
External Examiner
Associate Professor
Department of English
University of British Columbia
PARTIAL COPYRIGHT LICENSE
I hereby g r a n t t o Simon F r a s e r U n i v e r s i t y t h e r i g h t t o lend
my t h e s i s ,
p r o j e c t o r extended essay ( t h e t i t l e o f which i s shown below)
t o u s e r s o f t h e Simon F r a s e r U n i v e r s i t y L i b r a r y , and t o make p a r t i a l o r
s i n g l e c o p i e s o n l y f o r such u s e r s o r i n response t o a r e q u e s t f r o m t h e
l i b r a r y o f any o t h e r u n i v e r s i t y , o r o t h e r e d u c a t i o n a l i n s t i t u t i o n , on
i t s own b e h a l f o r f o r one o f i t s users.
I f u r t h e r agree t h a t p e r m i s s i o n
f o r m u l t i p l e c o p y i n g o f t h i s work f o r s c h o l a r l y purposes may be g r a n t e d
by me o r t h e Dean o f Graduate S t u d i e s .
I t i s understood t h a t c o p y i n g
o r p u b l i c a t i o n o f t h i s work f o r f i n a n c i a l g a i n s h a l l n o t be a l l o w e d
w i t h o u t my w r i t t e n p e r m i s s i o n .
T i t l e o f Thesis/Project/Extended
Author:
( name
U J .10
(date
/979
Essay
I n exploring t h e n a t u r e of ambiguity i n 1ilelville1s
-
-
B a r t l e b y The S c r i v e n e r , Cock-A-Doodle-Dool,
-
and B e n i t o Cereno,
t h i s t h e s i s p r o c e e d s on t h e a s s e r t i o n t h a t t h e r e i s a development o f i n t e r r o g a t i v e i m a g i n a t i o n a f t e r Floby Dick.
By t h e u s e
o f t h e word " i n t e r r o g a t i v e " I mean t o emphasize n o t o n l y t h e
c o n s i s t e n t m e t a p h y s i c a l i n q u i r y i n M e l v i l l e ' s works b u t a l s o
--
i n q u i r y a s c o m p o s i t i o n a l method.
--
-"-
Thus, t h e i n t e r r o g a t i o n of
a m b i g u i t y t h a t i s subsumed i n t h e s y m b o l i c c o m p l e x i t i e s o f t h e
voyage and t h e Whale i n Moby
Dick becomes a d i r e c t n a r r a t i v e
-topic i n Pierre.
With B a r t l e b y The
- Scrivener, t h e c r u c i a l
question obsessing Melville
and i t s c e n t r a l m y s t e r y man
---
what i s t h e meaning o f t h e world
i s f o r m u l a t e d , s i m p l y and
b r i e f l y , a s t h e ambiguous e n c o u n t e r of two men i n an u r b a n setting, narrated i n recollection.
The r e c o l l e c t e d e n c o u n t e r ,
w i t h some q u a l i f i c a t i o n s , i s t h e form of most of t h e t a l e s o f
t h e 1 8 5 0 1 s , b u t t h e s e t h r e e t a l e s have been chosen f o r s t u d y
b e c a u s e e a c h o f f e r s a s i n g u l a r p e r s p e c t i v e on t h e e n c o u n t e r
w i t h mystery.
Although t h e i n t e r r o g a t i o n of a p p e a r a n c e s was a
c a r e e r - l o n g i n t e r e s t o f M e l v i l l e , of s p e c i a l i n t e r e s t i n t h e s e
t a l e s i s - t h e concern f o r t h e f a m i l i a r s u f f a c e s of everyday
l i f e : f a c e s , o b j e c t s , common r i t u a l s , t h e p r o c e s s e s o f r e a s o n ,
ordinary settings.
What I h a v e termed f a m i l i a r a m b i g u i t y i s
m e a n t . t o d e s i g n a t e t h e enigmq o f t h e f a m i l i a r , . a s r e p o r t e d by
a c h a r a c t e r who h a s e x p e r i e n c e d t h e enigma b u t f a i l e d t o unders t a n d it.
This ambiguity i s analyzed with s p e c i a l a t t e n t i o n
iii
t o t h r e e s t a g e s of apprehension:*event, point-of-view,
formance.
and p e r -
On t h e l e v e l o f e v e n t , w e f i n d t h a t t h r o u g h t h e sud-
den c o l l a p s e o f o r d e r i n f a m i l i a r a p p e a r a n c e s an u n f a m i l i a r
r e g i o n of m o r a l d a r k n e s s i s d i s c l o s e d .
With p o i n t - o f - v i e w ,
we
f i n d t h a t t h e narrator/observer i s implicated through an i r o n i c
t o n e i n t h e c o l l a p s e of confidence, i n t h e s e n s e t h a t t h e observ e r ' s i g n o r a n c e and o r d i n a r i n e s s p r e v e n t s u s from f u l l y unders t a n d i n g what h a s happened.
On t h e l e v e l o f p e r f o r m a n c e , w e
d i s c o v e r t h a t b e c a u s e o f a r i c h l y a l l u s i v e s t y l e and s y m b o l i c
c o m p l e x i t y w e are f a c e d w i t h a t e x t u a l problem i n e a c h o f t h e
tales t h a t corresponds t o t h e n a r r a t i v e d i f f i c u l t y o f t h e char-
acters i n t r y i n g t o u n d e r s t a n d what i s h a p p e n i n g t o them.
This
t e x t u a l problem i s a n a l a g o u s t o t h e a c t i v i t y o f mind i n t h e
s t r u g g l e f o r r e s o l u t i o n o f meaning
--
a n a c t i v i t y t h a t remains
u n s e t t l e d and i n c o m p l e t e i n t h e t e x t as it d o e s i n t h e n a r r a tive.
Accordingly, a s such f i n d i n g s demonstrate, I a m arguing
a g a i n s t t h e c r i t i c a l t r a d i t i o n t h a t sees M e l v i l l e ' s s h o r t f i c t i o n as p a r a b l e s o f d e s p a i r .
/
TABLE OF CONTENTS
~ p p r o v a lPage
Abstract
ii
iii
T a b l e of C o n t e n t s
v
Introduction
1
- Scrivener
B a r t l e b y The
8
The Problem o f t h e N a r r a t o r
14
The Comedy of I r r e s o l u t i o n
36
The Mystery of Appearances
52
77
The N a r r a t o r : F o l k - P o e t and
Ambivalent W i t n e s s
The C e l e b r a t i o n o f Performance
B e n i t o Cereno
The N a t u r e o f D i f f i c u l t y i n
B e n i t o Cereno
Amasa Delano a s I r o n i c Hero
The Anarchy o f Appearances
Enchantment and Death
Epilogue
L i s t of References
Bibliography
XNTRODUCTION
2
. This t h e s i s i s a study of ambiguity i n t h r e e tales w r i t t e n by Herman M e l v i l l e i n t h e 1 8 5 0 ' s .
T h e r e h a s b e e n a good d e a l
of c r i t i c i s m on t h e p r o b a b l e l i t e r a r y i n f l u e n c e s i n • ’orming
M e l v i l l e ' s t a l e s a n d on h i s u s e o f symbol, b u t c o m p a r a t i v e l y lit-
t l e h a s been p u b l i s h e d on h i s n a r r a t i v e p e r f o r m a n c e i n t h e s h o r t
p r o s e works.
The a i m o f t h i s s t u d y i s n o t m e r e l y t o i s o l a t e t h e
evident ambiguities i n M e l v i l l e ' s f i c t i o n b u t t o demonstrate t h a t
a m b i g u i t y i s a f e a t u r e o f t h e n a r r a t i v e method i t s e l f .
I n g e n e r a l , t h e a t t i t u d e of c r i t i c s h a s b e e n t h a t a f t e r .
~
o b yDick (1851) , M e l v i l l e ' s p e r f o r m a n c e d i m i n i s h e s a n d h i s
-v i s i o n e v i n c e s a growing d i s i l l u s i o n m e n t w i t h l i f e .
H i s start-
l i n g a u t o b i o g r a p h i c a l comment t o Hawthorne, d u r i n g t h e w r i t i n g
of -Moby Dick, t h a t h e h a d come " t o t h e i n m o s t l e a d o f t h e b u l b ,
and t h a t s h o r t l y t h e f l o w e r must f a l l t o t h e mould,
t o support a d e n i g r a t i n g a t t i t u d e .
'I
would s e e m
However, a t l e a s t i n t e r m s
of o u t p u t , h i s work a f t e r t h e p u b l i c a t i o n o f -Moby Dick matched
what had gone b e f o r e i n b o t h q u a n t i t y and v a r i e t y .
p u b l i s h e d i n 1852;
Pierre was
i n f o u r y e a r s (1853-1857), M e l v i l l e w r o t e
The S c r i v e n e r (1853)
o v e r a dozen t a l e s b e g i n n i n g w i t h B a r t l e b y and f i n i s h i n g w i t h The P i a z z a ( 1 8 5 6 ) , a n d t h e l o n g e r n a r r a t i v e s
I s r a e l P o t t e r (1855) a n d The Confidence-Man
(1857).
A f t e r 1857,
and u n t i l B i l l y Budd i n 1891, M e l v i l l e d e v o t e d h i m s e l f t o p o e t r y ,
of t h eWar
p u b l i s h i n g s u c h works as B a t t l e - P i e c e s a n d A s p e c t s ( 1 8 6 6 ) , t h e immense r e l i g i o u s e p i c C l a r e 1 (18761, --John Marr and
O t h e r S a i l o r s ( 1 8 8 8 ) , a n d Timoleon ( 1 8 9 1 ) .
The body o f t h i s
work d e m o n s t r a t e s s u b s t a n t i a l i m a g i n a t i v e v i t a l i t y , p a r t i c u l a r l y
i n t h a t condensed p e r i o d o f work from 1852 t o 1857.
I t i s un-
doubtedly t r u e t h a t M e l v i l l e never r e p e a t e d . t h e performance o f
~ s b yD i c k , a l t h o u g h s u c h a s t a t e m e n t r a i s e s t h e q u e s t i o n of whet h e r o r n o t r e p e t i t i o n i s n e c e s s a r y o r v a l u a b l e i n c r e a t i v e work,
What h a s n e v e r been g e n e r a l l y acknowledged a b o u t M e l v i l l e ' s work
a f t e r 1851, i s t h a t it does r e v e a l a c o n s t a n t i n t e r e s t i n t h e
world and a c o n s t a n t e x p e r i m e n t a t i o n w i t h form, s t y l e , and subject-matter.
Thus, t h e c r i t i c a l t a s k i s t o s e e what M e l v i l l e i s
doing i n h i s l a t e r work, and t h e n t o a s s e s s whether o r n o t t h a t
work shows a p r o g r e s s i v e r e t r e a t of i m a g i n a t i o n .
I n P i e r r e , M e l v i l l e dropped t h e ' h e r o i c mode and moved
t o a much w i d e r employment of i r o n y and s a t i r e .
t a n t l y , from t h e point-of-view
.
More impor-
of t h i s d i s c u s s i o n , h e dropped
t h e voyage t o an e x t e r n a l e n c o u n t e r w i t h e x t r a o r d i n a r y f o r c e s
and adopted i n l a n d s e t t i n g s and a microcosmic v i s i o n of man.
H i s v i s i o n embraced t h e o r d i n a r y m a n i f e s t a t i o n s of l i f e , b u t a s
2
P i e r r e d i s c o v e r s , i t i s " t h e common world of everydays" t h a t i s
wholly m y s t e r i o u s , and t h a t M e l v i l l e chose t o i n t e r r o g a t e .
How
M e l v i l l e w r o t e h i s work shows t h a t he was g r a p p l i n g w i t h t h e
problems of a r t i c u l a t i n g "The Ambiguities" of l i v i n g and o f t r y i n g t o p e r c e i v e t h e meaning of l i v i n g i n a complex world,
In
r e a d i n g t h e n o v e l , o u r p r o c e s s o f d i s c o v e r y becomes, t h r o u g h t h e
mediation of t h e n a r r a t o r , a p a r t of t h e c h a r a c t e r ' s s t r u g g l e f o r
illumination.
I t i s a movement i n t o and n o t o u t of ambiguity,
" L e t t h e - ambiguous p r o c e s s i o n o f e v e n t s r e v e a l t h e i r own ambigu3
ousness," Pierre's n a r r a t o r t e l l s u s , i n t h a t phrase capturing t h e
i n d i v i d u a l and combined c o m p l e x i t i e s of e v e n t , a p p r e h e n s i o n , narr a t i v e d i s c l o s u r e , and s i g n i f y i n g t h e p r e o c c u p a t i o n w i t h t h e d i f f i c u l t i e s of t r y i n g t o i m p a r t t h e f u l l n e s s of even t h e most common
experiences.
When w e a r r i v e a t t h e ' t a l e s w r i t t e n a f t e r P i e r k e , t h e
q u e s t i o n becomes whether o r n o t d i m i n i s h e d form s i g n i f i e s diminished vision.
T h i s q u e s t i o n c a n b e answered, i n p a r t , by s e e -
i n g t h a t t h e t a l e s o f f e r a v a r i e t y of t r e a t m e n t of ambiguity.
I n e s s e n c e , when we are r e a d i n g B a r t l e b y The
- Scrivener o r Benito
Cereno, we a r e l o o k i n g a t m e t a p h y s i c a l i n t e r r o g a t i o n s of e x p e r i ence i n n a r r a t i v e form
--
and n o t a t p a r a b l e s
--
t h a t develop a
mystery r a t h e r t h a n f i n a l l y d i s p e l it.
To comprehend M e l v i l l e ' s n o t i o n . o f ambiguity i s n o t an
. ,
easy matter s i n c e it eludes d i s c u r s i v e exercise.
However, we
can c h a r a c t e r i z e i t a s a c o n d i t i o n of c o n t r a r i e t y t h a t r e s i s t s r e solution.
A s F.O.
~ a t t h i e s s e nh a s shown, M e l v i l l e was v e r y i m -
p r e s s e d by what h e p e r c e i v e d as " c o n t r a r i e s " i n t h e v i s i o n s of
Shakespeare's t r a g e d i e s .
4
I n M e l v i l l e ' s hands, t h e c o n t r a r i e s of
e x p e r i e n c e became a c o n d i t i o n t h a t a p p l i e d t o e v e r y t h i n g : t o Man,
t o Nature, t o God.
Such a v i s i o n of c o n t r a r i e t y i s , even on t h e
f a c e of t h e m a t t e r , n o t t h e same a s a d u a l i s t i c c o n c e p t i o n of
r e a l i t y , where c l e a r d i s t i n c t i o n s can b e made between o p p o s i t e s
such a s "good" and " e v i l " .
--
An example of t h e d i f f e r e n c e between
-
c o n t r a r i e t y and d u a l i s m can b e found i n The E n c a n t a d a s-, where
M e l v i l l e u s e s t h e t o r t o i s e t o show t h a t l i f e i s b o t h " b l a c k and
bright" :
...'
everyone knows t h a t t o r t o i s e s
a r e of such a make, t h a t i f you
b u t p u t them on t h e i r backs you
t h e r e b y expose t h e i r b r i g h t s i d e s
without t h e p o s s i b i l i t y of t h e i r
r e c o v e r i n g t h e m s e l v e s , and t u r n i n g
i n t o view t h e o t h e r . But a f t e r you
have done t h i s , and b e c a u s e you
have done t h i s , you s h o u l d n o t
swear t h a t t h e t o r t o i s e h a s no d a r k
s i d e . Enjoy t h e b r i g h t , keep it
5
t u r n e d up p e r p e t u a l l y i f you c a n ,
b u t b e h o n e s t , a n d d o n ' t deny t h e
black.
The t o r t o i s e i s a l i v i n g s y n t h e s i s of " b l a c k " and " b r i g h t " , b u t
one i n which t h e two s i d e s r e t a i n t h e i r a p p e a r a n c e .
As
a sym-
b o l , t h e t o r t o i s e c a n n o t be r e s o l v e d i n t o a v i s i o n o f d a r k n e s s
o r transcendence.
I n Melville's work, w e f i n d t h a t wherever com-
plex experience is being rendered t h e r e i s a p t t o be unsettled
meaning.
Thus t e r m s l i k e "pessimism" o r "optimism" become s i n -
g u l a r l y i n a p p r o p r i a t e when u s e d t o d e s c r i b e M e l v i l l e ' s v i s i o n i n
the tales.
T h i s u n d e r s t a n d i n g i s p a r t i c u l a r l y i m p o r t a n t when
-
t r y i n g t o r e a d B i l l y Budd, which h a s o f t e n b e e n a r g u e d t o r e p r e s e n t on t h e one hand a t e s t a m e n t o f C h r i s t i a n a c c e p t a n c e o r on
t h e o t h e r unrepentant cynicism.
Analyzed i n t h e manner t h i s
t h e s i s s u g g e s t s , t h i s l a s t o f M e l v i l l e ' s works i s a v i s i o n o f
a m b i g u i t y , where B i l l y ' s t r a n s f i g u r a t i o n i s b o t h t r a n s c e n d e n t
s p l e n d o u r and a n i r o n i c comment on t h e d e l u s i o n s o f men. who a r e
s a t i s f i e d w i t h mere a p p e a r a n c e s .
The c h o i c e o f t a l e s f o r s t u d y i s meant, f o r t h e most
p a r t , t o r e p r e s e n t t h e degree of t h e i r d i f f i c u l t y .
Both B a r t l e b y
The S c r i v e n e r a n d B e n i t o Cereno a r e g e n e r a l l y acknowledged t o b e
M e l v i l l e ' s two s t r o n g e s t s t o r i e s .
The f o r m e r r e p r e s e n t s h i s
f i r s t s t o r y i n p r i n t w h i l e t h e l a t t e r w a s p u b l i s h e d toward t h e
e n d o f h i s s t o r y - w r i t i n g career.
Despite t h e i r g e n e r a l l y favour-
a b l e r e c e p t i o n , b o t h s t o r i e s have s u f f e r e d a good d e a l o f c r i t i cal controversy.
S i n c e , i n one s e n s e , w e a r e d e a l i n g w i t h t h e
b e g i n n i n g and e n d i n g o f M e l v i l l e ' s u s e o f t h e ' t a l e form, it i s
hoped t h a t a new r e a d i n g of' Bartle'by. T
h e 'Sc'r'i'vener a n d B e n i t o
Cereno c a n s u g g e s t a c o n t i n u i t y o f ~ e l v i l l e ' sa r t i s t i c c o n t r o l
,
and i m a g i n a t i v e v i s i o n .
Cock-A-Doodle-Doo!,
-
p u b l i s h e d imrnedi-
a t e l y a f t e r " B a r t l e b y " , h a s been s e l e c t e d t o demonstrate t h a t
even i n a minor t a l e w r i t t e n i n a p e r i o d o f i n t e n s e a c t i v i t y ,
~ e l v i l l e ' si n t e n t i o n s a r e profound and h i s g r a s p of t h e m a t e r i a l
sure.
Furthermore, t h i s s t o r y h a s l o n g been a p u z z l e t o c r i t i c s ,
who have been uncomfortable w i t h i t s a p p a r e n t b l e n d of sarcasm
Yet i t i s s i n g u l a r among M e l v i l l e ' s t a l e s f o r i t s
and r a p t u r e .
humorous examination of c r e a t i v e performance a s an e x e r c i s e of
ambiguous power.
Despite t h e i r s u p e r f i c i a l d i f f e r e n c e s , a l l
. -
t h r e e t a l e s s h a r e a p r e o c c u p a t i o n w i t h t h e m y s t e r y of appearanc e s and t h e mystery o f d e a t h , b o t h e s s e n t i a l f e a t u r e s of
M e l v i l l e ' s work from Moby
Dick t o B i l l y Budd.
-F i n a l l y , i t s h o u l d b e s a i d t h a t M e l v i l l e was n o t a l o n e
i n h i s c e n t u r y a s an a r t i s t e x p l o r i n g t h e a m b i g u i t i e s of e x p e r i ence through l i t e r a t u r e .
Hawthorne o f t e n shows i n h i s work a
s i m i l a r awareness of t h e mystery of a l l t h i n g s n a t u r a l and moral.
1
Indeed, i t h a s been s u g g e s t e d t h a t t h e s i g n i f i c a n t f e a t u r e of
what i s known a s t h e Symbolist p e r i o d i n 1 9 t h c e n t u r y American
Literature
I
1
--
i s ambiguity.
,
6
and of t h e work of Henry James, t o a l a r g e e x t e n t
--
M e l v i l l e ' s p a r t i c u l a r n o t i o n of c o n t r a r i e t y a l s o
c o n n e c t s him t o c e r t a i n f i g u r e s i n t h e E n g l i s h Romantic t r a d i t i o n , e s p e c i a l l y t o C o l e r i d g e , whose work h e was f a m i l i a r w i t h i n
t h e 1 8 5 0 1 s , and t o Blake, whom h e r e a d l a t e r i n h i s c a r e e r .
C o l e r i d g e ' s n o t i o n of t h e s y n t h e t i c n a t u r e of e x p e r i e n c e and
B l a k e ' s u s e of c o n t r a r i e s a r e n o t d i s s i m i l a r t o M e l v i l l e ' s v i s i o n .
W h a t ' c o n n e c t s t h e s e a r t i s t s , however, i s n o t s i m p l y
a corresponC
dence of v i s i o n and t e c h n i q u e ;
t h e r e i s , beyond a s h a r e d uncom-
m i t t e d s t a n c e , a p r o f u n d i t y of mind t h a t , b e c a u s e it h a s a l r e a d y
-
i
7
s e e n t o o much and y e t knows t h e r e i s more t o see, w i l l n o t f a l l
i n t o judgment.
Another f i g u r e , Andre Gide, i n o u r own c e n t u r y ,
h a s c a l l e d t h i s a t t i t u d e " n e u t r a l i t y w , a n d h i s w o r d s , t o some
degree expressing t h e n a t u r e of t h e c r e a t i v e a t t i t u d e i n
M e l v i l l e , c a n a l s o b e u s e d i n c i d e n t a l l y - a s a s t a n d a r d for c r i t i c a l responsibility:
I do n o t indeed c l a i m t h a t n e u t r a l i s t h e c e r t a i n mark o f a
ity
g r e a t mind; b u t I b e l i e v e t h a t
many g r e a t minds h a v e b e e n v e r y
c o n c l u d e -- and t h a t . ,
loath t o
t o s t a t e a problem c l e a r l y i s n o t
t o suppose it s o l v e d i n advance.,
...
..:
BARTLEBY THE SCRIVENER
B a r t l e b y The
-scrivener,
p u b l i s h e d i n 1853, p r e s e n t s a
d e p a r t u r e i n M e l v i l l e ' s work from t h e r i c h s y m b o l i c a l t o n e s o f
--
~ o b yDick a n d t h e mock-epic s t y l e o f P i e r r e .
W e n o t o n l y have
b r e v i t y i n form a n d a much s i m p l e r s t y l e , b u t a s u b j e c t - m a t t e r
t h a t i s r a d i c a l l y d i f f e r e n t from t h e m e t a p h y s i c a l t r i a l s o f t h e
"Soul-Pacific.
lug
The b a t t l e f o r s e l f - k n o w l e d g e on a c o s m i c s c a l e
h a s changed t o a c o n f l i c t o f two c i t y m e n ' i n s t a t i c c i r c u m s t a n c e s .
What such s t a s i s i s meant t o s i g n i f y i n t h e d e v e l o p m e n t o f
M e l v i l l e ' s t h o u g h t i s , on t h e f a c e o f t h e m a t t e r , p u z z l i n g .
The
tendency i s t o i n t e r p r e t t h e c h a n g e s of theme and form b i o g r a p h i c a l l y i n t h e a b s e n c e o f much o t h e r documentary e v i d e n c e a b o u t
a r t i s t i c i n t e n t i o n s . lo C e r t a i n l y t h e r e l a t i v e p u b l i c f a i l u - r e s
o f Moby
Dick a n d P i e r r e prompted M e l v i l l e t o a c c e p t P u t n a m ' s
-o f f e r t o c o n t r i b u t e t o i t s pages.
However, w h e t h e r o r n o t t h e
b l e a k atmosphere o f " B a r t l e b y " , h i s f i r s t s t o r y f o r P u t n a m ' s ,
is
t o b e e x p l a i n e d by M e l v i l l e ' s p e r s o n a l d i f f i c u l t i e s c a n o n l y b e ,
a t b e s t , c o n j e c t u r a l . l 2 T h e r e a r e t o o many i m p o r t a n t p r o b l e m s i n
t h e s t o r y r e l a t e d t o i t s c o m p e l l i n g power which much b e p r i m a r i l y
and f i n a l l y u n d e r s t o o d i n t h e c o n t e x t of t h e work.
~t f i r s t t h e s t o r y o f f e r s u s few c l u e s t o i t s own s i g nificance.
The f i g u r e o f B a r t l e b y i s p r e s e n t e d a t a d i s t a n c e ,
n e v e r q u i t e i n f o c u s , and t h e l o q u a c i o u s n a r r a t o r i s a l w a y s t h e r e
t o modulate o u r comprehension t h r o u g h h i s own r e a c t i o n s .
More-
o v e r , t h e s t o r y p r o v i d e s a s t a r k l a n d s c a p e o f commercial N e w York
C i t y and t h e n a r r a t o r ' s l a w - o f f i c e s ,
t h e i n a c c e s s i b i l i t y of his-
t o r i c a l i n f o r m a t i o n about t h e t i t l e c h a r a c t e r , and, c o n s i d e r i n g
\
9
~ e l v i l l e ' sp r e v i o u s work, t h e n o v e l t y of a pre-empted
Very l i t t l e happens i n t e r m s of p l o t .
guest.
B a r t l e b y a r r i v e s i n answer
t o an a d v e r t i s e m e n t f o r s c r i v e n e r s , t a k e s up a n i s o l a t e d p o s t i n
t h e o f f i c e , and p r o c e e d s t o copy " s i l e n t l y , p a l e l y , m e c h a n i c a l l y "
tp. 6 7 ) .
Suddenly, one d a y , h e r e f u s e s t o check c o p i e s w i t h t h e
r e s t of t h e s t a f f .
H e "prefers not to."
Hereafter the relation-
s h i p between B a r t l e b y and n o r m a l s o c i e t y p r o g r e s s i v e l y d e t e r i o r ates.
The n a r r a t o r a t t e m p t s , w i t h a good d e a l of s o u l - s e a r c h i n g ,
b o t h t o u n d e r s t a n d B a r t l e b y a n d t o compel him t o f o l l o w o f f i c e
routine.
-
B a r t l e b y r e m a i n s uncommunicative, o f t e n f i x e d i n "dead-
wall reveries"
gether.
,
( p . 88), a n d a f t e r a w h i l e g i v e s up c o p y i n g a l t o -
When t h e n a r r a t o r c a n n o t b e r i d o f him, h e d e c i d e s t o
move o f f i c e s , a b a n d o n i n g B a r t l e b y .
The s t o r y e n d s w i t h B a r t l e b y
h a v i n g been a r r e s t e d , b r o u g h t t o t h e Tombs, where t h e n a r r a t o r
f i n d s him dead d u r i n g a v i s i t .
There i s n o t h i n g i n t h e s t o r y t o e x p l a i n B a r t l e b y l s
-
-
s t r a n g e behaviour, and, because h i s c h a r a c t e r is n o t described
w i t h much d e t a i l , we m i g h t s u s p e c t him t o b e a f i g u r e o f p a r a b l e .
I n d e e d , B a r t l e b y d o e s c a l l t o mind t h e rqad n o b i l i t y o f Don
~uixote,'~
o r a t times t h e s a v i o u r - f i g u r e of c h r i s t , 1 4 o r t h e
W o r l d - r e j e c t i n g B u d d h i s t monk,15 o r t h e p a t h e t i c f i g u r e o f a
maligned and m i s u n d e r s t o o d a r t i s t
-- p e r h a p s M e l v i l l e h i m s e l f . 16
Because B a r t l e b y i s c e r t a i n l y o u t o f t o u c h w i t h common r e a l i t y ,
e a c h of t h e s e a l l u s i o n s d o e s c a l l t o i t s e l f a p a r t i c u l a r anomaly
between a p p e a r a n c e and t r u t h and t h e f a i l u r e of s o c i e t y t o m e r i t
indiv2duality.
Y e t , p a r a d o x i c a l l y , e a c h of the.se a l l u s i o n s a l s o
t a k e s u s away from B a r t l e b y h i m s e l f , from t h e c r u c i a l r e c o g n i t i o n
t h a t h i s p a t h e t i c f i g u r e s e e m s t o compel t h e n a r r a t o r t o make.
L
10
Some c r i t i c s have t e n d e d t o f o c u s on t h e e n i g m a t i c B a r t l e b y a s a
T
key t o t h e meaning of t h e s t o r y ,
17
b u t t h i s n a t u r a l assumption i s
s u b v e r t e d by t h e p e r f o r m a n c e of t h e s t o r y .
Almost i m m e d i a t e l y w e
l e a r n from t h e n a r r a t o r t h a t B a r t l e b y "was one of t h o s e b e i n g s of
whom n o t h i n g i s a s c e r t a i n a b l e , e x c e p t from t h e o r i g i n a l s o u r c e s ,
and, i n h i s c a s e , t h o s e are v e r y s m a l l . "
Subsequently, t h e narra-
t o r s p e n d s much o f h i s t i m e t r y i n g t o make B a r t l e b y f o l l o w o r d e r s ,
t r y i n g t o u n d e r s t a n d him.
t r y i n g t o d i s c o v e r who h e i s .
-- - $
;
That he
J
i s methodically f r u s t r a t e d i n a l l h i s attempts should be f o r u s . -
I
a n a n a l a g o u s w a r n i n g t h a t any c r i t i c a l method d e s i g n e d t o i n t e r -
I
p r e t Bartleby w i l l f a i l .
This i s of course a g a l l i n g admission,
'I
-1
e s p e c i a l l y s i n c e t h e movement o f t h e t a l e i n v i t e s s p e c u l a t i o n
about t h i s p a l e s c r i v e n e r .
\
The c r i t i c s o f t h e s t o r y have t e n d e d t o c o n c e n t r a t e on
the
.
,-
f i g u r e of B a r t l e b y a s a model of s c h i z o p h r e n i a , o r on t h e
---.-
m a t e r i a l i s m o f t h e n a r r a t o r as t h e metaphor of a m o r a l l y b a n k r u p t
---.
s o c i e t y , o r on t h e "dead l e t t e r s " as e v i d e n c e f o r M e l v i l l e ' s supposed c o m p l a i n t o f n e g l e c t e d a r t i s t r y and c r i t i c i s m o f t h o s e w r i -
t e r s who work s o l e l y f o r money.
Such r e a d i n g s have u s u a l l y had
something u s e f u l t o s a y a b o u t t h e s t o r y , b u t u n f o r t u n a t e l y have
,
a l s o t e n d e d t o n e g l e c t t h e a c h i e v e m e n t o f a m b i g u i t y i n t h e relat i o n s h i p between t h e r e p r e s e n t a t i v e n a r r a t o r and t h e u n u s u a l
Bartleby.
Thus, i n t h e d i s c u s s i o n s o f a s c h i z o p h r e n i a t h e m e , ' t h e
most n o t a b l e c r i t i c s , (Newton A r v i n , R i c h a r d Chase, Mordecai
M a r c u s ) , have f o c u s e d t o o much a t t e n t i o n on t h e a s s o c i a t i o n a l
c p a l i t i e s of t h e t e x t , t h e r e b y g i v i n g t h e impression ~ e l v i l l e
c r e a t e d a model c o n f l i c t o f p a t h o l o g i c a l t y p e s
18
.
I n an e x t e n s i v e
r e a d i n g of t h e " w a l l s " m e t a p h o r , Leo Marx t o o k t h e "lead o f t h o s e
"
-
'
c r i t i c s who s e e M e l v i l l e ' s work a s an a t t a c k on 1 9 t h c e n t u r y
,
American c a p i t a l i s m , embodied i n t h e n a r r a t o r , and a s a n e m b a t t l e d
-and s t o i c a l s u p p o r t o f t h e o r d i n a r y man's f i g h t f o r i n d i v i d u a l i t y
F----
.midst
a l i e n a t i n g socio-economic f o r c e s . l9 s u c h s o c i o l o g i c a l
c r i t i c i s m can i l l u m i n a t e s o m e of t h e f o r c e s i n t h e s t o r y , b u t
,.----"
'
d o e s l i t t l e t o c l a r i f y t h e a r t i s t i c a c h i e v e m e n t of a w r i t e r whose
1;
p r i n c i p a l t h r u s t from t h e b e g i n n i n g o f h i s c a r e e r had been meta/
physical
--
and s y m b o l i c a l r a t h e r t h a n s o c i a l and p o l i t i c a l .
Extra-
p o l a t i v e i n t e r p r e t a t i o n s , on t h e o t h e r hand, have a l s o sometimes .
e r r e d , a s i n Maurice F r i e d m a n ' s modern r e a d i n g o f B a r t l e b y as a n
e x i s t e n t i a l h e r o , w i t h s p i r i t u a l l i n k s t o Dostoevsky and Kafka. 20
Such c r i t i c a l work a g a i n t e n d s t o o b s c u r e M e l v i l l e ' s s p e c i f i c
a r t i s t i c strategies.
One o f t h e b e t t e r r e a d i n g s o f t h e s t o r y h a s
-
--
been by C h a r l e s G. Hoffman, who, d e s p i t e acknowledging t h e s t o r y ' s
----_
.
-
%
-
power, s e e s t h e e n d i n g a s a f a i l u r e . 21
The e n d i n g , w i t h i t s sup-
posed t r a n s f o r m e d p e r c e p t i o n o f B a r t l e b y by t h e n a r r a t o r ,
c r u c i a l matter.
is a
-
While t h i s t h e s i s a r g u e s w i t h t h e view t h a t
M e l v i l l e u n r e s e r v e d l y assumed t h e v o i c e o f h i s n a r r a t o r i n t h e
e n d i n g , i t d o e s r e c o g n i z e t h e v a l u e o f Hoffman's work which
e n g a g e s i t s e l f s e r i o u s l y w i t h what i s o c c u r r i n g i n t h e s t o r y .
An
e q u a l l y w o r t h w h i l e b u t c o n t r a r y p o s i t i o n i s t a k e n by K i n g s l e y
Widmer, who i n h i s s t u d y sees t h e t a l e a s an e x e r c i s e i n i r o n i c
n i h i l i s m w i t h no redemption f o r t h e n a r r a t o r .
22
Although
work i s one o f t h e b e s t p u b l i s h e d a n a l y s e s of t h e n a r r a t o r ' s r o l e ,
t h i s t h e s i s a l s o t a k e s e x c e p t i o n w i t h t h e h y p o t h e s i s of an u n r e deemed n a r r a t o r .
Such a n i n t e r p r e t a t i o n h a s t h e e f f e c t o f reduc-
i n g t h e s t o r y t o a d u a l i s m , ,of " u s " and "them1', of a m a n i p u l a t i v e
b u t b l i n d n a r r a t o r v e r s u s a weak B a r t l e b y , and M e l v i l l e ' s work
r
n e v e r l e a v e s u s c o m f o r t a b l y w i t h s u c h s i m p l e c h o i c e s , however
a t t e n u a t e d by c i r c u m s t a n c e s .
The c u r i o u s r e s u l t o f a l l t h e
a f o r e m e n t i o n e d c r i t i c i s m i s t h a t i t s wide r a n g e d o e s m i r r o r one
o f t h e e f f e c t s o f t h e s t o r y : t h a t o f accommodating c o n f l i c t i n g
p o i n t s - o f -view w h i l e r e m a i n i n g e l u s i v e l y c l e a r o f them.
Such a d a p t a b i l i t y t o g e n e r a l i z e d c r i t i c i s m i s d u e ,
q u i t e p r o b a b l y , t o t h e n a r r a t i v e method.
The f o r m a l problem o f
h a v i n g t h e f i r s t p e r s o n n a r r a t o r b e a n a c c u r a t e spokesman w h i l e
y e t i n d i c a t i n g h i s l i m i t a t i o n s i s a t e s t o f i r o n i c achievement
.
T
b u t d o e s n o t h a v e , i n t h i s s e n s e , any i n n a t e r e l a t i o n s h i p t o t h e
problem o f c e r t i t u d e .
B u t a b i o g r a p h i c a l s k e t c h which a t t e m p t s
t o d i s c o v e r t h e meaning o f a p e r s o n a l r e l a t i o n s h i p , y e t which i s
hampered by t h e b i a s o f memory, d o e s s u g g e s t t h a t t h e p r o c e s s o f
knowing i s a s t e n t a t i v e a n d c o n d i t i o n a l a s what c a n b e known.
Since t h e n a r r a t o r t e l l s us almost immediately t h a t very l i t t l e
c a n be known o f B a r t l e b y , a n d s i n c e a s o l i d p h y s i c a l i m p r e s s i o n
o f B a r t l e b y i s n e v e r c r e a t e d , one m i g h t e x p e c t t h a t t h e r e a l i t y
o f t h e n a r r a t o r ' s e x p e r i e n c e i s n e v e r q u i t e conveyed by t h e desc r i p t i o n of i t s a p p e a r a n c e s .
T h i s m i n o r q u a l i f i c a t i o n t o any
a p p r o a c h t o t h e s t o r y i s i m p o r t a n t b e c a u s e it a t l e a s t m a i n t a i n s
t h a t t h e n a r r a t o r , however s i n c e r e , c a n o n l y o f f e r u s approximat i o n s t o h i s e x p e r i e n c e a n d n o t i t s s u b s t a n c e , and t h a t h i s s t r u g g l e t o u n d e r s t a n d assumes v a r i o u s s t a n c e s o f r e a c t i o n t o d i f f i c u l t y r a t h e r t h a n one c o n s i s t e n t a t t i t u d e .
What t h i s t h e s i s pro-
poses i s a f i n a l ambiguity i n t h e r e p r e s e n t a t i o n o f t h e n a r r a t o r ' s
e x p e r i e n c e , from which w e c a n i n f e r o n l y a t e n t a t i v e c o n d i t i o n o f
truth.
B a r t l e b y ' s e n i g m a t i c "I p r e f e r n o t t o " i s t h e k e y u t t e r -
ance i n t h e s t o r y , f o r it e q u a l l y i n v o l v e s t h e d i f f e r e n t l e v e l s of
i
13
i n t e l l e c t , i m a g i n a t i o n , and w i l l i n b o t h n a r r a t o r and r e a d e r w h i l e
=rejecting f u r t h e r c o o p e r a t i o n and r e l a t i o n s h i p .
If t h e n a r r a t o r
a t t e m p t t o u n d e r s t a n d such a r e s p o n s e o f h i s s c r i v e n e r ' s , as
a t e s t o f h i s own humanity, t h e n h i s c h a n g i n g i m p r e s s i o n s and
d e v e l o p i n g b e w i l d e r m e n t s h o u l d be an i m p o r t a n t e l e m e n t i n b o t h t h e
t a l e ' s a c h i e v e m e n t and t h e d e t e r m i n a t i o n o f i t s f i n a l p o s i t i o n .
Therefore, w e s h a l l start with t h e r e p r e s e n t a t i o n of t h e n a r r a t o r
i n t h e s t o r y b e f o r e a t t e m p t i n g t o u n d e r s t a n d what t h e s t o r y i s
t r y i n g t o t e l l us.
. .
THE PROBLEIVI. OF THE NARRATOR
---C
I f t h e t r u t h c o n c e r n i n g B a r t l e b y i s h i d d e n b e c a u s e of
t h e n a t u r e of a p p e a r a n c e s , which c a n o f f e r u s o n l y h i n t s a b o u t
~ h a r a c t e r , a n d b e c a u s e of t h e i m p e r f e c t i o n s o f memory, t h e n as
r e a d e r s w e h a v e t h e d i f f i c u l t y of a s s e s s i n g t h e s i g n i f i c a n c e of
the narrator's revelations.
a t face value?
A r e we t o take t h e n a r r a t o r ' s story
H i s suffering,
p e r i e n c e are u n d e n i a b l e ,
unrelieved seriousness.
and t h e t r a g i c a s p e c t s o f h i s ex-
However, t h e s t o r y i s n o t p r e s e n t e d i n
The s e v e r a l j o k e s a n d t h e e x a g g e r a t e d
humour o f many o f t h e s c e n e s work a t t h e l a w y e r ' s e x p e n s e .
o f t e n e x p o s e d a s pompous and s e n t i m e n t a l .
. ,
H e is
F u n d a m e n t a l l y , t h e con-
t r a d i c t i o n o f a weak, u n a m b i t i o u s man l i k e B a r t l e b y u p s e t t i n g t h e
performance o f o f f i c e r o u t i n e by p r e f e r r i n g n o tt o comply w i t h
c o n v e n t i o n s f o r no a p p a r e n t r e a s o n , i s i n i t s e l f a c o m i c a l l y
absurd s i t u a t i o n .
Y e t t h e n a r r a t o r f i n d s n o t h i n g funny i n h i s
d i f f i c u l t i e s with Bartleby,
I n the l i g h t of t h e n a r r a t o r ' s i r o n i c
i g n o r a n c e a n d t h e ambiguous comedy o f h i s p l i g h t , t h e t r a n s f o r m a t i o n of h i s a t t i t u d e a t t h e d e a t h of B a r t l e b y c a n n o t b e t a k e n
literally,
I f t h e r e i s a gradual process o f r e v e l a t i o n t h e nar-
r a t i v e conceals it w e l l ,
,
T r a n s f o r m a t i o n i s u n d e r c u t by a n i r o n i c
enigma: r e p e a t e d l y B a r t l e b y i s shown t o b e b o t h weak and t h e a n t i t h e s i s o f s o c i a l l y a c c e p t e d v a l u e s , b u t somehow, by t h e s t o r y ' s
end w e a r e meant t o acknowledge t h a t t h i s " b i t o f wreck" r e p r e s e n t s humanity.
To a c c o u n t f o r t h e d i s c r e p a n c i e s i n t h e g e n e r a l s e r i o comid t o n e o f t h e n a r r a t i v e , we must l o o k t o t h e n a r r a t o r and t h e
facades of h i s p e r s o n a l i t y .
The l a w y e r ' s norma:l:i't,y i s t h e most
important c o n s i d e r a t i o n i n t h i s respect.
T h e r e i s a good d e a l o f
15
d i f f u s e n e s s t o h i s c h a r a c t e r i z a t i o n , p r i n c i p a l l y because t h e r e i s
no o t h e r c h a r a c t e r e q u a l l y developed i n t h e s t o r y ,
W e have o n l y
v o i c e t o g u i d e u s t o an a p p r e c i a t i o n of h i s p e r s o n a l i t y .
Within
t h e s e l i m i t a t i o n s w e c a n n o n e t h e l e s s make some u s e f u l observations.
F i r s t of a l l , t h e lawyer t a k e s p a i n s t o d e s c r i b e himself
as representative
--
of h i s c l a s s , h i s profession, h i s time
--
by
t h e mere f a c t t h a t d e s p i t e h i s d i s a v o w a l s of any c e l e b r i t y h e i s
s e n s i t i v e t o b o t h p u b l i c o p i n i o n and t o t h e appearance of v i r t u e
and h a r d work.
H i s c o n s e r v a t i s m , a f f a b i l i t y , humour, and reason-.
a b l e n e s s , may t e n d t o i n d i v i d u a t e him s l i g h t l y , b u t n o t enough t o
s e e him a s d e v i a t i n g i n any way from normal s t a n d a r d s o f decency
and o r d i n a r i n e s s .
However, t h e s e q u a l i t i e s make up a p e r s o n a which
a l s o c o n c e a l s any s e l f - c r i t i c a l e v i d e n c e and, i n f a c t , t h e l a r g e r
philosophical i s s u e s of t h e story.
The v i r t u e s which t h e n a r r a -
t o r espouses
--
s o c i a b i l i t y , f o r t i t u d e , prudence, c o o p e r a t i v e n e s s ,
philanthropy
--
and which B a r t l e b y w i l l n o t o r c a n n o t p r a c t i s e ,
form a narrow code o f c o n d u c t which c a n n o t do j u s t i c e t o a n " o r i gina1"23 c h a r a c t e r such a s Bartleby.
Yet t h e n a r r a t i v e p r o c e e d s
w i t h o u t awareness o f t h i s d i f f i c u l t y .
How t h e lawyer a t t e m p t s t o d i s c o v e r y t h e meaning of
,
Bartleby's actions i s a r t i c u l a t e d rhetorically,
This feature f i t s
w e l l w i t h t h e l a w y e r ' s p r o f e s s i o n , which must show a f a c i l i t y f o r
d i s c r i m i n a t i o n and p e r s u a s i o n , and a c o n s i s t e n t l o g i c .
Corres-
pondingly t h e n a r r a t o r t e l l s h i s s t o r y by p r o c e e d i n g from an
assumption of s h a r e d p r i n c i p l e s of b e h a v i o u r and c o g n i t i o n t o a
c a r e • ’ u l l y r e a s o n e d a d m i s s i o n of g u i l t and u n a v o i d a b l e i g n o r a n c e ,
and f i n a l l y , t o an i m p l i c i t i n v i t a t i o n t o s h a r e i n u n i v e r s a l speculation.
Such a p a t t e r n c r e a t e s an appearance of determinism
16
and s u g g e s t s t h e i n e x o r a b i l i t y of F a t e .
From t h e r n o m e n t s ~ a r t l e b y
comes t o t h e l a w y e r ' s o f f i c e , s t a n d i n g i n t h e doorway l i k e a
n m o t i o n l e s s young man" ( p . 661, B a r t l e b y ' s h i s t o r y seems complete,
f o r h i s sudden a p p e a r a n c e a l r e a d y c o n t a i n s w i t h i n i t a l l t h e
v a r i a t i o n s of m o t i o n l e s s n e s s i n t h e s t o r y from h i s "dead-wall
r e v e r i e s " t o h i s d e a t h i n t h e Tombs.
The a p p a l l i n g ' s u g g e s t i o n s
of B a r t l e b y ' s s t a s i s a r e o f t e n c o n c e a l e d by t h e n a r r a t o r ' s prot e s t i n g c o n s c i o u s n e s s which must f i n d "common s e n s e " e x p l a n a tions.
A s t h e n a r r a t o r grows more d e s p e r a t e , h i s b l a n d n e s s and
.
.-
e a r l y optimism are u n d e r c u t , a l l o w i n g u s t o p e r c e i v e some of t h e
f r i g h t e n i n g i n a d e q u a c i e s of h i s world-view
--
the illusion that
however i m p e r f e c t t h e workaday world i s , it can s a v e u s from becoming human wrecks.
The l a w y e r ' s r e a s o n a b l e n e s s i s a r h e t o r i c a l mask i n
several d i f f e r e n t senses.
t e l l h i s s t o r y reasonably.
In t h e f i r s t instance, he attempts t o
H i s "method" i s t o p o r t r a y t h e back-
J
ground and s e t t i n g t o B a r t l e b y ' s s t o r y , i n t r o d u c e t h i s u n u s u a l
s c r i v e n e r i n t h e c o n t e x t o f e v e r y day o f f i c e d u t i e s , and t h e n
show how h e t r i e d t o d e a l w i t h h i s d i f f i c u l t employee as f a i r l y
a s p o s s i b l e , d e s p i t e o u t r a g e o u s c h a l l e n g e s t o h i s good w i l l .
The n a r r a t o r manages t o convince u s of h i s good i n t e n t i o n s , y e t
t h e r e a r e i n c o n s i s t e n c i e s and c o n t r a d i c t i o n s i n h i s a c c o u n t t h a t
c a l l i n t o q u e s t i o n b o t h h i s s e l f - a w a r e n e s s and h i s awareness of
what happened.
L a t e r on, we s h a l l s e e how t h e n a r r a t o r ' s reason-
a b l e n e s s a l s o d i s g u i s e s d e s p e r a t i o n and f e a r a t h a v i n g h i s worldview ' t h r e a t e n e d .
C o n t r a d i c t i o n s a p p e a r i n t h e s t o r y i n t h e f i r s t few
---?
pages.
The n a r r a t o r t e l l s u s t h a t " B a r t l e b y was one of t h o s e
,
>
Y
k
b e i n g s o f . whom n o t h i n g i s a s c e r t a i n a b l e t v (p. 5 9 ) , e f f e c t i v e l y
creating
a s e n s e of i n t r i g u e , and t h e n p a r a d o x i c a l l y h e t e l l s u s
t h a t a g e n e r a l d e s c r i p t i o n of h i s own w o r l d i s " i n d i s p e n s a b l e t o
an a d e q u a t e u n d e r s t a n d i n g of t h e c h i e f c h a r a c t e r a b o u t t o b e
presented"
Cp. 5 9 ) .
C e r t a i n l y t h e paxadox i s r e l a t i v e t o t h e
commonsense n o t i o n t h a t , if t h e r e i s a s t o r y t o t e l l , i t must b e
somehow t o l d .
However, t h e f a c i l i t y w i t h which h e p a s s e s o v e r
the f i r s t difficulty i n the story
--
B a r t l e b y l s unknowableness
--
does s u g g e s t more of s e l f - i n t e r e s t t h a n a n .awareness o f t h e s u b t l e
.
mysteries o f p e r s o n a l i t y and r e c o l l e c t i o n .
This d i s t o r t i o n of
c h a r a c t e r i s t i c s i s a f e a t u r e o f t h e n a r r a t o r ' s "method", which
p r o f e s s e s t o o r d e r r e a l i t y b u t a c t u a l l y p r o t e c t s and a g g r a n d i z e s
his personality.24
W e a r e g i v e n more i n f o r m a t i o n a b o u t t h i s
"method" i n t h e f i r s t few p a g e s o f s e l f - d e s c r i p t i o n
statement of i n t e n t i o n s .
following t h e
H e i s a man who p r e f e r s t o b e unambi-
t i o u s and d o e s a "snug b u s i n e s s among r i c h men's bonds"
( p . 60),
and b e l i e v e s t h a t t h e " e a s i e s t way o f l i f e i s t h e b e s t v v ( p . 5 9 ) .
H i s f o r t e i s t h e l e t t e r of t h e l a w ,
n o t t h e human drama s u r r o u n d i n g it.
t h e d o c u m e n t a t i o n o f i t , and
By d e l i b e r a t e l y a v o i d i n g
" t u r b u l e n c e " and c o n t r o v e r s y , h e h a s c u t h i m s e l f o f f from t h o s e
e l e m e n t s of l i f e which d o n o t f i t h i s i d e a o f h i m s e l f .
H e is
eager t o t e l l us of h i s r e s p e c t a b i l i t y :
The l a t e John J a c o b A s t o r , a p e r s o n age l i t t l e given t o p o e t i c enthusiasm, had no h e s i t a t i o n i n pronounc i n g my f i r s t g r a n d p o i n t t o b e
I do
prudence;
my n e x t , method.
n o t speak it i n v a n i t y , b u t simply
r e c o r d t h e f a c t , . t h a t I was n o t
unemployed i n my p r o f e s s i o n by t h e
l a t e John Jacob Astor;
a name
which, I a d m i t , I l o v e t o r e p e a t ;
f o r i t h a t h a rounded a n d o r b i c u l a r
r
18
sound t o i t , a n d r i n g s l i k e u n t o
I w i l l f r e e l y add, t h a t
bullion.
I was n o t i n s e n s i b l e t o t h e l a t e
John J a c o b A s t o r 1 s good o p i n i o n .
(p. 60)
The p r i d e w i t h which t h e lawyer r e c a l l s A s t o r , a n d t h e a s s o c i a t i o n o f p r u d e n c e and method w i t h f i n a n c i a l g a i n , r e a d i l y i d e n t i f y
the narrator's m a t e r i a l i s m .
The f r a n k a d m i s s i o n t h a t h e l o v e s
t h e sound o f A s t o r ' s name s u g g e s t s t h a t w h a t e v e r s e n t i m e n t s t h e
lawyer p o s s e s s e s a r e c o n n e c t e d w i t h money and s u c c e s s .
This
a d m i s s i o n s o q u a l i f i e s t h e v a l u e o f " p r u d e n c e " and "method" (p. . 6 .0 )
t h a t we must b e g i n t o l o o k f o r o t h e r u n c o n s c i o u s i r o n i e s .
As
t h e s e i r o n i e s come i n t o b e i n g , w e f i n d t h a t i n e a c h i n s t a n c e
t h e r e i s a c o n t r a d i c t i o n between t h e n a r r a t o r ' s assumed o r prof e s s e d i d e a l s and h i s b e h a v i o u r , i n d i c a t i n g f i n a l l y a d i s t u r b i n g
l a c k of a w a r e n e s s .
Given t h a t t h e n a r r a t o r i s soon i n v o l v e d i n m a i n t a i n i n g
h i s world o r d e r a g a i n s t t h e u p s e t t i n g presence of Bartleby, h i s
method i n d o i n g s o c a n b e s e e n a s a n e x t e n s i o n o f h i s m a t e r i a l -
ism.
We soon l e a r n t h a t "method" f o r t h e n a r r a t o r c a n b e e q u a t e d
with expediency.
I n t e l l i n g h i s s t o r y , what h e f i r s t f i n d s
expedient i s t o i n t e r r u p t t h e c a r e f u l p r e s e n t a t i o n of f a c t s with
a seemingly i r r e l e v a n t s t a t e m e n t about h i m s e l f .
When h e com-
p l a i n s , b e f o r e w e have been p r o p e r l y a p p r i s e d of t h e s e t t i n g , of
t h e "sudden a n d v i o l e n t a b r o g a t i o n o f t h e O f f i c e o f M a s t e r i n
Chancery,"
(p. 6 0 ) t h e d i g r e s s i o n i s s o i n c o n g r u e n t t o t h e i n t e n -
t i o n of h i s n a r r a t i v e , t h a t w e a r e i m m e d i a t e l y s t r u c k by it.
The
h i n t s o f g r e e d a n d v i o l e n c e a r e d e v e l o p e d a f t e r w a r d s w i t h devas t a t i n g e f f e c t , b u t t h e i r inclusion a t t h i s p o i n t i n t h e narrat i v e suggests t h a t w e 'should s u s p e c t t h e q u a l i t y of t h e narra-
t o r ' s r e a s o n even b e f o r e B a r t l e b y a r r i v e s .
Upon l a t e r d i s c o v e r -
i n g t h e l a w y e r ' s manner of examining h i s c o n s c i e n c e
ing charity with s e l f - i n t e r e s t
--
--
of e q u a t -
t h e l a t e n t darker suggestions
of t h e n a r r a t o r ' s words come more c l e a r l y i n t o f o c u s .
-
A sub-
t e x t i s revealed, n o t i n t h e sense t h a t a p a r a l l e l dramatization
CL_
of i d e a s t a k e s p l a c e , b u t i n t h e s e n s e t h a t c r u c i a l i d e n t i f y i n g
notions about e i t h e r t h e n a r r a t o r o r Bartleby c a r r y a s i g n i f i cance c o n t r a r y t o t h e p r o f e s s e d one.
What makes such c o n t r a r y s i g n i f i c a n c e s a s u b - t e x t i s
t h e i r c o n s i s t e n c y of i r o n i c e f f e c t .
.
From t h e moment t h e n a r r a -
t o r b e g i n s t a l k i n g o f h i s prudence t o t h e d i s c o v e r y of B a r t l e b y ' s
dead body i n t h e Tombs, e a c h t h o u g h t o r a c t i o n t h a t a c t u a l l y
develops t h e n a r r a t i v e t o i t s c o n c l u s i o n c a n b e s a t i s f y i n g l y
apprehended b o t h i n i t s i n t e n t i o n a l and u n i n t e n t i o n a l meanings.
But t h i s i r o n i c p a t t e r n i s n o t a simple a n t i t h e t i c a l s t r u c t u r e ,
f o r a t any j u n c t u r e of c o n t r a r y s u g g e s t i o n s t h e f i n a l e f f e c t i s
one of t e n t a t i v e n e s s and ambiguity, p r e v e n t i n g t h e r e a d e r from
c a t e g o r i z i n g t h e n a r r a t o r and a l l o w i n g o n l y f o r approximations
h
about t h e e s s e n c e o f c h a r a c t e r .
The s p e c i f i c i r o n y i s a subver-
s i o n of e x p e c t a t i o n s , a l l o w i n g f o r e x p l o r a t i o n of meaning.
An immediate example i s t h e d i g r e s s i ~ non t h e l o s s of
Chancery r e v e n u e s .
Because of l a t e r d i s c l o s u r e s a b o u t t h e n a r r a -
t o r ' s m a t e r i a l i s m , t h e i n i t i a l h i n t of g r e e d t a k e s on new s i g n i ficance.
Does " O f f i c e " have a q u a s i - e c c l e s i a s t i c a l i m p l i c a t i o n ,
and t h e revenue a s u g g e s t i o n of simony?
We c a n n o t b e s u r e , even
when'we r e a l i z e t h e lawyer c o n t r o l s h i s own o f f i c e - w o r l d absolut e l y , t h a t h e t h i n k s much and d u b i o u s l y a b o u t c h a r i t y , and t h a t
t h e symbolism of t h e s t o r y a t t i m e s i m p l i e s t h a t t h e n a r r a t o r
-
,
20
might represent t h e a p o s t l e
f o u n d e r o f t h e ChurCh.
On
t h e one hand w e a r e meant t o u n d e r s t a n d h i s d i g r e s s i o n as normal
human i r r i t a t i o n a t t h e v a g a r i e s o f F a t e , a n d on t h e o t h e r hand
there i s t h e lurking, never articulated, suggestion t h a t h i s
aside i s a r e v e l a t i o n of m o r a l abuse.
A f t e r t h i s ambiguous r e v e l a t i o n , a good d e a l more i s
learned about t h e n a r r a t o r through h i s r e l a t i o n s h i p with t h e
clerks.
Turkey and N i p p e r s a r e c l e a r l y n o t o v e r l y e f f i c i e n t i n
their duties;
t h e i r comic i d i o s y n c r a c i e s . a r e s u c h t h a t t h e p e r -
formance o f work s e e m s a d e l i c a t e l y b a l a n c e d s t a t e o f a f f a i r s .
The n a r r a t o r ' s " p r u d e n c e " and "method" i n t h i s r e s p e c t i s t o
m a i n t a i n a s t a t u s q u o , however l u d i c r o u s a t t i m e s , p r o v i d e d t h a t
c e r t a i n minimum s t a n d a r d s are k e p t .
Such i n c o n s i s t e n c y on h i s
p a r t seems p o s i t i v e , f o r sympathy and humour a r e e v i d e n t l y p r e sent i n h i s attitude.
The h i r i n g of a young a p p r e n t i c e , Ginger-
Nut, a s o f f i c e b o y , shows p a t e r n a l c o n s i d e r a t i o n .
The e f f e c t o f
t h e h a b i t u a l c a r e l e s s n e s s o f Turkey and t h e f i e r y t e m p e r of
Nippers i s t o humanize t h e o t h e r w i s e uncommon d u l l n e s s o f o f f i c e
routine.
Their f a u l t s are inconveniences t h e lawyer i s prepared
t o l i v e w i t h , e v e n when T u r k e y m i s t a k e s a c a k e f o r a s e a l a n d w i t t i l y s a v e s h i m s e l f from d i s m i s s a l by p r o m i s i n g t o p a y f o r t h e
s o i l e d documents.
Such i n d u l g e n c e , a s r e p o r t e d by t h e n a r r a t o r ,
shows u s j u s t how f a r t h e l a w y e r i s p r e p a r e d t o g o i n e x c u s i n g
human e c c e n t r i c i t y a n d e r r o r , t h e r e b y s e t t i n g up t h e r a t i o n a l e
f o r h i s exasperation with Bartleby.
I n t h i s s e n s e , t h e long des-
c r i p t i o n of h i s a s s i s t a n t s i s i m p o r t a n t t o t h e n a r r a t o r ' s s t o r y ,
f o r i t c a r e f u l l y j u s t i f i e s h i s good w i l l , t h e i m p o r t a n c e o f o f f i c e
harmony t o g e t t i n g h i s work done,' a n d t h e f a c t t h a t h e i s n o t
I
v
21
w i t h o u t hbmour.
However, b u r i e d w i t h i n t h i s norm, are i n d i c a t i o n s
t h a t t h e l a w y e r ' s sympathy i s a l s o a k i n d of c o n d e s c e n s i o n , and
t h a t t h i s c o n d e s c e n s i o n p r e v e n t s him from e x p e r i e n c i n g f e e l i n g s
of d e p t h .
C e r t a i n l y h i s t h r e e a s s i s t a n t s a r e s i n g u l a r l y hollow
creatures, without evidence of p r i v a t e f e e l i n g o r challenge t o
t h e n a r r a t o r ' s a u t h o r i t y . 26
Furthermore, t h e very r e p e t i t i v e n e s s
of o f f i c e r o u t i n e k e e p s l i f e o u t and c r e a t e s t h e s p i r i t u a l l y unchanging c i r c u m s t a n c e s t o which t h e s o l i t a r y B a r t l e b y comes.
The n a r r a t o r ' s p s y c h o l o g i c a l c o n d i t i o n a s B a r t l e b y
b e g i n s t o r e j e c t a c t i v i t y shows u s o t h e r i n c o n s i s t e n c i e s w i t h i n
h i s reasonable p i c t u r e of h i m s e l f .
s a f e man,"
-
The n a r r a t o r i s a n " e m i n e n t l y
who, when h e i s t h w a r t e d , as i n t h e c a s e o f h i s l o s s
of Chancery r e v e n u e s and as i n t h e memory o f t h e i n f u r i a t e d C o l t
s h o o t i n g Adams, i s t e m p t e d t o sudden v i o l e n c e .
Perhaps, f o r t h i s
r e a s o n , h e w i s h e s t o a v o i d c o n f r o n t a t i o n , as i s e v i d e n c e by h i s
i n d e c i s i v e n e s s w i t h B a r t l e b y , and s o , e a r l y i n t h e n a ~ r a t i v e ,h e
t e l l s u s h e h a s c h o s e n t h e " c o o l t r a n q u i l i t y o f a snug r e t r e a t
a snug b u s i n e s s among r i c h m e n ' s b o n d s , "
t e r i s t i c s t y l e of l i f e .
...
( p . 6 0 ) as h i s c h a r a c -
F o r "snug r e t r e a t " w e c a n r e a d smug re-
t r e a t as i t s p s y c h o l o g i c a l e q u i v a l e n t , f o r h e d o e s a d m i t t h a t h e
a v o i d s t h e drama o f t h e c o u r t r o o m and h e d o e s r e p o r t A s t o r ' s good
o p i n i o n w i t h some d e g r e e of s e l f - s a t i s f a c t i o n .
The p h r a s e "snug
r e t r e a t " b e g i n s t o assume i m p o r t a n c e on ~ a r t l e b y ' sa r r i v a l .
He
i s d e s c r i b e d as " p a l l i d l y n e a t , p i t i a b l y y e s p e c t a b l e , i n c u r a b l y
f o r l o r n " (p. 6 6 ) .
The l a n g u a g e c o n t a i n s a s much self-comment as
i t doe's d e s c r i p t i o n o f B a r t l e b y , s i n c e t h e r e i s a k i n d of p a t r o n i z i n g and c o n d e s c e n d i n g a t t i t u d e i n " p i t i a b l y r e s p e c t a b l e , " and
most t e l l i n g l y
--
"incurably forlorn."
Y e t .the lawyer's f i r s t a c t
22
upon h i r i n g B a r t l e b y i s t o i s o l a t e him from t h e o t h e r s c i i v e n e r s .
This i s done, a c c o r d i n g t o t h e lawyer, " t o have t h i s q u i e t man
w i t h i n e a s y r e c a l l , i n c a s e any t r i f l i n g t h i n g was t o b e done."
(p. 67). The p a t r o n i z i n g a i r of " t r i f l i n g " i s d i f f i c u l t t o i g n o r e , b u t t h e i s o l a t i o n of B a r t l e b y s u g g e s t s more t h a n w i l f u l
humour.
I s o l a t e d from s o c i e t y , B a r t l e b y ' s immediate s e t t i n g
looks o u t t h r o u g h a window o n t o a w a l l .
I
I t seems s t r a n g e t h a t t h e
n a r r a t o r , who h a s a l r e a d y i d e n t i f i e d B a r t l e b y as " i n c u r a b l y f o r l o r n , " should e x a c e r b a t e t h a t a p p a r e n t h o p e l e s s n e s s by i s o l a t i o n and by t h e d e p r e s s i n g s u g g e s t i v e n e s s of a w a l l a f f o r d i n g no view.
of c o u r s e , t h e n a r r a t o r h a s a l r e a d y d e s c r i b e d t h e s p e c t a c l e of
w a l l s a s " d e f i c i e n t i n what l a n d s c a p e p a i n t e r s c a l l " l i f e " ( p . 6 0 )
s o one would n o t e x p e c t him t o b e aware of t h e t e r r i b l e i r o n y of
p l a c i n g B a r t l e b y by such a view.
Nonetheless, although Bartleby
seems t o a d a p t t o h i s new environment, t h e t r a g i c e v e n t s of t h e
s t o r y have been s e t i n motion by t h i s one a c t of whimsy.
Taken
i n i t s e n t i r e t y , t h e i r o n y of B a r t l e b y ' s p r o g r e s s i v e r e t r e a t from
a c t i v i t y i s t h a t i t m i r r o r s t h e n a r r a t o r ' s own r e t r e a t from t h e
more p u b l i c r e s p o n s i b i l i t i e s o f h i s p r o f e s s i o n .
J u s t a s t h e nar-
r a t o r ' s "snug r e t r e a t " i s a smug r e t r e a t from d i f f i c u l t y , s o
B a r t l e b y ' s r e t r e a t from l i f e i s a r e d u c t i o of t h e n a r r a t o r ' s
philosophy.
t h e ab&nce
A s a c o p y i s t , B a r t l e b y performs work which i m p l i e s
o f any c r e a t i v i t y .
t i v e personality.
The lawyer h i m s e l f i s n o t a c r e a -
S y m b o l i c a l l y , t h e "dead w a l l " which b o t h s e e
each day i s t h e f i n a l r e d u c t i o n o f t h e n a r r a t o r ' s m a t e r i a l i s m : a
s e p a r a t i o n from l i f e , a b l i n d n e s s , an e m p t i n e s s .
D e s p i t e such d e f i c i e n c i e s i n h i s awareness t h e n a r r a t o r
h a s capably r e p r e s e n t e d h i m s e l f as a man of r e a s o n and o r d e r .
By
23
t h e t i m e - B a r t l e b y r e f u s e s t o copy documents, w e a r e p r e p a r e d t o
a c c e p t t h a t t h e n a r r a t o r i s a man of normal d i s p o s i t i o n , t h a t h e
i s n o t l a c k i n g i n r e a s o n a b l e n e s s , c o o p e r a t i o n , and p h i l a n t h r o p y ,
t h a t h e p r i z e s t h e a c c e p t e d d e c e n t s t a n d a r d s of l i f e and t h e good
o p i n i o n o f o t h e r s , and t h a t B a r t l e b y i s a d e e p l y d i s t u r b e d i n d i v i d u a l whom no layman c a n e x p e c t t o h a n d l e w e l l .
W e can accept
such a view b e c a u s e t h e n a r r a t o r h a s p r e p a r e d u s f o r it.
Just as
h e h a s assumed a l l a l o n g t h a t B a r t l e b y would d e p a r t when o r d e r e d ,
h e h a s e a r l i e r assumed t h e r e a d e r would s h a r e i n t h e u n d e r s t a n d i n g of prudence, comfort, reason, parsimony, as c r e d i b l e standa r d s of b e h a v i o u r .
What b e g i n s t o emerge a b o u t t h e n a r r a t o r a s t h e s t o r y
u n f o l d s i s t h a t h e i s a s much i n t e r e s t e d i n t e l l i n g h i s own s t o r y
a s h e i s i n t e r e s t e d i n t h e s t o r y of Bartleby.
this self-interest
is, unfortunately,
Harmless i n i t s e l f ,
a l s o a l l i e d with moral val-
u e s whose e s s e n c e become d i s t o r t e d i n t h e l a w y e r ' s p e r s o n a l i t y by
a s u b t l e d i s r e g a r d of anything unconventional o r unreasonable.
When B a r t l e b y r e f u s e s t o check c o p i e s , t h e n a r r a t o r shows h i s d i s p l e a s u r e by e x a g g e r a t i n g t h e e f f e c t o f B a r t l e b y ' s u n c o n v e n t i o n a l
and u n r e a s o n a b l e p r e f e r e n c e s :
I t i s n o t seldom t h e c a s e t h a t , when
a man h a s b e e n browbeaten i n some
u n p r e c e d e n t e d a n d v i o l e n t l y unreasona b l e way, h e b e g i n s t o s t a g g e r i n h i s own p l a i n e s t f a i t h . ( p . 7 0 )
The n a r r a t o r h a s h a r d l y been "browbeaten" and c e r t a i n l y n o t w i t h
any v i o l e n c e . 27
B a r t l e b y ' s m i l d n e s s , by t h e l a w y e r ' s own admis-
s i o n , c o n t r a d i c t s such a p o s s i b i l i t y .
l i k e "unprecedented",
W e b e g i n t o s e e t h a t words
" v i o l e n t l y " , " u n r e a s o n a b l e " , " f a i t h " , are
b e i n g u s e d r h e t o r i c a l l y , t o convey more o f . a g e n e r a l i m p r e s s i o n
than a s p e c i f i c observation.
~Jh'j-let h e n a r r a t o r ' s w o r d s - o s t e n -
s i b l y d e a l w i t h B a r t l e b y ' s sudden u n c o o p e r a t i v e n e s s , t h e r e i s a
s u b t l e r s e n s e i n which t h e y d e s c r i b e t h e n a r r a t o r ' s own s t a t e o f
mind.
H i s r e a c t i o n has superceded t h e e v e n t ,
f o r it i s h i s s o l i p -
s i s m which d i s t i n g u i s h e s t h e p a s s a g e r a t h e r t h a n any c o n c e r n w i t h
accuracy o r reason.
Such a d i s c r e p a n c y becomes k e e n e r when t h e
s i t u a t i o n w o r s e n s a n d it becomes c l e a r t h a t B a r t l e b y w i l l n o t o n l y
do no c o p y i n g b u t w i l l a l s o r e f u s e t o l e a v e t h e p r e m i s e s .
I n two
h e a v i l y i r o n i c p a s s a g e s , we f i n d t h e n a r r a t o r a t t e m p t i n g t o m e e t
t h i s c h a l l e n g e by u n i t i n g p r a c t i c a l c o n s i d e r a t i o n s w i t h r e l i g i o u s
ideals:
I f I t u r n him away, t h e c h a n c e s a r e
t h a t h e w i l l f a l l i n w i t h some less
i n d u l g e n t e m p l o y e r , and t h e n h e w i l l
b e r u d e l y t r e a t e d , and p e r h a p s d r i ven f o r t h m i s e r a b l y t o s t a r v e .
Yes.
H e r e I can cheaply purchase a d e l i cious self-approval.
To b e f r i e n d
Bartleby;
t o humour him i n h i s
strange wilfulness, w i l l cost me
l i t t l e o r n o t h i n g , w h i l e I l a y up
i n my s o u l what w i l l e v e n t u a l l y
p r o v e a s w e e t m o r s e l f o r my c o n s c i ence. (p. 72)
L a t e r t h e n a r r a t o r t u r n s t o t h e C h r i s t i a n commandment o f c h a r i t y
t o over-rule h i s quickening resentment:
Aside from h i g h e r c o n s i d e r a t i o n s ,
c h a r i t y o f t e n o p e r a t e s as a v a s t l y
w i s e and p r u d e n t p r i n c i p l e -- a
g r e a t safeguard t o i t s possessor.
Men h a v e committed murder f o r
jealousy's sake, and anger's sake,
and s e l f i s h n e s s ' s a k e , and s p i r i t u a l
p r i d e ' s s a k e ; b u t n o man, t h a t e v e r
I h e a r d o f , ever committed a d i a b o l i c a l murder f o r s w e e t c h a r i t y ' s
s a k e . Mere s e l f - i n t e r e s t , t h e n , i f
no b e t t e r motive can b e e n l i s t e d ,
s h o u l d e s p e c i a l l y w i t h high-temp e r e d men, prompt a l l b e i n g s t o
c h a r i t y and p h i l a n t h r o p y . ( p . 8 8 )
25
Both t h e s e p a s s a g e s o f f e r u n c o n s c i o u s i r o n i e s on t h e
j u s t i f i c a t i o n of c h a r i t y .
Although t h e p a s s a g e s a r e
w e l l , as one might e x p e c t from a lawyer b e f o r e a j u r y of
b o t h c o n t a i n d i s t o r t i o n s of t h e i n t e n d e d s p i r i t of
~ h a r i t y ,now made e x p e d i e n t by c i r c u m s t a n c e s .
In the f i r s t , the
c r a s s r e d u c t i o n of c h a r i t y t o a s a f e and cheap "purchase" of
n o b i l i t y mocks t h e C h r i s t i a n n o t i o n of a t t a i n i n g heaven by lovi n g one ' s n e i g h b o u r . 2 8
The argument f o r h e l p i n g B a r t l e b y s h o u l d
a t t h i s p o i n t b e i n f l u e n c e d by t h e w e l l - b e i n g of t h e s c r i v e n e r ,
.
P
s i n c e t h i s p a s s a g e f o l l o w s an o b s e r v a t i o n t h a t t h e s c r i v e n e r
l i v e s o n l y on " g i n g e r - n u t s " .
Yet t h e n a r r a t o r ' s argument i s
i n s t e a d b a s e d 'on s e l f - c o n g r a t u l a t i o n
("some l e s s i n d u l g e n t
employer"), s e n t i m e n t a l i t y ("driven f o r t h miserably t o s t a r v e " ) ,
self-concern
("purchase a d e l i c i o u s self-approval"),
condescen-
s i o n ( " t o humour him i n h i s s t r a n g e w i l f u l n e s s t 1 ) , m a t e r i a l i s m
( " c o s t me l i t t l e o r n o t h i n g " ) , and s e l f - g r a t i f i c a t i o n
morsel f o r my c o n s c i e n c e " ) .
( " a sweet
The second p a s s a g e e l a b o r a t e s t h e
argument of t h e f i r s t by l i n k i n g s e l f - g r a t i f i c a t i o n w i t h s e l f preservation.
The n a r r a t o r must r e s o l v e h i s f e e l i n g s of v i o l e n c e
toward B a r t l e b y and t h e s a f e s t means a p p e a r t o b e a submission t o
charity.
The i r o n y of t h e argument, p e r s u a d i n g by r e d u c t i v e
analogy t h a t murder c a n be p r e v e n t e d by c h a r i t y , and t h a t t h e r e fore c h a r i t y i s a "prudent principlet', is a t e r r i b l e anti-climax
t o t h e dilemma o f how B a r t l e b y can be h e l p e d .
"Mere s e l f - i n t e r e s t "
becomes n o t j u s t t h e b a s i s f o r c h a r i t y b u t i t s v e r y form.
Such
an u n d e r s t a n d i n g of t h e l a w y e r ' s m o t i v e s , however a t t e n u a t e d by
t h e genuine problem of B a r t l e b y l s p s y c h o l o g i c a l d e b i l i t y , makes
i t e a s i e r t o a c c e p t t h e s c r i v e n e r ' s r e f u s a l o f any h e l p from t h e
lawyer. .
A s w e r e a d more of t h e s t o r y w e b e g i n t o r e a l i z e t h a t
t h e n a r r a t o r ' s r e a s o n a b l e n e s s and b r a v a d o c o n c e a l f e a r and d e s p e r a t i o n . 29
B a r t l e b y l s s t r a n g e n e s s and t h e " s c a n d a l i z i n g
the narrator' s
] reputation"
(p. 90) c o n t r i b u t e t o t h e f e a r o f
the narrator b u t do n o t q u i t e explain h i s f e e l i n g of desperation.
A look a t t h e l a w y e r ' s r e a c t i o n s t o B a r t l e b y ' s r e f u s a l s shows a
progressive i n t e n s i f i c a t i o n of bewilderment.
I t i s as i f t h e
lawyer w e r e b e i n g v i c t i m i z e d by h i s s c r i v e n e r .
A f t e r Bartleby's
f i r s t " I would p r e f e r n o t t o " t h e l a w y e r i s " s t u n n e d " ( p . 6 8 ) ,
t h e n i n s e p a r a t e e p i s o d e s : " t o u c h e d and d i s c o n c e r t e d " ( p . 7 0 ) ,
" s t a g g e r e d " ( p . 7 3 ) , "unmanned" ( p . 7 6 ) , " m o r t i f i e d " ( p . 8O),
" t h u n d e r s t r u c k " ( p , 861, t h e l a s t b e i n g e q u a t e d t o t h e sudden
d e a t h o f a man by l i g h t n i n g .
Throughout t h i s d e t e r i o r a t i n g r e l a -
tionship with Bartleby, t h e n a r r a t o r f i g h t s a s i f h i s preservat i o n w e r e a t s t a k e , and h i s e f f o r t s i r o n i c a l l y p e r v e r t , t h e r e a l
d i f f i c u l t i e s of B a r t l e b y ,
When B a r t l e b y announces: " I have g i v e n
up copying" (p. 8 3 ) , t h e n a r r a t o r p o n d e r s t h e u s e l e s s n e s s o f h i s
scrivener.
H e r e g r e t s t h a t B a r t l e b y d o e s n o t h a v e any r e l a t i v e s
who m i g h t t a k e him away t o some " c o n v e n i e n t r e t r e a t " ( p . 8 3 ) , and
,
w i t h t h i s p h r a s e , u n c o n s c i o u s l y s i g n a l i z e s t h e t e n s i o n between
h i s own "snug r e t r e a t " a n d B a r t l e b y ' s r e t r e a t from community o f
any s o r t .
The n a r r a t o r r e s e n t s t h e i n t r u s i o n , u n d e r s t a n d a b l y s o ,
b u t t h e concommitant i m p l i c a t i o n s of " r e t r e a t " a l s o s u g g e s t a
c l a s h between two d i f f e r e n t k i n d s of i n w a r d n e s s .
Bartleby's in-
wardness may b e l u n a c y o r it may b e d e l i b e r a t e w i t h d r a w a l , b u t it
i s c h a r a c t e r i z e d by i m p o t e n c e .
The n a r r a t o r ' s i n w a r d n e s s i s a
cogent maintenance of a chosen privacy.
The n a r r a t o r h a s power
of d e c i s i o n .
Thus, i n such an o p p o s i t i o n , B a r t l e b y ' s w i t h d r a w a l
d e m o n s t r a t e s t h e s h o r t c o m i n g s of t h e n a r r a t o r ' s own, s i n c e i n t h e
f a c e of t h e d i s i n t e g r a t i o n of a human b e i n g , t h e n a r r a t o r a n x i o u s l y p o n d e r s how a p p e a r a n c e s c a n s t i l l b e m a i n t a i n e d .
One example
of t h e n a r r a t o r ' s u n f o r t u n a t e e x e r c i s e o f m o r a l c h o i c e f o l l o w s
h i s o b s e r v a t i o n t h a t B a r t l e b y seems " a b s o l u t e l y a l o n e i n t h e u n i v e r s e " (p. 8 3 ) .
Immediately a f t e r w a r d s , h e d e c i d e s t h a t B a r t l e b y
must l e a v e , f o r " n e c e s s i t i e s c o n n e c t e d w i t h my b u s i n e s s t y r a n nized over a l l o t h e r c o n s i d e r a t i o n s " (p. 8 3 ) .
Such t y r a n n y o f t .h e*
u t i l i t a r i a n , however, c a n n o t e x p l a i n away t h e o u t r a g e o u s j u x t a p o s i t i o n of p e r c e i v i n g B a r t l e b y ' s c o m p l e t e a l o n e n e s s and t h e n
b a n i s h i n g him.
Only f e a r c a n p r o v i d e an i n t e l l i g i b l e m o t i v e f o r
t h e n a r r a t o r r e f u s i n g t o u n d e r s t a n d what h e h a s s e e n .
I f w e examine t h e n a r r a t o r ' s r e a c t i o n s t o B a r t l e b y
rather than t o h i s preferences, we f i n d t h a t t h e n a r r a t o r i s
v i c t i m i z e d by h i s own n a t u r e , e v e n a t t h o s e moments when some
genuine f e e l i n g seems t o be d e v e l o p i n g .
When B a r t l e b y p r e f e r s
n o t t o check c o p i e s , t h e l a w y e r ' s i n i t i a l r e s p o n s e i s c o n c i l i a tory:
But t h e r e w a s something about
Bartleby t h a t n o t only strangely
d i s a r m e d me, b u t , i n a w o n d e r f u l
manner, t o u c h e d and d i s c o n c e r t e d
m e . ( p . 69-70)
A s ~ a r t l e b y ' sb e h a v i o u r becomes s t r a n g e r t h e n a r r a t o r grows more
thoughtful.
isc covering t h a t t h e s c r i v e n e r i s l i v i n g i n h i s o f f i -
c e s h e c o n t e m p l a t e s t h e b a r r e n s p e c t a c l e t h a t i s r e v e a l e d on a
Sunday on Wall S t r e e t : "And h e r e B a r t l e b y makes h i s home;
s p e c t a t o r o f a s o l i t u d e which he h a s s e e n a l l populous."
sole
(p. 77)
This thought i n t u r n l e a d s t o d e p r e s s i o n f o r t h e lawyer r e a l i z e s :
28
"The bond of a common h w a n i t y drew me i r r e s i s t a b l y t o gloom.
f r a t e r n a l melancholy!
A
F o r b o t h I and B a r t l e b y were s o n s of Adam."
The lawyer h a s been b r o u g h t t o t h e p o i n t of r e c o g n i t i o n , where t h e s c r i v e n e r ' s humanity assumes more importance t h a n
h i s eccentricity.
Although h e a g a i n becomes e x a s p e r a t e d w i t h
~ a r t l e b yand l o s e s h i s new p e r c e p t i o n of him, t h e lawyer h a s been
made t o f e e l something o f t h e t e r r i b l e human w a s t e i n h i s s c r i vener.
The language o f h i s p e r c e p t i o n s h a s none of t h e s e l f -
.
-
a s s u r a n c e and pomposity of t h e opening pages:
...
happiness c o u r t s t h e l i g h t , s o
we deem t h e world i s gay; b u t
m i s e r y h i d e s a l o o f , s o we deem t h a t
m i s e r y t h e r e i s none, (p: 7 7 )
Yet p r a c t i c a l c o n s i d e r a t i o n s a r e such t h a t t h e n a r r a t o r
cannot h o l d o n t o t h i s p e r c e p t i o n .
H i s m a t e r i a l i s m o v e r - r i d e s pro5-
lems w i t h o u t immediate o r c l e a r s o l u t i o n s .
The n a r r a t o r i s bound
t o t h e n o t i o n t h a t s u f f e r i n g c a n be redeemed,
~ e a s o n a b . 1h ~
e
assumes t h a t h e c a n h e l p B a r t l e b y , and, i f n o t , r e a s o n a b l y he a s sumes t h e s c r i v e n e r w i l l d e p a r t .
When t h e n a r r a t o r i s persuaded
t h a t t h e s c r i v e n e r i s t h e v i c t i m of " i n n a t e and i n c u r a b l e d i s order" (p, 79),
t h a t h e can p r o v i d e ."alms t o h i s body;
body d i d n o t p a i n him" (p. 7 9 ) ,
but h i s
t h e n t h e n a r r a t o r i s h e l p l e s s and
must begin t o c o n s i d e r an i r r a t i o n a l p r i n c i p l e o f l i f e .
L a t e r , i n a more h o p e f u l frame of mind, b u t n o n e t h e l e s s
u n r e a l i s t i c , t h e lawyer d e c i d e s t o d e v o t e h i s l i f e t o ~ a r t l e b y :
A t l a s t I s e e it; I f e e l i t ; I
p e n e t r a t e t o t h e p r e d e s t i n e d purI am c o n t e n t ,
p o s e of my l i f e .
O t h e r s may have l o f t i e r p a r t s t o
e n a c t ; b u t my m i s s i o n i n t h i s
w o r l d , B a r t l e b y , i s t o f u r n i s h you
w i t h office-room f o r such p e r i o d
a s you may s e e f i t t o remain. ( p , 8 9 )
a r e t h a t h e c a n n o t p o s s i b l y commit h i m s e l f t o t h e care o f
B a r t l e b y s o l o n g as h e m a i n t a i n s a l l e g i a n c e t o t h e v a l u e s and
of a s u c c e s s f u l lawyer.
Moreover, h i s h a s t y a n a l y s i s o f
~ a r t l e b y ' st r o u b l e s and t h e p r o p o s e d s o l u t i o n , d e m o n s t r a t e s once
more t h a t h e i s c o n s i d e r i n g h i s own w e l f a r e r a t h e r t h a n t h e w e l f a r e of B a r t l e b y .
As it happens,
t h i s r e s o l u t i o n c o l l a p s e s when
s o c i e t y b e g i n s t o g o s s i p and t h e lawyer r e a l i z e s h i s b u s i n e s s
w i l l suffer.
What t h e lawyer f i n d s d i f f i c u l t t o a c c e p t i s t h a t
good i n t e n t i o n s c a n n o t redeem s u f f e r i n g .
t r a t e s t h e p o i n t l e s s n e s s of e x i s t e n c e
--
F o r him, B a r t l e b y i l l u s an i n t o l e r a b l e c o n c l u -
s i o n t o a man whose v e r y p r o f e s s i o n i m p l i e s a b e l i e f i n a
r a t i o n a l and o r d e r e d world-view.
Bartleby's refusals t o partici-
p a t e i n t h e o r d i n a r y r i t u a l s o f work and s o c i e t y , h i s m y s t e r i o u s
s i l e n c e s and s e l f - n e g l e c t ,
and h i s a p p e a r a n c e o f p r o f o u n d a p a t h y ,
f i n a l l y become a n h i a t u s i n t h e n a r r a t o r ' s own t h i n k i n g .
Against
t h e arguments of c h a r i t y and p r a c t i c a l n e c e s s i t y , h e c a n i n n e i t h e r c a s e f i n d any j u s t s o l u t i o n .
There remains only a l i t e r a l
r e t r e a t from t h e problem:
S i n c e h e w i l l n o t q u i t m e , I must
q u i t him. ( p . 91)
Thus, t h r o u g h t h e m e r e a c c u m u l a t i o n o f e n t r e a t y and a b s u r d conf l i c t , t h e n a r r a t o r i s a b l e t o j u s t i f y h i s abandonment o f B a r t l e b y ,
a s t h e i n e x o r a b l e c o n c l u s i o n t o a p r o g r e s s i v e l y d e t e r i o r a t i n g and
threatening situation.
Looking more c l o s e l y a t t h e n a r r a t o r ' s abandonment o f
B a r t l e b y , one l e a r n s t h a t h i s f e a r i s a f e a r o f t h e i r r a t i o n a l .
When h e d i s c o v e r s t h a t B a r t l e b y h a s b e e n u s i n g h i s o f f i c e s a s a
d w e l l i n g , t h e n a r r a t o r e x p e r i e n c e s a complex r a n g e o f f e e l i n g s .
9
Examining B a r t l e b y -
few p o s s e s s i o n s a n d t h e f e e l i n g o f d e s e r t e d -
n e s s i n Wall S t r e e t , t h e n a r r a t o r n o t e s t h e i m p r e s s i o n o f "empti-
ness" Cp. 77) a n d " s h e e r vacancy" (p. 7 7 ) .
a r i l y e x p e r i e n c e d a s "populous"
(p. 77)
.
What h a s been o r d i n -
(p. 77) i s now a " s o l i t u d e "
B u t t h e "melancholy" (P. 77) t h a t s e i z e s him i s n o t
s i m p l y t h e s a d n e s s o f s e e i n g a n o t h e r human b e i n g d e p r i v e d o f s o c i ety.
Because w e have been a l r e a d y a p p r i s e d o f t h e n a r r a t o r ' s
love of comfort, s e c u r i t y , m a t e r i a l g a i n , t h e r e i s a suggestion
h e r e t h a t what i s e q u a l l y d i s t u r b i n g t o t h e n a r r a t o r i s t h a t
r e a l i t y i s o t h e r t h a n what h e h a s a l w a y s assumed.
.
P
I n t h e course
of day c h a n g i n g t o n i g h t , t h e t r a n s f o r m a t i o n o f " i n d u s t r y a n d
l i f e " (p. 77) t o " s h e e r vacancy" and o f t h e i m p r e s s i v e F 7 a l l
S t r e e t t o a k i n d o f "ruined Carthage" (p. 7 7 ) , s u g g e s t s t h a t t h e
b u s t l e o f humanity c o n c e a l s what i s e t e r n a l l y p r e s e n t :
ness, misery, death.
empti-
Because t h e s e l a t t e r q u a l i t i e s are p r e s e n -
t e d a n a l o g i c a l l y , t h e y h a v e a t e n t a t i v e e x i s t e n c e , a s much depende n t on t h e n a r r a t o r ' s p a r t i c u l a r c o n s c i o u s n e s s a s upon o b j e c t i v e
phenomena.
Y e t t h e important c o n s i d e r a t i o n i s t h e element of
s u r p r i s e a n d u n c e r t a i n t y , t h a t t h e n a r r a t o r h a s worked a l l h i s
l i f e i n W a l l S t r e e t and i s n o t aware t h a t t h e n a t u r a l d a r k h a l f
of h i s w o r l d c o u l d r e v e a l t h e s t e r i l i t y a n d i n s u b s t a n t i a l i t y of
h i s surroundings.
P e t r a and C a r t h a g e a r e n o t m e r e l y e x o t i c by-
gone examples o f d e a t h and d e s t r u c t i o n , b u t are p r e s e n t , e v e n t o
t h e l a w y e r ' s own u n p o e t i c mind, w i t h i n t h e o r d i n a r i n e s s of h i s
f a m i l i a r , everyday world.
Such a s s o c i a t i o n s w i t h B a r t l e b y l e a d t o an "overpowering
... melancholy"
(p. 771, a s t h e l a w y e r r e a l i z e s t h a t
b e h i n d t h e s c r i v e n e r ' s m e d i o c r i t y e x i s t s t h e common s u f f e r i n g o f
both h e and B a r t l e b y a r e "sons of Adamw i m p l i e s a r e s p o n s i b i l i t y
f o r an unredeemable c o n d i t i o n .
The t r i v i a l i t y of " b r i g h t s i l k s
and s p a r k l i n g f a c e s " (p. 77) observed on Broadway i s compared t o
t h e morbid s e r i o u s n e s s of t h e " p a l l i d " c o p y i s t , b u t t h e e n s u i n g
d e d u c t i o n t h a t w e do n o t acknowledge m i s e r y i s somewhat q u a l i f i e d
by t h e s u p e r f i c i a l l y f e s t i v e n o t i o n of l i f e a s a Broadway p a r a d e ,
f o r it suggests t h a t Bartleby lacks only m a t e r i a l b e n e f i t s .
~ n d e e d , even s u c h a q u a l i f i e d p e r c e p t i o n of t h e n a r r a t o r ' s i s
almost d i s m i s s e d a s "chimeras
... of
.
.
a s i c k and s i l l y b r a i n "
(p. 7 7 ) .
H e t h e n u n d e r t a k e s a c l o s e i n t r o s p e c t i v e a n a l y s i s of
B a r t l e b y and h i s s t r a n g e b e h a v i o u r .
The e f f e c t of t h e a n a l y s i s
i n c r e a s e s t h e s e n s e o f mystery, f o r , d e s p i t e t h e s c r i v e n e r ' s
h e r m e t i c s e l f - n e g l e c t and p a t h e t i c c a p t i v a t i o n w i t h t h e blank
w a l l , h e manages t o i m p a r t a s e n s e of " p a l l i d h a u g h t i n e s s " .
U n f o r t u n a t e l y , however, t h e v a l u e of t h e n a r r a t o r ' s p e r c e p t i o n
h a s been compromised by i t s manner:
Suddenly I was a t t r a c t e d by B a r t l e b y ' s
c l o s e d d e s k , t h e key i n open s i g h t
l e f t i n t h e lock.
...
E v e r y t h i n g was m e t h o d i c a l l y
a r r a n g e d , t h e p a p e r s smoothly
placed.
The pigeon-holes were deep,
and removing t h e f i l e s of documents,
I groped i n t o t h e i r r e c e s s e s .
Pres e n t l y I f e l t something t h e r e , and
dragged i t o u t .
I t was an o l d bandanna h a n d k e r c h i e f , heavy and knotI opened i t , and saw it was a
ted.
s a v i n g ' s bank. ( p . 78)
S i n c e i t i s t h e " s a v i n g ' s bank" which e n g e n d e r s t h e pondering of
I
B a r t l e b y ' s c o n d i t i o n , we a r e l e f t w i t h t h e i r o n i c i m p l i c a t i o n t h a t
i t h a s t a k e n t h e s i g h t of confirmed p o v e r t y
I
--
t h e s i g h t of t h e
w o r t h o f ~ B a r t l e b yp o r t r a y e d by a h a n d k e r c h i e f of money
cC-C-
--
to
t h e n a r r a t o r f i r s t t o s y m p a t h e t i c m y s t i f i c a t i o n and t h e n ,
a f t e r f u r t h e r thought, t o a heavily i r o n i c "prudential feeling"
(p. 7 9 ) of " r e p u l s i o n " (p. 7 9 ) .
The above p a s s a g e i s a l s o a k i n d
of parody o f t h e t h o u g h t p r o c e s s e s w i t h which t h e n a r r a t o r a r r i v e s
a t a manageable v i s i o n of B a r t l e b y .
" B a r t l e b y ' s c l o s e d desk"
(p. 78) i s m e t a p h o r i c a l l y t h e problem of B a r t l e b y , a s s e e n by t h e
narrator.
E v e r y t h i n g i s " m e t h o d i c a l l y a r r a n g e d " , by which we can
r e c o g n i z e t h e n a r r a t o r ' s own c o n c e p t i o n and arrangement of t h i n g s .
By p r y i n g d e e p l y enough i n t o B a r t l e b y ' s p e r s o n a l i t y , t h e n a r r a -
t o r f e e l s he can f i n d a s e n s i b l e t r u t h .
But s i n c e h i s i n t e l l e c -
t u a l method i s m a t e r i a l i s t i c r a t h e r t h a n s p i r i t u a l , t h e s e n s i b l e
t r u t h h e f i n d s i s a poor man's f o r t u n e .
Correspondingly, t h e
more d e p t h t h e n a r r a t o r ' s i n t u i t i o n s and f e e l i n g s a c q u i r e , i r o n i c a l l y t h e more h i s a t t i t u d e t o B a r t l e b y changes from " p i t y "
(p. 79) t o " r e p u l s i o n " ( p . 7 9 ) .
The n a r r a t o r e x p l a i n s t h e change
a s t h e " h o p e l e s s n e s s of remedying e x c e s s i v e and o r g a n i c ill" ( p .
79).
However a c c u r a t e t h i s d i a g n o s i s i s , i t does n o t a l t e r t h e
f a c t t h a t t h e n a r r a t o r ' s "common s e n s e " approach t o B a r t l e b y i s ,
given t h e c i r c u m s t a n c e s , c o m p l e t e l y m i s p l a c e d .
M e l v i l l e c o n n e c t s such a d e l i c a t e q u e s t i o n of c o n s c i ence w i t h t h e f a t e o f B a r t l e b y , t h e r e f o r e e n a b l i n g t h i s s c e n e ,
and othe;s
l i k e i t , t o have an ambiguous s e n s e of power.
Melville
p o r t r a y s t h e n a r r a t o r ' s quandary a t a l e v e l o f e x p e r i e n c e where
t h e r e i s no c l e a r - c u t ,
t e n a b l e d i s t i n c t i o n between a p p r o p r i a t e
s e l f - c o n c e r n and s e l f i s h n e s s , between h e l p i n g ' t h e u n f o r t u n a t e
B a r t l e b y and b e i n g m a n i p u l a t e d by him, between b e l i e v i n g i n t h e
e f f i c a c y of i n t e l l e c t u a l d i s c r i m i n a t i o n a n d b e i n g d e c e i v e d by i t s
33
sophistication.
The n a r r a t o r ' s compromise
--
t o attempt t o dis-
miss ~ a r t l e b yw h i l e a l s o e x t e n d i n g f i n a n c i a l h e l p
--
would seem
t h e o n l y v i a b l e means o f m a i n t a i n i n g s o c i a l c r e d i b i l i t y , and
y e t , because of such a moral s t a n c e , t h e n a r r a t o r l o s e s s p i r i t u a l
credibility,
N e v e r t h e l e s s , t h e n a r r a t i v e never a l l o w s u s such
c l e a r moral a l t e r n a t i v e s .
W e d o know t h a t B a r t l e b y ' s p r e s e n c e
c l e a r l y s i g n i f i e s a n e x t r a o r d i n a r y d i f f i c u l t y , and w e a l s o know
t h a t t h e n a r r a t o r c o n s i s t e n t l y misses a n o p p o r t u n i t y o f p e r c e i v . -
i n g t h e s i g n i f i c a n c e o f B a r t l e b y by m a i n t a i n i n g h i s o r d i n a r y ,
materially-bound a t t i t u d e s .
However, e a c h p a r t i c u l a r e p i s o d e
p a r t l y e x o n e r a t e s t h e n a r r a t o r , f i r s t , a s w e h a v e s e e n , by b e i n g
d e l i b e r a t e l y t o l d i n a d e f e n s i v e manner, and s e c o n d l y , b e c a u s e
d e s p i t e t h e n a r r a t o r ' s l i m i t a t i o n s he d o e s a t t e m p t s i n c e r e l y t o
feel Bartleby's plight.
When, i n t h e l a t t e r e p i s o d e , t h e n a r r a -
t o r t e l l s u s h e h a s f e l t "a f r a t e r n a l melancholy"
(p. 7 7 ) , per-
s o n a l l y s t r o n g e r t h a n e v e r b e f o r e e x p e r i e n c e d , we c a n o n l y
a c c e p t h i s s t a t e m e n t , e v e n i f h e l a t e r s p o i l s t h e s e n t i m e n t by
t r y i n g t o d i s m i s s i t a s a " s i c k " chimera.
H e r e g a i n s h i s compo-
s u r e by j u s t i f y i n g a " r e p u l s i o n " t o B a r t l e b y ' s h o p e l e s s c a s e ;
he
a l s o s a y s : " i t w a s h i s s o u l t h a t s u f f e r e d , and h i s s o u l I c o u l d
n o t r e a c h " ( p . 7 9 ) , a n d e v e n acknowledging t h e i r o n y o f t h e u t t e r ance, w e s h o u l d n o t e a s i l y d e n i g r a t e i t s f e l t t r u t h .
Some c r i t i c s ,
i n t h i s r e s p e c t , have u n f a i r l y i n t e r p r e t e d t h e n a r r a t o r ' s react i o n s a s b e i n g d e f i c i e n t or h y o p c r i t i c a l i n a l l c a s e s . 30
A s t h i s episode demonstrates,
the narrator fears
B a r t l e b ~ ,a l t h o u g h t h e r e i s n o m e n t i o n o f d e f i n i t e c a u s e .
He
f e a r s t h e i r r e s i s t i b l e "gloom" (p. 77) of B a r t l e b y r s p r e s e n c e , t h e
Sense o f
solitude" (p. 77) and " e m p t i n e s s " (p. 77) e n g e n d e r e d by
B a r t l e b y ' ~h e r m i t - l i k e e x i s t e n c e , t h e s c r i v e n e r ' s a i r o f " p a l l i d
haughtiness"
(.p. 78) and " a u s t e r e r e s e r v e " ( p , 78) w i t h i n an
* t h e r w i s e g e n e r a l i m p r e s s i o n o f dementedness, and f i n a l l y t h e
s u s p i c i o n t h a t B a r t l e b y ' s h o p e l e s s n e s s w i l l soon i n f e c t
him and p e r h a p s l i k e w i s e t r a n s f o r m him i n t o a u n i v e r s a l l y b e h e l d
victim.
There i s n o o b v i o u s b a s i s f o r t h e s e f e a r s , f o r t h e y a r e
t h e i r r a t i o n a l substance of h i s experience of Bartleby.
The
e f f e c t of t h i s f e a r o f t h e i r r a t i o n a l i s n o t o n l y t o a w e a t t i m e s
t h e n a r r a t o r i n t o "tame c o m p l i a n c e " ( p . 78)' b e f o r e h i s s c r i v e n e r ,
b u t a l s o t o d r i v e him more and more i n t o i n w a r d n e s s , where t h e
u n c e r t a i n t i e s o f h i s p o s i t i o n s e e m magnified.
H e i s "thunder-
s t r u c k " (p. 86) t h a t B a r t l e b y d o e s n o t l e a v e d e s p i t e b e i n g d i s missed from employment.
H e r e a d s "Edwards on t h e W i l l "
and
" P r i e s t l e y on N e c e s s i t y " ( p , 8 8 ) , l o o k i n g f o r s p i r i t u a l g u i d a n c e
t o what now s e e m s t o him a d i v i n e l y o r d e r e d s t a t e o f a f f a i r s .
F i n a l l y he must f l e e B a r t l e b y b e c a u s e h e f e e l s h i m s e l f i r r e t r i e v a b l y drawn i n t o B a r t l e b y ' s "moon-struck" w o r l d .
H e i s found and
b r o u g h t back by t h e new t e n a n t of h i s f o r m e r o f f i c e s t o p e r s u a d e
Bartleby t o leave.
H e t h e n o f f e r s B a r t l e b y a p l a c e i n h i s own
home, and when B a r t l e b y u n a c c o u n t a b l y r e f u s e s , h e f l e e s a second
time.
The n a r r a t o r d o e s n o t see him a g a i n u n t i l B a r t l e b y h a s been
i n c a r c e r a t e d i n p r i s o n , where i n d e e d t h e r e i s n o more r e a s o n t o
f e a r Bartleby o r t o f e a r for h i s s a f e t y ,
A s t h e s t o r y d i s c l o s e s t h e i r o n i c d e g i c i e n c i e s of t h e
n a r r a t o r , i t a l s o raises q u e s t i o n s t h a t a r e l a ~ g e rt h a n h i s p e r sonal d i f f i c u l t i e s .
W e h a v e t h e y e ~ ~ o n s i b i l i t y as
' , readexs, t o
be aware of how t h e n a r r a t o r c o n t r o l s t h e manner of t h e s t o r y
while seeing t h a t t h e c r u c i a l q u e s t i o n s escape h i s censorship.
-
The t r u t . h of B a r t l e b y i s i r r a t i o n a l and because t h e n a r r a t o r i s
~ o m r n i t t e dt o r e a s o n and method f o r r e v e a l i n g his e x p e r i e n c e t h a t
t r u t h mostly e s c a p e s t h e n a r r a t o r ' s awareness.
To a r r i v e a t an
u n d e r s t a n d i n g of t h e l a r g e r q u e s t i o n s we s h o u l d now look a t how
comic v i s i o n a l l o w s f o r a movement from p a r t i c u l a r d i f f i c u l t y
t o u n i v e r s a l problems.
COMEDY
-,
i
O F IRRESOLUTION
,
Comedy i n B a r t l e b y The
- S c r i v e n e r i s u s e d by M e l v i l l e t o
i n d i c a t e t h e i m p e r s o n a l a b s u r d i t y of t h e u n i v e r s e . ' The Judeoc h r i s t i a n p i c t u r e of a God-centred
cosmos, d i v i n e l y o r d e r e d , w i t h
Man's p u r p o s e i n t h i s p l a n b e i n g t h e r e c o v e r y o f a b e n i g n God's
f a v o u r , t h r o u g h f a i t h , hope, c h a r i t y , h a d b e e n e x p o s e d a s l a r g e l y
w i s h - f u l f i l l m e n t and a n a c h r o n i s t i c mythology i n b o t h -Moby Dick
and P i e r r e , 31
The ambiguous demonism a n d e q u a l t r e a t m e n t o f d i f -
--
f e r e n t r e l i g i o n s and myths i n Moby Dick s u g g e s t e d a r e l a t i v i t y
of a l l v a l u e s and i g n o r a n c e of d i v i n e r e a s o n .
.
In Pierre, the
plinlimmon pamphlet i r o n i c a l l y s u r m i s e d t h e r e w a s n o hope o f d i s c o v e r i n g t h e W i l l of God b e c a u s e God-created c a r n a l and m a t e r i a l
forces prevented t h e i d e a l l i f e .
I n B a r t l e b y The
- Scrivener there
i s n o l o n g e r any d e b a t e on t h e v a l u e o f s p i r i t u a l s e a r c h and no
a t t e m p t t o imagine t h e i d e a l .
W e a r e i n s t e a d supposedly presen-
t e d w i t h t h e s p i r i t u a l l y " r e a l " c o n d i t i o n o f man's p l a c e . i n t h e
cosmos: a s e i t h e r t h e d e l u d e d m a t e r i a l i s t o r as t h e h e l p l e s s ,
abandoned s e e r .
Y e t such i s t h e n a t u r e of Melville's a r t , t h a t
t h i s dismal p e r s p e c t i v e i s proposed t e n t a t i v e l y r a s h e r t h a n d e f i n i t i v e l y , a s i f t h e n a r r a t i v e i t s e l f w e r e a means o f s p i r i t u a l
s e a r c h and a s s e s s m e n t .
Comedy, a s a n i d e a l mode o f comparing
moral a l t e r n a t i v e s , i s t h e e f f e c t i v e c o u n t e r - b a l a n c e
t o the tra-
g i c elements of Bartleby' s fate.
[The a p p e a r a n c e o f t h e comic i n l ' B a r t l e b y " c a n b e p r e s e n \
t e d i n i t s s h o r t e s t form as t h e s c r i v e n e r ' s r e s p o n s e , " I p r e f e r
not
td."
T h a t a mere c l e r k , d e s c r i b e d f o r u s a s " p i t i a b l y r e s p e c -
t a b l e " and " i n c u r a b l y f o r l o r n " s h o u l d s u d d e n l y assume an a i r of
h a u g h t i n e s s a n d d i s r u p t t h e work o f t h e o f f i c e i s u n d o u b t e d l y
.
and i t i s comic from d i f ' f e r e n t p e r s p e c t i v e s .
hire
is
the comic i n c o n g r u i t y o f a t h o r o u g h l y u n l i k e l y r e b e l .
here
is
.trange,
$so
t h e r e p e t i t i v e n e s s of t h e r e s p o n s e "1 p r e f e r n o t t o , " which
g i v e s t h e i m p r e s s i o n of a r e s o l v e o t h e r w i s e l a c k i n g i n t h e scriv e n e r ' ~ c h a r a c t e r . 3 h h e c o n t r a d i c t i o n o f a meek, i n d e c i s i v e man,
a m b i t i o n o r a p p a r e n t s o c i a l n e e d s , u p s e t t i n g t h e performance of o f f i c e r o u t i n e f o r n o d i s c e r n i b l e r e a s o n seems of i t s e l f
to b e more f a n t a s t i c t h a n humorous, and y e t t h e s h e e r e x t r a v a gance o f t h e r e s p o n s e , g i v e n t h e u n i m a g i n a t i v e s u r r o u n d i n g s , i s
.
-
humorous.
B a r t l e b y ' s "I p r e f e r n o t t o " i s t h e e s s e n t i a l expression of contradiction i n t h e story.
Its m e r e recurrence allows
f o r t h e d i f f e r e n t r e v e l a t i o n s o f c h a r a c t e r a n d theme t o b e p r e s e n t e d c o h e r e n t l y and s u s p e n s e f u l l y .
Repeated i n t h e l a w y e r ' s
o f f i c e , where e c c e n t r i c i t y i s i n d u l g e d o n l y i n s o f a r a s it d o e s
n o t b r e a c h e i t h e r t h e l a w y e r ' s a u t h o r i t y o r h i s method of d o i n g
t h i n g s , B a r t l e b y ' s e n i g m a t i c r e s p o n s e seems t o c a l l i n t o q u e s t i o n
even t h e common e v e r y d a y r i t u a l s o f work and s o c i a l r e l a t i o n s h i p s
and show them up as f u n d a m e n t a l l y s h a l l o w a n d p u r p o s e l e s s .
There
i s a l s o a c o r r e s p o n d e n c e between B a r t l e b y ' s u t t e r a n c e and t h e
v a r i o u s l e v e l s o f s i g n i f i c a n c e from form t o symbol.
F i r s t of a l l ,
h i s r e s p o n s e i s as s u c c i n c t and s t r a i g h t f o r w a r d as t h e s t o r y ' s
e x t e r n a l manner i s , b u t a l s o a s b i z a r r e and ambiguous a s i t s
i n t e r n a l workings.
Because o f i t s r e c u r r e n . c e , w e a r e a b l e t o s e e
t h e p h r a s e i t s e l f as " p a l l i d l y n e a t " ,
"pitiably respectable",
y forlorn".
r
The v a r i o u s e x p r e s s i o n s of comedy i n t h e s t o r y can b e
c l a s s i f i e d a s e x a g g e r a t i o n , j o k e s o r i n n u e n d o e s , and m e t a p h y s i c a l
/'
/
1
38
wit.
Exaggeration, by stretching behaviours, ideas, situations,
&comes
comic when distortion occurs.
lentless
staring at the wall is an example of comic exaggeration,
r-
be. _However, there are so many seemingly
disparate
examples of comic exaggeration in the story that it
- -<
may be useful to take Bartleby's "I prefer not to" as an organ---
- .
izing principle.
The response itself is an exaggeration of both
--
the etiquette of refusal and the rights of the individual over
society.
Furthermore, by implying more than it overtly states,
the-- utterance
has a metaphorical value which increases in direct
-
4
proportion to the allusive significance of the narrator's own
psychological
state.
-- - _ -
C
The narrator's lack of awareness is a good example of
this relationship.
We have seen how his -self-centredness,
materialism, and fear prevent him from truly appreciating or
assisting the condition of Bartleby's helplessness.
He is
enraged by Bartleby's seeming lack of awareness of business responsibility.
The more Bartleby refuses to perform his duties,
the more the narrator becomes concerned with aspects of survival:
food, reputation, freedom, and necessity.
Such topics are enter-
tained in the course of reaction to Bartleby's refusals, (expanding as well our attention to wider issues), U y e -t the narrator
does not-take responsibility for action himself.
?-"
is as paralyzed as Bartleby.
In his way he
Hence, we have the comic situation
of __the spiritually blind narrator attempting to take responsibility
I
for- a-spiritually
paralyzed employee.
L-
i
r~ponsibilities
are consist
-
-
Furthermore, the
narrator's
- -- -- - .
with food imagery,
and the effect
of this borders on the grotesque.
--
f o r something t o copy" (p. 67) and he a p p e a r s t o "gorge himself
on my documents" (p. 6 7 ) .
The n a r r a t o r t h e n c o n f e s s e s t h a t check-
i n g c o p i e s i s " a v e r y d u l l , wearisome, l e t h a r g i c a f f a i r " ( p . 6 7 ) .
The j u x t a p o s i t i o n o f t h e two comments i s such t h a t when B a r t l e b y
s h o r t l y a f t e r w a r d s announces he w i l l n o t check c o p i e s , t h e
s t r a n g e n e s s o f h i s b e h a v i o u r i s somewhat o b v i a t e d .
Indeed,
~ a r t l e b yi s t h e p e r f e c t g u e s t i n a l l ways b u t one.
H e partakes
of t h e "food" of copying documents till s a t i e t y ;
he then poli-
.
-
t e l y r e f u s e s t o examine h i s e f f o r t s , and l a t e r , t o p a r t a k e of
any more.
L e s t t h i s seem a n e x t r h v a g a n t r e a d i n g o f t h e s i t u a t i o n ,
we s h o u l d remind o u r s e l v e s of how o f t e n food i s mentioned i n t h e
narrative.
Turkey and Nippers s e e m t o b e dependent f o r t h e i r
p s y c h o l o g i c a l c o n d i t i o n on food a l o n e .
merely complementary s o l a r symbols,
Almost a s i f t h e y were
( t o borrow t h e s t o r y ' s mixed
m e t a p h o r s ) , lunch-hour marks t h e change i n t h e i r b r i g h t n e s s and
effectiveness.
Turkey, r e i n f o r c e d by d r i n k , d i s p l a y s " h i s f u l l e s t
beams from h i s r e d and r a d i a n t countenance" (p. 6 1 ) i n t h e a f t e r noons, when h e i s a p t t o s c a t t e r b l o t s of i n k , o r m i s t a k e a ging e r cake f o r a s e a l .
'
The n a r r a t o r complains t h a t ~ u r k e y ' sc l o -
t h e s s m e l l of " e a t i n g - h o u s e s "
(p. 6 4 )
.
Nippers, u s u a l l y s a l l o w
and bad-tempered i n t h e mornings and p a c i f i e d by d r i n k i n t h e
a f t e r n o o n s , i s s a i d t o s u f f e r from " i n d i g e s t i o n " ( p . 6 5 ) .
The
o f f i c e boy i s named a f t e r a g i n g e r cake and h i s p r i n c i p a l a c t i v i t y
seems t o b e t o f e t c h s n a c k s f o r t h e c l e r k s .
i s c o n t r o l l e d by t h o u g h t s of food.
f
The n a r r a t o r himself
After Bartleby refuses t o
check c o p i e s , " a c c o r d i n g t o common usage and common s e n s e " Cp. 7 0 ) ,
t h e n a r r a t o r b e g i n s t o o b s e r v e B a r t l e b y ' s h a b i t s and n o t e s " t h a t
40
e n e v e r went t o d i n n e r " ( p . 7P).
Then i n a g r o t e s q u e pa;ody
of
a s s o c i a t i o n t h e n a r r a t o r a t t e m p t s t o a r r i v e a t a recogn i t i o n of B a r t l e b y by f l i p p a n t l y employing t h e p r i n c i p l e o f c o r -
H e l i v e s , t h e n , on g i n g e r - n u t s ,
thought I; never eats a d i n n e r ,
p r o p e r l y s p e a k i n g ; h e must b e a
v e g e t a r i a n , t h e n , b u t no;
he never
e a t s even vegetables, he e a t s
nothing b u t ginger-nuts.
My mind
t h e n r a n on i n r e v e r i e s c o n c e r n i n g
t h e p r o b a b l e e f f e c t s upon t h e huma n constituti'on of l i v i n g e n t i r e l y
on g i n g e r - n u t s
Ginger-nuts are
so c a l l e d , because t h e y c o n t a i n
g i n g e r as one o f t h e i r p e c u l i a r
cons)tituents and f i n a l f l a v o u r i n g
one.
Now, what i s g i n g e r ? A h o t ,
s p i c y t h i n g . Was B a r t l e b y h o t a n d
Ginger, then,
s p i c y ? Not a t a l l .
had no e f f e c t upon B a r t l e b y .
Prob a b l y h e p r e f e r r e d it s h o u l d h a v e
none. ( p . 71-72)
.
,
I f w e were t o r e l y on t h i s p a s s a g e a l o n e , w e m i g h t b e l i e v e t h e
n a r r a t o r i s s p e a k i n g tongue-in-cheek.
However, when h e s e r i o u s l y
b e g i n s examining h i s c o n s c i e n c e a n d p o n d e r i n g t h e meaning of c h a r i t y s h o r t l y a f t e r w a r d s , h e s p e a k s of " a d e l i c i o u s s e l f - a p p r o v a l "
(p. 72) and " a s w e e t m o r s e l f o r
... c o n s c i e n c e "
( p . 72)
,
disclos-
i n g t h a t even r e l i g i o u s q u e s t i o n s a r e m a t t e r s of a p p e t i t e f o r him.
Later, a f t e r a d i r e c t confrontation with Bartleby:
You w i l l n o t ?
.
-
I p r e f e r not.
Cp. 73)
d u r i n g which t h e n a r r a t o r t r i e s t o i n t i m a t e " t h e u n a l t e r a b l e purPose o f some t e r r i b l e r e t r i b u t i o n v e r y c l o s e a t hand" (p. 7 4 1 , h e
Suddenly d e c i d e s t o p o s t p o n e q d e c i s i o n because' " i t was d r a w i n g
i
towards
... dinner-hour''
Cp. 78).
H i s a t t e m p t a t a physiognomic
u n d e r s t a n d i n g o f B a r t l e b y becomes t h e p e r c e p t i o n t h a t " h i s
p
41
Bartlebyls
p a l e f a c e c l e a r l y i n d i c a t e d t h a t he never drank b e e r
l i k e Turkey, o r t e a and c o f f e e e v e n , l i k e o t h e r men" ( p . 7 8 ) .
ve
may s a y a l l o f t h e s e examples d i s c l o s e t h a t t h e n a r r a t o r i s a
c r e a t u r e o f h a b i t , who s e e k s t o comprehend t h e e x t r a o r d i n a r y by
o r d i n a r y means, and t h a t h i s a p p e t i t e , c l o s e l y a l l i e d t o money, i s
akin t o s p i r i t u a l avarice.
Y e t there i s a sense, a s w e l l ,
in
which t h e food imagery r e v e a l s s o m e t h i n g more i n t h e n a t u r e o f
symbolic t r u t h .
B a r t l e b y e a t s v i r t u a l l y no f o o d , b e c a u s e f o o d i s
i n e x t r i c a b l y a s s o c i a t e d i n t h i s t a l e with t h e o r d i n a r i n e s s of l i f e ,
.
i t s maintenance and a g g r a n d i z e m e n t ,
r
F o r r e a s o n s o f h i s own,
B a r t l e b y h a s r e j e c t e d e v e n t h e l j t e r a l forms o f l i f e , s i n c e e a t i n g a s w e l l as w o r k i n g l e a d s t o a c o n t i n u a t i o n of t h e p a s t , a
r e p e t i t i o n of s t e r i l i t y ,
( n o t t h e c i r c u l a r i t y of t h e food-driven
i m p u l s e s o f N i p p e r s and Turkey, d e s c r i b e d as s o l a r emblems)
(p. 61-62).
H e w i l l d o no more c o p y i n g .
The comic d e v i c e o f
e x a g g e r a t i o n h a s p r e p a r e d u s f o r t h e c o n c u r r e n c e of n a t u r a l and
symbolic t r u t h s , s i n c e e v e r y t h i n g i n t h e s t o r y now s u g g e s t s more
than i t s m e r e appearance.
A f t e r he has been t a k e n t o p r i s o n , Bartleby r e j e c t s food
altogether.
crucial.
With r e s p e c t t o f o o d imagery, t h e p r i s o n e p i s o d e i s
I n t h i s h e l l , t h e r e i s e v e n less need t o e a t , f o l l o w i n g
t h e l o g i c of B a r t l e b y ' s r e f u s a l s , y e t t h e grub-man's
role is t o
see t h a t - p r i s o n e r s who h a v e g e n t l e m a n f r i e n d s pay f o r b e t t e r food..
The f a c t t h a t t h e grub-man i s d e s c r i b e d a s " m e a t - l i k e "
( p . 96)
and t h a t h e i s r a t h e r a b u f f o o n - l i k e c h a r a c t e r , s u g g e s t s t h a t h e
h a s symbolic s i g n i f i c a n c e . 3 2
H e i s a r e m i n d e r t h a t even i n t h e
most profound s p i r i t u a l s u f f e r i n g , c a r n a l i t y h a s an e q u a l v o i c e .
The i n t i m a t e d h o r r o r o f B a r t l e b y l s e x p e r i e n c e and t h e e m p t i n e s s
of t h e n a r r a t o r ' s e x i s t e n c e a r e b r o u g h t t o a n i r o n i c c l i m a x i n
t h e Tombs, a s t h e grub-man i s i n t r o d u c e d t o B a r t l e b y .
~ a r t l e b yi s "unused t o " ( p . 9 7 ) d i n i n g ;
But
indeed, t h e f a c t t h a t
-
t h e n a r r a t o r can t h i n k only of food ( e s p e c i a l l y a f t e r Bartleby
h a s t e l l i n g l y s a i d : "I know where I am1' - ( p . 9 6 ) ) ,
shows t h e t r u e
e x t e n t of b o t h h i s b e w i l d e r m e n t i n t h e f a c e of t r a g e d y and h i s
B u t it i s t h e grub-man's
entrenchment i n h a b i t .
presence t h a t
o f f e r s a comic r e l e a s e on a n o t h e r w i s e u n r e l i e v e d l y d a r k encoun-
t e r , f o r o u r a t t e n t i o n i s drawn from t h e p h y s i c a l p a t h o s t o t h e
m e t a p h y s i c a l d i m e n s i o n s o f s u f f e r i n g , by t h e s h e e r c o i n c i d e n t a l
i n c r e d i b i l i t y o f what h e i s ( t h e ,grub-man
's
heavy m e a t - l i k e qua-
l i t y contrasted t o Bartleby's ginger-nut e c c e n t r i c delicacy i s n o t
t h e l e a s t of t h e j o k e )
.
Throughout t h e t a l e , i t h a s o n l y b e e n t h e p r e s e n c e o f
t h e mundane, t h e o r d i n a r y , t h e sometimes p e t t y e l e m e n t s o f t h e
n a r r a t o r ' s w o r l d t h a t h a s made v i s i b l e by c o n t r a s t t h e s p i r i t u a l
d e s p a i r of Bartleby.
The l a w y e r ' s o b s e s s i o n w i t h f o o d shows u s
B a r t l e b y ' s d i s i n t e r e s t i n it.
Whether w e t a l k o f p h y s i c a l o r
s p i r i t u a l n u t r i t i o n , Bartleby cannot p a r t i c i p a t e i n i t s a v a i l a b l e
forms.
The v a l u e o f t h e grub-man's
inclusion i n the story is also
t o emphasize t h e i n c o m p r e h e n s i o n of t h e w o r l d b e f o r e B a r t l e b y
--
t h a t i t i s n o t o n l y t h e p r i v i l e g e d c l a s s who a r e u n a b l e t o h e l p
B a r t l e b y b u t t h a t even a n i n s t i t u t i o n a l i z e d o u t c a s t l i k e t h e grubman c a n n o t comprehend t h e o u t c a s t B a r t l e b y ' s d i s i n t e r e s t i n s u r v i -
val.
Bartleby's i s o l a t i o n i n t h e eternally-sounding significance
o f tlie Tombs i s complete.
',
Thus w e f i n d t h a t t h e s i m p l e m o t i f o f
f o o d as i n d i v i d u a l and s o c i a l s u r v i v a l h a s b e e n e x a g g e r a t e d
t h r o u g h o u t t h e t a l e t o i n d i c a t e t h e e x c l u s i v i t y ( i s o l a t i o n and
43
t h e r n e s s ? of B a r t l e b y ;
f u r t h e h o r e , a s a supporting l i n e t o the
c e n t r a l p a t t e r n o f d i s i n t e g r a t i o n , t h e f o o d imagery and t h e e p i sode w i t h t h e grub-man i n t e r r u p t t h e n a r r a t i v e f l o w t o c r e a t e
&her,
more d e t a c h e d , p e r s p e c t i v e s , which i n t h e m s e l v e s have a n
impact.
I f w e now t a k e t h e s u b s t a n c e o f t h i s d i s c u s s i o n on food
and r e l a t e i t t o B a r t l e b y ' s s t a t e m e n t o f p r e f e r e n c e , w e f i n d t h a t
t h e a l i e n a t i n g i m p l i c a t i o n s of t h e f o r m e r a r e s i m i l a r t o t h e
e n g e n d e r e d by t h e s c r i v e n e r ' s r e p e a t e d "I p r e f e r n o t t o . "
.
F o r , w h i l e h i s r e s p o n s e i s d e f i a n t l y p e r s o n a l , i t i s a l s o ab=-2_-----.----
s u r d l y i m p e r s o n a l , s i n c e it rejects s h a r i n g , r e l a t i o n s h i p , and
further disclosure.
H i s r e s p o n s e s are m o m e n t a r i l y f u n n y b e c a u s e
t h e e f f e c t is a juxtapo
n suggestive-
n e s s impeccably d e l i v e r e d .
t h a t Bartleby is
as s i l e n t , m o t i o n l e s s , and u n y i e l d i n g a s a w a l l o r as t h e " b u s t
of C i c e r o " ( p , 69) mixes t e r r o r i n t o t h e comedy.
- -
T h a t someone
s h o u l d be s o o b v i o u s l y g e n t l e and y e t s o r e c o g n i z a b l y inhuman i s
a mystery t o o involved o r t o o a l i e n f o r t h e n a r r a t o r .
The t e x t p r o v i d e s u s w i t h one s u g g e s t i v e c l u e f o r t h e
opaqueness and magnetism of B a r t l e b y l s r e m a r k s .
When ~ a r t l e b y
f i r s t announces h e would " p r e f e r n o t t o " check c o p i e s , t h e n a r r a t o r v e n t s h i s d i s b e l i e f by e x c l a i m i n g :
(p. 68)
" A r e you moon-struck?"
-A w h i l e l a t e r , when B a r t l e b y a g a i n d i s i n c l i n e s t o r e s -
pond . f a v o u r a b l y , Ginger Nut s a y s : " I t h i n k , s i r , h e ' s a l i t t l e
luny."
Of
(p. 7 1 ) .
The symbol o f t h e moon, w i t h i t s a s s o c i a t i o n s
d e a t h and of r e f l e c t i o n r a t h e r t h a n t r u e c r e a t i o n , a c c u r a t e l y
c h a r a c t e r i z e s one a s p e c t o f B a r t l e b y v s b e h a v i o u r .
ics t h e symbolic r e a l i t y of h i s environment.
B a r t l e b y mim-
The n a r r a t o r had
,
44
ailed h i s o f f i c e l a n d s c a p e " d e f i c i e n t i n what l a n d s c a p e p a i n t e r s
c a l l " l i f e " ," (p. 6 0 ) and t o t h i s o f f i c e comes a w c a d a v e r o u s l l
l o o k i n g man.
B a r t l e b y i s a l s o l i k e t h e w a l l s h e stares a t ;
prevents t h e n a r r a t o r from knowing a n y t h i n g more a b o u t him.
he
The
f i r s t a c t when B a r t l e b y a r r i v e s i s t o h i d e him b e h i n d
a s c r e e n , as i f h e were a t h i n g , and B a r t l e b y r e m a i n s h i d d e n , a t
Least s y m b o l i c a l l y , evermore.
H e i s h i r e d as a c o p y i s t and h e
c o p i e s n o t o n l y documents, b u t , i n a s u b t l e r s e n s e , t h e n a r r a t o r ' s
own r e t r e a t from l i f e , and i f n o t h i s b e l i e f s t h e n t h o s e of h i s
class
--
i n p o l i t e n e s s , decency, p r o p r i e t y .
. ,
Indeed, t h e n a r r a t o r
is confident t h a t Bartleby i s n o t only honest b u t "an eminently
decorous p e r s o n "
(p. 7 6 ) who would b e t h e " l a s t man t o s i t down
t o h i s d e s k i n any s t a t e a p p r o a c h i n g t o n u d i t y "
(p. 7 6 )
.
This
r i d i c u l o u s c o n c e r n f o r B a r t l e b y ' s d r e s s e d a p p e a r a n c e on a Sunday
i d e n t i f i e s t h e c o m p l e t e c o n v e n t i o n a l i t y o f t h e - n a r r a t o r as w e l l
as h i s t i m i d i t y a t t r a n s g r e s s i n g s u c h r u l e s o f c o n d u c t .
Thus we
have a comic i d e n t i f i c a t i o n between B a r t l e b y and t h e unacknowledged c o n t e n t o f t h e n a r r a t o r ' s l i f e .
The d i s t u r b a n c e i n B a r t l e b y
i s i n some way r e l a t e d t o t h e h y p o c r i t i c a l a n d l i f e l e s s q u a l i t y o f
t h e n a r r a t o r ' s w o r l d : hence t h e r e p e l l e n t and a t t r a c t i v e n a t u r e of
B a r t l e b y ' s remarks.
T h r o u g h o u t t h e d i s p l a y of comic e x t r a v a g a n c e and b i z a r r e humour, M e l v i l l e p l a c e s s e v e r a l j o k e s which h a v e t h e e f f e c t
of e x t e n d i n g t h e n a r r a t i v e t h r o u g h a n a l o g y and o f d i s r u p t i n g t h e
impact of p r o f u n d i t y .
C e n t r a l i n t h i s r e s p e c t are t h e many r e f e r -
e n c e s t o w r i t i n g as commercial work, as mere c o p y i n g , or a s f o r i
gery. 3 3
P a r t i c u l a r l y when w e l e a r n t h a t ~ a r t l e b yo n c e worked f o r
t h e Dead L e t t e r s O f f i c e t h e t e m p t a t i o n t o a l l e g o r i z e t h e t e x t be-
45
comes s t r o n g .
B a r t l e b y , a s t h e image of t h e w r i t e r r e f u s i n g t o
work a c c o r d i n g t o s o c i e t y ' s d i c t a t e s d e s p i t e b e i n g reduced t o
~ o v e r t y ; B a r t l e b y a s t h e w r i t e r who w i l l n o t copy what o t h e r s
have done, who p o l i t e l y b u t f i r m l y d e s i s t s from h a v i n g a n y t h i n g
t o do w i t h t h e p h a r i s e e i s m and symbolic b l i n d n e s s o f m a t e r i a l i s t
c u l t u r e , who i s s l o w l y d e s t r o y e d b o t h by h i s commitment t o
llimpossible" i d e a l s and by t h e e x i s t e n t i a l t e r r o r s h e e n v i s i o n s
i n i s o l a t i o n : t h e a p p a r e n t correspondences between B a r t l e b y t h e
mysterious s c r i v e n e r and M e l v i l l e t h e m y s t e r i o u s a u t h o r a r e many.
.
.
However, t h e s e c o r r e s p o n d e n c e s a r e n o t c r u c i a l t o t h e u n f o l d i n g
of t h e n a r r a t i v e ;
t h e y t e l l u s g o t h i n g of e i t h e r t h e n a r r a t o r o r
of B a r t l e b y ' s s u f f e r i n g , and u l t i m a t e l y would t r i v i a l i z e t h e
s t o r y i n t o mere p r o j e c t i v e f a n t a s y and s u p e r f i c i a l punning, i f
they were t a k e n a s t h e s u b s t a n c e of M e l v i l l e ' s theme.
On t h e
o t h e r hand, a s a n a l o g i e s , t h e metaphors e n r i c h t h e p o s s i b i l i t i e s
of u n i v e r s a l i z i n g t h e n a r r a t o r ' s dilemma and B a r t l e b y ' s s u f f e r i n g .
When t h e grub-man makes r e f e r e n c e t o Monroe Edwards t h e f o r g e r ,
who " d i e d of consumption i n Sing-Sing"
(p. 9 8 ) , t h e reference t o
t h e n e g l e c t e d a r t i s t who f o r g e s a r t o u t of l i f e b u t i s o u t c a s t and
c r i m i n a l i z e d by s o c i e t y i s unmistakable.
Furthermore, a l l such
r e f e r e n c e s i n t h e s t o r y work a s jokes which d e l i b e r a t e l y d i s r u p t
and momentarily make s u p e r f i c i a l a s u b t l y p o e t i c n a r r a t i v e .
The
joke a b o u t Monroe Edwards b r i e f l y suspends gloom and i r o n i c a l l y
makes us a t t e n t i v e t o a s e n t i m e n t a l n o t i o n of t h e f a t e of f o r g e r s
and a r t i s t s a t p r e c i s e l y t h e moment t h a t B a r t l e b y i s s t a r i n g a t a
"dead-wall" o f t h e p r i s o n , wherein, " a l l around, from t h e narrow
i
s l i t s of t h e j a i l windows,"
(p. 96) p e e r i n g a t him.
Cp. 9 6 ) a r e "murderers and t h i e v e s "
Thus t h e h o r r o r of B a r t l e b y ' s f a t e i s
b a l a n c e d .by t h e comedy o f t h e grub-man,
which i n c o n t e x t ' c r e a t e s
an ambiguity t h a t t e n d s t o d e - p e r s o n a l i z e a n e s s e n t i a l l y abysmal
v i s i o n and l e a v e it i n a s t a t e of e x i s t e n t i a l u n c e r t a i n t y .
i
Comedy, i n B a r t l e b y The
- Scrivener, a l s o has a philoso-
phically subversive influence.
When B a r t l e b y m a i n t a i n s h i s s t a n c e
of " I p r e f e r n o t t o " h e i s b e i n g e l i t i s t i n t h e f a c e o f s o c i a l
p o s i t i o n , p r a c t i c e , and t h e p a r t i c u l a r s i t u a t i o n of approved
a u t o m a t o n - l i k e work.
H i s e x c l u s i v e s t a n c e , p r e s e n t e d as l u n a c y ,
y e t a l l o w s t h e r e a d e r t o see t h e u t t e r t r i v i a l i t y , c o n d i t i o n a l i t y ,
and i l l u s o r i n e s s o f e v e r y d a y l i f e when s e t a g a i n s t f u n d a m e n t a l
i
questions of b e i n g and d e a t h ,
Melville's w i t extends t h e basic
r e v e r s a l o f a weak employee c o n t r o l l i n g h i s e m p l o y e r , t o i n c l u d e
t h e over-turning of assumptions about r e a l i t y .
Thus B a r t l e b y ' s
supposed weak e y e s i g h t as n o t e d by t h e n a r r a t o r :
I l o o k e d s t e a d f a s t l y a t him, and
perceived t h a t h i s e y e s looked
d u l l and glazed.
I n s t a n t l y it
o c c u r r e d t o m e , t h a t h i s unexampled
d i l i g e n c e i n c o p y i n g by h i s dim
might have t e m p o r a r i l y
window
i m p a i r e d h i s v i s i o n . (p. 82)
..,
is s e t against Bartleby's previous accusation:
Do you n o t see t h e r e a s o n f o r yours e l f ? ( p . 82)
t o i n d i c a t e t h e complementarity of p h y s i c a l and s p i r i t u a l b l i n d -
/'-
ness.
On a more a b s t r u s e l e v e l , t h e s u g g e s t i o n s o f E a r t l e b y as
an a v a t a r o r f i g u r e of h i g h e r c o n s c i o u s n e s s ,
( a s n o t e d by Bruce
~ r a n k l i n ~ have
~ ) , t h e e f f e c t o f m y s t i f y i n g o u r t r a d i t i o n a l assumpt i o n s a b o u t t h e a p p e a r a n c e and b e h a v i o u r o f s u c h a p e r s o n a g e , and
'
.
o f u p s e t t i n g b e l i e f s a b o u t e i t h e r t h e immanence o f God o r t h e poss i b l e t r a n s c e n d e n c e o f man,
However w e want t o p l a y t h e s t a k e s o f
47
i n t e r p r e t i n g Bartleby e i t h e r a s a r e l i g i o u s hero o r a s a'god, t h e
u n d e n i a b l e c o n d i t i o n of h i s p r e s e n c e i s h i s unknowable f i g u r e
s t a r i n g a t a w a l l and h i s e v e n t u a l u n m i t i g a t e d d e a t h i n t h e
Tombs.
But t h e comic t o u c h , i n t h i s r e s p e c t , i s making t h e conven-
tion-bound lawyer o u r i n t e r p r e t e r i n m e t a p h y s i c a l s p e c u l a t i o n ,
t h e r e b y e n s u r i n g t h a t whatever t h e t r u t h of B a r t l e b y t s i d e n t i t y
we a r e l e f t t o o u r own i m p e r f e c t d e v i c e s i n d i s c r i m i n a t i o n and
i m a g i n a t i o n and must f i n a l l y a c c e p t t h e n a r r a t o r ' s own d e s c r i p t i o n of B a r t l e b y a s t h e most u n u s u a l of "an i n t e r e s t i n g and somewhat s i n g u l a r s e t of men" ( p . 5 9 ) .
Such i r o n y t r a n s c e n d s what we
i
normally mean by t h e t e r m s i n c e i t seems c l o s e r t o a k i n d of cosmic l a u g h t e r a t o u r i n e f f e c t u a l a t t e m p t s t o know o u r s e l v e s and
each o t h e r .
I n d e e d , t h e p o s i t i o n t a k e n by M e l v i l l e seems a n t i -
h e r o i c , an u n u s u a l s t a n c e c o n s i d e r i n g h i s p r e v i o u s work.
Yet of
t h e n o t a b l e c h a r a c t e r s mentioned i n t h e s t o r y , a l l a r e dead and i n
some manner debunked.
John J a c o b A s t o r i s invoked f o r a c h a r a c -
t e r r e f e r e n c e , which, e v e n on i t s own t e r m s of "prudence" and
"method", i s made t o a p p e a r s u s p e c t by t h e n a r r a t o r ' s sudden
anger a t t h e l o s s o f h i s Chancery revenues.
Cicero, representa-
t i v e of t h e n a r r a t o r ' s p r o f e s s i o n , a p p e a r s t w i c e a s a p l a s t e r - o f p a r i s b u s t , once compared t o B a r t l e b y i n i t s l i f e l e s s n e s s ( p . 69)
and once t o t h e n a r r a t o r h i m s e l f through an i r o n i c r e v e r s a l
(.p. 80)
.- Byron
i s invoked a s w e l l (p. 6 7 ) , o s t e n s i b l y f o r t h e
a b s u r d i t y of h a v i n g him check c o p i e s w i t h B a r t l e b y , t o d e m o n s t r a t e
t h e t i r e s o m e n a t u r e of t h e t a s k ;
h i s mention a l s o r e i n f o r c e s t h e
motif of t h e w r i t e r compelled t o b e a mere c o p y i s t .
The o t h e r h i s t o r i c a l c a s e s a r e t h o s e of C o l t s h o o t i n g
f
'
Adams o u t of an a g g r a v a t e d f r u s t r a t i o n (p. , 8 7 ) , (and a f t e r w a r d s
i n g h i m s e l f i n p r i s o n ) ,35 and
oi
t h e f o r g e r Monroe ~ d w a i d s ,
e v e n t u a l l y d y i n g o f consumption Cp. 9 8 ) , Both o f t h e s e c a s e s
p r e s e n t e x t r e m e s o f m i s f o r t u n e , p r o b a b l y mentioned by t h e n a r r a t o r t o show t h e s t r a n g e n e s s o f h i s e x p e r i e n c e and how c l o s e h e
came t o s o c i a l r u i n ;
than he intends.
n e v e r t h e l e s s , t h e i r i n c l u s i o n d o e s more
The memory o f C o l t a c t s a s a p r o p h y l a c t i c of
f e a r which r o u s e s t h e n a r r a t o r o u t o f t h e c o n t e m p l a t i o n o f i r r a t i o n a l being;
indeed, t h e t e x t suggests t h e n a r r a t o r has t o o
much f e a r e v e r t o b e c a u g h t o u t s i d e t h e c o n f i n e s o f p r u d e n c e .
. -
Even t h e m i l d v i o l e n c e o f t h e f a r c i c a l s c e n e i n which Turkey
,
a t t e m p t s a f i s t - f i g h t w i t h ~ a r t l e bi s~ q u i c k l y q u a s h e d by t h e
n a r r a t o r (p. 7 3 ) .
Monroe Edwards i s m e n t i o n e d b y t h e grub-man,
as an u n c o n s c i o u s l y i r o n i c c o m p a r i s o n t o B a r t l e b y , a n d t h e n a r r a t o r ' s s t i f f r e s p o n s e s u g g e s t s b o t h h i s c o n v e n t i o n a l r e s e r v e on
such t o p i c s and h i s fear o f a n y t h i n g s c a n d a l o u s ( p . 9 8 ) .
Yet
t h i s t a k e s p l a c e i n t h e Tombs!
B a r t l e b y i s d e s c r i b e d as "more a man o f p r e f e r e n c e s t h a n
assumptions" (p. 8 5 ) .
I n s u c h a manner M e l v i l l e c r y s t a l l i z e s t h e
d i v e r g e n c e o f i n t e l l e c t u a l and s y m b o l i c p o s i t i o n s i n t h e s t o r y .
A l l t h e assumptions t h e n a r r a t o r h a s about Bartleby
--
t h a t he
w i l l respond t o a n g e r , t h r e a t s , k i n d n e s s , understanding, f r a n k
dismissal
--
c o r r e s p o n d t o t h e a s s u m p t i o n s t h a t are i m p l i c i t l y
c h a l l e n g e d by B a r t l e b y ' s b e h a v i o u r .
The eminence of r e a s o n , t h e
b e l i e f i n u n i v e r s a l j u s t i c e , t h e b e l i e f t h a t goodness e q u a l l y matched i n s t r e n g t h t o d e s p a i r w i l l overcome i t , t h e n o t i o n t h a t
m a t e r i a l p r o g r e s s l e a d s t o h a p p i n e s s , t h e r e l i a n c e on f o o d a s a
i
s p i r i t u a l v i v i f i e r and n o t j u s t a s u s t a i n e r , a n d f i n a l l y t h e acc e p t a n c e o f , a t one e x t r e m e , t h e v a l u e o f common s e n s e , and a t
49
a n o t h e r e x t r e m e , t h e f a i t h i n a n i n v i s i b l e a n d s i l e n t God, a r e a l l
assumptions t h a t a r e t o r n l o o s e from t h e g e n e r a l o r d e r o f e x p e r i ence and c o g n i t i o n by t h e s t i l l , u n r e s p o n s i v e s u f f e r i n g o f
B a r t l e b y and r e l e a s e d t o a n a m b i g u i t y - r i d d e n
-
s t a t u s as i n t a n -
gible f a c t o r s of our existence.
Such s u b v e r s i o n of r e a s o n and e x p e r i e n c e , t h e c h a r a c t e r
i r o n i e s t h a t d i s c l o s e a somewhat h y p o c r i t i c a l and f e a r - r i d d e n
p e r s o n a l i t y , a n d t h e f a r c i c a l humour o f t h e s o c i a l rel a t i o n s i n t h e law-offices,
ing of t h e t e x t .
combine t o c r e a t e , an u n s e t t l e d mean-
Through s u c h d e v i c e s t h e p r e s e n t a t i o n o f t h e
l a w y e r ' s e x p e r i e n c e becomes as much a t o p i c o f t h e s t o r y a s t h e
q u e s t i o n o f who B a r t l e b y is.
I n P i e r r e , a n a l t o g e t h e r d i f f e r e n t work i n theme and
accomplishment, M e l v i l l e u s e d a s h i f t i n g t o n e of comedy and t r a gedy, of wonder and d i s b e l i e f , s o t h a t f i n a l l y t h e r e a d e r would
have d i f f i c u l t y i d e n t i f y i n g t h e n a r r a t o r , who m i g h t b e e i t h e r
M e l v i l l e o r P i e r r e , and s o t h a t t h e c o n t e n t o f P i e r r e ' s s e a r c h
became e v e r y t h i n g r e p o r t e d and i n t i m a t e d i n t h e n o v e l .
point-of-view,
In that
t h e v i s i o n o f P i e r r e became t h e trauma and decep-
t i o n s of s e l f - c r e a t i o n ,
t h e e f f e c t i v e wonder of which i s a l s o t h e
wonder o f w r i t i n g a n o v e l t h a t would m i r r o r t h e u n c e r t a i n t y ,
l a r g e n e s s , comedy and d e s p a i r , and i n c h o a t e n e s s o f l i f e i t s e l f .
I t was c l e a r l y an a m b i t i o u s u n d e r t a k i n g t h a t meant, a t t h e e n d ,
popular, i f n o t a r t i s t i c , f a i l u r e .
The r e l e v a n t d i s t i n c t i o n h e r e
is t h a t w i t h B a r t l e b y The S c r i v e n e r , M e l v i l l e u n d e r t o o k a s i m i l a r
complexity of t o n e t o achieve t h e d i v e r s e impressions of experie n c e , b u t s u c c e e d e d i n t h e p o p u l a r mode of magazine f i c t i o n bec a u s e of a r a d i c a l change i n c h a r a c t e r i z a t i o n .
The t i t l e c h a r a c -
,
?
50
e r B a r t l e b y i s t h e m a g n e t i c c e n t r e o f t h e s t o r y ' s s y m b o l i c meani n g , which r e s i d e s a l m o s t w h o l l y i n s i l e n c e .
The n a r r a t o r , on
t h e o t h e r hand, i s a man o f t h e w o r l d who a t t e m p t s t h e s o l u t i o n
of a mystery.
But t h e s o l u t i o n i s s o involved w i t h h i s worldly
b e i n g , t h a t t h e u n w o r l d l y B a r t l e b y r e c e d e s from view.
When t h e
n a r r a t o r b e g i n s r e a d i n g Edwards and P r i e s t l e y , i n c o n j u n c t i o n
w i t h h i s r u m i n a t i o n s , B a r t l e b y seems t o w i t h d r a w more i n t o h i s
h e r m i t a g e and o f f e r s less v i s i b l e p r e s e n c e i n t h e t e x t ,
r a t o r ' s eulogy o v e r t h e dead Bartleby:
The n a r -
"With k i n g s and c o u n c i l o r s "
(p. 9 9 ) p u t s B a r t l e b y i n a n o b l e h i e r a r a h y o f t h e s p i r i t , b u t
because B a r t l e b y h a s been c o n c e a l e d s o w e l l by t h e n a r r a t o r ' s
i g n o r a n c e and s e l f i s h n e s s , by h i s own s i l e n c e , and by t h e n a r r a t o r ' s method o f a c h i e v i n g p s y c h o l o g i c a l e q u i l i b r i u m , w e d o n o t
know w h e t h e r t h e e u l o g y r e p r e s e n t s a moment o f e n l i g h t e n e d p e r c e p t i o n o r a moment o f r o m a n t i c d e l u s i o n .
T h i s comic o b f u s c a t i o n i n t h e t r a n s i t i o n from t e x t t o
symbol i s r e l a t e d t o t h e l a c k o f c a u s e s and o r i g i n s i n B a r t l e b y ' s
history:
We b e g i n by b e i n g t o l d o f t h e l a c k of a v a i l a b l e h i s t o r -
i c a l s o u r c e s c o n c e r n i n g B a r t l e b y and a r e soon i n v o l v e d i n t h e
l i t e r a l and s y m b o l i c s e a r c h e s f o r meaning.
To a s k who i s
B a r t l e b y and why h e i s b e h a v i n g i n s u c h a manner i s t o a s k s i m i l a r l y unanswerable q u e s t i o n s about o u r s e l v e s and o u r purpose,
i
v
When t h e n a r r a t o r a s k s B a r t l e b y w h e t h e r h e would l i k e t o t a k e neG
employment and o f f e r s him s e v e r a l examples, one i s s t r u c k w i t h t h e
a b s u r d i t y o f a s k i n g any q u e s t i o n s o f B a r t l e b y .
H i s r e j e c t i o n of
the n a r r a t o r ' s i d e a s confirms t h a t s o c i e t y has.nothing t o o f f e r
/
B a r t l e b y , and by s u c h means w e a r e b r o u g h t t o t h e p o i n t o f contemp-
1
l a t i n g whether t r u t h i s a r t i c u l a b l e .
. Thus, t h e s e r i o - c o m i c t e x t u r e of e x p e r i e n c e c o m p l i c a t e s
t h e problem o f r e a d e r a t t i t u d e .
W e a r r i v e a t t h e denouement
w i t h o u t knowing much a b o u t B a r t l e b y and w i t h o u t e a s i l y knowing
what m o r a l s t a n c e t o w a r d s t h e i s s u e s o f s u f f e r i n g and r e s p o n s i b i l i t y Melville i s taking.
T h i s v e r y c o m p l e x i t y i t s e l f , however,
'is d e m o n s t r a b l y p a r t o f a l a r g e r t h e m a t i c p a t t e r n whose v i s i o n
i n c o r p o r a t e s t h e v a r i o u s m y s t e r i e s of b e i n g from o r d i n a r y r i t u a l
t o e x t r a o r d i n a r y metaphysical imagination.
MYSTERY OF APPEARANCES
A c r u c i a l problem i n t h e t a l e i s i t s e n d i n g .
The n a r r a -
t o r f i n d s B a r t l e b y d e a d i n t h e Tombs and u t t e r s t h e p o e t i c :
k i n g s and c o u n c i l o r s " as a n e u l o g y .
"With
I n the postscript t h e narra-
t o r t e l l s u s how h e l e a r n e d t h a t B a r t l e b f o n c e worked i n t h e Dead
L e t t e r s O f f i c e , s o r t i n g m a i l t h a t w a s u n d e l i v e r a b l e and consigni n g i t t o b e burned.
The n a r r a t o r f e e l s t h a t s u c h work h a s t e n e d
the scrivener's despair:
d o e s i t n o t sound
.
Dead l e t t e r s :
l i k e d e a d men? Conceive a man by
n a t u r e and m i s f o r t u n e p r o n e t o p a l l i d h o p e l e s s n e s s , c a n any b u s i n e s s
seem more f i t t e d t o h e i g h t e n it
t h a n t h a t of c o n t i n u a l l y h a n d l i n g
t h e s e dead l e t t e r s , and a s s o r t i n g
them f o r t h e f l a m e s . (p. 9 9 )
These t h o u g h t s i n s p i r e t h e n a r r a t o r t o f i n i s h h i s s t o r y by proc l a i m i n g "Ah, B a r t l e b y !
A h , humanity!"
(p. 9 9 ) .
The c r i t i c a l
problem i s w h e t h e r w e c a n b e ' l i e v e t h a t t h e n a r r a t o r i s c a p a b l e
of s u c h p o e t i c p e r c e p t i o n and w h e t h e r t h e r e i s any e v i d e n c e t o
support t h i s .
Sudden c o n v e r s i o n would n o t b e i n a p p r o p r i a t e i n p r i n c i p l e t o M e l v i l l e ' s p h i l o s o p h i c a l a t t i t u d e , s o l o n g as o p e n n e s s o f
mind and c o u r a g e w e r e p r e s e n t i n t h e s e e k e r .
I n most o f h i s work
h e a f f i r m e d t h e p r e s e n c e o f m y s t e r y a s an i n d i s p u t a b l e p a r t o f
existence,
L i f e , even i n i t s manifested o r d i n a r i n e s s , concealed
a v a s t unknown.
The s l o w d e c i p h e r m e n t of t h i s v a s t unknown was
t h e t a s k o f any s e e k e r o f t r u t h .
I n P i e r r e , w e f i n d t h e following
r e a l i z a t i o n of t h e m y s t e r y of a p p e a r a n c e s :
B u t t h e Vague r e v e l a t i o n was now i n
him, t h a t t h e v i s i b l e w o r l d , some
o f which b e f o r e h a d seemed b u t t o o
common and p r o s a i c t o him;
and b u t
t o o i n t e l l i g i b l e ; h e now c a g u e l y
f e l t , t h a t a l l t h e w o r l d , and e v e r y
m i s c o n c e i v e d l y common a n d p r o s a i c
t h i n g i n it, w a s steeped a m i l l i o n
fathoms i n a mysteriousness wholly hopeless of solution.36
s u c h a r e v e l a t i o n r e t u r n s t h e mind t o t h e w o r l d w h i l e a t t h e s a m e
t i m e r e n d e r i n g t h e w o r l d s u d d e n l y i n t o a n unknown p l a c e .
t u d e i s r e p l a c e d by a c o n v i c t i o n o f i l l u s i o n .
'
Certi-
Ahab t e l l s u s :
l l A l l v i s i b l e o b j e c t s , man, a r e b u t as p a s t e b o a r d masks. w37
I s h m a e l r e l a t e s m e t a p h y s i c a l m y s t e r y t o t h e enigma o f human coun.
,
tenance :
Champollion d e c i p h e r e d t h e w r i n k l e d
granite hieroglyphics.
But t h e r e i s
n o Champollion t o d e c i p e r t h e Egypt
o f e v e r y man's and e v e r y b e i n g ' s
face.
Physiognomy, l i k e e v e r y o t h e r
human s c i e n c e , i s b u t a p a s s i n g
fable.
I f then, S i r W i l l i a m Jones,
who r e a d i n t h i r t y l a n g u a g e s c o u l d
not read t h e simplest peasant's
f a c e i n i t s p r o f o u n d e r and more
s u b t l e meanings, how may u n l e t t e r e d
I s h m a e l hope t o r e a d t h e a w f u l
j8
Chaldee o f t h e Sperm Whale's brow?
The e f f e c t o f s u c h p a s s a g e s i s t o h e i g h t e n t h e m y s t e r y o f what w e
c o n s i d e r o r d i n a r y and c o m p r e h e n s i b l e , f o r t h e a p p e a r a n c e s o f a
phenomenon d o n o t n e c e s s a r i l y r e v e a l t h e i r i n t e r n a l r e a l i t y .
I n B a r t l e b y The S c r i v e n e r , w e d o n o t e v e n have t h e
forms u s u a l l y a s s o c i a t e d w i t h t h e d i s c l o s u r e o f m a r v e l s .
W e have
no voyag-e, no e x o t i c s e t t i n g , no a t t e m p t t o a r t i c u l a t e o r c a p t u r e
an i d e a l .
W e a r e confronted with t h e f a m i l i a r surroundings of t h e
mundane, commercial w o r l d .
Y e t a s t h e s t o r y shows, t h e appearan-
c e s o f t h i s w o r l d m a i n t a i n t h e i r s i g n i f i c a n c e . t o t h e human drama
a s c l o s e l y a s t h e s e a o f f e r e d an i d e a l s y m b o l i c s e t t i n g f o r Moby
Dick.
-
Moreover, B a r t l e b y i s , i n t h e f i r s t i n s t a n c e , a v e r y o r d i n -
b e i n g , i t must come modulated by t h e e x a c t p r o p o r t i o n s and l i m i tations of h i s character.
W e h a v e a l r e a d y l e a r n e d how B a r t l e b y r e m a i n s incompre-
h e n s i b l e t o u s , a n d how t h e n a r r a t o r ' s i g n o r a n c e a n d s e l f - s e e k i n g
c o m p l i c a t e s and v i r t u a l l y changes t h e p o t e n t i a l i t y o f u n d e r s t a n d i n g t h e meaning o f h i s e x p e r i e n c e .
But r a t h e r t h a n c e a s i n g in-
q u i r y a t t h i s p o i n t and p r o p o s i n g s y m b o l i c c o n d i t i o n s f o r t h e
s t o r y ' s enigmas from s u c h a c r i t i c a l d i s t a n c e , i t i s p o s s i b l e
t o.
,
c o n t i n u e t h e s e a r c h by u s i n g t h e v e r y f a c t s o f p e r s o n a , c o n c e a l ment, and c o m p l e x i t y a s m e t a p h o r s f o r t h e r e a l i t y w i t h i n t h e
story.
Through t h e p r o c e s s o f u n c o v e r i n g what t h e n a r r a t o r i s
s a y i n g i n t e n t i o n a l l y and u n i n t e n t i o n a l l y , w e l e a r n t h a t t h e
i s ambiguity.
apprehensible condition of r e a l i t y -
Thus, b e f o r e
w e c a n a p p r e c i a t e what o c c u r s i n t h e s t o r y ' s e n d i n g , w e must t r y
t o g r a s p t h e c o n d i t i o n o f a p p e a r a n c e s t h a t l e a d up t o it.
A t t h e f i r s t l e v e l of r e v e l a t i o n , w e have t o d e a l with
persona.
P e r s o n a , once w e have e s t a b l i s h e d t h e d e g r e e of i t s
c r e d i b i l i t y , e s t a b l i s h e s a c o m f o r t a b l e r e l a t i o n s h i p between t h e
r e a d e r and t h e f a c t s o f t h e s t o r y .
However i n " B a r t l e b y " t h e
n a r r a t o r uses h i s p o s i t i o n t o r a t i o n a l i z e h i s involvement with
h i s s c r i v e n e r , t o s u c h an e x t e n t , t h a t t h e r a t i o n a l i z a t i o n s make
up a r h & t o r i c a l r e a l i t y
--
i t y works i n two ways.
F i r s t o f a l l , b e c a u s e i t i s composed of
unintentional ironies
--
an a p p e a r a n c e .
This rhetorical real-
what I have c a l l e d t h e s u b - t e x t
--
this
r h e t o r i c a l a p p e a r a n c e n e v e r a l l o w s u s t o m a k e ' a n ~s u b s t a n t i v e
claim about e i t h e r t h e n a r r a t o r o r Bartleby b u t does allow f o r
t h e p r o c e s s of i n t e r r o g a t i o n and f o r p r o p o s i t i o n a l meaning.
6
~ e c o n d l y , ,t h e m e t a p h o r i c a l i m p l i c a t i o n s of t h i s r h e t o r i c a l a p p e a r ance s u g g e s t t h e s y m b o l i c u s e o f law a s a means o f d e s c r i b i n g
reality.
Law i s n o t o n l y a metaphor f o r t h e a r b i t r a r y s o c i a l
c o n t r o l of b e h a v i o u r a n d , b y e x t e n s i o n , o f t h e s t a t u s quo;
law
can a l s o b e s e e n a s a symbol f o r t h e u n i v e r s a l n a t u r a l l a w s t h a t
c o n t r o l b e i n g a n d t h e r e l i g i o u s laws t h a t p u r p o r t e d l y c i v i l i z e
man and o f f e r him e t e r n a l ~ a l v a t i o n . ~ ' I n t h i s s e n s e t h e n a r r a t o r ' s l a n g u a g e l i m i t s and c o n c e a l s what c a n b e known o f B a r t l e b y ,
c o n f i r m s B a r t l e b y i n h i s s t r a n g e n e s s a s a . v i c t i m , and i s conf i r m e d i n i t s own i n h i b i t i o n s by B a r t l e b y ' s p r e f e r e n c e s .
.
?
The
law o f f i c e s w i t h t h e i r v i e w o f b l a n k w a l l s become e v e r y p l a c e
--
a s y m b o l i c c o n d i t i o n t h a t shows man i s s p i r i t u a l l y nowhere b u t
under t h e c o n t r o l o f Law which d e t e r m i n e s t h e i m i t a t i v e n e s s and
u n c e a s i n g r e p e t i t i v e n e s s of e x i s t e n c e .
The e v i d e n c e f o r t h i s i s
t h e symbolic equivalence o f every l o c a l i t y i n t h e s t o r y through
t h e u s e o f " w a l l s " , and b y t h e s i m p l e f a c t t h a t B a r t l e b y ' s compell i n g r e f u s a l s t o copy law documents and h i s s t e a d f a s t s t a r i n g a t
w a l l s of i t s e l f i n d i c a t e s a s y m b o l i c a n d m e t a p h y s i c a l c o n d i t i o n .
B a r t l e b y ' s a r r i v a l d i s r u p t s t h e p a t t e r n and i n t r o d u c e s hazard
i n d e f i n a b l e and u n c o n t r o l l e d
lawyer i s p r e p a r e d t o a c c e p t .
--
--
and h a z a r d i s n o t s o m e t h i n g t h e
Such a v i s i o n d e c l a r e s a p h i l o s o -
p h i c a l a m b i g u i t y : n a t u r a l and s p i r i t u a l l a w s p r o t e c t man somewhat
from h a z a r d and y e t t h e s e same l a w s a r e shown t o be b a r r i e r s t o
freedom.
A n o t h e r l e v e l of a p p e a r a n c e , which w e m i g h t c a l l a degr e e o? l i t e r a r y c o m p l e x i t y , i s c r e a t e d t h r o u g h t h e u s e o f a l l u sions.
I n t e r s p e r s e d w i t h i n t h e r h e t o r i c a l movement o f t h e l a w y e r ' s
n a r r a t i o n , t h e a l l u s i o n s f u n c t i o n t o e s c a p e from t h e f i x e d t i m e -
and-space. c o o r d i n a t e s of t h e law-of f i c e s and t h e r e f o r e have a
~ o n t r a r yand u n s e t t l i n g e f f e c t t o any r h e t o r i c a l i n t e n t i o n s .
Some a l l u s i o n s a r e t h e n a r r a t o r ' s own, s u c h as h i s mention of
t h e f o l l o w i n g : P e t r a (p. 7 7 ) , Marius and t h e r u i n s of Carthage
(p. 7 7 ) , Byron (p. 6 7 ) ,
C o l t and Adams (p. 87), t h e p h i l o s o p h e r s
~ d w a r d sand P r i e s t l e y ( p . 8 8 ) , t h e r e f e r e n c e t o J o b i n t h e n a r r a t o r ' s eulogy (p. 9 9 ) .
I n e a c h c a s e , t h e i n t e n t i o n a l and unin-
t e n t i o n a l c o n t e n t of t h e r e f e r e n c e widens t h e a r e a o f meaning and
m u l t i p l i e s t h e number of p o s s i b l e r o u t e s t o t h e enigma of
.
P
B a r t l e b y w i t h o u t e v e r p r o p o s i n g a s o l u t i o n o r an o v e r a l l symbolic
unity t o experience.
Other a l l u s i o n s a r e s t r i c t l y M e l v i l l e ' s ,
such a s t h e many j o k e s a b o u t f o r g e r y and copying and t h e b i b l i c a l
references t o Bartleby a s a possible avatar.
These c r e a t e a sym-
b o l i c depth b u t a l s o a p a t t e r n of i r o n i c doubt.
Is B a r t l e b y a
p a t h e t i c v i c t i m c a p t i v a t e d by d e s p a i r o r a C h r i s t f i g u r e abandoned by t h e n a r r a t o r - g o d ? 40
Is t h e n a r r a t o r a b e l e a g u e r e d and
i n e f f e c t u a l p h i l a n t h r o p i s t o r a symbolic f i l i c i d e ? 41
s u c h meta-
p h o r i c a l q u e s t i o n s a r e n o t c a p a b l e of r e s o l u t i o n and f u r t h e r m o r e
emphasize t h e s e p a r a t i o n between t h e d i s c u r s i v e mind and t h e
p o e t i c i m a g i n a t i o n , which d e s c r i b e s r a t h e r t h a n p o l e m i c i z e s .
Such p a t t e r n s of a l l u s i o n c o m p l i c a t e t h e s t o r y ' s d e e p e r r a n g e s of
meaning and a f f i r m r e l a t i v i t y and t r a n s i e n c e a s t h e prominent symbolic truths.
Metaphorically, t h e various appearances i n t h e s t o r y
reveal contradictions.
The n a r r a t o r ' s p e r s i s t e n t i n t e r r o g a t i o n
of B a r t l e b y t s demeanor f a i l s t o p r o v i d e him w i t h knowledge o r
satisfaction.
A s i n Ishmael's
hampo poll ion" q u o t e , t h e n a r r a t o r
i s stymied by t h e l a c k of any d r a m a t i c o r o b v i o u s c h a r a c t e r i n d i -
57
cations i n Bartleby' s face.
he
i n i t i a l diagnoses of ' p a l l i d l y
neat, p i t i a b l y respectable, incurahly forlorn," i s i n s u f f i c i e n t
a s c h a r a c t e r r e f e r e n c e s i n c e t h e n a r r a t o r does h i r e B a r t l e b y ,
which, i n h i n d s i g h t , h e would n o t have done.
I n f a c t , he follows
t h i s b r i e f d e s c r i p t i o n by p r o f e s s i n g g l a d n e s s a t h a v i n g an emp-
l o y e e of s o " s i n g u l a r l y s e d a t e an a s p e c t 1 ' ( p . 6 6 ) .
.After
B a r t l e b y suddenly announces he "would p r e f e r n o t t o " check copi e s , t h e n a r r a t o r p a c i f i e s h i s confused r e a c t i o n s by examining
Bartleby's appearance:
.
I looked a t him s t e a d f a s t l y .
.
His
f a c e was l e a n l y composed; h i s g r a y
e y e dimly calm, Not a w r i n k l e of
a g i t a t i o n r i p p l e d him.
Had t h e r e
been t h e l e a s t u n e a s i n e s s , a n g e r ,
impatience, o r impertinence i n h i s
manner; i n o t h e r words, had t h e r e
been a n y t h i n g o r d i n a r i l y human a b o u t
him d o u b t l e s s I s h o u l d have v i o l e n t l y d i s m i s s e d him from t h e premises.
But as i t was, I s h o u l d have a s
soon t h o u g h t of t u r n i n g my p a l e
p l a s t e r - o f - p a r i s b u s t of C i c e r o
o u t of d o o r s , ( p . 68)
Physiognomy d i s c l o s e s t h a t B a r t l e b y h a s n o t h i n g " o r d i n a r i l y human"
a b o u t him, b u t any t r a n s c e n d e n t a l p o s s i b i l i t y i s debunked by t h e
n a r r a t o r ' s analogy by t h e C i c e r o b u s t .
B a r t l e b y i s l a t e r des-
c r i b e d a s a " l e a n , p e n n i l e s s w i g h t " ( p . 7 3 ) d u r i n g a moment of
a g g r a v a t i o n , combining t h e c o n d i t i o n of m a t e r i a l i t y w i t h g h o s t l i ness.
T h i s c o n t r a d i c t i o n i s made more i r o n i c by t h e n a r r a t o r ' s
.
-
penchant f o r d e s c r i b i n g h i s s c r i v e n e r i n t e r m s of p r a i s e t h a t y e t
deny h i s humanity:
H i s s t e a d i n e s s , h i s freedom from d i s -
sipation, h i s incessant industry
( e x c e p t when h e c h o s e t o throw hims e l f i n t o a standing revery behind
h i s screen), h i s great s t i l l n e s s ,
h i s u n a l t e r a b l e n e s s of demeanor un-
dek a l l c i r c u m s t a n c e s , nade him a
v a l u a b l e a c q u i s i t i o n . (p. 75)
valuing Bartlehy f o r h i s t r u s t w o r t h i n e s s , t h e lawyer a l s o speaks
of him a s an " a c q u i s i t i o n 1 ' .
One c r i t i c a l problem i s i n knowing
t o what e x t e n t t h e n a r r a t o r ' s own m a t e r i a l i s m h a s d i s t o r t e d
~ a r t l e b y ' sa p p e a r a n c e i n t h e t e x t .
Moreover, e v e n i f w e a c c e p t
t h e l a w y e r ' s d e s c r i p t i o n as a c c u r a t e , w e s t i l l h a v e t o f a c e t h e
d i f f i c u l t y of how t h e " g r e a t s t i l l n e s s " o f B a r t l e b y c a n on t h e
one hand b e i n t e r p r e t e d as o b j e c t - l i k e and on t h e o t h e r hand h a v e
s u c h a profound e m a s c u l a t i n g e f f e c t on t h e n a r r a t o r .
He descri-
-
b e s h i m s e l f as b e i n g "unmanned" by t h e " w o n d e r f u l m i l d n e s s " o f
t h e s c r i v e n e r , b u t even t h i s moral q u a l i t y of mildness must b e
s e e n i n c o n t e x t t o a number o f o t h e r v a r y i n g p e r c e p t i o n s .
B a r t l e b y i s s e e n a t d i f f e r e n t t i m e s as: a man o f " c a d a v e r o u s l y
gentlemanly n o n c h a l a n c e "
( p , 76)
,
"a s o r t of innocent and t r a n s -
formed Marius" (p. 77) , " a p e r p e t u a l s e n t r y " ( p . 71)
" p a l l i d haughtiness"
( p . 78)
,
,
a figure of
as something t h a t " n o i s e l e s s l y s l i d
i n t o view" ( p . 8 0 ) , "a m i l l s t o n e " ( p . 8 3 ) , " u s e l e s s a s a n e c k l a c e "
(p. 83) , " b i t o f wreck i n t h e m i d - A t l a n t i c "
o f some r u i n e d t e m p l e " ( p . 8 4 )
,
( p , 8 3 ) , " l a s t column
" i n t o l e r a b l e incubus" (p. 90)
.
Such d e s c r i p t i o n s s u g g e s t n o t o n l y t h e n a r r a t o r ' s c o n f u s i o n b u t a
c o n t r a d i c t i o n i n t h e s t a t e o f a p p e a r a n c e s a s p e r c e i v e d b y a man
of supposedly normal d i s p o s i t i o n .
-
-
I n P i e r r e , t h e t i t l e c h a r a c t e r h a s a moment o f h e i g h t e n e d p e r c e p t i o n i n which h e s p e c u l a t e s on t h e p o s s i b i l i t y o f t h e
marvellous hidden w i t h i n t h e o r d i n a r y :
Is it p o s s i b l e t h e n , thought P i e r r e ,
t h a t t h e r e l i v e s a human c r e a t u r e
i n t h i s common w o r l d o f e v e r y d a y s ,
whose whole h i s t o r y may b e t o l d i n
59
r
l i t t l e l e s s t h a n two s c o r e words,
and y e t embody i n t h a t s m a l l n e s s
a f a t h o m l e s s f o u n t a i n of e v e r w e l l i n g mystery? Is it p o s s i b l e ,
a f t e r a l l , t h a t s p i t e of b r i c k s
and shaven f a c e s , t h i s world w e
l i v e i n i s brimmed w i t h wonders,
and I and a l l mankind, b e n e a t h o u r
garbs of comonplaceness, conceal
enigmas t h a t t h e stars t h e m s e l v e s ,
and p e r h a p s t h e h i g h e s t seraphim
can n o t r e s o l v e ? 4 2
Does t h i s n o t sound, d e s p i t e t h e d i f f e r e n c e i n c o n t e x t s , l i k e
B a r t l e b y , e s p e c i a l l y c o n s i d e r i n g t h e commonplace s e t t i n g and h i s
.
l a c k of p e r s o n a l h i s t o r y ?
?
But t h e q u e s t i o n t h a t P i e r r e poses i s
answered i r o n i c a l l y in BartTeby' Th,e
- 'Sc'r'ive'n'er, f o r t h e m a r v e l l o u s
i s b o t h t h r e a t e n e d and t h r e a t e n i n g i n t h e n a r r a t o r ' s world and
t h e mystery o f B a r t l e b y a t o r t u o u s enigma.
Moreover t h e s t r u g g l e
between t h e lawyer and B a r t l e b y i s of d e s p e r a t e s i g n i f i c a n c e t o
t h e lawyer, however a b s u r d it seems i n t h e framework of u s u a l
s o c i a l r e l a t i o n s , f o r t h e l a w y e r ' s peace of mind and l i v e l i h o o d
depend on i t s outcome.
On a symbolic l e v e l , i t i s a c o n f l i c t
between Wall S t r e e t c u l t u r e and B a r t l e b y ' s world-denying p r e s e n c e ,
and e v e r y t h i n g t h a t B a r t l e b y f a i l s t o do t h r e a t e n s t h e v e r y f a i t h
t h e n a r r a t o r h a s i n t h e known a p p e a r a n c e s of h i s world.
Thus w e
s e e t h e n a r r a t o r i n h i s "despondency" t r y i n g t o u n d e r s t a n d
B a r t l e b y on t h e most fundamental and o r d i n a r y b a s i s of appearance
and a c t i v i t y , f o r it i s a p p e a r a n c e s t h a t f r i g h t e n him and n o t f o r
t h e most p a r t a symbolic c o n d i t i o n .
It disturbs the narrator that
B a r t l e b y n e v e r d r i n k s " t e a and c o f f e e even, l i k e o t h e r men" (p. 7 8 ) ,
t h a t t h e s c r i v e n e r " n e v e r went o u t f o r a walk". (p. 7 8 ) ,
that
"though s o t h i n and p a l e , h e n e v e r complained of i l l - h e a l t h "
78).
(p.
The n a r r a t o r ' s a t t e n t i v e n e s s t o p a r t i c u l a r s of p h y s i c a l
appearance i s . n o t e w o r t h y f o r t h e same r e a s o n s , a s i s e v i d e n t i n
t h e d e l i b e r a t e slow rhythm of a d j e c t i v a l word-choice i n < h i s passage:
"What i s y o u r answer, B a r t l e b y ? "
s a i d X , a f t e r waiting a considera b l e t i n e f o r a r e p l y , d u r i n g which
h i s c o u n t e n a n c e remained immovable,
o n l y t h e r e was t h e f a i n t e s t conc e i v a b l e t r e m o r of t h e w h i t e a t t e n u a t e d mouth. (p. 80)
I f B a r t l e b y can b e s a i d t o r e p r e s e n t a n y t h i n g , it i s t h e
incomprehensible and unremediable q u a l i t i e s of l i f e .
h i s presence, h i s very existence a r e tenuous.
H i s arrival,
I n a passage which*
combines t h e n a r r a t o r ' s s t r u g g l e w i t h c o n f i d e n c e i n t h e e f f e c t i v e
p r o c e s s e s of r e a s o n , t o g e t h e r w i t h an a b s u r d i m p r e s s i o n of a man
unable t o a c t from n a t u r a l a s s u m p t i o n s , w e a l s o g e t a c l e a r repr e s e n t a t i o n of t h e tenuousness t h a t p e r v a d e s t h e s t o r y :
What was t o b e done? o r , i f n o t h i n g
c o u l d b e done, was t h e r e a n y t h i n g
f u r t h e r t h a t I c o u l d assume i n t h e
m a t t e r ? Y e s , a s b e f o r e I had prosp e c t i v e l y assumed t h a t B a r t l e b y
would d e p a r t , s o now I might r e t r o s p e c t i v e l y assume t h a t d e p a r t e d
h e was.
I n t h e legitimate carryi n g o u t o f t h i s assumption, I might
e n t e r my o f f i c e i n a g r e a t h u r r y ,
and p r e t e n d i n g n o t t o s e e B a r t l e b y
a t a l l , walk s t r a i g h t a g a i n s t him a s
Such a p r o c e e d i n g
i f he w e r e a i r .
would i n a s i n g u l a r d e g r e e have t h e
a p p e a r a n c e of a home t h r u s t .
I t was
h a r d l y p o s s i b l e t h a t Bartleby could
w i t h s t a n d s u c h an a p p l i c a t i o n of
t h e d o c t r i n e o f assumptions. But .
upon second t h o u g h t s t h e s u c c e s s o f
t h i s p l a n seemed r a t h e r dubious.
( p . 86)
Yet t h i s and o t h e r examples o f t e n u o u s n e s s and t r a n s i e n c e
a r e c o u n t e r e d by images of i m m o b i l i t y ,
lity.
'
irreversibi-
B a r t l e b y ' s d e c i s i o n s a r e i r r e v e r s i b l e , h e i s always t h e r e
i n h i s h e r m i t a g e l o s t i n dead-wall r e v e r i e s , h e d o e s n o t seem t o
move u n l e s s summoned, h i s v i s a g e i s c a d a v e r o u s .
The m i x t u r e of
s t o n e - l i k e q u a l i t i e s w i t h an a i r y i n s u b s t a n t i a l i t y c o n f u s e s and
f r i g h t e n s t h e lawyer:
...
t h e u t t e r l y unsurmised appearance of B a r t l e b y t t e n a n t i n g my lawchambers o f a Sunday morning, w i t h
h i s c a d a v e r o u s l y gentlemanly nonc h a l a n c e , y e t w i t h a l f i r m and s e l f p o s s e s s e d , had s u c h a s t r a n g e
e f f e c t upon m e , t h a t i n c o n t i n e n t l y
I s l u n k away from my own door.
(p. 76)
-
When we examine t h e s t o r y ' s s e t t i n g we f i n d a s t a t e of .
contradiction a s well.
,
-
The v a r i o u s d e s c r i p t i o n s of t h e o f f i c e
and t h e c i t y have t h e e f f e c t of d e p e r s o n a l i z i n g ambiguity and
showing t h a t ambiguity i s e q u a l l y an a s p e c t o f t h e environment
a s i t i s a problem of c o n s c i o u s n e s s .
The n a r r a t o r ' s e a r l y des-
c r i p t i o n of h i s o f f i c e d e m o n s t r a t e s t h i s q u a l i t y :
A t one e n d , t h e y looked upon t h e
w h i t e w a l l of t h e i n t e r i o r of a
spacious sky-light shaft,.penet r a t i n g t h e b u i l d i n g from t o p t o
bottom.
T h i s view might have
been c o n s i d e r e d r a t h e r tame t h a n
o t h e r w i s e , d e f i c i e n t i n what landBut,
scape p a i n t e r s c a l l " l i f e " .
i f s o , t h e view from t h e o t h e r end
o f my chambers o f f e r e d , a t l e a s t ,
a c o n t r a s t , i f n o t h i n g more.
In
t h a t d i r e c t i o n , my windows cornmande d an u n o b s t r u c t e d view of a l o f t y
b r i c k w a l l b l a c k by age and e v e r l a s t i n g shade; which w a l l r e q u i r e d
no s p y - g l a s s t o b r i n g o u t i t s lurk:
ing beauties, but, f o r the benefit
of a l l n e a r - s i g h t e d s p e c t a t o r s , was
pushed up t o w i t h i n t e n f e e t of my
window panes.
Owing t o t h e g r e a t
h e i g h t of t h e s u r r o u n d i n g b u i l d i n g s ,
and my chambers b e i n g on t h e second
f l o o r , t h e i n t e r v a l between t h i s
w a l l and mine n o t a l i t t l e resembled
a huge s q u a r e c i s t e r n . (p. 60-61).
T h i s d e p r e s s i n g landscape i s r e c o g n i z e d a s . " d e f i c i e n t " , b u t t h e
~ u s l y ,n o r , d o e s h e b e l i e v e t h a t it p o i n t s t o a more s e r i o u s l y
d e f i c i e n t symbolic condition.
Indeed, he goes s o f a r a s t o o f f e r
a wry comment on t h e " l u r k i n g b e a u t i e s " o f t h e b r i c k w a l l f a c i n g
h i s windows.
B u t t h e p a s s a g e d o e s more t h a n i d e n t i f y an u t i l i -
tarian vision.
I t i n t r o d u c e s t h e s e t t i n g o f t h e s t o r y and p r e -
pares t h e symbolic s t a g e f o r t h e a c t o r s .
M e t a p h o r i c a l l y , it i s
a p p r o p r i a t e t o h a v e a s e t t i n g t h a t h i n d e r s v i s i o n c a r e f u l l y desc r i b e d f o r u s b e f o r e t h e commencement of a.drama some of whose
s i g n i f i c a n t f e a t u r e s a r e : a c o p y i s t who h a s f a i l i n g e y e s i g h t and
whose v i s i o n o f t h e w o r l d i s a l i e n t o t h e o t h e r c h a r a c t e r s ;
the
c o n t i n u a l a t t e m p t s by t h e lawyer t o p e r c e i v e s i g n s o f comprehens i o n s , a g r e e m e n t , compromise i n B a r t l e b y .
Furthermore, a s events
s h o r t l y d i s c l o s e , t h e l a n d s c a p e o p e r a t e s as a s y m b o l i c e m p t i n e s s
--
a "Petra" o f t h e i m a g i n a t i o n .
A suggestion of t h i s emptiness
o c c u r s i n t h e d e s c r i p t i o n o f t h e s p a c e between one o f t h e windows
and t h e f a c i n g w a l l a s " a huge s q u a r e c i s t e r n . "
The r e f e r e n c e s
i n -Moby Dick a n d P i e r r e t o t h e E g y p t i a n p y r a m i d s , and t h e f i n a l
r e s t i n g p l a c e i n t h i s s t o r y w i t h i n t h e Tombs, s e e m t o s u g g e s t
t h a t we s h o u l d c o n s i d e r t h e a n a l a g o u s v a s t n e s s a n d t e r r o r o f cos-
m i s s o l i t u d e t h r o u g h t h e image o f a d r a b and o m i n o u s l y comic c i s tern.
The e n t i r e s t o r y b e a r s w i t n e s s t o t h e f a c t t h a t t h e n a r r a -
t o r i s unaware o f t h e s p i r i t u a l e m p t i n e s s o f h i s w o r l d .
The ex-
t e r i o r i z i n g of t h i s e m p t i n e s s s u g g e s t s t h a t w e a r e t o l o o k a t a
Condition g r e a t e r t h a n t h e habit-ridden o r d i n a r i n e s s of t h e narrator;that
t h e r e a l i t y o f t h e d i s t u r b i n g c i s t e r n image embraces
n o t o n l y t h e c o l l e c t i v e c o n s c i o u s n e s s of men b u t t h e b e i n g of
phenomena o u t s i d e men.
T h i s i m p o r t a n t q u a l i f i c a t i o n would sug-
.
r
g e s t an e x p l a n a t i o n f o r B a r t l e b y ' s a f f i l i a t i o n w i t h o b j e c t s and
w a l l s : an e x p l a n a t i o n o t h e r t h a n s e e i n g B a r t l e h y ' s c o n s c i o u s n e s s
a s slowly p e t r i f y i n g .
For i f Bartleby e x i s t s a t an extreme of
human c o n s c i o u s n e s s , a l m o s t beyond c o n t a c t w i t h men, t h e n h e i s
t h e l i k e l i e s t w i t n e s s t o a mode o f b e i n g t h a t i s a-human a n d i n articulable.
I n Moby
Dick Ahab s t r a i n s h i s v e r y humanity t o
--
know t h e whale;
i n P i e r r e t h e t i t l e c h a r a c t e r u n r a v e l s h i s mor-
t a l i d e n t i t y w i t h a k i n d of m i s a n t h r o p i c e x a l t a t i o n t o become
t h e c h t h o n i c a l l y immortal Enceladus.
~ 0 t ha r e s y m b o l i c e x p r e s - .
s i o n s of a d e e p d i s s a t i s f a c t i o n w i t h t h e a c c e p t e d l i m i t s o f
humanity.
I n B a r t l e b y The S c r i v e n e r M e l v i l l e c o n t i n u e s h i s
philosophical investigation, but within t h e familiar confines of
urban c u l t u r e , p e r h a p s t o see what forms t h e e x t r a o r d i n a r y c o u l d
t a k e w i t h o u t f o r s a k i n g a p p a r e n t realism and o r d i n a r y minds.
F u r t h e r examining t h e n a r r a t o r ' s d e s c r i p t i o n of h i s
o f f i c e s w e f i n d t h e m e n t i o n of t h e s u g g e s t i v e " b l a c k w a l l " and
t h r o u g h t h e o p p o s i t e window t h e f a c i n g " w h i t e w a l l " .
In a story
which d e a l s a t s o m e l e n g t h w i t h assumed c o n c e p t s o f r i g h t and
wrong, and which s i l e n t l y v o i c e s a c r i t i c i s m o f t h e n a r r a t o r ' s
d u a l i s t P u r i t a n i s m , t h e a p p e a r a n c e o f w h i t e and b l a c k s u g g e s t s a
,
p a r t i c u l a r l y i r o n i c s i g n i f i c a n c e , c a p t u r e d i n s p i r i t by B a r t l e b y
who i s t r a p p e d by t h e s y m b o l i c w a l l s of d u a l i s m .
Y e t the w a l l s
might a l s o s u g g e s t s y m b o l i c l i m i t s t o c o n s c i o u s n e s s , o u t s i d e of
any p a r t i c u l a r m o r a l d e f i n i t i o n , and a p r e c e d e n t f o r s u c h a
v i s i o n can be f o u n d i n Moby Dick.
I n one of h i s letters, M e l v i l l e had w r i t t e n t h a t h e
l o v e d a l l men who dove.
43
A s t h e s p e c u l a t i v e image o f d i v i n g
s u g g e s t s t h e r e c a n be no foreknowledge of w h a t i s t o b e found i n
.
a realm o u t s i d e o u r o r d i n a r y , earth-bound consciousness.
The
-
v i s i o n M e l v i l l e a c h i e v e d i n Moby Dick c a n n o t be f o u n d i n B a r t l e b y
The S c r i v e n e r ;
however, t h e r e are s y m b o l i c c o r r e s p o n d e n c e s b e t -
7
ween t h e two works d e s p i t e t h e f a c t t h a t t h e f o r m e r p r e s e n t e d
c e r t a i n t r u t h s about t h e world of Nature while t h e l a t t e r d e a l s
e x c l u s i v e l y w i t h t h e w o r l d o f man.
Both works, f o r example,
s h a r e i n g e n e r a l a commitment t o m e t a p h y s i c a l i n q u i r y .
The s p i r i t
of m e t a p h y s i c a l i n q u i r y w a s a l s o a p a r t o f t h e t r a n s c e n d e n t a l i s m
o f Emerson and T h o r e a u , b u t f o r M e l v i l l e t h e i r v i s i o n s w e r e una c c e p t a b l e b e c a u s e t h e y assumed t h e p e r f e c t a b i l i t y o f man and
d i d n o t account f o r t h e t e r r o r s of Nature.
T r u e i n q u i r y , as
M e l v i l l e had l e a r n e d from S h a k e s p e a r e , f a c e d n a t u r a l and m o r a l
c o n t r a d i c t i o n s w i t h o u t p r e j u d i c e and w i t h o u t p r e d i s p o s i n g a spec i f i c conclusion. 44
T h i s would r e q u i r e , a c c o r d i n g t o M e l v i l l e ,
a good d e a l o f m o r a l c o u r a g e ;
s u c h men of c o u r a g e a r e s o v e r e i g n
n a t u r e s "amid t h e powers o f h e a v e n , h e l l , and e a r t h . It 45
I f w e l o o k a t "The W h i t e n e s s o f t h e Whale" c h a p e r i n
Moby Dick,
--
w e f i n d M e l v i l l e ' s use of metaphysical i n t e r r o g a t i o n
a t i t s b e s t as w e l l as a n example o f m o r a l c o u r a g e s u c h a p r o c e s s
demands.
The c h a p t e r i s a n e x a m i n a t i o n of t h e s y m b o l i c e s s e n c e
o f w h i t e n e s s a n d i t s e f f e c t s on c o n s c i o u s n e s s .
H i s use of parti-
c u l a r r e f e r e n c e and o b s e r v a t i o n , o f b o t h h i s t o r y and f o l k l o r e , i s
a n attempt t o create u n i v e r s a l v a l i d i t y , t h a t w i l l c u t a c r o s s
c u l t u r a l and d o c t r i n a l b o u n d a r i e s .
I t becomes c l e a r i n t h e c o u r s e
of t h e c h a p t e r t h a t n o t o n l y t h e phenomenon o f w h i t e n e s s i s b e i n g
d i s c u s s e d b u t t h a t t h e problem o f c e r t i t u d e i n a l a r g e l y unknown
world i s a l s o a t s t a k e .
B e f o r e embarking on h i s e v a l u a t i o n , I s h m a e l t e l l s u s
65
& a t h a s - i n s p i r e d him t o o f f e r u s t h i s r e p o r t .
He obser;es
that
~ i n c et h e whale i s b o t h m a t e r i a l and s p i r i t u a l phenomenon, i t s
e f f e c t i s c o n c r e t e and " m y s t i c a l and w e l l n i g h i n e f f a b l e . ~ 4 6 It
i s t h e w h i t e w h a l e ' s appearance t h a t prompts I s h m a e l ' s e f f o r t .
H i s i n t e r r o g a t i o n of w h i t e n e s s i n c l u d e s r e l i g i o u s symbols, a n i -
mals, phantoms, s u p e r s t i t i o n s , a t m o s p h e r i c phenomena, and f i n a l l y
becomes an i n t e r r o g a t i o n of appearance and r e a l i t y .
Throughout t h e p r o c e s s t h e r e i s a r e c o g n i t i o n of t h e
d i f f i c u l t y of d i s c r i m i n a t i n g between s u b j e c t i v e b i a s and o b j e c -
,
tive fact:
...
symbolize whatever grand o r g r a c i o u s t h i n g h e w i l l by w h i t e n e s s ,
no man can deny t h a t i n i t s i d e a l i z e d s i g n i f i c a n c e it c a l l s up a
peculiar apparition t o t h e soul.
But though w i t h o u t d i s s e n t t h i s
p o i n t c a n be f i x e d , how i s m o r t a l
man t o a c c o u n t f o r i t ? Can we,
t h e n , by t h e c i t a t i o n o f some o f
t h e s e i n s t a n c e s wherein t h i s t h i n g
of w h i t e n e s s -- though f o r t h e t i m e
e i t h e r wholly o r i n g r e a t p a r t
s t r i p p e d of a l l d i r e c t a s s o c i a t i o n s
c a l c u l a t e d t o impart t o i t aught
fearful, but, nevertheless, i s
found t o e x e r t o v e r u s t h e s a m e
s o r c e r y , however m o d i f i e d ; -- can
w e t h u s hope t o l i g h t upon some
chance c l u e t o conduct u s t o t h e
h i d d e n c a u s e we s e e k ? 4 g
What one b e g i n s t o d i s c e r n i n t h i s and o t h e r p a s s a g e s i s
t h e c o n s c i o u s n e s s of method.
The d i s c r i m i n a t i v e i n t e l l i g e n c e is'
o p e r a t i v e a t e v e r y t u r n of image and p h r a s e , q u a l i f y i n g s p e c u l a t i o n s , a n t i c i p a t i n g o b j e c t i o n s , l e a d i n g t h e r e a d e r ' s mind e x a c t l y
w h e r e i t i s wanted.
The r e p e a t e d q u e s t i o n s a r e a l s o n o r e t h a n a
r h e t o r i c a l d e v i c e , f o r t h e y r e p r e s e n t a s t a n c e towards r e a l i t y ,
wherein t h e q u e s t d i s c l o s e s g r e a t e r v i s i o n r a t h e r t h a n any u l t i -
66
mate answer.
W e a r e meant t o b e r e a d i n g t h e a p p e a r a n c e of t h e
w o r l d i n t h i s c h a p t e r and by i t s e n d a r e b r o u g h t t o e x i s t e n t i a l
urgency.
W e s h o u l d a l s o remember i n t h i s r e s p e c t I s h m a e l ' s i n i -
t i a l promise of p u t t i n g t h e " i n e f f a b l e " i n t o " c o m p r e h e n s i b l e
and h i s f e a r : "how c a n I hope t o e x p l a i n m y s e l f h e r e ;
and y e t ,
... e x p l a i n m y s e l f
I must. ' 4 9
L a t e r on, t h e r e i s a
r e f e r e n c e t o t h e "man of u n t u t o r e d i d e a l i t y , lf50 as a w a r n i n g
against superstitious associations.
W e c a n a l r e a d y d i s c e r n , i n a n i n c i d e n t a l manner,
-
r e l a t i o n s h i p s t o B a r t l e b y The S c r i v e n e r .
some
The n a r r a t o r i s , d e s -
p i t e h i s p r o f e s s i o n , a "man of u n t u t o r e d i d e a l i t y , " i f w e rememb e r h i s v a i n optimism, h i s s u p e r s t i t i o u s d r e a d o f B a r t l e b y , and
t h e a t t e m p t s t o i d e a l i z e t h e i r r e l a t i o n s h i p s a l o n g t h e l i n e s of
p r e - d e t e r m i n a t i o n and c h a r i t y .
There i s no g r e a t e r q u e s t t o d i s -
c o v e r g o d - l i k e t r u t h s , b u t t h e r e i s a lesser q u e s t i n t h e l a w y e r ' s
a t t e m p t t o come t o an u n d e r s t a n d i n g o f B a r t l e b y .
More i m p o r t -
a n t l y , t h e r e i s a s h a r e d c o n s c i o u s n e s s o f method between I s h a e l ' s
c h a p t e r and t h e n a r r a t o r ' s t a l e , a l t h o u g h t h e n a r r a t o r i n
" B a r t l e b y " d i s t o r t s method t o s e r v e h i s own s e l f - v i n d i c a t i o n .
To
l e a r n more a b o u t t h e c o r r e s p o n d e n c e o f method between t h e two
works we must f i r s t s e e what s p e c i f i c a l l y h a p p e n s t o I s h m a e l ' s
questor.
- Ishmael's thorough i n t e r r o g a t i o n of appearances f i n a l l y .
l e a d s him t o p r o p o s e a n l f i n s t i n c t i v e knowledge o f t h e demonism i n
t h e worldqf51 as b e i n g t h e " h i d d e n causeq15* f o r o u r m y s t i c a l d r e a d
of whiteness.
T h i s u n s e t t l i n g d i s c o v e r y i s p r o p o s e d o n l y as a
p o s s i b i l i t y b u t which n e v e r t h e l e s s a l l o w s t h e o b s e r v e r freedom of
choice.
Amid t h e wonders and t e r r o r s o f e x i s t e n c e , c o n s c i o u s o f
the fullness of choices, Ishmael remains unchoosing.
In'dedica-
tion to truth, however, the demonic hypothesis is argued to its
conclusion and brings about a state of existential unease.
This
state, following the disclosure of inherent ambiguity in appearances, is in evidence throughout Moby -Ditk
1
and as will soon be
shown, is also present in Bartleby. The Scrivener.
Ishmael articulates his unease as a metaphysical generalization: "Though in many of its aspects this visible world
seems formed in love, the invisible spheres were formed in
fright. " 5 3
.
?
This generalization implies a tragic separation with-
in the soul and furthermore activates a crisis of confidence.
If
the world of nature or the world of men discloses contradictory
appearances how is the questor to act?
The pursuit of this ques-
tion takes the questor into the realm of cosmic abstractions: in
Ishmael's chapter, questions of time and space, of cosmogony,
evolution, ultimate significance; in the Wall Street memoir,
the lawyer reads "Edwards on The Will" and Priestley on Necessity"
and considers first the saving grace of charity and finally the
universal significance of Bartleby.
Ishmael ends his ruminations
by asking whether "by its indefiniteness (whiteness) shadows forth
,the heartless voids and immensities of the universe, and thus
stabs us from behind with the thought of annihilation."54
In
~artlebyThe
- Scrivener we likewise end with a contemplation of
death as the final mystery.
To return to "Bartleby", we find that the narrator's
law offices represent the symbolic spiritual condition of mid
19th century ~rnerica. The walls seen from the law offices have
in this respect a number of different meanings.
They suggest
68
t h a t , r a t h e r t h a n s i m p l y an o p p o r k u n i t y t o l i v e c o m m u n a l l ~ , a
/-
c i t y i s a l s o i t s w a l l s , i t s formalized s e p a r a t i o n s .
Wall S t r e e t ,
eminent i n i t s r e p u t a t i o n f o r commercial power, i s shown t o b e
c u t o f f from t h e n a t u r a l s o u r c e s of l i f e b y " w a l l s " o f s e l f i n t e r e s t , avarice, s p i r i t u a l b l i n d n e s s .
B u t as " b l a c k " and
" w h i t e " t h e w a l l s a r e a l s o t h e s y m b o l i c l i m i t s t o t h e spectrum
of o r d i n a r y e x p e r i e n c e .
it;
White r e p e l s l i g h t w h i l e b l a c k a b s o r b s
i n e i t h e r case we a r e d e a l i n g w i t h b o t h t o t a l i t y and v o i d ,
t o which s e v e r a l meanings can b e a t t a c h e d , . ( a s I s h m a e l demons t r a t e d i n h i s m e d i t a t i o n on w h i t e n e s s ) , w i t h o u t e s s e n t i a l change
t o i t s appearance.
White and b l a c k e a c h a l l o w f o r c o n t r a r i e s o f
e x p e r i e n c e , t h o u g h t , and metaphor w i t h i n t h e i r own i d e n t i t i e s ;
i n opposition t o each o t h e r t h e y can s t i l l m a i n t a i n equivalence.
Thus i n m o r a l t e r m s , t h e " w h i t e " s i d e t o t h e n a r r a t o r ' s w o r l d
i s r e s p e c t a b i l i t y and j u s t i c e which p r o v i d e m o r a l o r d e r ;
nega-
t i v e l y , r e s p e c t a b i l i t y i s h o r r i f i e d by B a r t l e b y ' s b e h a v i o u r and
s u f f e r i n g , a n d j u s t i c e i s u n a b l e t o a s s i s t B a r t l e b y and u l t i m a t e l y condemns him.
The " b l a c k s i d e " t o t h e n a r r a t o r ' s w o r l d i s
t h e n i g h t s i d e : t h e r e j e c t e d , unknown h a l f o f r e a l i t y which cont a i n s v i o l e n c e , d e r e l i c t i o n , s t e r i l i t y , e m p t i n e s s , b u t which a l s o
h a s t h e e l e m e n t s of dream and p o e t r y .
The n a r r a t o r ' s contempla-
t i o n of t h e b a r r e n s p e c t a c l e o f Sundays on W a l l S t r e e t , o f
Bartlebyl-s almost unimaginable e x i s t e n c e i n t h e o f f i c e s , h i s fear'
of becoming a s u d d e n l y v i o l e n t C o l t : a l l a r e moments o f " i r r a t i o n a l " poetry.
I n terms o f a p p e a r a n c e , b o t h " w h i t e " and " b l a c k "
sides are quite different;
i n terms of e f f e c t , b o t h a r e " w a l l s "
which s e p a r a t e B a r t l e b y from l i f e w i t h i n h i s own l i m i t a t i o n s , and
b o t h a r e shown t o have, i n t h e p r o p e r c i r c u m s t a n c e s , d e s t r u c t i v e
and death-like qualities.
These contradictions in the appearance
of reality are beyond the understanding of the lawver, but even
such intimations that he does receive are enough to debilitate
his morale.
The narrator's crisis of confidence occurs when he visits his offices on a Sunday and discovers that Bartleby has been
living there.
Till then Bartleby's unreasonableness in office
responsibilities has been noted as "strange peculiarities, privileges, and unheard-of exemptions" (p. 7 5 ) .
But the breach in
.
F
convention caused by Bartleby's habitation of the offices is a
rude awakening for the lawyer.
He learns of his scrivener's
true poverty, of the loneliness of such an existence, and for the
first time suspects that Bartleby's behaviour might be something
more than a temporary aberration.
The "certain hopelessness of
remedying excessive and organic ill" (p. 7 9 ) is, of course, unbearable to the narrator, for he realizes that both he
Bartleby were sons of Adam" (p. 77).
"... and
He has an intimation of
death: "The scrivener's pale form appeared to me laid out, among
The
uncaring strangers, in its shivering winding-sheet" (p. 7 8 ) .
narrator's confidence in the familiarty and goodness of appearances has broken down, and just as in Ishmael's interrogation of
whiteness, (though we must be mindful of the differences in awareness), the process of discovery leads to a memento mori.
Death has an unusual presence in the story.
Its literal
manifestation is only an instance of a much wider influence.
In
its most subtle f o m , death is presaged by uncertainty and hazard,
as if uncertainty and hazard were its continual reminders.
When
the narrator ponders anxiously what Bartleby will do next, the
70
seems s u r r o u n d e d by a d e a t h - l i k e s i l e n c e .
H a z a r d ' i s man-
i f e s t e d t h r o u g h a number o f images which o c c u r a s sudden t r a n s formation.
When B a r t l e b y r e f u s e s t o check c o p i e s , t h e n a r r a t o r
i s a t one t i m e m o m e n t a r i l y " t u r n e d i n t o a p i l l a r o f s a l t , " (p.
69).
The r e f e r e n c e t o L o t ' s w i f e d e e p e n s t h e m y s t e r y o f t h e
image w i t h o u t c l a r i f y i n g i t , b u t what i s u n m i s t a b l e i s t h e
e a s e o f p a s s a g e from l i f e t o n o n - l i f e .
When t h e n a r r a t o r f i n d s
~ a r t l e b yi n h i s o f f i c e s on t h e Sunday, h e sees him as a " t r a n s formed Marius b r o o d i n g among t h e r u i n s o f C a r t h a g e "
(p. 7 7 ) ,
. ,
c a p t u r i n g a moment o f d e r e l i c t i o n ' t h a t seems n e i t h e r q u i t e i n
l i f e nor i n death.
Finding B a r t l e b y a second t i m e i n t h e o f f i c -
e s , d e s p i t e h a v i n g d i s m i s s e d him, h e i s s t r u c k by l i g h t n i n g :
F o r an i n s t a n t I s t o o d l i k e t h e man
who, p i p e i n mouth, w a s k i l l e d one
c l o u d l e s s a f t e r n o o n long ago i n
V i r g i n i a , by summer l i g h t n i n g ; a t
h i s own w a r m open window h e w a s
k i l l e d , and r e m a i n e d l e a n i n g o u t
t h e r e upon t h e dreamy a f t e r n o o n ,
till someone t o u c h e d him, when h e
f e l l . (p. 86)
T h i s s t r i k i n g image o f i n s t a n t a n e o u s d e a t h on a n o t h e r w i s e peacef u l day seems t o p o i n t t o t h e " i n v i s i b l e s p h e r e s f o r m e d . i n
f r i g h t " of I s h m a e l ' s m e d i t a t i o n s , which i n t h i s case m a n i f e s t
t h e m s e l v e s n o t i n some s t r a n g e and d a n g e r o u s area of e x p e r i e n c e
a t home s o t o s p e a k , i n
b u t i n t h e most o r d i n a r y o f s e t t i n g s , --
what w e m i g h t a l m o s t c a l l on one l e v e l a d o m e s t i c s q u a b b l e .
The c l i m a x of t h e ' s t o r y
n i t i o n i n t h e Tombs
--
--
t h e , n a r r a t o r V ssudden recog-
f u l f i l l s an accession of awareness t h a t
h a s been s t e a d i l y b u i l t up t h r o u g h o u t t h e s t o r y .
W e c a n n o t know
t h e degree of t h e n a r r a t o r ' s awareness, a l t h o u g h t h e s e v e r a l
i r o n i e s s u g g e s t h e i s o n l y i m p e r f e c t l y aware o f what h a s happened.
everth he less, t h e p r o c e s s o f r e v e l a t i o n i s t h e r e f o r t h e ' r e a d e r
t o acknowledge: t h a t a p p e a r a n c e s d i s c l o s e c o n t r a d i c t o r y e v i d e n c e
about t h e n a t u r e of r e a l i t y ;
t h a t such a perception h a s moral
s i g n i f i c a n c e s i n c e it i n v o l v e s t h e a d m i s s i o n of human weakness
and f a i l u r e , of s e l f - d e c e p t i o n ,
inscrutability;
and o f e a c h o t h e r ' s u l t i m a t e
a n d t h a t f i n a l l y d e a t h h a s a n ambiguous p r e s -
e n c e even i n t h e most i n n o c e n t o f c i r c u m s t a n c e s .
Death i s t h e
f i n a l l a y e r of appearance t h a t conceals t h e ever-elusive n a t u r e
of B a r t l e b y .
The v a r i o u s images t h e n a r r a t o r u s e s i n s p e a k i n g
of Bartleby a r e laden w i t h death.
( p , 73)
,
" l i k e a very
g h o s t " (p. 7 4 ) , a f i g u r e o f " g r e a t s t i l l n e s s " ( p . 7 4 - 7 5 ) ,
manly nonchalance"
(p.
( p . 75)
,
7 6 ) ' a " l a s t column o f some r u i n e d t e m p l e "
t h o u g h t t o have a " c a d a v e r o u s t r i u m p h "
(p. 90).
of
of a llcadaverously gentle-
(p. 84) , h e g i v e s a " m i l d l y c a d a v e r o u s r e p l y "
a b l e incubus"
P
Bartleby i s a "bust of
C i c e r o " ( p , 69) , "a p e n n i l e s s w i g h t "
" u n a l t e r a b l e n e s s o f demeanor"
.
( p . 81) a n d i s
( p . 86) , i s a n " i n t o l e r -
The n a r r a t o r ' s w o r l d i t s e l f h a s been a
kind of s p i r i t u a l d e a t h , devoid of real consciousness and f e e l i n g , w i t h i t s b l e a k o f f i c e s a n d a " w a l l b l a c k by a g e and e v e r l a s t i n g shade" ( p . 6 0 ) .
However, s u c h c o n s c i o u s n e s s o f d e a t h i s made more comp l e x by t h e i r o n i c f a c t t h a t it h a s been B a r t l e b y ' s d e g e n e r a t i o n
which h a s awakened t h e n a r r a t o r ' s c o n s c i e n c e , e v e n t o a s m a l l deg4
r e e , and i t i s t h e d e a t h o f B a r t l e b y which m o m e n t a r i l y e n l i v e n s
t h e n a r r a t o r ' s imagination.
Thus w e g e t a complex m e t a p h y s i c a l
t h o u g h t o f l i f e and d e a t h f e e d i n g o f f e a c h o t h e r i n a t r a n s p e r s o n a l p r o c e s s , w h i l e what r e m a i n s unanswered i s t h e t e r r i b l e s i m p l i c i t y o f human l o s s .
The p o s t s c r i p t e d s p e c u l a t i o n on B a r t l e b y ' s
Dead l e t t e r s ! does i t n o t sound
l i k e dead men? Conceive a man by
n a t u r e and m i s f o r t u n e prone t o a
p a l l i d h o p e l e s s n e s s , can any b u s i n e s s seem more f i t t e d t o h e i g h t e n
i t t h a n t h a t of c o n t i n u a l l y handl i n g t h e s e dead l e t t e r s , and a s s o r t i n g them f o r t h e flames? For by
t h e cart-load they a r e annually
burned.
Sometimes from o u t t h e
folded paper t h e p a l e c l e r k t a k e s
a r i n g -- t h e f i n g e r i t was meant
f o r , p e r h a p s , moulders i n t h e g r a v e ;
a bank-note s e n t i n s w i f t e s t c h a r i t y -- h e whom i t would r e l i e v e ,
n o r e a t s n o r hungers any more;
pardon f o r t h o s e who d i e d d e s p a i r i n g ; hope f o r t h o s e who d i e d
unhoping; good t i d i n g s f o r t h o s e
who d i e d s t i f l e d by u n r e l i e v e d c a l a mities.
On e r r a n d s of l i f e , t h e s e
l e t t e r s speed t o d e a t h .
Ah, B a r t l e b y !
Ah, humanity!
(p. 99)
I have q u o t e d t h e f i n a l p a s s a g e a t l e n g t h t o i n d i c a t e
t h e q u a l i t y of t h e change i n t h e n a r r a t o r ' s a t t i t u d e t o l i f e .
Some c r i t i c s have s e e n t h e p o s t s c r i p t as a m o d i f i e d c o n t i n u a t i o n
of t h e s t o r y ' s i r o n i c method, debunking t h e supposed change of
h e a r t . 55
Other c r i t i c s have s e e n i t a s an a r t i s t i c m i s t a k e ,
s p o i l i n g t h e i r o n i c s u b t l e t i e s of t h e s t o r y f o r ' a n o v e r t , s e n t i m e n t a l s t a t e m e n t of theme. 5 6
I n t h e view of t h i s t h e s i s , b o t h
positions subtly m i s s t h e point.
I t i s d i f f i c u l t t o deny t h e
c o m p a r a t i v e l y s e n t i m e n t a l nuance of t h e language, e s p e c i a l l y s i n c e
we know t h e n a r r a t o r i s c a p a b l e of o f t e n pompous and s e l f - r i g h t e ous t o n e .
However, t h e t r u e t e s t of a change of a t t i t u d e i s t o
examine t h e d e g r e e t o which t h e n a r r a t o r i s a b l e t o f o r g e t h i s
own i n t e r e s t s i n h i s p e r c e p t i o n of e x p e r i e n c e .
These f i n a l words
a r e , f o r t h e n a r r a t o r , u n u s u a l l y s e l f l e s s , and t h e y a t t e m p t a cod
h e r e n t i n t e r p r e t a t i o n of an e x p e r i e n c e t h a t c a n n o t b e of any com-
73
f o r t t o himself.
I n t h i s s e n s e , t h e n a r r a t o r h a s changed;
the
awakening may h a v e b e e n modest and t r a n s i e n t b u t i t s h o u l d n o t b e
judged.
F u r t h e r m o r e , i f we a r e a s s e s s i n g t h e a r t i s t i c q u a l i t y o f
-
t h i s e n d i n g , w e s h o u l d remember M e l v i l l e t s a b i l i t y i n Moby Dick
a n d P i e r r e t o r e l a t e c o n t r a d i c t o r y a n d ambiguous m a t e r i a l from a n
uncommitted s t a n c e .
When I s h m a e l s p e a k s of t h e " h e a r t l e s s v o i d s "
b e h i n d a p p e a r a n c e s , h e s p e a k s from a r e v e l a t o r y s t a n c e t h a t nev e r t h e l e s s k e e p s him f r e e of any i m p l i c a t i o n o f n e g a t i v i t y o r
d e s p a i r , and w e a r e n o t b o t h e r e d b y t h e f a c t t h a t h e s p e a k s w i t h .
~ e l v i l l 'es a u t h o r i t y .
P
I n Pi'eZrre,. t h e p r o b l e m i s more complex
b e c a u s e t h e t i t l e c h a r a c t e r i s b o t h a dupe o f t h e n a r r a t i v e
method and a s y m p a t h e t i c v i c t i m o f s o c i e t y ' s c o n t r a d i c t i o n s , a s
w e l l as a t t i m e s t h e i n s t r u m e n t f o r M e l v i l l e ' s i r o n i c o b s e r v a t i o n s on t h e f a t e o f t h o s e who q u e s t f o r t r u t h .
The f i n a l e f f e c t
i n b o t h books o f s u c h c o m p l e x i t y of t o n e , m e t a p h o r , a n d e v e n t , i s
t o r e n d e r e x p e r i e n c e a s i n e x t r i c a b l y ambiguous.
Similarly, i n
B a r t l e b y The S c r i v e n e r , t h e r e i s n o t h i n g t o i n d i c a t e t h a t t h e n a r r a t o r w i l l become o t h e r t h a n w h a t h e h a s a l w a y s b e e n
i n o r d i n a r i n e s s and f e a r of t h e i r r a t i o n a l
--
--
caught
and y e t w e can s a y
t h a t h e h a s h a d a g l i m p s e o f t h e t r a g i c mode o f e x p e r i e n c e i n h a b i t e d by B a r t l e b y and by t h e n i g h t - s i d e o t h e r h a l f o f r e a l i t y .
t h e f i n a l : "Ah, B a r t l e b y !
Ah,
Thus
humanity?' i s m u l t i v a l e n t : i n d i c a t -
i n g t h e n a r r a t o r ' s a w a r e n e s s o f t r a g i c e x p e r i e n c e n o t a s a n eccen-
t r i c b u t a s a common human e x p e r i e n c e ;
implying, o u t s i d e t h e
n a r r a t o r ' s awareness, t h e n a r r a t o r ' s s e n t i m e n t a l i t y i n t o o e a s i l y
trans•’orming s u f f e r i n g i n t o l i t e r a r y expression;
and f u r t h e r im-
p l y i n g t h a t B a r t l e b y ' s experience i s u l t i m a t e l y o u t s i d e t h e range
o f e x p l a n a t i o n , and c a n o n l y b e a l l u d e d t o .through t h e means o f
c*i
poetic utterance.
Metaphorically, t h e r e i s o t h e r evidence t o support t h e
n a r r a t o r ' s sudden change of a t t i t u d e .
A t t h e Tombs B a r t l e b y ' s
d e a t h i s accompanied by n a t u r a l s i l e n c e .
The d e s c r i p t i o n of t h e
s i l e n c e i s s t r i k i n g f o r i t s suggestion of a u n i v e r s a l response
t o Bartleby ' s death:
It
The y a r d w a s e n t i r e l y q u i e t .
was n o t a c c e s s i b l e t o t h e common
prisoners.
The s u r r o u n d i n g w a l l s ,
of amazing t h i c k n e s s , k e p t o f f a l l
sounds b e h i n d them. The Egyptian
c h a r a c t e r o f t h e masonry weighed
upon m e w i t h i t s gloom. But a
s o f t i m p r i s o n e d t u r f grew under
f o o t . The h e a r t o f t h e e t e r n a l
pyramids, i t seemed, wherein, by
some s t r a n g e magic, through t h e
c l e f t s , g r a s s - s e e d , dropped by
b i r d s , had sprung. (p. 9 8 )
T h i s renewal of N a t u r e , s o i r o n i c a l l y p l a c e d a t a scene of waste
and d e s p a i r , i s s e n s e d and r e p o r t e d by t h e n a r r a t o r .
Yet t h a t
v e r y f a c t shows a s e n s i t i v i t y which had been p r e v i o u s l y . l a c k i n g .
H i s i n i t i a l comments on h i s o f f i c e s d e m o n s t r a t e d an unconcern f o r
a e s t h e t i c q u a l i t i e s i n landscape.
This i s perhaps t h e f i r s t in-
s t a n c e i n t h e n a r r a t i v e t h a t t h e lawyer h a s shown s e n s i t i v i t y t o
a l t e r n a t i o n s of atmosphere
--
a q u a l i t y of i m a g i n a t i o n
--
rather
t h a n simply a s u b j e c t i v e r e s p o n s e , a s i n h i s o f f i c e s on t h e Sunday walk, t o d r a b n e s s and s t e r i l i t y .
The l a w y e r ' s world, i t i s f a i r t o s a y , h a s been a " p e t r a "
of t h e i m a g i n a t i o n .
S i n c e B a r t l e b y i s b r o u g h t t o t h e "Tombs" we
must i n c l u d e i n t h a t world a l l of s o c i e t y .
The p e t r i f a c t i o n o f
l i f e i s n o t , t h e s t o r y shows, a p e c u l a r i t y o f ' t h e n a r r a t o r a l o n e ,
b u t t h e v e r y c o n d i t i o n of t h e o r d i n a r y w o r l d , l a c k i n g v i t a l i t y ,
s e n s i t i v i t y , moral s e n s i b i l i t y .
The c o i n c i d e n c e of B a r t l e b y ' s
i n . t h e n a r r a t o r ' s l i f e i s a lesson t h e n a r r a t o r t;ies
repeatedly t o decipher
memoir.
--
perhaps t o t h e e x t e n t of w r i t i n g t h i s
There i s an unreachable q u a l i t y i n B a r t l e b y t h a t touches
t h e f e e l i n g s o f t h e n a r r a t o r and m y s t e r i o u s l y commands h i s resp e c t , a q u a l i t y t h e n a r r a t o r t r i e s t o e x p r e s s i n h i s comment
A t t h a t moment o f d i s c o v e r i n g
"With k i n g s and c o u n c i l o r s . "
~ a r t l e b y ' sd e a t h , a n d w i t h o r w i t h o u t t h e n a r r a t o r ' s a w a r e n e s s ,
t h e symbolic f o r c e of B a r t l e b y ' s l i f e i s manifested.
t a k e n from t h e Book o f ~
o
The p h r a s e ,
b s u, g g
~ e s~t s t h a t a m b i g u i t y i s of t h e
v e r y o r d e r o f t h e u n i v e r s e , and i s t h u s m i r r o r e d i n t h e e n i g m a t i c
J o b i s d e l i v e r e d i n t o t h e d e v i l ' s power on a c c o u n t o f
utterance.
a wager t o t e s t h i s f a i t h and c h a r a c t e r .
The t e r r i b l e s u f f e r i n g s
t h a t J o b i n c u r s are n e v e r s a t i s f y i n g l y e x p l a i n e d i n t h e b i b l i c a l
text;
symbolically t h e i m p l i c a t i o n i s t h e c o n t r o l of t h e world
by demonic a g e n c i e s and t h e i r r a t i o n a l i t y o f God's p u r p o s e .
Something o f t h e p o e t i c f o r c e o f t h e Book of J o b c a n b e f e l t i n
t h e p e t r i f a c t i o n of t h e imaginative l i f e d e s c r i b e d i n Bartleby
The S c r i v e n e r .
-
A s i n t h e Book
- -of-J o b , t h e r e c a n b e n o s a t i s f y -
i n g answer t o B a r t l e b y ' s s u f f e r i n g .
The n a r r a t o r , s e n t i m e n t a l and s e l f - p i t y i n g ,
transmits
t h e o n l y t r u t h h e i s c a p a b l e o f u n d e r s t a n d i n g from h i s memory o f
Bartleby.
experience.
H e h a s u n d e n i a b l y s u f f e r e d a l o s s and had a t r a g i c
B a r t l e b y The
- S c r i v e n e r i s , s y m b o l i c a l l y , an implo-
s i o n o f v i o l e n c e t h a t i n c l u d e s a l l t h e f a l s e n e s s , a l i e n a t i o n , and
d e a d n e s s of t h a t w o r l d , t h a t r e a c h e s s t a s i s o n l y i n t h e h e a r t of
t h e Tonibs, s y m b o l i c q l l y t h e h e a r t of t h e s t o r y ; even a s i t i s ,
p a r a d o x i c a l l y , i t s denouement.
The p u r s u i t by t h e n a r r a t o r of
Bartleby's s i g n i f i c a n c e has i n a sense created t h e tale, f o r
. ,
76
without his introspective search there is only disjointed experience.
The creation of the story has been, to some degree, a pro-
cess of symbolization, in the sense that the felt tragedy of
~artleby'ssuffering is understood only to the degree that the
narrator manages to remember his own experience.
Thus, given
the narrator's limitations, incompleteness must be the final condition of Bartleby's story, and incompleteness is as well the
appropriate analogy for the f o m s of knowledge available to men.
COCK-A-DOODLE-DOO!
-
Published s h o r t l y a f t e r Bartleby The S c r i v e n e r , i n
~ e c e m b e r1853, Cock-A-Dood-le-Doo!
-58 p r e s e n t s an i n t e r e s t i n g con-
-
t r a s t t o it.
Both s t o r i e s d e a l i n some measure w i t h e x t r a o r d i n -
a r y men w i t h i n o r d i n a r y a p p e a r a n c e s and f a m i l i a r s e t t i n g s .
How-
e v e r , when we look a t t h e s p e c i f i c performance of t h e s t o r i e s ,
such s i m i l a r i t i e s l o s e p a r t i c u l a r v a l u e .
S e t t i n g h a s changed
from t h e Wall S t r e e t of N e w York C i t y t o t h e N e w England c o u n t r y side;
t h e c o n s i d e r e d premise of a world of c o m f o r t , p r o g r e s s ,
and m a t e r i a l w e l l - b e i n g
i n " B a r t l e b y " h a s become h e r e a world of
h a z a r d , d i s e a s e , and s u s p i c i o n of t e c h n o l o g i c a l change;
from a
prosperous lawyer s p e c i a l i s i n g i n mortgages we a r e moved t o t h e
s i g h t of an i n d o l e n t f a r m e r complaining of p o v e r t y , who h a s t o
r a i s e a second mortgage on h i s p r o p e r t y .
Furthermore, a l t h o u g h
b o t h s t o r i e s a r e t o l d from t h e f i r s t - p e r s o n point-of-view,
d i f f e r e n c e s i n n a r r a t i v e form a r e s u b s t a n t i a l .
the
In "Bartleby",
t h e n a r r a t o r t r i e s t o t e l l a s t o r y , whose development and i n t e r e s t
depend on t h e n a r r a t o r ' s u n d e r s t a n d i n g of t h e s t o r y ' s c e n t r a l ,
m y s t e r i o u s f i g u r e and of h i s e x p e r i e n c e w i t h him.
,Doodle-Doo!,
Cock-AIn -
t h e n a r r a t i v e development depends n e i t h e r on r e c o l -
l e c t i o n nor on u n d e r s t a n d i n g b u t on t h e n a r r a t o r ' s a b i l i t y t o comm u n i c a t e a change-of-being,
a c o n v e r s i o n from f a t a l i s m t o optimism,
and b o t h 14errymusk and h i s remarkable r o o s t e r have a s u p p o r t i v e
r a t h e r t.han dominant r o l e i n t h e accomplishment.
Perhaps b e c a u s e of i t s u s e of an e x t r a v a g a n t and j o c u l a r
c o n c e i t l i k e t h e crowing of a cock t o achi'eve complex a r t i s t i c '
p u r p o s e s , t h e s t o r y h a s had a d i f f i c u l t t i m e w i t h . i t s c r i t i c s .
It
2
-
-
s u f f e r s i n c o m p a r i s o n w i t h B a r t l e b y The S c r i v e n e r ,
-B e n i t 0 Cereno,
-
and B i l l y Budd, which have a t r a g i c d i g n i t y t o
* f f s e t i r o n i c humour.
Because o f i t s l a c k o f i n c i d e n t a l d e v e l o p -
ment, s t r o n g c h a r a c t e r i z a t i o n , and s y m b o l i c r e s o n a n c e , t h e c r i -
t i c s have e i t h e r t e n d e d t o see it as a n e m b a r r a s s i n g f a i l u r e or
a s a s p e c i f i c s a t i r e on o n e o r a n o t h e r s e t o f f i g u r e s .
f o r example, L e w i s
urnf ford^'
Thus,
and Newton Zirvin60 , w e r e among t h e
e a r l i e s t of t h e n o t a b l e modern c r i t i c s t o d i s m i s s i t o u t o f hand;
W i l l i a m Bysshe S t e i n , among o t h e r s , h a s s e e n t h e s t o r y a s a n
a t t a c k on ~ r a n s c e n d e n t a l i s m ,w~h~i l e Leon Howard h a s i n t e r p r e t e d
it a s a parody of Wordsworth's R e s o l u t i o n and Independence. 6 2
Recently, W i l l i a m Dillingham h a s argued w e l l t h a t t h e s t o r y i s a
symbolic r e n d e r i n g and a n a l y s i s o f t h e r e l a t i o n s h i p between sexua l i t y and p o e t i c g e n i u s , 63
However, most c r i t i c i s m h a s had d i f -
f i c u l t y s e e i n g t h e s t o r y a s an a c c o m p l i s h e d p i e c e and h a s t r e a t e d
it a s an amalgam, o r s i n g u l a r d e v e l o p m e n t , o f s a t i r e , s e x u a l
comedy, and e c s t a t i c f e r v o u r .
Y e t what i s p r e c i s e l y memorable
about t h e s t o r y is, a s t h e t i t l e suggests, i t s voice.
I f w e are
t o a s s e s s t h e s t o r y p r o p e r l y w e s h o u l d c o n s i d e r how e v e n t , metap h o r , and v o i c e work t o g e t h e r t o p r o d u c e meaning.
Even a b r i e f , s u p e r f i c i a l l o o k a t t h e s t o r y shows t h a t
appearances a r e discontinuous.
The n a r r a t i v e i s i n t e r s p e r s e d
w i t h r e a c t i o n and commentary t o an e x t e n t t h a t t h e s e e a s i l y o u t weigh what l i t t l e p l o t - l i n e t h e r e i s .
Yet i f w e are t o a n a l y z e
s u c h e v e n t s a s t h e c r o w i n g o f t h e cock and t h e v i s i t o f t h e dun
w e must have some means o f i n d i c q t i n g t h e d i f f e x e n c e i n d e g r e e
between t h e s e e v e n t s ;
m o r e o v e r , i f b e c a u s e of d i s c o n t i n u i t y w e
cannot proceed l i n e a r l y w i t h p l o t a n a l y s i s t h e n t h e q u a l i t y of
.
F
e v e n t s can b e o u r a c c e s s t o u n d e r s t a n d i n g r e p o r t e d e x p e r i e n c e .
The q u a l i t y of e v e n t s can b e d i s c e r n e d by d i s c r i m i n a t i n g between
what we can c a l l h i g h e v e n t and low e v e n t .
A s w i l l soon b e
shown, h i g h e v e n t i s meant t o i n d i c a t e u n u s u a l e x p e r i e n c e , of
s p e c i a l , i m a g i n a t i v e s i g n i f i c a n c e t o t h e n a r r a t o r , and which h a s
c o r r e s p o n d i n g a p p r o p r i a t e n e s s t o t h e a c t i v i t y of metaphor and
irony.
Low e v e n t d e s c r i b e s t h e o c c u r r e n c e s of t h e everyday,
o r d i n a r y world, which t e n d t o promote r e p e t i t i v e n e s s , d u l l n e s s ,
and f a t a l i s m .
.
?
High e v e n t i n t h e s t o r y i s l i m i t e d t o h e a r i n g t h e crowi n g of t h e cock, t o d i s c o v e r i n g i t s whereabouts, and t o w i t n e s s i n g t h e d e a t h s of Merrymusk and h i s f a m i l y .
I f we examine t h e s e
e v e n t s c l o s e l y , however, w e f i n d t h a t t h e i r s i g n i f i c a n t f e a t u r e s
happen a l m o s t s o l e l y w i t h i n t h e n a r r a t o r ' s c o n s c i o u s n e s s .
The
a c t u a l , concrete events i n t h i s q u a l i f i c a t i o n , a r e , paradoxically,
impalpable and t r a n s i t o r y o c c u r r e n c e s .
Low e v e n t s , on .the o t h e r
hand, d e s c r i b e t h e n a r r a t o r ' s b u s i n e s s , p a r t i c u l a r l y h i s d e a l i n g s
w i t h t h e dun.
The n a r r a t o r ' s f i r s t a u d i t o r y e n c o u n t e r w i t h t h e
cock, a s a h i g h e v e n t , i s d e s c r i b e d i n t h i s way:
"Hark! By J o n e , w h a t ' s t h a t ? See!
t h e very hair-trunks prick t h e i r
e a r s a t i t , and s t a n d and gaze away
down i n t o t h e r o l l i n g c o u n t r y yonder.
Hark a g a i n ; How c l e a r ! how
m u s i c a l ! how prolonged! What a t r i u m p h a n t t h a n k s g i v i n g of a cockcrow!
"Glory b
e to ~ oidnt he highest!" I t s a y s t h o s e v e r y words a s
p l a i n a s e v e r cock d i d i n t h i s
world. Why, why, I b e g i n t o f e e l a
l i t t l e i n s o r t s . again.
It a i n ' t so
v e r y m i s t y , a f t e r a l l . The sun
yonder i s b e g i n n i n g t o show h i m s e l f :
I f e e l warmer. Cp. 1061
There i s no a t t e m p t t o o b j e c t i f y t h e e p i s o d e thr-ough - i m p a r t i a l
80
description.
What we have, i n s t e a d , i s a sudden change i n mood
from m e l a n c h o l i a t o exuberance,
as e n l i v e n i n g Nature i t s e l f ;
The c o c k l s s o n g i s e x p e r i e n c e d
t h e sun s h i n e s through t h e m i s t and
the c a l v e s , soon a f t e r w a r d s , show more a c t i v i t y t h a n t h e y had
done f o r s i x months.
N e v e r t h e l e s s , what h a s changed f o r t h i s
farmer i s somewhat u n c l e a r i f we look f o r i n d i c a t i o n s e x t e r n a l l y .
B e f o r e t h e song, h e had a r i s e n from bed, " t o o f u l l of hypos t o
s l e e p " Cp. 1 0 3 ) , and had gone f o r a walk on h i s " h i l l s i d e p a s t u r e "
(p. 1 0 3 ) .
He was despondent a b o u t " d r e a d f u l c a s u a l t i e s " ( p . 103)
b o t h l o c a l l y and worldwide and a l l of Nature seemed t o e v i n c e a
k i n d of d y s p e p s i a , l o o k i n g "underdone, i t s raw j u i c e s s q u i r t i n g
a l l round" ( p . 1 0 3 ) .
I
But t h e c r u c i a l p o i n t of t h e s e d e s c r i p t i o n s
i s t h a t t h e n a r r a t o r i s n o t o n l y o u r i n t e r p r e t e r of e v e n t s , b u t ,
a s t h e anthropomorphized d e s c r i p t i o n s o f m e l a n c h o l i c Nature
imply, t h a t h i s changing c o n s c i o u s n e s s i s t h e o n l y i n t e l l i g i b l e
e v i d e n c e of what i s happening.
H i s consciousness i s t h e mirror
i n t o which we must look f o r s i g n s of s i g n i f i c a n t a c t i v i t y i n t h e
world.
Now t h i s i s a l t o g e t h e r d i f f e r e n t from f o l l o w i n g t h e d i s -
c o u r s e of a f i r s t - p e r s o n n a r r a t o r i n a s t o r y l i k e B a r t l e b y The
S c r i v e n e r , where e x t e r n a l e v e n t s a r e c l e a r l y d e s c r i b e d and o n l y
t h e a t t i t u d e t o them i s s u s p e c t , p e r m i t t i n g t h e r e a d e r t o d i s t i n g u i s h between n a r r a t i v e development and i n t e r n a l commentary.
Here t h e s i g n i f i c a n t e v e n t of t h e crowing cock i s r e l a t e d conversationally.
The cock i t s e l f i s i n v i s i b l e and w e have no i n d i c a -
t i o n s t h a t it e x i s t s other than t h e n a r r a t o r ' s reactions.
T h i s nethod of d i s c l o s u r e c r e a t e s , a s h a s been mentioned,
an i m p a l p a b i l i t y and t r a n s i e n c e o f e x p e r i e n c e t h a t i t s e l f s u g g e s t s
t h e n a t u r e of a p p e a r a n c e s .
Suddenness, s u r p r i s e , a s e n s e of t h e
m y s t e r i o u s n e s s o f l i f e , are a l l e l e m e n t s o f t h e marvel lo;^ beyond
a p p e a r a n c e s , and a r e m a n i f e s t e d i n v a r i o u s ways t h r o u g h t h e symb o l o f t h e c o c k , whose crowing t e l l s t h e n a r r a t o r "Never s a y
die!"
-
(p. 1 0 7 ) .
The n a r r a t o r ' s c o n t i n u e d e x p o s u r e t o t h e crowing
i n v i g o r a t e s him, e x a l t s h i s i m a g i n a t i v e a p p r e c i a t i o n o f l i f e , b u t
f o r most o f t h e s t o r y i s n o t d e s c r i b e d i n t e r m s o t h e r t h a n subjective.
I n s p e a k i n g o f t h e c o c k , h i s words o n l y f i n d e x p r e s s i o n
i n t h e s u p e r l a t i v e r a n g e o f meaning:
very rapture of e x a l t a t i o n
--
"so self-possessed i n its
s o v a s t , mounting, s w e l l i n g , soar-
i n g , a s i f s p u r t e d o u t from a g o l d e n t h r o a t , thrown f a r back"
(p. 110) , " l i k e Xerxes from t h e E a s t "
(p. ill), "my i m p e r i a l
Shanghai! my b i r d o f t h e Emperor o f China! B r o t h e r o f t h e Sun!"
(p. 1 1 2 1 , " l i k e a j o l l y b o l t o f t h u n d e r w i t h b e l l s t o it" (p.
117).
I n t h i s way, t h e h i g h e v e n t o f s u c h e x p e r i e n c e s i s shown
t o b e an i n t e r n a l a p p r e c i a t i o n and e x p a n s i o n o f meaning r a t h e r
t h a n a n o c c u r r e n c e s e p a r a b l e and d i s t i n c t i n t h e n a t u r a l s e t t i n g
from e l e m e n t s o f n a r r a t i v e v o i c e and p l o t , e v e n t h o u g h t h e t o n e
i s i n p a r t i r o n i c a n d mocking.
When w e compare t h e n a r r a t o r ' s e x p e r i e n c e o f t h e r o o s -
t e r w i t h t h e v i s i t o f t h e dun, t h e d i f f e r e n c e s i n t r e a t m e n t a r e
immediately e v i d e n t .
High e v e n t becomes low e v e n t :
I f e l t i n rare s p i r i t s t h e whole
morning.
The dun c a l l e d a b o u t
eleven.
I h a d t h e boy J a k e s e n d
I w a s reading T r i s t r a m
t h e dun up.
Shandy, and c o u l d n o t g o down u n d e r
t h e c i r c u m s t a n c e s . The l e a n rascal
( a l e a n f a r m e r , t o o -- t h i n k o f
t h a t ! 1 e n t e r e d , . and found m e s e a t e d
i n a n a r m c h a i r , w i t h my f e e t on t h e
table, and t h e second b o t t l e of
b r o w n - s t o u t handy, a n d t h e book
under e y e . (p. 108-109)
The commonplace c i r c u m s t a n c e s
--
t h e s e r v i n g of a b i l l -I t h e
j o c u l a r t o n e and broad humour o f t h i s and t h e rest o f t h e e p i sode, i n which t h e n a r r a t o r t r i e s t o engage t h e dun i n h e a r i n g
a s e x u a l joke a b o u t "Uncle Toby and t h e Widow Waxman" (p. l o g ) ,
and t h e more o r l e s s r e a l i s t i c approach t o r e l a t i n g t h e e p i s o d e ,
a l l s e r v e t o i d e n t i f y t h e o r d i n a r i n e s s of t h e e v e n t .
What h a s
changed, of c o u r s e , i s t h e n a r r a t o r ' s a t t i t u d e i n d e a l i n g w i t h t h e
problem of unpaid d e b t s .
Thanks t o h i s new found v i g o u r and o p t i -
m i s m , he i s r i d of t h e dun e a s i l y .
The e n t i r e e v e n t i s somewhat
f a r c i c a l , b u t what i s r e l e v a n t i n t e r m s of t h i s d i s c u s s i o n i s
i t s c l e a r e x p o s i t i o n and i t s f a m i l i a r , e a r t h y , b a n t e r i n g manner.
We a r e n o t i n t h e p r e s e n c e of highmindedness n o r a m i d s t impalpab i l i t y , t r a n s i e n c e , and mystery.
I n t r i g u e d by t h e r e p e a t e d song, t h e n a r r a t o r f e e l s h e
must l e a r n who owns t h e m a r v e l l o u s b i r d .
H e u n d e r t a k e s a jour-
ney, " r e s o l v e d t o walk t h e e n t i r e c o u n t r y " (p. 113) t o . l e a r n
which r i c h f a r m e r owns such a c r e a t u r e .
b u t does n o t d i s c o v e r t h e b i r d .
He v i s i t s s e v e r a l farms
However, t h e journey i t s e l f i s
f a n t a s t i c a l , a m i x t u r e of " h i g h " and "low" i n t e n t i o n s .
On t h e
one hand, we have t h e c a u s t i c humour of t h e e p i s o d e w i t h t h e dun
r e p e a t e d i n t h e n a r r a t o r ' s e n c o u n t e r s w i t h two o l d f a r m e r s .
The
f i r s t i s u n a b l e t o t e l l him a n y t h i n g u s e f u l f o r h e h a s n e v e r
h e a r d t h e "Emperor of C h i n a ' s c h a n t i c l e e r 1 ' (p. 1 1 3 ) .
The mention
of "V7idow Crowfoot" and " S q u i r e S q u a r e t o e s " e x h i b i t s M e l v i l l e ' s
humour i n i t s s a t i r i c and f a r c i c a l v e i n , a s t h e names a r e suggest i v e b f T r i s t r a m Shandy i n i t s s e x u a l j o k i n g 6 4 and of a k i n d of
n o n s e n s i c a l debunking of t h e c o n v e r s a t i o n a l a b i l i t y o f f a r m e r s .
The o t h e r o l d man, "mending a tumble-down o l d r a i l - f e n c e "
(p. 113)
83
w i t h r o t t e n timbers, i s a p i c t u r e of " i d i o c y " ( p . 1 1 4 ) aid
of t h e
absurd, m i n d l e s s a g r a r i a n r o u t i n e t h a t o f t e n l e a d s t o it,
The
n a r r a t o r a l s o v i s i t s a w e a l t h y farmer who shows him t e n Shanghai
r o o s t e r s , b u t t h e s i g h t of t h e t e n " c a r r o t - c o l o u r e d m o n s t e r s ,
w i t h o u t t h e s m a l l e s t p r e t e n s i o n t o e f f u l g e n c e o f plumage" (p.
115) i s enough t o i n d i c a t e t h a t t h e n a r r a t o r ' s n o b l e r o o s t e r cann o t be one of t h e s e .
I n d e e d , t h e t h r e e e p i s o d e s on t h e journey
demonstrate t h a t t h e n a r r a t o r i s t h e o n l y b e i n g t h u s f a r t o have
heard t h e remarkable r o o s t e r .
Once a g a i n , ' t h e homely, p e d e s t r i a n ,
impression of t h e e v e n t s i m p l i e s t h e low s c a l e of meaning; t h e
s p e c i f i c i r o n i e s c o n c e r n i n g t h e i n t e l l e c t u a l c a p a c i t y of some
farmers and t h e d o u b l e s e n t e n d r e s r e i n f o r c e t h e debunking a t t i tude.
The journey i s a l s o , on t h e o t h e r hand, a metaphor f o r
the pilgrim's progress.
The u r g e t o f i n d t h e t r a n s c e n d e n t a l b i r d
i s , i n t h i s view, t h e u r g e f o r s a l v a t i o n on t h i s e a r t h . . The high
t o n e of such an a n a l o g y i s , o f c o u r s e , immediately d e f l a t e d by
t h e e n c o u n t e r w i t h t h e t h r e e f a r m e r s , who have o n l y i d l e c h a t ,
i d i o c y , and mere m a t e r i a l a c q u i s i t i o n s t o o f f e r .
H e must proceed
on f a i t h a l o n e , f o r t h e o n l y e v i d e n c e of t h e b i r d ' s e x i s t e n c e ,
I
. ( t h e alchemical gold of s e l f - r e a l i z a t i o n ) ,
i s h i s own e x p e r i e n c e
and i n v i g o r a t e d s p i r i t s .
T h e journey o p e r a t e s , i n a s e n s e , a s a synechdoche f o r
t h e whole s t o r y .
The n a r r a t o r b e g i n s a l o n e and ends a l o n e ,
He i s
a s impoverished a s e v e r a t t h e s t o r y ' s c l o s e b u t h e h a s won f a i t h
i n t h e p o s s i b i l i t y of s p i r i t u a l r e g e n e r a t i o n through h i s e n c o u n t e r
w i t h Merrymusk and t h e b i r d .
He h a s l e a r n e d how t o b e h e r o i c
amidst t h e c a t a s t r o p h e s ' of t h e world.
The e a r l y d e s ' c r i p t i o n of t h e
84
h a t e d t r a i n a s a n " o l d d r a g o n P g Cp. 1 0 5 ) a n d i t s i d e n t i f i d a t i o n
theme of t h e m y t h i c b a t t l e w i t h t h e d r a g o n .
Graced b y t h e c o c k ' s
crowing, t h e n a r r a t o r t e m p o r a r i l y w i n s a r e p r i e v e from t h e dun, a
momentary v i c t o r y .
But m a t e r i a l n e c e s s i t y f i n a l l y i n t r u d e s and a
second mortgage i s t a k e n o u t on t h e farm,
The n a r r a t o r c o n t i n u e s
o p t i m i s t i c a l l y b u t t h e c o n t r a d i c t i o n s o f m a i n t a i n i n g hope a n d j o y
i n a w o r l d o f " d r e a d f u l c a s u a l t i e s " and m a t e r i a l u n c e r t a i n t y are
not resolved.
The c r u c i a l p o i n t i n t h i s development i s t h e credi:
b i l i t y of f a i t h .
belief?
Is t h e r e enough e v i d e n c e t o s u p p o r t i r r a t i o n a l
A s i n t h e j o u r n e y t o f i n d t h e c o c k , what i s d i s c l o s e d
i s t h e e x t e r n a l r e a l i t y o f p o v e r t y , d i s e a s e , tedium, and t h e
i n t e r n a l r e a l i t y o f c o n v i c t i o n b a s e d on r a p t u r e .
As an attack
on T r a n s c e n d e n t a l i s m , t h e c o n t r a d i c t i o n s a l r e a d y mentioned are
enough t o c o n v i n c e a r e a d e r o f t h e s t o r y ' s r e b u t t a l o f
example
--
--
for
Thoreau's attempt t o f i n d p r e l a p s a r i a n innocence a t
Walden Pond. 6 5
However, s u c h a s a t i r i c p o r t r a y a l i s o n l y i n c i -
d e n t a l and n o t t h e m e a s u r e o f t h e s t o r y ' s a c h i e v e m e n t .
To f i n d
t h e e v i d e n c e f o r t h i s v i e w , w e h a v e o n l y t o re-examine how t h e
s t o r y u s e s c o n t r a d i c t i o n t o create a s u s p e n s i o n o f judgment.
I h a v e u s e d t h e h y p o t h e t i c a l t e r m s " h i g h e v e n t " a n d "low
dise v e n t " n o t t o impose a s t r u c t u r e b u t t o a t t e m p t t o show t h e appearance of s t r u c t u r e .
high tone
--
Transcendence, q u e s t , f a i t h
--
a l l of
have i n t h e m s e l v e s n o s u r e b a s i s i n t h e n a r r a t i v e .
W e have a l r e a d y s e e n how t h e t r a n s c e n d e n t s o n g o f t h e r o o s t e r sug-
g e s t s a n e v o l v i n g p a t t e r n o f e x p e r i e n c e a n d meaning, y e t u n t i l h e
d i s c o v e r s t h a t Merrymusk i s t h e owner o f t h e b i r d t h e n a r r a t o r i s
alone i n a p p r e c i a t i n g i t s beauty.
I n d e e d , t h e r e a d e r i s k e p t from
85
t h e e x p e r i e n c e a s w e l l , f o r i t i s r e p o r t e d and n o t rende;ed
t h e closing scenes.
until
F a i t h i s shown t o b e i r r a t i o n a l , and t h e
s h e e r weight of f a r c e , i r o n y , and s a t i r i c humour s o i s o l a t e s i t
from an a c c e p t a b l e v i s i o n of r e a l i t y t h a t i t remains p r i v a t e and
'incomunicable.
The n a r r a t o r ' s journey,
of n o b l e purpose, sug-
g e s t s a s p i r i t u a l q u e s t , b u t what h e f i n d s i s mundane and r i d i c u l o u s , and n o t h i n g on t h e q u e s t even i n d i c a t e s t h e e x i s t e n c e of
s u c h a b i r d of marvels.
The v i s i o n a r y s t a n c e i s i n t r o d u c e d w i t h
w i t and e n t h u s i a s m and t h e n debunked, a n d ' y e t t h e v i s i o n a r y pur- .
*
pose c o n t i n u e s d e s p i t e c a l a m i t y and d e a t h , i n t h e f a c e of pove r t y , t o f i n i s h w i t h a r e - a f f i r m a t i o n o f "crowing" i n a l l c i r cumstances (p. 128)
.
Noble purpose and b r o a d humour, sublime
t h o u g h t and mundane c o m p l i c a t i o n s , t h e forward-reaching,
formative
power of t r a n s c e n d e n t a l e x p e r i e n c e and t h e r e g r e s s i v e , f a l l i n g i n t o - f o r m l e s s n e s s of tedium and d e b i l i t y , a l l come t o g e t h e r t o
c r e a t e an ambiguous f l u x of e x p e r i e n c e t h a t c a n n o t e a s i l y b e
c h a r a c t e r i s e d a s one o r a n o t h e r i r o n i c s t r u c t u r e .
A comparison of two p a s s a g e s w i l l make t h i s i c o n o c l a s -
t i c tendency more c l e a r .
I n an e a r l y s e c t i o n of t h e s t o r y , t h e
n a r r a t o r vents h i s anger a t t h e r a i l r o a d s f o r d i s t u r b i n g r u r a l
peace and b e i n g s u b j e c t t o h o r r i f i c a c c i d e n t s :
G r e a t improvements of t h e age!
What!
t o c a l l the facilitation
.
of d e a t h and murder an improvement! Who wants t o t r a v e l s o f a s t ?
My g r a n d f a t h e r d i d n o t , and he was
no f o o l . Hark! h e r e comes t h a t
o l d dragon a g a i n -- t h a t g i g a n t i c
g a d f l y o f a Moloch -- s n o r t ! p u f f !
h e r e 'he comes s t r a i g h t scream!
b e n t t h r o u g h t h e s e v e r n a l woods,
l i k e t h e Asiatic cholera cantering
on a camel. S t a n d a s i d e ! h e r e h e
comes, t h e c h a r t e r e d murderer! t h e
--
'
d e a t h monopolizer! judge, j u r y ,
and hangman a l l t o g e t h e r , whose
v i c t i m s d i e always w i t h o u t b e n e f i t
of c l e r g y .
For two hundred and
f i f t y m i l e s t h a t i r o n f i e n d goes
y e l l i n g through t h e land, crying
"more! more! more!"
Would t h a t
f i f t y c o n s p i r i n g mountains would
f a l l a t o p o f him!
And, w h i l e t h e y
were a b o u t i t , would t h e y would
a l s o f a l l a t o p of t h a t s m a l l e r
dunning f i e n d , my c r e d i t o r
( p . 1051
,..
The passage i s an e f f e c t i v e p i e c e o f d i a t r i b e .
But t h e i n t e n s i t y
of f e e l i n g and t h e o u t l a n d i s h imagery ( " g i g a n t i c g a d f l y of a
.
P
~ o l o c h " , " c h o l e r a c a n t e r i n g on a c a m e l " ) , c a l l a t t e n t i o n t o thems e l v e s r a t h e r than t o t h e alleged i n j u s t i c e s of t h e r a i l r o a d s .
When t h e n a r r a t o r changes i n mid-stream t o an a t t a c k on h i s c r e d i t o r , t h e c r i t i c i s m i s more i n t e r e s t i n g f o r i t s e x p r e s s i v e n e s s
than f o r i t s content.
When t h e n a r r a t o r r e l i e s on t h e k i n e t i c
a b i l i t y o f h i s language t o r e - c r e a t e t h e f i r g h t f u l power of t h e
t r a i n moving t h r o u g h t h e c o u n t r y s i d e a t t h a t moment, t h e r e s u l t
i s a d i s l o c a t i o n , f o r we a r e f u r t h e r d i s t a n c e d from a v a i l a b l e
r e a l i t y , i r o n i c a l l y i n t h e m i d s t o f a n a t t a c k on t h e a l l - t o o r e a l c o n d i t i o n s of mechanical s l a v e r y and s u f f e r i n g .
This dis-
l o c a t i o n , b o t h i n e f f e c t and i n t e n s i t y , i s s i m i l a r t o t h e d i s l o c a t i o n t h a t occurs i n t h e n a r r a t o r ' s entranced experience i n heari n g t h e " n o b l e cock", s i n c e , i n t h a t c a s e t o o , t h e e x t e r n a l world
d i s a p p e a r s i n f a v o u r of an i n t e n s e , i n t e r n a l e x p e r i e n c e .
These d i s l o c a t i o n s o c c u r t h r o u g h o u t t h e t e x t , confoundi n g o u r s e n s e o f e x t e r n a l a p p e a r a n c e s and i n c r e a s i n g o u r a t t e n t i o n ' t o and r e l i a n c e on t h e v a r i a t i o n s of mood and c o n s c i o u s n e s s
i n the narrator,
ting;
The f i r s t f i v e p a r a g r a p h s p l a c e u s i n t h e s e t -
t h e n e x t dozen o r s o p a r a g r a p h s d i s l o c a t e u s from t h e s e t -
a u d i t i o n of t h e r o o s t e r ' s song;
thereafter, with t h e
v i s i t of
t h e dun and t h e s e a r c h f o r t h e r o o s t e r ' s home, w e are moved i n
and o u t o f t h e n a t u r a l s e t t i n g by r e p e a t e d a u d i t i o n s and d i g r e s s i o n s on t h e s u p e r l a t i v e q u a l i t i e s o f t h e c o c k .
The e f f e c t o f
such d i s l o c a t i o n s i s t o s u g g e s t i l l u s o r i n e s s o f a p p e a r a n c e s and
t h e u n r e a l i t y of s t r u c t u r e s .
The s e c o n d o f t h e p a s s a g e s w o r t h l o o k i n g a t from t h e
point-of-view
o f i c o n o c l a s t i c t e n d e n c y o c c u r s when t h e n a r r a t o r
. ,
i s s e r v e d w i t h a w r i t d u r i n g l u n c h a t a pub:
When I u n r o l l e d t h e c i g a r , I u n r o l l e d t h e c i v i l - p r o c e s s , and t h e cons t a b l e s t a n d i n g by r o l l e d o u t , w i t h
a t h i c k t o n g u e , "Take n o t i c e ! " and
added, i n a w h i s p e r , " P u t t h a t i n
y o u r p i p e a n d smoke it:"
I t u r n e d s h o r t r o u n d upon t h e gen-
tlemen t h e n and t h e r e p r e s e n t i n
t h a t bar-room.
S a i d I , "Gentlemen,
i s t h i s an honourable
nay, i s
t h i s a l a w f u l way o f s e r v i n g a
c i v i l p r o c e s s ? Behold!"
--
One and a l l t h e y w e r e of o p i n i o n ,
t h a t it w a s a h i g h l y i n e l e g a n t a c t
i n t h e c o n s t a b l e t o t a k e advantage
o f a g e n t l e m a n ' s l u n c h i n g on c h e e s e
and p o r t e r , t o b e s o u n c i v i l a s t o
s l i p a civil-process i n t o h i s hat.
I t was u n g e n e r o u s ;
i t was c r u e l ;
f o r t h e sudden s h o c k o f t h e t h i n g
coming i n s t a n t e r upon t h e l u n c h ,
would i m p a i r t h e p r o p e r d i g e s t i o n
o f t h e c h e e s e , which i s p r o v e r b i a l l y
n o t s o e a s y o f d i g e s t i o n as blancnange. Cp. 116-1171
A t f i r s t glance, t h i s episode reads a s a f a i r l y r e a l i s t i c portray-
a l , wikh s o n e humour, of a s i m p l e m i s f o r t u n e .
.It i s t h e k i n d of
low e v e n t , a l r e a d y d i s c u s s e d , t h a t d i s r u p t s t h e n a r r a t o r ' s h i g h minded i n t e r e s t i n s e a r c h i n g f o r t h e s o u r c e o f h i s t r a n s c e n d e n t a l
88
experiences.
Moreover, i t i s r e l a t e d i n a n i r o n i c f a s h i o n t o t h e
i
f i r s t of t h e s e two p a s s a g e s by i n d i c a t i n g t h e v i c t o r y o f t h e mate r i a l i s t i c dragon f o r c e s ,
(here i n t h e shape of a dun's c i v i l
w r i t ) , and t h u s i m p l y i n g t h e i m p r o b a b i l i t y o f s u c c e s s f u l q u e s t i n g
i n s u c h an u n c e r t a i n w o r l d .
However, a c l o s e r l o o k c a s t s doubt
on t h e a p p r o p r i a t e n e s s o f a r e a l i s t i c r e a d i n g .
What a r e we t o
make o f t h e n a r r a t o r ' s a t t i t u d e t o h i s m i s f o r t u n e ?
He h a s been
s e r v e d w i t h a summons f o r a b i l l t h a t h e c a n n o t pay.
mean a s e c o n d m o r t g a g e on h i s p r o p e r t y ,
It w i l l
Y e t p e r h a p s b e c a u s e of
,
t h e c o m b i n a t i o n o f a new-found optimism a n d p o r t e r , a l l t h a t s t r i k e s him a s w o r t h y of comment i s t h e i n c i v i l i t y o f b e i n g n o t i f i e d
i n s u c h a manner.
The n a r r a t o r ' s g l i b n e s s s e e m s p u z z l i n g u n l e s s
w e r e a d t h e e n t i r e s c e n e as a f a r c i c a l e p i s o d e .
ments of t h e e p i s o d e
--
The t h r e e e l e -
f i n d i n g t h e w r i t wrapped a r o u n d t h e
cigar i n f r o n t of t h e wiseacring constable, t h e narrator turning
i n a c a v a l i e r manner t o a d d r e s s t h e o t h e r d r i n k e r s i and t h e unanimously f a v o u r a b l e r e s p o n s e o f t h e d r i n k e r s t o t h e n a r r a t o r
--
a r e a w o n d e r f u l l y i m p r o b a b l e and comic t r e a t m e n t of what i s ,
f i n a l l y , a mundane i s s u e .
What w e a r e made t o w i t n e s s i s t h e
c r e a t i o n of sudden comedy f o r no o t h e r p u r p o s e t h a n i r r e v e r e n c e . 66
Momentarily, w e l o s e s i g h t of n o b l e i d e a l s a s w e r e s p o n d t o t h e
a b s u r d p i c t u r e of a c i v i l - p r o c e s s
i m p a i r i n g " t h e d i g e s t i o n of
t h e c h e e s e , which i s p r o v e r b i a l l y n o t s o e a s y o f d i g e s t i o n a s
blancmange."
Such i r r e v e r e n c e i s v e r y d i f f i c u l t t o c l a s s i f y ,
( s i n c e i t would denounce
classification^, and t h u s a c t s a s a
d i s l o c ' a t i n g f a c t o r i n t h e c o n t i n u i t y of t o n e .
'Of
course, contin-
u i t y of t o n e i s a h o p e l e s s term f o r s u c h a s t o r y , s i n c e , a s we
s h a l l s e e l a t e r , t o n e h a s a v a r i e t y of d i f f e r i n g m a n i f e s t a t i o n s
What i s i m p o r t a n t f o r u s t o c o n s i d e r a t t h i s p o i n t i s
t h e ambiguous r o l e o f i r r e v e r e n c e i n t h e l a t t e r p a s s a g e .
I f we
a r e t o s a y t h a t i t simply h a s t h e f u n c t i o n of showing t h e n a r r a t o r t o be a c h e e r f u l f o o l , w i l l i n g t o i g n o r e m a t e r i a l f a c t s i n
p r s u i t of h i s n o b l e aims, t h e n how a r e we t o i n t e r p r e t t h e d e l i c a t e r e l a t i o n s h i p between t h e n a r r a t o r a s c h a r a c t e r and t h e n a r r a t o r a s c r e a t o r of t h e comedy?
I f the narrator is Melville's
dupe, then w e must f a c e t h e c o n t r a d i c t i o n of t h e n a r r a t o r ' s a-
.
wareness i n t h e e v i d e n t l y comic t o n e o f h i s i n t r o s p e c t i o n s :
"But, my d e a r and g l o r i o u s cock,"
mused I , upon second t h o u g h t , "one
c a n ' t s o e a s i l y send t h i s world t o
p o t ; one c a n ' t s o e a s i l y be j o l l y
with civil-processes i n h i s h a t o r
hand." ( p . 117)
T h i s i s o n l y one o f many examples of h i s o f t e n e x t r a v a g a n t humour,
b u t i t s e r v e s t o i n d i c a t e t h a t we c a n n o t e a s i l y d i s m i s s t h e n a r r a t o r a s a naive i d e a l i s t o r misled s t o i c .
The p a r a g r a p h s immedi-
a t e l y f o l l o w i n g t h e t a v e r n e p i s o d e show a s e r i e s o f d i s l o c a t i o n s
of a t t i t u d e and t o n e .
The a d j o i n i n g paragraph d i s c l o s e s t h e mel-
ancholy and s e l f - p i t y w e might have e x p e c t e d i n t h e t a v e r n , b u t it
does s o w i t h a k i n d of p o s t u r i n g t h a t c o n c e a l s t h e " a b u s e d " ,
" u n a p p r e c i a t e d " , " m i s e r a b l e " f e e l i n g s of t h e n a r r a t o r
.
(p. 117).
I n t h e n e x t , t h e n a r r a t o r suddenly h e a r s t h e " a l l - g l o r i o u s and
-
d e f i a n t crow" ( p . 117) of t h e cock which once more u p l i f t s him.
Then we a r e moved i n t h e s u c c e e d i n g p a r a g r a p h s i n t o a n i n t r o s p e c t i v e d.ebate, conducted humourously b u t w i t h t h e S e r i o u s aim of
r e s o l v i n g an a t t i t u d e towards m a t e r i a l h a r d s h i p .
N e i t h e r by p o i n t -
of-view nor by d e s c r i p t i o n , n e i t h e r by a t t i t u d e n o r by a n a l o g y , i s
90
it e a s y ' t o make t h e t r a n s i t i o n i n t h e s e few p a r a g r a p h s t o e x t e r nal reality.
If t h e t o n e i s humourous, i r o n i c a l , o r f a r c i c a l ,
and t h e c o n t e n t i s i n t r o s p e c t i v e , t h e n w e h a v e no s u r e b a s i s f o r
assessing events o t h e r than t h e v a r i a t i o n s of consciousness.
~ o c a t i o ni s i n t e r n a l i z e d , and a s s u c h , c a n d i s a p p e a r o r rec r e a t e i t s e l f t o s u i t t h e p a r t i c u l a r i n t e n t i o n s of f e e l i n g i n
t h e moment.
W e s h o u l d a l s o beware o f f a l l i n g back on t h e view o f a
d i a l e c t i c a l s t r u c t u r e , a l b e i t p h i l o s o p h i c a l r a t h e r t h a n experien-,
tial.
,
There i s no e v i d e n c e t o suppose t h a t M e l v i l l e i s p r o p o s i n g
an e x a m i n a t i o n o f t h e r e l a t i o n s h i p s between immediacy and t h e
u n c o n d i t i o n a l n e c e s s i t y o f n a t u r a l l a w s , as p e r t a i n i n g t o a
state-of-being.
I f , t h r o u g h o u t t h e s t o r y , t o n e is c h a n g i n g and
l o c a t i o n i s c o n t i n u a l l y u n s e t t l e d , t h e n c o n s i s t e n c y o f argument
is a l s o suspect.
The n a r r a t o r d o e s r e s p o n d t o a n a f f i r m a t i v e
c a l l d e s p i t e b e i n g aware of t h e e v e r p r e s e n c e o f h a r d s h i p and
s u f f e r i n g , a n d h e makes n o s e r i o u s a t t e m p t t o r e s o l v e s u c h a d i s crepancy.
Thus, a n i r o n i c p o r t r a y a l o f T r a n s c e n d e n t a l i s m o r a n
examination of t h e d e s t r u c t i v e a s p e c t s of s e x u a l i t y , as p o s s i b l e
themes o f t h e s t o r y , s h o u l d b e s e e n as e l e m e n t s r a t h e r t h a n d e t e r minants of t h e n a r r a t i v e .
The n a r r a t o r ' s m e e t i n g w i t h Kerrymusk c l a r i f i e s t h e
d e e p e r r a n g e s o f meaning.
T h e r e i s a c o n c r e t e a n d homely q u a l i t y
i n t h e d e s c r i p t i o n o f Merrymusk sawing l o g s i n t h e snow, and a sobr i e t y t h a t h a s b e e n m i s s i n g from t h e n a r r a t i v e .
The low t o n e of
t h e a d t i v i t y i s m e d i a t e d by t h e h i g h t o n e o f a . m y s t e r i o u s p r e s e n c e
i n t h e sawyer
--
" a c e r t a i n s i n g u l a r man" (p. 1 1 8 ) who h a s a
" l a t e n t l y joyous e y e " ( p . 1 1 8 ) .
Merrymusk i s a f o r m e r s a i l o r -
91
u e s t o r , who h a s g i v e n up t h e w o r l d and now c o n t e n t s h i m s e l f w i t h
H i s l i f e h a s been h a r d s h i p a n d s u f f e r i n g , a n d
inland existence-
h e can b a r e l y m e e t t h e n e e d s of h i s i n v a l i d w i f e and f o u r s i c k l y
Y e t d e s p i t e such misfortune, he has a r e s i l i e n c e i n
&ildren.
h i s c h a r a c t e r t h a t a l l o w s him t o c o n t i n u e ~ u n c o m p l a i n i n gand t o
work w i t h "wondrous i n t e n s i t y o f a p p l i c a t i o n " p . 8
)
He is a
s i l e n t man and h i s s i l e n c e i s s u c h t h a t it s t r i k e s t h e n a r r a t o r
a s " o f t h e mind o f Solomon" p
1
9
.
Y e t Merrymusk r e m a i n s a n
ambiguous f i g u r e , f o r a l t h o u g h h e i n s p i r e s ' r e s p e c t , t h e n a r r a t o r
.
i s a l s o a p p a l l e d by Merrymusk's "views o f t h i n g s " ( p . 126) conc e r n i n g t h e s t o i c a l a c c e p t a n c e o f m i s e r y and d e a t h .
Merrymusk's
s i l e n c e i s n o t e a s i l y i n t e r p r e t e d , a l t h o u g h it s u r e l y s i g n i f i e s
a c e r t a i n p r o f u n d i t y of b e i n g .
How w e c a n accommodate t h i s new
seriousness w i t h t h e g e n e r a l i r r e v e r e n c e t h a t has preceded it i s
n o t a t first clear.
But i f we recall M e l v i l l e ' s t r e a t m e n t o f sil-
e n c e i n p r e v i o u s works w e d o g e t t h e p o s s i b i l i t y o f a new p e r spective.
Silence, f o r M e l v i l l e , u s u a l l y connotes t h e extraordina r y , whether i n n a t u r a l o r s a c r e d forms.
-
I n Moby Dick, t h e r e i s
t h e s i l e n c e o f t h e P a c i f i c , a s l a r g e , a s m y s t e r i o u s , as numinous
.as L i f e i t s e l f ;
t h e r e are a l s o t h e b r o o d i n g s i l e n c e s o f Ahab,
t h e s a g a c i o u s s i l e n c e of B u l k i n g t o n , t h e d a i m o n i c s i l e n c e s o f
.-
Queequeg, T a s h t e g o , Daggoo.
I n e a c h o f t h e men, s i l e n c e s i g n i f i e s ,
a s w e l l a s c o n c e a l s , a n i n n e r l i f e o f t h e mind and s p i r i t , t h a t
i s ambivalent i n i t s p o t e n t i a l m a n i f e s t a t i o n s . 67
This kind of
human s i l e n c e i s n e i t h e r o f good n o r o f e v i l t h o u g h it c a n l e n d
itself t o both.
I n P i e r r e , Melville tells us:
92
A l l profound t h i n g s , and emotions of
t h i n g s a r e preceded and a t t e n d e d by
S i l e n c e . What a s i l e n c e i s t h a t
w i t h which t h e p a l e b r i d e p r e c e d e s
Silence
t h e responsive I w i l l
i s t h e g e n e r a l c o n s e c r a t i o n of t h e
universe.
Silence is t h e invisible
l a y i n g on of t h e Divine P o n t i f f ' s
hands upon t h e world.
Silence is
a t once t h e most h a r m l e s s and t h e
It
most awful t h i n g i n a l l n a t u r e .
s p e a k s o f t h e r e s e r v e d f o r c e s of
Fate.
S i l e n c e i s t h e o n l y Voice of
o u r God.
...
,
Nor i s t h i s s o a u g u s t S i l e n c e conf i n e d t o t h i n g s simply t o u c h i n g o r
grand.
Like t h e a i r , S i l e n c e p e r meates a l l t h i n g s " '68
. *
~ f s i l e n c e i s u n i v e r s a l and profound, c o n t a i n i n g a l l t h i n g s w i t h i n
it, t h e n any v a l u e can b e a t t a c h e d t o i t a t a p a r t i c u l a r i n s t a n t
of t i m e i n t h e absence of d e f i n i t i v e i n d i c a t i o n s .
Bartleby's sil-
ence i s a t d i f f e r e n t t i m e s and c u m u l a t i v e l y , p a t h e t i c , f r i g h t e n i n g ,
t o u c h i n g and profound.
Cock-A-Doodle-Dool,
In -
Merrymusk's s i l e n c e
i s a s n a t u r a l a s t h e i n c l i n a t i o n t o s e l f - p o s s e s s i o n and a s prob-
l e m a t i c a s t h e m a r v e l l o u s crowing of t h e r o o s t e r .
H i s silence
cannot b e reduced t o a t h e o r e t i c a l b a s i s , by t h e s i m p l e f a c t t h a t
it p r e c e d e s and s u p e r c e d e s language.
Thus, t h e j o l l y and loqua-
cous n a r r a t o r c a n n o t p o s s i b l y u n d e r s t a n d t h e s i l e n c e of ~ e r r y m u s k .
The n a r r a t o r c o n j e c t u r e s t h a t Merrymusk i s "of t h e mind of
Solomon" (p. 1 1 9 ) , b u t f o l l o w s t h a t by s u p p o s i n g j o c u l a r l y t h a t
Merrymusk might make an " e x c e l l e n t man f o r P r e s i d e n t of t h e u n i t e d
S t a t e s " (.p. 1 1 9 ) .
The s i l e n c e of Merrymusk p r e s a g e s t h e g r e a t e r s i l e n c e
of d e a t h encompassing t h e a p o c a l y p t i c b l a s t of t h e cock a t t h e
end of t h e s t o r y .
I t s ambivalence c o r r e s p o n d s t o o t h e r , moral
ambivalencies i n t h e s t o r y , a t which we s h a l l have a c l o s e look
r
93
later.
Furthermore, i t s p r e c i s e p l a c e i n t h e n a r r a t i v e , follow-
i n g t h e n a r r a t o r ' s s u s p i c i o n t h a t h i s h e a r i n g o f t h e c o c k ' s song
.
may b e a d e c e p t i o n , i s a s i g n i f i c a n t t u r n i n g - p o i n t towards t h e
revelations o f t h e ending.
The n a r r a t o r ' s remembrance o f Merry-
s i l e n t l a b o u r s , i t s e l f t o u c h i n g upon t h e n o t i o n of t h e
e x t r a o r d i n a r y r e s i d i n g w i t h i n t h e o r d i n a r y , i s a l s o noteworthy
b e c a u s e i t c r e a t e s a human m y s t e r y o u t o f w h a t h a s been o n l y a
n a t u r a l mystery.
I n t h i s way, t h e m o r a l c o n s i d e r a t i o n s of res-
p o n s i b i l i t y , beauty a t t h e expense of v i t a l i t y , t h e c r e d i b i l i t y
.
o f f a i t h , and t h e p l a u s i b i l i t y of s u r v i v a l a f t e r d e a t h are e x e r c i s e d w i t h o u t s p o i l i n g t h e comic i r r e v e r e n c e o f t h e n a r r a t o r .
He
becomes aware o f t h e d e e p e r r a n g e o f s i g n i f i c a n c e o f h i s e x p e r i e n c e s i n r e l a t i o n s h i p t o Merrymusk, and t h u s i s c o m p e l l e d , a t
least momentarily, t o drop h i s i r r e v e r e n t t o n e .
A t Merrymusk's,
t h e n a r r a t o r f i n a l l y sees h i s marvel-
l o u s cock: " t h e most r e s p l e n d e n t c r e a t u r e t h a t e v e r b l e s s e d t h e
s i g h t of man."
To d e s c r i b e t h e c o c k , t h e n a r r a t o r c a n o n l y t h i n k
of m y t h i c h e r o e s , as i f t h e r a p t u r e o f s e e i n g t h e cock w e r e beyond t h e normal r e a c h e s o f l a n g u a g e .
Rapture changes t o misgiv-
i n g as t h e n a r r a t o r sees t h e a i l i n g f a m i l y .
Y e t the carefully
d e s c r i b e d d e t a i l of t h e r o o s t e r ' s g l o r i f y i n g crow s u g g e s t s an
a m b i g u i t y i n t h e r e l a t i o n s h i p between b e a u t y and s u f f e r i n g :
...
I l o o k e d a t t h e cock
T h e r e was
a s t r a n g e s u p e r n a t u r a l l o o k o f cont r a s t a b o u t him.
He irradiated the
s h a n t y ; h e g l o r i f i e d i t s meanness.
H e g l o r i f i e d t h e b a t t e r e d c h e s t , and
t a t t e r e d g r a y c o a t , and t h e bunged
hat.
He g l o r i f i e d t h e v e r y v o i c e s
which came i n a i l i n g t o n e s from
b e h i n d t h e s c r e e n . Cp. 123-1241
The f a c t t h a t t h e v e r y o b j e c t s i n t h e s h a n t y s e e m g l o r i f i e d i s
^
*
,
ndeniable;
on t h e o t h e r hand, when t h e i n t e n s i t y p a s s e s ;
the
~ o v e r t yand s u f f e r i n g r e m a i n , and what i s more d i s t u r b i n g , s e l f delusion i s a r i s k under t h e enchantment of t h e b i r d .
i s n o t b o t h e r e d by any s u c h r i s k .
Merrymusk
H e b e a r s t h e outward marks of
d e n i a l and t h e i n w a r d l i g h t o f joy.
Embodied as it i s , t h e con-
t r a d i c t i o n c a n n o t r e s o l v e i t s e l f u n t i l t h e d e a t h o f t h e body.
The n a r r a t o r r e s p o n d s t o t h e e v i d e n c e o f h a r d s h i p by s a y i n g :
I t must b e a d o l e f u l l i f e , t h e n , f o r
a l l concerned,
This lonely solitude
t h i s s h a n t y -- h a r d work
hard
.
t i m e s . (p. 1 2 5 )
--
--
But Merrymusk answers:
H a v e n ' t I Trumpet? H e ' s t h e c h e e r er. H e crows t h r o u g h a l l ; crows
a t the darkest;
G l o r y t o God i n
t h e highest:
c o n t i n u a l l y h e crows
it. ( p . 125)
This penultimate' episode i n t h e s t o r y r e v e a l s a crisis
of c o n f i d e n c e i n t h e n a r r a t o r .
H e must a c q u i e s c e when Merrymusk
s p e a k s o f t h e c h e e r i n g p r o p e r t i e s o f Trumpet;
b u t it is. t h e
t h r e a t of " t h e d a r k e s t " ( p . 1 2 5 ) t h a t f r i g h t e n s him.
does n o t s h a r e Merlymusk's f a i t h .
frightened me,
When h e t e l l s u s :
The n a r r a t o r
"The cock
l i k e some o v e r p o w e r i n g a n g e l i n t h e Apocalypse"
( p . 124) , t h e s u g g e s t i o n seems t o b e t h a t t h e , m a r v e l l o u s c r o w i n g
'may a l s o b e a b r i n g e r of d e a t h .
The t e n u o u s n e s s o f ~ e r r y m u s k ' s
h o l d on l i f e i s n o t s o m e t h i n g t h e n a r r a t o r c o u l d e a s i l y a s c r i b e
to.
H e l e a v e s f o r home " i n a d e e p mood"
Cp.
1251.
However, t h e
Power o f t h e d e a t h o f t h e Merrymusks i s s o c o m p e l l i n g t h a t o r d i n a r y f e a r s seem h a r d l y t o p e r t a i n :
The p a l l o r o f t h e c h i l d r e n changed
t o radiance.
T h e i r f a c e s shone
c e l e s t i a l l y t h r o u g h g r i m e and d i r t .
They seemed c h i l d r e n o f e m p e r o r s
P
and k i n g s , d i s g u i s e d .
The Cock
s p r a n g upon t h e i r b e d , shook hims e l f , and crowed, and crowed a g a i n ,
He
and s t i l l and s t i l l a g a i n .
seemed b e n t upon c r o w i n g t h e s o u l s
o f t h e c h i l d r e n o u t o f t h e i r wasH e seemed b e n t upon
t e d bodies.
r e j o i c i n g i n s t a n t e r t h i s whole
f a m i l y i n t h e u p p e r a i r . The
c h i l d r e n seemed t o s e c o n d h i s
endeavours.
Far, deep, i n t e n s e
l o n g i n g s f o r release t r a n s f i g u r e d
them i n t o s p i r i t s b e f o r e my eyes..
I s a w a n g e l s where t h e y l a y .
( p . 127)
The joy and s u f f e r i n g , t h e b e a u t y and t e r r o r o f l i f e seem t r a n s fixed i n t h i s transcendental experience.
t h a t death i s being described.
.
*
One h a r d l y remembers
Y e t w i t h t h e demise o f t h e cock,
a grimmer r e a l i t y reasserts i t s e l f .
The n a r r a t o r h a s been w i t n e s s
t o a t r a n s i e n t moment o f g r e a t b e a u t y and t e r r o r , y e t what h e
l e a r n s from i t i s ambiguous.
There i s no c o n v i c t i o n of an a f t e r -
l i f e and t h e p r e s e n t l i f e i s u n a l t e r e d i n i t s p r e c a r i o u s n e s s .
I r o n i c a l l y , t h e Merrymusksf g r a v e s a r e l o c a t e d " n i g h t h e r a i l road t r a c k "
( p . 1 2 8 ) , i m p l y i n g t h e unchanging c o n d i t i o n s o f
death-dealing
"improvements o f t h e age" ( p . 105)
.
How w e a r e t o i n t e r p r e t t h e n a r r a t o r ' s change-of-being,
h i s new-found
f o r t i t u d e , i s a problem t h a t c a n n o t b e s o l v e d by
comparing how h e i s a f t e r h e h a s h e a r d S i g n o r Beneventano w i t h
how h e was a t t h e b e g i n n i n g , d u r i n g h i s " d o l e f u l dumps" (p. 1 2 8 ) .
To d o t h a t would mean t h a t w e were a s c r i b i n g t o a c e r t a i n h i s t o r 2
i c a l realism, even w i t h i n t h e l i m i t s of t h e n a r r a t o r ' s awareness,
and t h e e v i d e n c e o f t h e s t o r y p o i n t s o t h e r w i s e .
The n a r r a t o r ' s
h e a r i n g o f t h e w o n d e r f u l c r o w i n g , h i s m e e t i n g w i t h Merrymusk, and
h i s w i t n e s s i n g o f t h e d e a t h o f t h e Merrymusks, a r e d e s c r i b e d i n a
manner t h a t i s c l o s e r t o r e v e r i e t h a t it i s t o b i o g r a p h i c a l s k e t c h .
96
TO
understand t h i s d i s t i n c t i o n p r o p e r l y , we s h o u l d now lodk more
closely a t the n a r r a t o r ' s role.
Narrator : Folk-Poet a n d Ambivalent W i t n e s s
W e h a v e s e e n how 'Cock-A-Boodle-Boo:
--
e x t e r n a l event t o i n t e r n a l experience,
moves e a s i l y from
( d i s l o c a t i n g our sense of
t i m e and p l a c e ) , from i r r e v e r e n c e t o f e r v o u r ,
( c r e a t i n g unresol-
ved problems of t o n e ) , f r o m l i f e - e n h a n c i n g cock-crowing t o a n
i m p l i e d d e a t h - i n d u c i n g cock-crowing,
and a l l o f t h e s e p o l a r i t i e s
are c o n t a i n e d , and f i n d t h e i r b e i n g i n , t h e n a r r a t o r ' s manner o f
r e l a t i n g h i s experience.
Who i s t h e n a r r a t o r ?
W e know t h a t h e
i s a b'achelor f a r m e r , p r o n e t o m e l a n c h o l i a , ' w i t h an a v i d d i s l i k e
of i n d u s t r i a l progress.
H e i s a c o m p a r a t i v e l y p o o r man, compel-
l e d t o farm f o r a l i v i n g a n d y e t who h a s a dim view o f t h e i n t e l l i g e n c e of f a r m e r s .
H e r e s p e c t s h a r d work and h a s t h e t i m e and
i n c l i n a t i o n t o r e a d Wordsworth, S t e r n e , B u r t o n , and Solomon o f
t h e Bible.
H e v i s i t s t h e opera,
loves jolliness,
and y e t u n t i l
h e e n c o u n t e r s t h e p r e t e r n a t u r a l c r o w i n g o f t h e c o c k , s e e m s mired
i n dejection.
The c o n t r a d i c t i o n s o f h i s p e r s o n a l i t y a r e . s u c h
t h a t we can make n o s e n s e o f them i f w e a d h e r e t o t h e l i t e r a l
t r u t h of a g e n t l e m a n f a r m e r who h a p p e n s t o b e w e l l - r e a d .
The n a r r a t o r i s a comic b o a s t e r , a t e l l e r o f t a l l t a l e s
who i s e n t e r t a i n i n g u s w i t h h i s most r e m a r k a b l e e x p e r i e n c e .
As
D a n i e l Hoffman h a s shown i n a s t u d y of t h e f a b l e - f o r m s i n American
I , i t e r a t u r e r 6 ' e a r l y America had a s t r o n g t r a d i t i o n o f t h e wondert a l e and-the t r i c k s t e r hero.
Many w o n d e r - t a l e s
c o n c e r n e d them-
s e l v e s w i t h t h e c u r i o u s f o r m s o f N a t u r e ' s l a r g e s s e : uncanny and
o v e r - s i z e d a n i m a l s , huge v e g e t a b l e s and f r u i t s , t h e e x p l o i t s o f
frontTersmen. 70
Others w e r e concerned with s u p e r n a t u r a l i n f l u -
e n c e s , e s p e c i a l l y t h o s e o f w i t c h c r a f t . 71
The t y p i c a l f r o n t i e r
h e r o w a s o f t e n c h a r a c t e r i z e d a s a n a i v e b a c h e l o r and f o r t u n e -
98
seeker.
H i s p r i n c i p a l mode of e x p r e s s i o n , a f t e r s u i t a b l e e x p e r i -
e n c e , was t h e t a l l - t a l e ,
whose f u n c t i o n " i s o f t e n t o s e r v e a s an
i n i t i a t o r y r i t e " 7 2 f o r o u t s i d e r s w i s h i n g t o become p a r t o f t h e
The n a r r a t o r i s n o t a f r o n t i e r s m a n b u t h i s v e r y
community.
w o r l d l i n e s s does f i t t h e r o l e of t h e t r a v e l l e d p u n d i t who was
o f t e n a "confidence-man".
He i s n o t a confidence-man i n i t s
immoral c o n n o t a t i o n b u t simply i n t h e s e n s e of b e i n g a b o a s t e r
and hoaxer, a t e l l e r of t a l l t a l e s .
cock-A-Doodle-DOO!
f i t this folkloric
How c l o s e l y d o e s antecedent?
I t s v e r y t i t l e s u g g e s t s t h e n o t e of h i g h b r a v u r a ,
and t h e r e b y an a t t e m p t t o a c h i e v e i t s a r t i s t i c ends by i n d i r e c t i o n and through e n t e r t a i n m e n t .
The f i g u r e of t h e m a r v e l l o u s
cock matches, i n one s e n s e , t h e n a t u r a l w o n d e r - t a l e ,
and i n
a n o t h e r s e n s e , t h e s u p e r n a t u r a l mystery w i t h d a r k under-tones.
The s t o r y i s a l s o an a t t e m p t t o i n i t i a t e t h e r e a d e r i n t o t h e myst e r i e s of r a p t u r e and s p i r i t u a l f o r t i t u d e , w h i l e t h e s e x u a l moti f s t h a t run t h r o u g h t h e t a l e a c t a s i r r e v e r e n t r e m i n d e r s t h a t
what i s v a l u a b l e a b o u t i n c r e a s e d v i t a l i t y i s i t s a b i l i t y t o e n j o y
t h e world r a t h e r t h a n t o l e a v e it.
The i r r e v e r e n t t o n e o f much o f
t h e n a r r a t i v e and t h e e a s y s h i f t s from i r o n y t o r a p t u r e s u g g e s t
t h e n o n - r e p r e s e n t a t i o n a l and a-moral f e a t u r e s of t h e f o l k - t a l e .
The n a r r a t o r ' s f a n c i f u l language and e a s y u s e o f s u p e r l a t i v e s c o r .
-
respond t o t h e manner of h e r o i c , mock-heroic,
and e x t r a v a g a n t
f e a t u r e s of t h e f o l k - t a l e .
AS a t e l l e r of t a l l t a l e s ,
t h e n a r r a t o r h a s t h e freedom
t o c r e a t e a complex web o f e n t e r t a i n m e n t .
He i s n o t bound by t h e
o r d i n a r y l i m i t s of v e r i s i m i l i t u d e n o r by t h e r i g i d forms of para b l e and f a b l e .
H i s iconoclasm, r e l a t e d t o . a l l forms of d r e a r i -
,
99
n e s s f r o m . d a n g e r o u s m e c h a n i z a t i o n t o t h e impoverishment of farmi n g , i s a c t e d o u t i n t h e freedom o f s t y l e .
Let u s , i n passing,
m e r e l y n o t e t h e command o v e r rhythm and s e n t e n c e v a r i e t y , t h e
r a n g e o f d i c t i o n from e d u c a t e d p o e s y t o v e r n a c u l a r , t h e f a c i l e
t r a n s i t i o n s from humour t o sudden i n v i g o r a t i o n , i n t h e f o l l o w i n g
passage :
Hark! t h e r e a g a i n !
Whose cock i s
t h a t ? Who i n t h i s r e g i o n c a n
a f f o r d t o buy s u c h a n e x t r a o r d i n a r y
S h a n g h i a ? B l e s s m e -- it makes my
What? .
b l o o d bound -- I f e e l w i l d .
jumping on t h i s r o t t e n o l d l o g
h e r e , t o f l a p my e l b o w s and crow
t o o ? And j u s t now i n t h e d o l e f u l
dumps.
And a l l t h i s from t h e s i m p l e crow o f a cock.
Marvellous
t h i s f e l l o w now
cock:
But s o f t
crows more l u s t i l y ; b u t i t ' s o n l y
l e t ' s see how h e ' l l crow
morning;
a b o u t noon, a n d t o w a r d n i g h t f a l l .
Come t o t h i n k o f i t , c o c k s crow
m o s t l y i n t h e b e g i n n i n g o f t h e day.
Their pluck a i n ' t l a s t i n g , a f t e r
all.
Y e s , yes;
even c o c k s have t o
succumb t o t h e u n i v e r s a l s p e l l ,of
t r i b u l a t i o n : j u b i l a n t i n t h e beginn i n g , b u t down i n t h e mouth a t t h e
end. ( p . 107)
--
One i s tempted t o wonder w h e t h e r t h o s e c r i t i c s who h a v e d i s m i s s e d
t h i s t a l e o u t o f hand have n o t been mesmerized by t h e s t a t e l y
s e r i o u s n e s s o f themes i n M e l v i l l e ' s e a r l i e r works.
Surely the
above p a s s a g e i s a l s o e v i d e n c e o f more t h a n s e x u a l punning,
for
t h e v e r y e n e r g y o f t h e w r i t i n g i s a comic e n e r g y , e n j o y i n g i t s
b r e a d t h of l i c e n c e , e x p r e s s i o n , and a n a l o g y . 7 3
The s e r i o u s i m p o r t
o f t h e p a s s a g e i s masked h e r e , as e l s e w h e r e , and may b e f o r m u l a t e d
as a n u n d e r c u r r e n t of f a t a l i t y and o f a s e n s e o f t h e a m b i g u i t y of
pagan f e e l i n g
non-human,
--
t h e sudden t r a n s f o r m a t i o n of p h y s i c a l e n e r g y i n t o
and c o n s e q u e n t l y , p r e c a r i o u s forms.
,
-
r
100
T h i s passage immediately p r e c e d e s a q u o t a t i o n from
wordsworth s R e s o l u t i o n and
independence7 4 ,
i n d i c a t i n g a movement
t o a s t a t e m e n t of theme, which might be p u t a s t h e l o s s of c r e a t i v e potency a f t e r m a t u r i t y , u n l e s s
tures
--
--
and t h i s t h e s t o r y conjec-
t h e r e i s a means of c o n t i n u a l r @ v i t a l i z a t i o n .
Yet even
t h i s f o r m u l a t i o n of s e r i o u s i n t e n t i o n can b e s e e n a s a comic gambit.
For i n t h i s s t o r y a l l h i g h p u r p o s e s a r e reduced t o t h e
e x e r c i s e s of s u r v i v a l , c o m p l i c a t i n g b u t n o t a n n i h i l a t i n g t h e h i g h
s c a l e ' o f meaning.
The n a r r a t o r u s e s h i s new-found i n v i g o r a t i o n ,
.
.
f o l l o w i n g t h e Wordsworth q u o t e , t o h e l p h i m s e l f t o a meal of
"brown-stout and a b e e f - s t e a k "
(p. 108).
L a t e r , when t h e dun
comes v i s i t i n g , t h e n a r r a t o r promises t o show him " s t o u t of superi o r b r a n d t o B a r c l a y and P e r k i n s " ( p . l o g ) , combining food and
d r i n k , s e x , bravado, and commerce i n a c o n c e i t of p h y s i c a l and
s p i r i t u a l s u r v i v a l i n a h o s t i l e world.
Merrymusk, p r i v y t o t h e
s e c r e t s of t h e m a r v e l l o u s r o o s t e r , y e t h a s r i c k e t y c h i l d r e n and
an i n v a l i d w i f e , i r o n i c a l l y s u g g e s t i n g t h e l a c k of s u b s t a n c e i n
h i s vision.
The n a r r a t o r i s s e r v e d w i t h a w r i t j u s t a f t e r a d i n -
n e r of cheese and p o r t e r .
The a t t e n t i o n p a i d t o t h e enjoyment of
food o r t o t h e s c a r c i t y o f i t , emphasizes a t one and t h e same
t i m e , t h e c o n d i t i o n i n g of t h o u g h t through man's n e c e s s i t o u s r e l a t i o n s h i p t o food, and t h a t , i n t h e f i n a l a n a l y s i s , man's h i g h e s t
a s p i r a t i o n s and e x p e r i e n c e s c a n be e f f e c t i v e l y e x p r e s s e d by food
i n i t s n u t r i t i o n a l and c e l e b r a t o r y a s p e c t s .
The n a r r a t o r , i t s h o u l d b e made c l e a r , i s n o t t h e t r a d i tional tale-teller
tale.
j u s t as t h e s t o r y i s n o t t h e t r a d i t i o n a l f o l k -
M e l v i l l e h a s used t h e f o l k - l o r e t r a d i t i o n f o r i t s comic pos-
s i b i l i t i e s and f o r i t s r i c h d i v e r s i t y of mythic and s u p e r n a t u r a l
101
themes.
P r o b a b l y m o d e l l e d on t h e t r a d i t i o n a l t e l l e r o f t a l l
t a l e s , M e l v i l l e ' s n a r r a t o r i s a l s o a r e - c r e a t e d f i g u r e , one who
can e x p r e s s t h e v i t a l i t y , humour, and b a w d i n e s s o f t h e o l d form
with t h e s o p h i s t i c a t e d w i t , a n t i q u a r i a n l e a r n i n g , and l i n g u i s t i c
of t h e man-of-letters.
---
The n a r r a t o r i s a f o l k - p o e t
.
one who i s c o n s c i o u s l y p a r t o f a community w h i l e y e t s t a n d i n g
alone.
The s y n t h e s i s o f o l d and new d o e s n o t o b v i a t e any o f t h e
m o r a l i s s u e s o f t h e s t o r y , n o r d o e s it c o n c e a l t h e d u p l i c i t o u s
n a t u r e o f t h e n a r r a t o r , who i s now p e r m i t t e d a n e x t r a o r d i n a r y
r a n g e f o r h i s powers.
H e i s a new b r a n d o f h e r o ,
. ,
after the failed
q u e s t s of Moby
Dick and P i e r r e , one who s p i n s y a r n s f o r s o c i a l
-and m e t a p h y s i c a l e n j o y m e n t , b u t who w i l l n o t a c h i e v e wide recogn i t i o n f o r p r e c i s e l y t h e reason t h a t he w i l l n o t b e believed. 75
F o r h e i s a j o k e s t e r , who b e h i n d h i s mask h a s r e a l i z e d t h e t r u t h
of limitations:
genius.
t h e O r p h i c v o i c e must pay t h e p e n a l t y f o r i t s
76
I f s u c h i s t h e i d e a l form o f t h e n a r r a t o r - f i g u r e ,
i s h i s s p e c i f i c appearance i n t h e t e x t ?
what
T e x t u a l l y , a n immediate
problem i s c r e a t e d by t r y i n g t o a s c e r t a i n t h e e x t e n t o f h i s l i m i tations.
How much d o e s M e l v i l l e assume h i s n a r r a t o r ' s mask?
, T h e r e a r e o c c a s i o n s i n t h e s t o r y when it m i g h t s e e m v a l u a b l e t o
speak o f two n a r r a t o r s : t h e n a r r a t o r a s f a r m e r and as a c o n c e a l e d
a c t o r who c a n f e i g n f u l l a w a r e n e s s o f t h e p e r f o r m a n c e .
However,
s u c h s e p a r a t i o n o f n a r r a t i v e r e s p o n s i b i l i t y i s p o n d e r o u s and d i f f i c u l t t o prove.
I t i s more s a t i s f a c t o r y t o s p e a k of one n a r r a -
t o r , but t o distinguish different voices i n the text.
T h i s would
mean, i n p r i n c i p l e , an i n t r i n s i c a l l y s p l i t p e r s o n a , e a c h w i t h an
a n t i t h e t i c a l awareness.
On t h e one h a n d , w e c a n e a s i l y i n t e r p r e t
102
h e n a r r a t o r a s a r e a s o n a b l y w o r l d l y and well-read man, b u t w i t h
a f u n d a m e n t a l l y n a i v e and s u g g e s t i b l e n a t u r e
ored i d e a l i t y " t o u s e I s h m a e l ' s p h r a s e .
--
a man o f " u n t u t -
Such a view would pro-
mote t h e n o t i o n t h a t , f o r example, t h e n a r r a t o r ' s e n r a p t u r e d
acceptance o f t h e c o c k ' s crowing, t o t h e e x t e n t t h a t h e t a k e s o u t
a second m o r t g a g e a n d p r o m i s e s a t t h e s t o r y ' s e n d t o " u n d e r a l l
c i r c u m s t a n c e s crow l a t e and e a r l y w i t h a c o n t i n u a l crow", i s a n
e s c a p e from r e a l i t y and i t s r e s p o n s i b i l i t i e s .
On t h e o t h e r hand,
we c a n a c c e p t t h e n a r r a t o r ' s f o l k l o r i c r o o t s , a n d see h i s s t o r y
.
P
as an a f f i r m a t i o n o f h i s e x p e r i e n c e , d e s p i t e h i s a p p a r e n t a n d
hidden f o l l i e s .
Any n a i v e t e would s i m p l y b e t h e f i r s t l e v e l of
persona, a p a r t of t h e t o t a l p e r s o n a l i t y of t h e t e x t .
When w e examine t h e s t o r y , w e f i n d a good d e a l o f e v i dence t o s u p p o r t t h e t h e o r y o f complex p e r s o n a l i t y .
The d i s l o c a -
t i o n s i n t h e s t o r y , w e have a l r e a d y s e e n , create a s e n s e o f i n t e r n a l r e a l i t y and a n ambiguous t o n e ;
w e may a l s o s a y t h a t t h e
d i s l o c a t i o n s create a c o n t i n u o u s p r e s e n t , by which w e c a n i d e n t i f y
t h e p r e s e n c e o f a n a r r a t o r i n a n ambiguous way s e p a r a t e from h i s
story.
The s t r o n g c o r r e s p o n d e n c e between t h e t r a d i t i o n o f t h e
t a l l tale, with i t s t r i c k s t e r s t o r y t e l l e r , and Cock-A-Doodle-Dool,
-
w i t h i t s p o s t u r i n g , w i s e a c r i n g , i r r e v e r e n c e a n d bawdy humour, a l s o
s u g g e s t s s o m e t h i n g of a d u p l i c i t o u s n a r r a t o r .
Another kind of evi-
d e n c e i s t o b e f o u n d i n t h e way t h e s t o r y m a n i p u l a t e s t i m e .
The s t o r y o p e n s by a t t e m p t i n g t o p l a c e u s s e c u r e l y i n a
s e t t i n g (however f a n c i f u l l y t r a n s f o r m e d by m e l a n c h o l i c p r o j e c tion).'
I f w e examine t h e f i r s t few p a r a g r a p h s , by r e p r e s e n t i n g
them w i t h t h e i r f i r s t s e n t e n c e s , w e f i n d a t r a d i t i o n a l p a t t e r n
o f r e m i n i s c e n c e and commentary p r o p e r l y r e n d e r e d i n t h e p a s t t e n s e :
103
. (1) :In all parts of the world many high-spirited revolts
from rascally despotisms had of late been knocked on
the head; Cp. 103)
(2):It was a cool and misty, damp, disagreeable air.
(p. 103)
(3):All round me were tokens of a divided empire. (p.
103)
(4):I sat down for a moment on a great rotting log nigh
(p. 103)
the top of the hill
...
(5):My eye ranged over the capacious rolling country
(p. 104)
...
Through this simple device of narrative time, we are placed in the?
past and proceed to attempt an understanding of the narrator's
experience as it happened then.
However, suddenly in the fifth
paragraph, the narrator switches tense and begins addressing us
directly: "Yet what's the use of complaining? What justice of
the peace will right this matter?" (p. 104)
Lest we think this
is simply narrative licence, the next few paragraphs continue the
address in the present tense:
(6):A miserable world! Who would take the trouble to
make a fortune in it
(p. 105)
,..
(7):Great improvements of the age! What! to call the
facilitation of death and murder an improvement!
(p. 105)
(8):I can't pay this horrid man; (p. 105)
(9):"Hallo: here come the calves
-
(10):"Hark:
.,.
(p. 106)
By Jove, what's that? (p. 106)
This transition of tense is a subtle indication of the pr'esenc.eof
the narrator.
It is difficult to find any other explanation for
the change from past to present tense, when the significant experience being reported is certainly in the Past.
This indication is
strengthened by the fact that upon the dun's visit, the present
104
rise i s dropped, and t h e r e a f t e r t h e p a s t t e n s e i s g e n e r a i l y used
r e p o r t t h o u g h t s and e v e n t s .
tions.
There a r e , however, some excep-
A f t e r t h e d u n ' s v i s i t , t h e n a r r a t o r h e a r s t h e cock once
more :
Hark:
t h e r e g o e s t h e cock! How
s h a l l I d e s c r i b e t h e crow o f t h e
H i s sunShanghai a t noon-tide?
r i s e crow was a w h i s p e r t o i t . I t
was t h e l o u d e s t , l o n g e s t , and most
s t r a n g e l y m u s i c a l crow t h a t e v e r
amazed m o r t a l man. ( p . 110)
The t r a n s i t i o n from p r e s e n t t o p a s t , i n t h e t i m e o f a b r e a t h , t e l l s
us once more t h a t t h i s n a r r a t o r i s more t h a n a d e v i c e , t h a t h e h a s
a p r e s e n t l i f e of mind and memory, humour and f e e l i n g , and t h a t
t h e s e f a c u l t i e s j u s t mentioned a r e n o t j u s t t o b e d i s t i n g u i s h e d
by t h e i r q u a l i t y i n t h e P a s t b u t by t h e f a c t t h a t t h e y r e - c r e a t e
the Past.
The n a r r a t o r once h e a r d a m a r v e l l o u s r o o s t e r .
He
s t i l l h e a r s i t as h e i s t e l l i n g u s of i t , and it i s noteworthy,
by way of d i g r e s s i o n , t o mention t h e h y p e r b o l i c t o n e o f t h e reminiscence
--
i t s e l f a f e a t u r e of s o many f o l k - t a l e s .
There a r e o t h e r such i n s t a n c e s of n a r r a t i v e i n t r u s i o n ,
some extremely b r i e f :
"Now t h i s was t h e way
. . . I 1
(p. 8 7 ) , "He was
a s i n g u l a r man, I s a y " ( p . 118) , "Now, as I s a i d b e f o r e
120).
Each reminds u s o f a r t i f i c e ,
..." (p.
( t h e a c t i v e c r e a t i o n of a
s t o r y ) , of a p r e s e n t n a r r a t o r , and of t h e f a c t t h a t we a r e b e i n g
e n t e r t a i n e d (on h i g h and low s c a l e s ) .
When t h e s t o r y i s a t an
end, t h e n a r r a t o r a d d r e s s e s u s i n t h e t o n e of a c o n d i t i o n a l f u t u r e : " I f now you v i s i t t h a t h i l l y r e g i o n , you w i l l s e e
128).
'
This,
..." (p.
i f nothing else does, confirms t h e r e l a t i o n s h i p bet-
ween n a r r a t o r and r e a d e r , f o r t h e r e i s a promise of s h a r e d experience a s well a s a shared l i n k t o t h e 'Past.
105
W e must s t i l l s e e , however, how t h i s complex pe'rsona r e -
li
l a t e s t o t h e t r e a t m e n t o f themes i n t h e s t o r y .
Of t h e s e we may
s a y t h a t t h e t h r e e p r i n c i p a l themes a r e s e x u a l i t y , t r a n s c e n d e n c e , and t h e r e l a t i o n s h i p between c r e a t i v i t y and d e a t h .
The
f i r s t two h a v e been w i d e l y commented upon by c r i t i c s , b u t t h e r e
h a s been c o m p a r a t i v e l y l i t t l e t r e a t m e n t o f t h e i r r e l a t i o n s h i p t o
t h e problem o f t h e n a r r a t o r . 7 7
S e x u a l i t y seems t o sound a g r e a t laudamus i n t h e s t o r y .
Given t h e h y p e r b o l i c t e n d e n c i e s of t h e n a r r a t o r t h i s i s h a r d l y
surprising.
A t t h e b e g i n n i n g of t h e t a l e h e i s d i s p i r i t e d ;
.
his
h a t r e d of t e c h n o l o g y may b e a f e a r t h a t m e c h a n i c a l c o n t r i v a n c e s
r o b man of h i s v i r i l i t y and i n d e p e n d e n c e .
Then t h e c r o w i n g of
t h e m a r v e l l o u s r o o s t e r i s i n t r o d u c e d and s u d d e n l y t h e t r a i n no
l o n g e r p e r t u r b s him: "How c h e e r f u l l y t h e steam-pipe c h i r p s , ! "
(p. 109).
Symbolically t h e n a r r a t o r discovers t h e r e v i t a l i z i n g
p r o p e r t i e s of s e x u a l i t y and s e e m i n g l y a n s w e r s Wordsworth's f e a r
t h a t c r e a t i v i t y must e v e n t u a l l y end i n "despondency" and "madness".
D e s c r i p t i o n s s u c h a s t h e f o l l o w i n g s e e m n o t f a r removed
from p h a l l i c w o r s h i p :
I had h e a r d p l e n t y o f cock-crows
b e f o r e , and many f i n e o n e s ;
-b u t t h i s one!
s o smooth and f l u t e l i k e , i n i t s v e r y clamor -- SO
self-possessed i n its very rapture
o f e x u l t a t i o n -- s o v a s t , mounting,
swelling, soaring, a s i f spurted
o u t from a g o l d e n t h r o a t , thrown
f a r back. (p. 1 1 0 )
The e q u a t i o n of song w i t h s e m i n a l d i s c h a r g e a c c e n t u a t e s t h e n a t u r -
a l and p h y s i c a l b a s i s of c r e a t i v i t y , t h a t c r e a t i o n i s a s much a
phenomenon o f t h e body and i t s c h e m i s t r y a s i t i s s p i r i t u a l i n
essence.
Thus t h e l o s s of c r e a t i v i t y would i n d i c a t e f u n d a m e n t a l
?
impotence;
A s elements of t h e t a l l t a l e , potency,
f e r t i l i t y , and
s e x u a l prowess are r i t u a l l y i m p o r t a n t f o r a c c e p t a n c e i n t o male
society. 78
I t i s t h e s e n s e o f power a n d dominance o v e r N a t u r e
t h a t i s important i n t h e shared f a n t a s y of t h e e x p l o i t .
However,
Cock-A-Doodle-Doo!,
in -
t h e c h o i c e o f i m a g e r y e m p h a s i z e s man's
dependence on N a t u r e ;
t h e c o c k , i f a v e r n a c u l a r word f o r man's
p r i d e i n h i s prowess, i s a l s o a n a t u r a l emblem o f c r e a t i v e e n e r g y
t h a t r e m a i n s u n c o n t r o l l e d by man,
S i g n o r Beneventano sounds h i s
c a l l and men r e s p o n d , j u s t a s t h e r e s t o f N a t u r e r e s p o n d s ,
The
c o n t i n u a l s e x u a l punning i s , i n t h i s r e s p e c t , a n e q u i v a l e n t t o
t h e s e x u a l theme o f t r a n s f o r m a t i v e e n e r g y
--
f i r s t by e x h i b i t i n g
a Protean c h a n g e a b i l i t y and t h e consequent s e n s e of c o n s t a n t surp r i s e , and s e c o n d l y by d e m o n s t r a t i n g t h e p l e a s u r e o f performance.
Y e t t h i s i s o n l y one s i d e o f i t
--
an unmediated p o s i t i v e s i d e .
The e n t r y o f Merrymusk i n t o t h e t a l e d e m o n s t r a t e s a p r o b l e m a t i c
a r t i c u l a t i o n of s e x u a l i t y .
One would e x p e c t t h a t Merrymusk, a s
owner o f t h e m a r v e l l o u s c o c k , would more t h a n anyone else b e a
l i v i n g example of c r e a t i v i t y and power.
B u t e v e n h i s name, which
i s s u g g e s t i v e o f m u s i c , s e x u a l i t y , a n d f r e n z y , seems u n f i t t i n g
f o r s o " u n j o l l y a wight" (p. 1 1 9 ) .
Merrymusk i s a s i l e n t man,
when from t h e n a r r a t o r ' s own example, o n e would e x p e c t p o e t r y ,
song, o r a t l e a s t a p l e a s u r e i n language,
rounded by i l l - h e a l t h ,
H e i s a p o o r man,
sur-
when it would s e e m more f i t t i n g t h a t h e
would have a b o u n t y o f w e l l - b e i n g .
H e a n d h i s f a m i l y d i e when it
would . b e r e a s o n a b l e t o assume c o n t i n u e d v i t a l i t y .
doxes, t h e n a r r a t o r i s an u n w i l l i n g w i t n e s s .
t h e cock t e r r i f i e s ' as w e l l a s . a w e s him;
To s u c h p a r a -
The f i n a l song of
t h e minor d e a t h 'of org-
asm becomes t h e l i t e r a l a c t i n g o u t o f t h e one a b s o l u t e d e a t h .
Through t h e u s e of i t s s e x u a l imagery t h e s t o r y i m p l i e s
t h a t s e x u a l i t y and d e a t h a r e m y s t e r i o u s l y c o n n e c t e d , n o t m e r e l y
i n t h e p o e t i c s e n s e o f a l o s s of s e l f t h r o u g h l o v e b u t i n t h e
v i t a l s e n s e t h a t t h e p l e a s u r e o f s e x may b e N a t u r e ' s l u r e t o ens u r e i t s c o n t i n u a t i o n w h a t e v e r t h e i n d i v i d u a l c o s t , a n d t h a t man's
c a p t i v a t i o n by s e x i s b o t h a l o s s of freedom a n d t h e i n a b i l i t y t o
see t h e o f t - t i m e s d e p l o r a b l e n a t u r e o f c o n d i t i o n s a r o u n d him.
Hence, s e x u a l i t y i s n o t e x c l u s i v e l y and i n t r i n s i c a l l y a n o p p o s i t e
phenomenon t o d e a t h , b u t a c t i v e l y p a r t i c i p a t e s w i t h i t i n c r e a tion.
To t h e d e g r e e o f h i s a w a r e n e s s , t h e n a r r a t o r i s n o t
only an ambivalent w i t n e s s because he i s u n w i l l i n g b u t because
h e a p p e a r s t o i g n o r e t h e e v i d e n c e of h i s own p h y s i c a l and i n t u i t i v e senses.
I n t h e f i n a l paragraph, he t e l l s u s t h a t he has
b u r i e d t h e Merrymusks and t h e r o o s t e r , a n d y e t p r o c e e d s t o a f f i r m
t h e nature of h i s experience.
The l e g e n d t h a t h e i n s c r i b e s on
t h e i r tomb:
0 d e a t h , where is thy sting?
0
g
r
a
v
e
,
where
i
s
thy victxry?
--
(p. 128)
, i s a message of hope and d e f i a n c e .
After t h e i r o n i c suggestive-
n e s s of t h e Merrymusks' d e a t h , and p a r t i c u l a r l y t h e d e a t h o f t h e
cock i t s e l f
--
a n i n s t r u m e n t o f power and t r a n s f o r m a t i o n
n a r r a t o r ' s a t t i t u d e i s n o t e a s i l y understood.
--
the
However, w e s h o u l d
n o t i m m e d i a t e l y assume t h a t h i s f i n a l words a r e a n example o f
i r o n i c ignorance.
at her, i t i s p o s s i b l e t o p r e s e r v e t h e i r o n y
and b e l i e v e i n t h e n a r r a t o r ' s change-of-being
a t t h e same t i m e .
The n a r r a t o r ' s f i n a l u t t e r a n c e :' " Cock-A-Doodle-Doo!
--
oo!
--
oo!
.
108
I
--
oo!'!
(p. 1 2 8 ) i s a complex s y m b o l i c a c t o f i n t r i n s i c a l l y
meanings.
He c a n n o t deny m o r t a l i t y a n d y e t h e
remains d e f i a n t l y free of i t s m e n t a l i n f l u e n c e ;
h e recognizes
t h e t r a n s i e n c e o f s e x u a l i t y , and i n d e e d o f c r e a t i v i t y , b u t t o
p r e s e r v e h i s own h u m a n i t y , a f f i r m s s e x u a l i t y a n d c r e a t i v i t y a s
t h e o n l y i m p e r f e c t , b u t p a s s i n g l y s p l e n d i d , means o f s e l f expression.
The c o n t i n u a n c e o f t h e c r o w i n g s o u n d
("00:
--
00:")
a l s o suggests t h e w i l l i n g acceptance of f o l l y as t h e only availa b l e means of k e e p i n g e q u i l i b r i u m i n a n arnl5iguous u n i v e r s e .
T h a t s u c h a n e x c l a m a t i o n comes p e r i l o u s l y c l o s e t o Wordsworth's
n o t i o n of "madness" a f t e r t h e l o s s o f e f f e c t i v e c r e a t i v i t y , d o e s
n o t countermand a more p o s i t i v e r e a d i n g , s i n c e t h e c o c k ' s crowing
h a s been a l l a l o n g a k i n d o f madness o f d e f i a n t s e l f - e x p r e s s i o n .
~ l t hl a t i s a f f r o n t e d by t h e i n c l u s i o n o f madness i n t h e g r e a t
o r g a n i c plenum o f n a t u r a l and s u p r a s e n s i b l e e x p e r i e n c e i s " r e a s o n " , and r e a s o n h a s a v e r y s m a l l p l a c e i n t h e s t o r y .
The c h o i -
c e s seem t o b e r a t h e r among t h e madness o f m e l a n c h o l i a , t h e madn e s s o f u n b r i d l e d m e c h a n i s t i c p r o g r e s s ( R e a s o n ' s c h i l d ) , t h e madn e s s o f smallminded commerce ( t h e dun) t h a t i s s y m b o l i c a l l y equat e d w i t h t h e r e l e n t l e s s , d e a t h - d e a l i n g r a i l w a y s , t h e madness o f
a g r a r i a n i d i o c y , a n d t h e madness o f crowing.
I f a l l i s madness
and f o l l y , t h e n t h e more c r e a t i v e l y v a l u a b l e f o r m s would s e e m t o
be a k i n d o f wisdom.
However, t h i s i n t e r p r e t a t i o n i s n o t meant t o p a s s
l i g h t l y o v e r what i s a n e x p e r i e n t i a l m y s t e r y .
The a m b i g u i t y o f
t h e r e l a t i o n s h i p s between s e x u a l i t y a n d d e a t h i s e x p r e s s e d i n t h e
problem of s u r v i v a l .
It is, a f t e r a l l , t h e q u a l i t y of s u r v i v a l
t h a t m a t t e r s a n d t h i s r e m a i n s -an i n t e n s e l y p e r s o n a l e x p e r i e n c e .
109
~ h u si n a t t e m p t i n g t o t r a n s m i t t i e e x p e r i e n c e of what i t h a s
meant t o b e o n e s e l f i n t h e f a c e of t h e c o n t r a d i c t o r y and ambiguous f o r c e s of t h e w o r l d , t h e u s e s of c l a r i t y and s t r a i g h t f o r wardness seem a r b i t r a r i l y l i m i t i n g , and t h e n a r r a t o r must a t
times r e s o r t t o t h e fabulous t o preserve t h e ordinary.
Transcendence f o l l o w s a f a b u l o u s p a t t e r n s i m i l a r t o
t h e theme of s e x u a l i t y .
of t r a n s c e n d e n c e
--
Indeed, M e l v i l l e shows t h e o r g a n i c form
--
i t s indebtedness t o s e x u a l i t y
t r e a t m e n t of t r a n s p e r s o n a l joy and b e a u t y . '
in his
S i n c e t h e s t o r y does
. -
n o t i n d i c a t e one way o r a n o t h e r t h e p r o b a b i l i t i e s o f s u r v i v a l
a f t e r d e a t h , t h e o n l y o b s e r v a b l e a c t i v i t y of t r a n s c e n d e n c e i s i n
i t s momentary m a s t e r y o v e r m a t e r i a l form, and i n t h i s r e s p e c t ,
freedom i s a key n o t i o n . 7 9
The w o r l d of Cock-A-Doodle-Doo!
i s on one l e v e l a s f i x e d
a s t h e h i e r a r c h y of Wall S t r e e t i n B a r t l e b y The S c r i v e n e r .
The
sodden, d e p r e s s i n g l a n d s c a p e of t h e opening p a g e s , t h e n a r r a t o r ' s
musings on t h e "many d r e a d f u l c a s u a l t i e s " ( p . 103) worldwide, a
k i n d of e x i s t e n t i a l nausea t h a t t h e n a r r a t o r s e e s a b o u t him w i t h
"fever-and-agueish"
( p . 104) r i v e r , "chimney smoke
and l i f e l e s s t o mount of i t s e l f " ( p . 1 0 4 ) , and
'I..
... t o o
. hiding
a man w i t h t h e mumps, and many a queasy c h i l d " (p. 104)
t h e s e a r e s u g g e s t i v e of an immutable c o n d i t i o n .
r e a l i t y i n such a world;
--
heavy
many
all
Freedom h a s no
f a t a l i t y seems dominant.
The n a r r a t o r ' s
climbing of a h i l l s h o r t l y a f t e r making h i s f i r s t morning observ a t i o n s i s an i r o n i c a s c e n t t o t r a n s c e n d e n t p e r c e p t i o n :
...
I
b e n t my b l u e form t o t h e s t e e p
a s c e n t of t h e h i l l .
This t o i l i n g
p o s t u r e brought my head p r e t t y w e l l
e a r t h w a r d , a s i f I were i n t h e a c t
of b u t t i n g it a g a i n s t t h e world.
(p. 103)
110
H i s i r o n i c t r a n s c e n d e n t p e r c e p t i o n s a r e t h e v e r y o b s e r v a t i o n s of
d i s e a s e and l i f e l e s s n e s s t h a t h e ' d o b s e r v e d upon f i r s t waking
below.
L i f e s e e n from above i s l i t t l e d i f f e r e n t from l i f e ex-
p e r i e n c e d below.
When t h e c o c k r e g e n e r a t e s t h e n a r r a t o r , and s e e m i n g l y
a l l of N a t u r e a r o u n d him, t h e n a r r a t o r f i n d s a new s e n s e . of
freedom.
H e r e g a i n s h i s a p p e t i t e , f i n d s new p l e a s u r e i n r e a d i n g ,
d e a l s e a s i l y w i t h h i s dun, and r e s o l v e s t o q u e s t f o r t h e source
of t h i s mystery.
Y e t t h e n a r r a t o r ' s f a i l u r e t o i n c l u d e h i s obser-
v a t i o n s on t h e i d i o t f a r m e r a n d h i s r e j e c t i o n of m a t e r i a l r e s p o n s i b i l i t i e s w i t h i n h i s v i s i o n of optimism s u g g e s t s t h a t t h i s f r e e -
dom i s a t b e s t t r a n s i e n t and a t w o r s t a t o t a l i l l u s i o n o f s e l f suggestion.
The p o v e r t y o f t h e Merrymusk f a m i l y , a n d t h e i r even-
t u a l d e a t h , c o n f i r m s t h a t freedom i s o n l y a c o n d i t i o n a l e l e m e n t
i n t h e n a t u r a l c y c l e o f b i r t h , s u f f e r i n g , and d e a t h .
The n a r r a t o r c h o o s e s t o i g n o r e t h i s e v i d e n c e , as i f
sublimely f r e e o f i t s r e s p o n s i b i l i t y .
Y e t , a s h a s been s e e n from
t h e a n a l y s i s of persona manipulations, t h i s ignorance can only be
one s i d e of t h e complex n a r r a t o r ' s b e i n g .
Such s u b l i m i t y i s a l s o
a comic r u s e , p l a u s i b l y meant t o i n d i c a t e b o t h t h e i n v i n c i b l e
q u a l i t y of t h e jester w h i l e i n h i s r o l e and a t t h e same t i m e an
acceptance of f o l l y .
Such comic s u b l i m i t y , f o r example, a l l o w s
S t e r n e i n T r i s t r a m Shandy, i n t h e r o l e of n a r r a t o r , t o s p e a k of
e v e n t s b e f o r e h i s own b i r t h , i n d e e d t o s p e a k o f h i s own conception.
O r d i n a r y l a w s o f t i m e , s p a c e , and c a u s a l i t y c a n b e i n t e r -
r u p t e a w i t h o u t j u s t i f i c a t i o n when t h e a u t h o r t a k e s on t h e r o l e of
a god i n h i s own c r e a t i o n .
The l i t e r a l t r a n s f o r m a t i o n of t h e Merrymusks from m a t t e r
111
i n t o s p i r i t s u g g e s t s a d a r k e r t r u t h t h a n comedy c a n a p p r o p r i a t e .
For what i s p r e c i s e l y d i s t u r b i n g i n t h e i r g l o r i f i e d p a s s i n g , i s
t h e force of t h a t passing.
From a n i n a r t i c u l a b l e r a n g e o f mean-
i n g , t h e i r d e a t h s s u g g e s t t h e merciless p r e s e n c e of f a t a l i t y and
t h e u t t e r l y p r e c a r i o u s p o s i t i o n o f man, who s e e m i n g l y i n h i s
moment of power and g l o r y , c a n b e i n s t a n t a n e o u s l y p l u c k e d by
death.
Such an a w a r e n e s s of d e a t h c a n r i g h t l y command a w e and
-
s i l e n c e , s i m i l a r t o t h e c o n d i t i o n o f t h e n a r r a t o r i n B a r t l e b y The
Scrivener a t Bartleby's death.
The crowing which e n d s t h e t a l e i s
a l s o , f i n a l l y and ambiguously, t h e crowing o f d e a t h
memento mori.
--
the
.
r
The C e l e b r a t i o n of Performance
I f t h e s t o r y i s a r e - c r e a t i o n of c e r t a i n s e x u a l and
t r a n s c e n d e n t a l e x p e r i e n c e s i n t h e l i f e of a man and a l s o an
example of comic b r a v u r a and f a b u l o u s t a l e - t e l l i n g ,
t h e n one
means of s e e i n g i t s accomplishment i s by l o o k i n g a t t h e s t o r y
a s an i m a g i n a t i v e e x e r c i s e .
The s t o r y ' s i n d e b t e d n e s s t o t h e
t r a d i t i o n a l t a l l t a l e , i t s m a n i p u l a t i o n s of n a r r a t i v e persona
t o s u g g e s t a s e n s e of n a r r a t i v e p r e s e n c e and c o n t i n u a l c r e a t i o n ,
p o i n t t o a r e n d i t i o n of t h e p o e t ' s i m a g i n a t i o n e x p e r i e n c e d a s
performance.
.
The t r a n s i t i o n s of t e n s e i n t h e n a r r a t i v e , t h e many
d i g r e s s i o n s and j o k e s , a r e a r e v e r i e - l i k e i n d i c a t i o n t h a t t h e a c t
of c r e a t i o n and t h e a c t of p e r f o r m i n g t h e c r e a t i o n b e f o r e a
readership a r e mysteriously s i m i l a r .
Dool's
-
C e r t a i n l y , Cock-A-Doodle--
f o l k l o r i c r o o t s p o i n t t o an o r a l t r a d i t i o n .
We a l s o know
from b i o g r a p h i c a l s o u r c e s t h a t M e l v i l l e e n j o y e d r e a d i n g a l o u d
some of h i s s t o r i e s and i n d e e d w r o t e them w i t h t h e i r o r a l p o s s i b i l i t i e s i n mind. 80
I n a s t o r y e n t i t l e d by t h e song of a roos-
t e r , enhanced by t h e a u t h o r ' s j e s t i n g p l a y f u l n e s s w i t h s e x u a l
puns and t r a n s f o r m a t i v e e n e r g i e s , it i s n o t f a n c i f u l t o suppose
t h a t performance i s t h e p r i m a r y e x p e r i e n c e and f i n a l accomplish'ment.
To t h e d e g r e e t h a t performance e x t e n d s t h e p r e s e n t moment,
t h a t it t r a n s c e n d s t h e o r d i n a r y , t h a t i t r e - c r e a t e s
t h e p a s t and
amuses i t s a u d i e n c e , t h a t it r e m a i n s s e l f - a w a r e i n t h e p r e s e n c e
of f i n a l i t y and d e a t h , t o s u c h a d e g r e e i s performance t h e accomCock-A-;Doodle'-Doe!
p l i s h m e n t of c o n t e n t i n -
-
BENITO
CERENO
I t i s p e r h a p s one i n d i c a t i o n of t h e d i f f i c u l t y of
p l e l v i l l e ' s a r t t h a t s o much of h i s work h a s been i n t e r p r e t e d i n
The complexity of Moby Dick and P i e r r e i s
divergent fashion.
due n o t o n l y t o complexity of t h o u g h t and symbol b u t t o a r i c h
t e x t u a l i t y , d e r i v e d from an e c l e c t i c i s m o f l i t e r a r y and h i s t o r i c a l m a t e r i a l s and a s e l f - c o n s c i o u s n a r r a t i v e p e r s o n a .
The com-
p l e x i t y of t h e s e and o t h e r works h a s sometimes made i t d i f f i c u l t
.
f o r c r i t i c s t o i d e n t i f y M e l v i l l e ' s a t t i t u d e t o p h i l o s o p h i c a l and
moral problems o f b e i n g , of e v i l , of r e s p o n s i b i l i t y .
Thus i t h a s
been t h a t some c r i t i c s have s e e n M e l v i l l e ' s performance a f t e r
Moby
Dick a s showing a d e c l i n e of c r e a t i v e powers, and h i s s h o r t
-f i c t i o n h a s v e r y o f t e n been t r e a t e d as a u t o b i o g r a p h y r a t h e r t h a n
art.
One e x c e p t i o n t o t h i s c r i t i c a l n e g l e c t i s B e n i t o Cereno, 8 1
which because of i t s accomplished t r a g i c manner and h i s t o r i c a l
background, h a s been w i d e l y p r a i s e d " f o r i t s p e r f e c t i o n of form" 82
and " t h e w e i g h t of i t s drama, " 8 3
I r o n i c a l l y , i t s apparent objec-
t i v e manner h a s a l s o s t i r r e d up c r i t i c a l c o n t r o v e r s y . 84
a c r i t i c t h a n F.O.
ed q u e s t i o n s . " 8 5
NO
less
M a t t h i e s s e n h a s d e p l o r e d i t s " r a i s i n g unanswerBecause of t h e s t o r y 1s c i r c u m s t a n c e s , s l a v e r y
i s t h e contentious issue.
Does t h e s t o r y r e v e a l M e l v i l l e t o have
been a s y m p a t h e t i c a b o l i t i o n i s t o r d i s c r i m i n a t o r y a g a i n s t t h e
blacks?
T h i s i s t h e q u e s t i o n , b a l d l y posed, t h a t h a s engendered
t h e c r i t i c a l debate.
The p r i n c i p l e a t s t a k e , it would seem, i s
whether a r a c e t h a t h a s s u f f e r e d t h e i n d i g n i t i e s and h o r r o r s of
s l a v e r y should be c h a r a c t e r i z e d a s e v i l f o r attempting t o secure
t h e i r freedom t h r o u g h v i o l e n t r e v o l u t i o n .
P u t i n t h i s way, t h e
,
114
u e s t i o n i s unanswerable f o x i t s e t s t h e e v i d e n c e of h i s t o r y
a g a i n s t t h e p u r p o s e s of A r t .
N e v e r t h e l e s s t h e r e i s an a r t i s t i c d i f f i c u l t y i f w e s e e
t h e r e v e l a t i o n of t h e s t o r y a s b e i n g an e q u i v a l e n c e of e v i l and
blackness.
When, a t t h e s t o r y ' s end, C a p t a i n Delano a s k s Don
Benito:
"you a r e saved: what h a s c a s t such
a shadow upon you?'' ( p , 306)
and Don B e n i t o r e p l i e s :
"The negro,"
(p. 306)
. ,
t h e q u e s t i o n i s whether o r n o t we b e l i e v e t h a t t h e s t o r y ' s e s s e n t i a l symbolic d e p t h i s c h a r a c t e r i s e d by Don B e n i t o ' s r e s p o n s e .
Yet Beni'to CeIren.0 i s a s much a b o u t Amasa D e l a n o ' s n a i v e percept i o n of e v e n t s a s i t i s a b o u t Don B e n i t o ' s c a p t i v i t y and t h e
slaves' revolt.
These t h r e e p o s i t i o n s a r e k e p t e x p e r i e n t i a l l y
s e p a r a t e u n t i l t h e r e s c u e and t h e t r i a l d e p o s i t i o n , when t h e
f a c t s of t h e c a s e a r e p u t forward " p u b l i c l y " .
What i s i m p o r t a n t
t o keep i n mind i s t h a t t h e t h r e e p o s i t i o n s , though o n l y appare n t l y s e p a r a t e , a r e n e v e r t h e l e s s d i s c l o s e d as s e p a r a t e t o t h e
r e a d e r u n t i l t h e f a c t s come t o l i g h t ,
What d i f f i c u l t y i s t h e r e b y
c r e a t e d by t h i s n a r r a t i v e p r o c e d u r e i s t h u s embodied i n t h e t e x t
and n o t t h e r e s u l t of h i s t o r i c a l c i r c u m s t a n c e .
_ The s t o r y a s found i n Amasa Delano's A Narrative of
Voyages and T r a v e l s i s q u i t e s i m p l e , 86
Melville kept t h e basic
d r a m a t i c e v e n t s , o n l y changing t h e names and c h a r a c t e r i s t i c s of
t h e s h i p s and secondary p e r s o n a g e s , adding a f e w d e t a i l s , l i k e
t h e s h a v i n g s c e n e , and t h e i n t e l l e c t u a l and symbolic r a n g e t h a t
transforms h i s t o r y i n t o A r t .
According t o ~ e l a n o ' sa c c o u n t , h e
came a c r o s s a South American s l a v e s h i p o f f t h e c o a s t of C h i l e i n
from r e a l i z i n g t h a t t h e s l a v e s had m u t i n i e d and now c o n t r o l l e d t h e
ship.
Delano d i d n o t l e a r n t h e t r u e s i t u a t i o n till Cereno leaped
i n t o Delano's d e p a r t i n g b o a t .
The p r o b l e m a t i c c o n c e p t i o n of
eren no's c h a r a c t e r and of t h e n e g r o e s ' e v i l i s M e l v i l l e ' s c r e a t i o n .
The v e r y f a c t of M e l v i l l e ' s r e - c r e a t i o n of Amasa Delano's n a r r a t i v e s u g g e s t s t h a t M e l v i l l e was on t h e t r a i l of symbolic r a t h e r
than l i t e r a l , h i s t o r i c a l t r u t h .
I f we k e e p i n mind M e l v i l l e ' s symbolic i n t e n t i o n s , t h e
charges of r a c i a l i n s e n s i t i v i t y a r e unfounded p r i m a r i l y because
they a r e i n a p p r o p r i a t e .
Ben'i'to Cereno i s o n l y i n c i d e n t a l l y a b o u t
t h e h i s t o r i c a l phenomenon of s l a v e r y .
The s t o r y u s e s h i s t o r y a s
a p e r s p e c t i v e on t r a g e d y r a t h e r t h a n a s an i d e a l s t a n d a r d .
More-
o v e r , a s a symbolic e x c u r s u s t o t h e p u b l i s h e d documents on t h e
a c t u a l s l a v e r e v o l t , t h e s t o r y s u g g e s t s a more u n i v e r s a l condit i o n of s l a v e r y .
F i r s t of a l l , t h e w h i t e s are shown t o be en-
s l a v e d , s p i r i t u a l l y and c u l t u r a l l y , by t h e i r h e r i t a g e ;
secondly,
a profound i n t e r - r e l a t e d n e s s of symbol, t h o u g h t , and e v e n t , sugg e s t s t h a t w e c a n n o t e x t r a p o l a t e one form of i n j u s t i c e f o r purpos e s of d i s c u s s i o n w i t h o u t damaging t h e coherence of r e p o r t e d experience;
t h i r d l y , t h e ambiguous c a p t o r - s l a v e r e l a t i o n s h i p b e t -
ween Don B e n i t o and t h e negro Babo i m p l i e s b o t h a s h a r e d c u l p a b i l i t y and-a shared, i f unwilling, consciousness of e v i l .
These
t h r e e d i s t i n c t i o n s t e l l u s t h a t even i f we were t o narrow o u r focu s of a t t e n t i o n t o o n l y t h e t r e a t m e n t of s l a v e r y , M e l v i l l e ' s performance h a s e n s u r e d we c o u l d n o t i $ o l a t e a d e f i n i t i v e understanding.
One of t h e f i r s t i m p r e s s i o n s of t h e s t o r y i s i t s comp l e x i t y of d e t a i l ,
G e n e r a l f e a t u r e s of t h e s u r r o u n d i n g s , s m a l l
p a r t i c u l a r s of p e o p l e and t h i n g s , and e x o t i c a l l u s i o n s a r e combined t o form a d e n s i t y of e x p e r i e n c e t h a t i n c l u d e s t h e r e a d e r
i n t h e immediacy o f e v e n t s and s e p a r a t e s him from t h e s i m u l t a n e ous p e r c e p t i o n of t h e i r s i g n i f i c a n c e .
An e x a m i n a t i o n o f t h e
f i r s t few pages of t h e s t o r y r e v e a l s how s u c h a paradox i s
achieved.
. ,
The n a r r a t i v e b e g i n s w i t h a h i s t o r i c a l p e r s p e c t i v e , t e l l i n g u s i n a few words of t h e p e r s o n ( ~ e l a n o,) t h e t i m e (1799) ,
t h e p l a c e ( t h e i s l a n d S a n t a Maria o f f t h e c o a s t o f C h i l e ) , and
t h e purpose of t h e s h i p ' s p r e s e n c e ( t h e r e - s u p p l y
(p. 217).
of w a t e r )
T h i s " l o n g view" s e t s t h e t o n e o f detachment and
i n t r o d u c e s h i s t o r i c a l p e r s p e c t i v e as t h e f i r s t b u t a l s o t h e most
removed of t h e p o s s i b l e approaches t o u n d e r s t a n d i n g e v e n t s .
When
a s t r a n g e s h i p i s s i g h t e d , C a p t a i n Delano goes on deck and t h e
h i s t o r i c a l view i s s u d d e n l y s u p p l a n t e d by t h e view o f p e r s o n a l
w i t n e s s , combining D e l a n o ' s l i m i t e d v i s i o n of t h e s u r r o u n d i n g s
with authorial d i s c r e t i o n .
E x t e r n a l s a r e recor,ded f a i t h f u l l y y e t
modified by t h e new f a c t o r of i n d i v i d u a l a p p r e h e n s i o n .
Thus t h e
i n d i s t i n c t n e s s o f t h e g r a y s e a and sky s u g g e s t s a f o r e b o d i n g quality.
Things a r e o t h e r t h a n t h e i r mere a p p e a r a n c e , and t h i s qua-
l i t y of " o t h e r " i s r e p r e s e n t e d by s i m i l i t u d e :
...
..,
...
seemed f i x e d
The
The s e a
Flights
sky seemed a g r a y s u r t o u t .
skimmed
of t r o u b l e d g r a y fowl
low and f i t f u l l y o v e r t h e w a t e r s , a s
swallows o v e r meadows b e f o r e storms.
Shadows p r e s e n t , foreshadowing deep e r shadows t o come. [p. 217)
117
The f i n a l . l i n e of t h e above p a s s a g e i s a condensed s t a t e m e n t of t h e
s t o r y ' s symbolic i n t e n t i o n s , s u g g e s t i n g f i r s t t h a t t h e vagueness
of appearances p o i n t s t o a d e e p e r ambiguity and t h e n t h a t t h e a r t i c u l a t i o n of t h i s a m b i g u i t y w i l l b e i n t e r m s of l i g h t and darkness.
The t h r i c e - r e p e a t e d
"shadowv i n d i c a t e s t h a t t h e s e n t e n c e
i s a c h i e v i n g p o e t i c a l l y i n symbol what it s t a t e s i n i n t e n t i o n .
T h e r e f o r e , t o summarize t h e n a r r a t i v e e f f e c t s o f t h e f i r s t few
p a r a g r a p h s , we have: i n terms of performance, a movement from t h e
f a c t u a l s t a t e m e n t and l i t e r a l p e r c e p t i o n of t h e s t o r y ' s opening
. ,
l i n e t o t h e symbolic s t a t e m e n t and p o e t i c p e r c e p t i o n of " f o r e shadowing d e e p e r shadows t o come";
i n t e r m s of view-point,
a
movement from h i s t o r i c a l p e r s p e c t i v e t o , i n t h e t h i r d p a r a g r a p h ,
a third-person p e r s p e c t i v e t h a t includes within it t h e wider perc e p t i o n of t h e a u t h o r ;
a m e t a p h o r i c a l s t a s i s (soon, w i t h t h e
commencement o f t h e drama, t o become a symbolic s t a s i s ) , i n d i c a t e d i n t h e anchored s h i p , t h e muted calm, t h e seemingly " f i x e d "
( p . 217) s e a whose s u r f a c e i s l i k e "waved l e a d t h a t h a s c o o l e d "
(p. 217).
With t h e s e t t i n g and t h e r a n g e o f p e r c e p t i o n (from lite r a l t o symbolic) i n d i c a t e d , t h e n e x t s e v e r a l p a r a g r a p h s demonst r a t e and comment upon D e l a n o ' s r e a c t i o n s t o t h e s t r a n g e s h i p .
The p s y c h o l o g i c a l mode o f a n t i c i p a t i o n , a n a l y s i s , and d i s c o v e r y
i s i n t r o d u c e d by such language a s : "But whatever m i s g i v i n g s might
have obtruded
t h e vapors
.,.I1
..," ( p .
(p. 2181, " I t might have been a d e c e p t i o n o f
218)
,
"Surmising1' (p. 218)
p u r e l y f a n c i f u l resemblance which
t o think
...
l1
... a l m o s t
,
"But it was no
l e d C a p t a i n Delano
(p. 2 1 9 ) , "Upon a s t i l l n i g h e r approach,
..''
t r u e c h a r a c t e r of t h e v e s s e l was p l a i n ,
(p. 219)
.
. .. t h e
We a r e
118
allowed t o s t u d y Delano a s h e s t u d i e s t h e a p p r o a c h i n g v e s s e l , b u t
t h e p r o c e s s of i d e n t i f i c a t i o n i s s o drawn o u t t h a t c e r t a i n t y of
meaning i s l o s t i n f a v o u r of a d i s q u i e t i n g i l l u s o r i n e s s .
r e a l i z a t i o n t h a t t h e s t r a n g e r i s a "Spanish merchantman
The
.,.
c a r r y i n g negro s l a v e s " (p. 2191 does n o t d i s p e l t h e c u m u l a t i v e
e f f e c t of t h e m i s p e r c e p t i o n s d u r i n g t h e s t a g e s o f a p p r e h e n s i o n ,
which i s , a s t h e s t o r y l a t e r d i s c l o s e s , one o f "enchantment"
(p. 2 2 1 ) .
By b e i n g a b l e t o s t u d y b o t h Delano and t h e approaching
b o a t , t h e r e a d e r i s made aware t h a t s u c h "enchantment" c a n n o t b e .
e x c l u s i v e l y a p r o d u c t of D e l a n o ' s c o n s c i o u s n e s s , b u t i s a l s o
somehow p a r t of t h e v e r y c o n d i t i o n s of t h e p l a c e .
The s t r a n g e
muted calm of t h e s e a , t h e p r e s e n c e of "Vapors" (p. 217) p a r t l y
c o n c e a l i n g t h e s h i p " t h r o u g h which t h e f a r m a t i n l i g h t from h e r
c a b i n streamed e q u i v o c a l l y enough" ( p . 2 1 8 ) , an u n c e r t a i n b r e e z e
which seems " b a f f l i n g " ( p , 2 1 8 ) , a l l s u g g e s t a c o n s p i r a c y of
Nature i n t h e events about t o unfold.
The n a r r a t o r t e l l s u s , a s t h e s t r a n g e v e s s e l approaches,
t h a t Delano i s a man of "a s i n g u l a r l y u n d i s t r u s t f u l good n a t u r e "
( p . 2 1 7 ) , "who l a c k s t h e s e n s e of e v i l " . 8 7
This information s o
undermines t h e t r u s t w o r t h i n e s s of h i s p e r c e p t i o n s i n t h e s u s p i c i o u s c i r c u m s t a n c e s , t h a t u n c e r t a i n t y i r o n i c a l l y becomes t h e o n l y
s a f e assumption about what i s b e i n g r e v e a l e d .
L a t e r , a s Delano
becomes more i n v o l v e d w i t h t h e e v e n t s on b o a r d t h e San Dominick,
h i s myopic p e r c e p t i o n of a p p e a r a n c e s w i l l t a k e on more s e r i o u s l y
moral c o n s i d e r a t i o n s .
The prolonged d e s c r i p t i o n of ~ e l a n o ' ss i g h t i n g of t h e
San Dominick i s a l s o i n t e r e s t i n g i n t h e manner i n which i t c o r r e s ponds t o g r a d a t i o n s of a p p r e h e n s i o n .
This i s n o t t o say t h a t
,
119
j e l v i l l e w i s h e s t o e n u m e r a t e v a r i e t i e s o f knowing b u t t h a e t h e i r
mere e x i s t e n c e s i g n i f i e s t h e d i f f i c u l t y o f a t t a i n i n g any a b s o l u t e
knowledge of a phenomenon.
conscious irony
--
I n P i e r r e , s o concerned
--
with s e l f -
about t h e p r o b a b i l i t i e s o f a t t a i n i n g a b s o l u t e
i d e a l s , t h e n a r r a t o r t e l l s u s t h a t it i s f o l l y t o t h i n k one c a n
e v e r a t t a i n " t h e U l t i m a t e o f Human S p e c u l a t i v e Knowledge. 1 ~ 8 8
I n B e n i t o Cereno, w e a r e f o r t h e most p a r t c o n f r o n t e d o n l y w i t h
t h e c o n c e r n f o r a t t a i n i n g r e l a t i v e knowledge, t h e t r u t h o f e v e n t s
of t h e moment, and y e t t h e t a s k i s n o t l e s s t o r t u o u s .
The p a r a -
. -
g r a p h s i n q u e s t i o n a r e o r g a n i z e d a s s p e c u l a t i o n s on t h e n a t u r e
of t h e s t r a n g e v e s s e l .
The i n t e r r o g a t i o n by Delano o f t h e slow-
l y c l a r i f y i n g image o f t h e s h i p a l t e r n a t e s between p e r c e i v e d
v a g u e n e s s and sudden, s t r o n g images o f s t a r t l i n g i m p o r t , between
" p e r s o n a l a l a r m s " ( p . 218) a t t h e p o s s i b l e i n t e n t i o n of t h e vess e l and s e l f - a p p e a s e m e n t .
These a l t e r n a t i o n s of p e r c e p t i o n and
mood, e x p e r i e n c e d from t h e s a f e d i s t a n c e of h i s own s h i p , a r e no
d i f f e r e n t from t h e s p e c u l a t i o n s e x e r c i s e d by Delano on b o a r d t h e
San Dominick.
The o n l y change i s i n i n t e n s i t y b u t n o t i n k i n d ,
i t would seem, and t h u s M e l v i l l e i s a b l e t o s u g g e s t t h r o u g h r e p e -
t i t i o n t h a t i l l u s o r i n e s s o f a p p e a r a n c e s i s n o t momentary and
f r e a k i s h b u t p a r t o f t h e c o n d i t i o n o f man and o f t h e world.
F u r t h e r m o r e , t h e u n u s u a l images t h a t come t o D e l a n o ' s
mind as h-e w a t c h e s t h e San Dominick c o m p l i c a t e t h a t e x p e r i e n c e .
"
J u s t as t h e shadowed g r a y o f t h e sea and s k y i s t h e i n t e r m e d i a t e
t o n e between l i g h t and d a r k n e s s , s u g g e s t i n g a d i s t u r b i n g a m b i g u i t y ,
s o t h e sudden images of t h e s h i p have a s y m b o l i c r e s o n a n c e t h a t
r e s i s t s t h e merging d u a l i t y o f a n t i c i p a t i o n and f e a r .
A t first
t h e s h i p s u g g e s t s " a Lima i n t r i g u a n t e l s one s i n i s t e r e y e " ( p . 218)
,
120
i t s e l f a , r o m a n t i c image o f p a s s i o n and i n t r i g u e , t h a t seems l i t t l e
e l s e t h a n a s t r i k i n g p i c t u r e u n t i l t h e end o f t h e s t o r y when
B a b o ' s head i s f i x e d on a p o l e i n Lima's P l a z a and m e e t s "unab a s h e d , t h e g a z e o f t h e w h i t e s t ' Cp. 3 0 7 )
.
The c l e a r , b u t myster-
i o u s , c o r r e s p o n d e n c e between t h e two images i s a t f i r s t c o n c e a l e d
when w e a r e t o l d of t h e s u g g e s t e d "Lima i n t r i g u a n t e ' s one s i n i s -
t e r eye" (p. 218), y e t t h e d i s t u r b i n g resonance i s nonetheless
there.
The n e x t image i s o f a "whitewashed m o n a s t e r y a f t e r a
thunder-storm,
s e e n p e r c h e d upon some dun c l i f f among t h e Pyren-
ees" (p. 219).
H e r e t h e s t a r t l i n g q u a l i t y of t h e s i m i l i t u d e i s
a profound d i s l o c a t i o n of t i m e and space, f r i g h t e n i n g i n i t s e l f
b u t a l s o a t a deeper l e v e l introducing t h e r e l i g i o u s motifs t h a t
p l a y a l a r g e p a r t i n t h e symbolic p r o c e s s o f t h e s t o r y .
I n con-
s o n a n c e w i t h t h a t image, Delano n e x t sees what a p p e a r s t o him t o
b e " t h r o n g s o f d a r k cowls
c l o i s t e r s " (p. 219).
... as
of Black F r i a r s pacing t h e
With t h i s image, t h e r e l i g i o u s i m p l i c a t i o n s ,
t h e s u g g e s t i o n o f r i t u a l , and t h e somewhat s i n i s t e r c o n n o t a t i o n
o f " B l a c k F r i a r s " a l l work t o g e t h e r t o p r o d u c e a f a t e f u l s i g n i f i cance.
The r e s o n a n c e o f t h e s e images i s t o b e found i n t h e i r
f a t e f u l n e s s , i n t h e i r a b i l i t y t o portend a f u t u r e of profound
d i s t u r b a n c e and p e r s o n a l d e c e p t i o n .
The images a l s o m a n i f e s t a
q u a l i t y , p r e s e n t throughout t h e n a r r a t i v e , of p a r t i c u l a r i t y , t h a t
re-creates
t h e e x p e r i e n t i a l p a r a d o x o f h e i g h t e n e d a w a r e n e s s and
vague i l l u s o r i n e s s on a t e x t u a l l e v e l .
The v e r y p a r t i c u l a r i t y o f
t h e imagery, seemingly f i x i n g w i t h p r e c i s i o n t h e n a t u r e of D e l a n o ' s
e x p e r i e n c e s , a l s o t e n d s t o d e f l e c t t h e r e a d e r ' s a t t e n t i o n away
from t h e c o n t i n u i t y of t h o s e e x p e r i e n c e s .
When, f o r example, w e
r e a d o f t h e San Doninick a p p e a r i n g l i k e " a whitewashed m o n a s t e r y
a f t e r a t h u n d e r s t o r m , s e e n p e r c h e d upon some dun c l i f f among t h e
P y r e n e e s " (p. 2191, w e are momentarily c a u g h t i n t h e t r a n s i t i o n a l a p p r e c i a t i o n o f a P y r e n e e s s e t t i n g t h a t d o e s n o t e x i s t and
y e t h a s been made t o e x i s t .
Such i n t e r r u p t i o n s o f t i m e a n d
s p a c e a r e f l e e t i n g , b u t c o m p e l l i n g enough t o h a v e r e - c r e a t e d t h e
i m a g i n a t i v e geography o f t h e t e x t .
Hence, d u r i n g t h e u n f o l d i n g
o f t h e n a r r a t i v e , w e are a l s o s i m u l t a n e o u s l y i n v o l v e d i n t h e t a s k
o f i n t e r p r e t i n g t h e s i g n i f i c a n c e of i m a g e s ' t h a t c a n o n l y deepen
t h e a m b i g u i t y of t h e c o m p l e t e e x p e r i e n c e .
Such a n i n t e r p r e t i v e
a p p r o a c h a s t h i s m i g h t s e e m t o f u r t h e r d i s t a n c e t h e r e a d e r from
t h e s u b s t a n t i v e e x p e r i e n c e of B e n i t o Cereno, y e t , a s h a s been
a l r e a d y shown, n a r r a t i v e and t e x t u a l c o m p l e x i t y are c o r r e s p o n d i n g l y matched t o i l l u s t r a t e t h e v e r y r e a l c o m p l e x i t y o f a p p a r e n t l y s i m p l e e v e n t s , compounded by t h e l i t t l e - k n o w n s u b t l e t i e s
o f p e r c e p t i o n and a n a l y s i s .
More p o i n t e d l y , t h e d i s t a n c e b e t -
ween p e r c e i v e r ( h e r e meant t o ' i n c l u d e , on d i f f e r e n t l e v e l s , b o t h
Delano and t h e r e a d e r ) a n d t h e p e r c e i v e d i s i t s e l f an i m p o r t a n t
t o p i c o f t h e s t o r y , as w i l l soon b e d e m o n s t r a t e d .
I t should be noted a t t h i s p o i n t ,
t h e psychic m a t e r i a l i t y of t h e text8'
t u r e o f B e n i t o Cereno a l o n e .
t h a t what w e c a n c a l l
i s n o t an i n v e n t i o n a l fea-
I t i s e v i d e n t i n Moby
Dick,
--
P i e r r e , comically i n Cock-A-Doodle-Doo!
-
and i n I a n-d My Chimney,
- i n B i l l y Budd, among h i s p r o s e works.
i n The Confidence-Man,
What some c r i t i c s have complained of a s t h e ponderous s t y l e of
B e n i t o Cereno i s due i n p a r t t o t h e c o n j u n c t i o n o f n a r r a t i v e form
w i t h p o e t i c d e n s i t y of meaning, and a s s u c h , B e n i t o C e r e n o l s
achievement i s n o t much d i f f e r e n t i n p r o p o r t i o n a t e s c a l e t o t h e
I
122
acknowledged m a s t e r y o f s y m b o l i c i m a g i n a t i o n i n Moby ~ i c k :
How B e ' n i t o C e r e n o i n t r o d u c e s t h e p r o b l e m o f d i s t a n c e can
be found i n t h e e a r l y p a s s a g e s on D e l a n o ' s s i g h t i n g o f t h e San
~ o m i n i c k . The g r a d a t i o n s i n a p p r e h e n s i o n are m e t a p h o r i c a l l y
d e s c r i b e d i n s e p a r a t e p a r a g r a p h s , h e r e r e p r e s e n t e d by t h e i r openi n g s e n t e n c e s : " I t n i g h t h a v e been b u t a d e c e p t i o n o f t h e v a p o r s ,
b u t , t h e l o n g e r t h e s t r a n g e r w a s watched t h e more s i n g u l a r appeared h e r manoevres"
Cp. 218) ; " S u r m i s i n g , a t l a s t , t h a t i t might b e
a s h i p i n d i s t r e s s , C a p t a i n Delano o r d e r e d - h i s whale-boat
dropped
ship
..." ( p .
... a p p e a r e d
218);
t o be
"Upon g a i n i n g a l e s s r e m o t e view, t h e
l i k e a white-washed m o n a s t e r y
..." ( p .
219);
"Upon a s t i l l n i g h e r a p p r o a c h , t h i s a p p e a r a n c e w a s m o d i f i e d , and
t h e t r u e c h a r a c t e r o f t h e v e s s e l was p l a i n
--
man o f t h e f i r s t c l a s s , c a r r y i n g n e g r o s l a v e s
t h e whale-boat
a S p a n i s h merchant-
..."
( p . 219) ; "As
drew more a n d more n i g h , t h e c a u s e o f t h e p e c u l i -
a r p i p e - c l a y e d a s p e c t o f t h e s t r a n g e r was s e e n i n t h e s l o v e n l y
n e g l e c t pervading her"
(p. 2 1 9 ) .
A s t h e whale-boat
draws a l o n g -
s i d e t h e San Dominick s e v e r a l f e a t u r e s of t h e s h i p a r e d e s c r i b e d ,
b u t i r o n i c a l l y i n t h e m i d s t of such p r e c i s e d e t a i l t h e f i n a l im. p r e s s i o n of Delano's b e f o r e boarding i s of adhering barnacles
c a l l i n g t o mind " b a f f l i n g a i r s " ( p . 2 2 1 ) .
This impression brings
u s f u l l c i r c l e t o t h e i n i t i a l cloudy p e r c e p t i o n s o f t h e s h i p perc e i v e d from a d i s t a n c e , d i s c l o s i n g t h a t what h a s been l e a r n e d i s ^
still uncertain.
A s f u t u r e e v e n t s show, and h e r e foreshadowed
i n t h e s y m b o l i c a p p r o a c h o f Delano t o knowledge o f t h e s t r a n g e r ,
t h e good c a p t a i n i s s a t i s f i e d w i t h t h e s u p e r f i c i a l i d e n t i f i c a t i o n
o f t h e San Dominick.
I r o n i c a l l y , a t Captain Delano's expense, it
i s o n l y w i t h t h e i d e n t i f i c a t i o n o f t h e San Dominick t h a t t h e more
1 23
s u b t l e m y s t e r i e s b e g i n t o show t h e m s e l v e s , a s i n d i c a t e d i n t h e
i n c r e a s i n g l y symbolic c h a r a c t e r of t h e s h i p ' s f e a t u r e s
--
features
which Delano p e r c e i v e s b u t whose s i g n i f i c a n c e h e does n o t appreciate.
Thus, we d i s c o v e r t h a t t h e s h i p "seemed l a i d , h e r r i b s
p u t t o g e t h e r , and s h e launched, from E z e k i a l ' s V a l l e y of Dry
ones" (p. 2201, i m p a r t i n g a v i s i o n of d e a t h t o t h e a l r e a d y plent i f u l i m p r e s s i o n s of c o r r u p t i o n .
We l e a r n t h a t t h e s t e r n - p i e c e
shows an emblem o f "a d a r k s a t y r i n a mask, h o l d i n g h i s f o o t on
t h e p r o s t r a t e neck o f a w r i t h i n g f i g u r e , l i k e w i s e masked" ( p .
. .
2 2 0 ) , and w i t h t h i s image t h e r e i s a p o r t e n t o f t h e ambiguous
c o n d i t i o n of s l a v e r y on board.
Both o f t h e s e images symbolize
a r e a s of e x p e r i e n c e t h a t c o r r e s p o n d t o c o n d i t i o n s on t h e s h i p ,
b u t because Delano i s l i m i t e d by h i s o r d i n a r i n e s s and moral
myopia and b e c a u s e Cereno i s n e v e r a b l e t o communicate t h e f u l l
depth of h i s o r d e a l , we a r e p r e v e n t e d from e v e r f u l l y d e c i p h e r i n g t h e emblematic meaning of t h e images.
Furthermore, t h e
s e p a r a t i o n between t h e American and Spanish s h i p s symbolizes
t h e s e p a r a t i o n between Arnasa Delano and B e n i t o Cereno, n e v e r t o
be spanned d e s p i t e t h e b e s t i n t e n t i o n s of t h e two men, and t h e
approach of D e l a n o ' s whale-boat t o a p o s i t i o n c l o s e enough t o s e e
t h e s t e r n - p i e c e emblem c o r r e s p o n d s t o D e l a n o ' s l a t e r r e i t e r a t i o n s
of t h e p e r i p h e r y of t h e f a c t s and t h u s t o t h e e l u s i v e d i s t a n c e of
the truth.
T h e r e f o r e , t h e f i r s t few pages o f B e n i t o Cereno, b e f o r e
C a p t a i n D e l a n o ' s b o a r d i n g of t h e San Dominick, i n t r o d u c e t h e
range of themes and d e v i c e s u s e d i n t h e s t o r y : ' a complex p o i n t of-view,
combining h i s t o r i c a l p e r s p e c t i v e and a c o n c e a l e d n a r r a .-
tor;
symbolic i m a g i n a t i o n ;
m i s m of C a p t a i n Delano;
textuality;
the indefatigable opti-
a p e r v a d i n g ambiguity;
an emphasis on
B
9c
,
,
124
s i g h t , b o t h l i t e r a l and p s y c h o l o g i c a l ;
w i t h o u t t h e c e r t a i n t y of knowledge;
a sense of foreboding e v i l ,
decay, and d e a t h i n t h e S p a n i s h v e s s e l ;
ous and s e c u l a r m y s t e r y .
v a r i e t i e s o f knowing
t h e presence of r e l i g i -
W e have looked r a t h e r c l o s e l y a t t h e
opening p a g e s t o d e m o n s t r a t e t h a t Beni'to Cereno e x p a n d s n o t j u s t
i n b r e a d t h b u t c u m u l a t i v e l y , by d e g r e e , and t h a t i n s u c h d e n s i t y
o f e x p e r i e n c e t h e c o n t r o l l i n g a c t i v i t y h a s been what C a p t a i n
Delano sees a n d w h a t h e f a i l s t o see.
Such emphasis on s e e i n g i s
m a i n t a i n e d t h r o u g h o u t , a n d t h u s t h e q u e s t i o n s o f s l a v e r y and e v i l
must be s u b o r d i n a t e d t o t h e n a t u r e o f D e l a n o ' s e x p e r i e n c e .
,
>~.
'
-
Amasa Delano a s I r o n i c Hero
-
How Amasa Delano u n d e r s t a n d s h i s e x p e r i e n c e i s e v i d e n t l y
c r u c i a l t o t h e s t o r y , b u t i t s importance i s h e i g h t e n e d by t h e
f a c t t h a t t h e r e a r e s e v e r a l i n d i c a t i o n s of a p e r v a s i v e ambiguity
t h a t even a c l e a r - s e e i n g m a r i n e r would have d i f f i c u l t y w i t h .
On
many o c c a s i o n s , t h e s e a and sky a r e d e s c r i b e d as " b a f f l i n g "
(p. 218) , a s enhancing " a d e c e p t i o n of
dream-like.
... v a p o r s "
( p . 218) a s
The n a r r a t o r t e l l s u s t h a t a s h i p o f t e n m a n i f e s t s
"something of t h e e f f e c t o f enchantment" (p. 2 2 1 ) , and t h e San
Dominick, i r r e s p e c t i v e o f i t s t e r r i b l e m y s t e r i e s , i s d e s c r i b e d
as having " l a i n t r a n c e d w i t h o u t wind" (p. 221) i n t h e v i c i n i t y
of Cape Horn.
These few of many such examples s u g g e s t a much
wider c o n t e x t of a m b i g u i t y t h a n mere p e r s o n a l c o n f u s i o n o r i g n o r ance.
Delano i s e x a s p e r a t e d by such s t r a n g e s e n s a t i o n s and
h i s ignorance, r e v e a l e d i n r e a c t i o n t o t h e m y s t e r i e s , f u r t h e r comp l i c a t e s them.
When h e f i r s t s i g h t s t h e S p a n i s h v e s s e l , h i s r e -
a c t i o n s a r e n o t e d i n t h e f o l l o w i n g manner:
C o n s i d e r i n g t h e l a w l e s s n e s s and
l o n e l i n e s s o f t h e s p o t , and t h e
s o r t of s t o r i e s , a t t h a t day,
associated with those seas, Captain
D e l a n o ' s s u r p r i s e might have deepened i n t o some u n e a s i n e s s had h e
n o t been a p e r s o n o f a s i n g u l a r l y
u n d i s t r u s t f u l good-nature, n o t
l i a b l e , e x c e p t on e x t r a o r d i n a r y and
r e p e a t e d i n c e n t i v e s , and h a r d l y
then, t o indulge i n personal alarms,
any way i n v o l v i n g t h e i m p u t a t i o n of
malign e v i l i n man. Whether, i n
view of what humanity i s c a p a b l e ,
such a t r a i t implies, along with a
b e n e v o l e n t h e a r t , more t h a n o r d i n a r y
q u i c k n e s s and a c c u r a c y of i n t e l l e c t u a l p e r c e p t i o n , may b e l e f t t o t h e
126
wise t o determine.
Cp. 217-218)
~t t h i s p o i n t i n t h e n a r r a t i v e , such an o b s e r v a t i o n may o n l y
h i n t of i r o n y , b u t l a t e r D e l a n o ' s "good-nature" i s more c l o s e l y
d e f i n e d and t h e i r o n i c t o n e i s i n e s c a p a b l e .
During a conversa-
t i o n w i t h Don B e n i t o c o n c e r n i n g t h e c u r i o u s r i t u a l o f t h e c h a i n e d
A t u f a l b e i n g brought t o t h e S p a n i s h c a p t a i n supposedly t o a s k f o r
f o r g i v e n e s s f o r some u n d i s c l o s e d o f f e n c e , Delano i s d e s c r i b e d by
t h e a u t h o r a s " a man of such n a t i v e s i m p l i c i t y a s t o be i n c a p a b l e
of s a t i r e o r i r o n y " ( p . 2 3 8 ) .
The i n a b i l i t y t o u s e o r t o see
.
?
i r o n y r e v e a l s a s i n g u l a r l a c k o f i n s i g h t i n t h e man, and h i s
o p i n i o n s a r e t h e r e f o r e n o t o n l y s u s p e c t , b u t t h e e l a b o r a t e metaphors of h i s p e r c e p t i o n s a r e t h e r e b y proven t o b e n o t of h i s own
conception b u t s t r i c t l y t h e a u t h o r ' s c r e a t i o n ,
"blunt-thinking"
Delano i s a
( p . 231) man, and a s such, would seem t o b e t h e
u n l i k e l i e s t person t o u n r a v e l t h e m y s t e r i e s o f t h e s t e r n - p i e c e
emblem.
Arnasa Delano i s one of M e l v i l l e ' s many n a i v e , o r d i n a r y minded c h a r a c t e r s , b e l o n g i n g i n a s p i r i t u a l community w i t h t h e
n a r r a t o r of B a r t l e b y The
- S c r i v e n e r and William Ford of Jimmy Rose.
Delano may have e x p e r i e n c e d more o f a v a r i e t y o f l i f e , may be
,more o f an a d v e n t u r e r , b u t h i s o r d i n a r i n e s s and, i n t h e circurns t a n c e s , r a t h e r s t u p i d optimism, p r e v e n t him from l e a r n i n g from
h i s experience.
On t h e San Dominick, h i s s u p e r f i c i a l i t y i s
exposed by h i s almost i n o r d i n a t e a t t e n t i o n t o m a t t e r s of d r e s s
and decorum,
I t does n o t seem t o b e enough f o r D e l a n o ' s s a t i s f a c -
t i o n t o observe t h a t Cereno h a s a " s p l e n e t i c d i s r e l i s h o f h i s
p l a c e " Cp. 2 2 6 )
, and
disorder" (p. 2 2 6 ) .
seems " t h e i n v o l u n t a r y v i c t i m of m e n t a l
Repeatedly h e r e t u r n s h i s o b s e r v a t i o n t o some
p o i n t of misconduct on C e ~ e n p
~ a~r ts;
@.
2 3 4 ) , " h a p l e s s " (p. 2341,
Don B e n i t o seems "kude"
"a p a p e r c a p t a i n 1 ' Cp. 2341, and
such s u p p o s i t i o n s go no f u r t h e r t h a n t h e s p e c u l a t i o n t h a t t h e
~ p a n i s hc a p t a i n ' s i n f e l i c i t y might c o n c e a l " t h e most savage
e n e r g i e s " (p. 2 4 0 ) .
Noreover, Delano's r e p e a t e d o b s e r v a t i o n s of
t h e s h i p ' s d e r e l i c t i o n do n o t i n c l u d e any d e e p e r s i g n i f i c a n c e a s
i s shown i n t h e comparative s u p e r f i c i a l i t y o f t h e f o l l o w i n g passage:
However u n s u i t a b l e f o r t h e t i m e and
place, a t l e a s t i n t h e blunt-think- i n g American's e y e s , and however
s t r a n g e l y s u r v i v i n g i n t h e m i d s t of
a l l his afflictions, the toilette
of Don B e n i t o might n o t , i n f a s h i o n
a t l e a s t , have gone beyond t h e
s t y l e o f t h e day among South
Americans o f h i s c l a s s . Though on
t h e p r e s e n t voyage s a i l i n g from
Buenos Ayres, h e had avowed himself
a n a t i v e and r e s i d e n t of C h i l e ,
whose i n h a b i t a n t s had n o t s o gene r a l l y a d o p t e d t h e p l a i n c o a t and
once p l e b e i a n p a n t a l o o n s ; b u t ,
w i t h a becoming m o d i f i c a t i o n , adh e r e d t o t h e i r p r o v i n c i a l costume,
p i c t u r e s q u e a s any i n t h e world.
S t i l l , relatively t o the pale hist o r y of t h e voyage, and h i s own
p a l e f a c e , t h e r e seemed something
s o incongruous i n t h e S p a n i a r d ' s
apparel, a s almost t o suggest t h e
image of an i n v a l i d c o u r t i e r t o t t e r i n g a b o u t London s t r e e t s i n t h e
t i m e of t h e p l a g u e . (p. 231-232)
Passages such a s t h e above i n d i c a t e t o what e x t e n t Delano i s una b l e t o r e a d appearances.
On many o c c a s i o n s t h e American c a p t a i n
a t t e m p t s a physiognomic a n a l y s i s of Cereno and t h e r e s t of t h e
s h i p ' s i n h a b i t a n t s and y e t f a i l s t o d i s c e r n t h e r e a l s i t u a t i o n .
H i s b e l i e f i n t h e a p p a r e n t c h i l d i s h d e v o t i o n o f Babo t o Don B e n i t o ,
h i s c h a r a c t e r i z a t i o n of t h e n e g r e s s e s a s " p u r e t e n d e r n e s s and
128
love" (p.. 2 5 l ) , h i s i n a b i l i t y t o comprehend t h e o l d s a i l o k ' s
demeanor a s h e i s handed a k n o t , a l l s i g n i f y h i s i n e p t n e s s .
Such d e f i c i e n c i e s may n o t b e s e r i o u s i n a n o t h e r man,
s i n c e t h e appearance of e v e r y t h i n g on b o a r d t h e San Dominick i s
mysteriously equivocal;
i n Delano's c a s e however, h i s myopia i s
a g g r a v a t e d by a g e n e r a l l y condescending, and sometimes dehumani z i n g , view of t h e negroes which p r e v e n t s him from a p p r e c i a t i n g
t h e t r u e c h a r a c t e r of e v e n t s .
Babo, t h e r i n g - l e a d e r of t h e p l o t ,
i s d e s c r i b e d by Delano a s having a " r u d e f a c e ,
o c c a s i o n a l l y , l i k e a s h e p h e r d ' s dog,
were e q u a l l y blended"
(p. 2 2 3 ) .
... sorrow
[in which],
as
.
and a f f e c t i o n
I n t h e s h a v i n g s c e n e , Delano
ponders on t h e supposed t a l e n t s of t h e n e g r o and upon h i s own
a t t i t u d e t o t h e race:
There i s something i n t h e negro
which, i n a p e c u l i a r way, f i t s him
f o r a v o c a t i o n s a b o u t o n e ' s person.
Most n e g r o e s are n a t u r a l v a l e t s
and h a i r - d r e s s e r s ;
taking t o the
comb and b r u s h c o n g e n i a l l y a s t o
t h e c a s t a n e t s , and f l o u r i s h i n g
them a p p a r e n t l y w i t h a l m o s t e q u a l
satisfaction.
There i s , t o o , a
smooth t a c t a b o u t them i n t h i s
employment, w i t h a m a r v e l l o u s ,
noiseless, g l i d i n g briskness, not
u n g r a c e f u l i n i t s way, s i n g u l a r l y
p l e a s i n g t o b e h o l d , and s t i l l more
s o t o be t h e manipulated s u b j e c t of.
And above a l l i s t h e g r e a t g i f t of
good-humour.
Not t h e mere g r i n o r
laugh i s h e r e meant.
Those were
unsuitable.
But a c e r t a i n e a s y
c h e e r f u l n e s s , harmonious i n e v e r y
g l a n c e and g e s t u r e ;
a s though God
had s e t t h e whole n e g r o t o some
p l e a s a n t t u n e . (p. 2 6 4 1
The l i s t of t h e n e g r o t s p e r f e c t i o n s c o n t i n u e s w i t h , f o r example,
t h e f o l l o w i n g c h o i c e phrases'.:
F
when to this is added the docility
arising from the unaspiring contentment of a limited mind, and that
susceptibility of blind attachment
sometimes inhering in indisputable
inferiors
When at ease with
respect to exterior things, Captain
Delano's nature was not only benign,
but familiarly and humorously so.
At home, he had often taken rare
satisfaction in sitting in his door,
watching some free man of color at
his work or play. If on a voyage
he chanced to have a black sailor,
invariably he was on chatty and
half-gamesome terms with him, In
fact, like most men of a good,
blithe heart, Captain Delano took . to negroes, not philanthropically,
but genially, just as other men to
Newfoundland dogs. ( p . 2 6 4 - 2 6 5 )
..,
The attitude in these passages is so outrageous and yet put forward so sincerely and genially, that the words become almost inoffensive.
The devastating irony and satire in these passages is
worth a closer look, given the weight of embarrassments uttered
by Captain Delano.
In the first instance, the passages are evi-
dently ironic in the light of future disclosures.
The fact that
Babo is not only shaving Don Benito but performing some sadistic
ritual of torturerg0 mocks the thought that the negrols natural
talents make him suitable "for avocations about one's person"
(p. 2 6 4 ) .
The condescending remarks about the negrols supposed
lack of intelligence, are disproven by the presence of the quickwitted Babo, whose consummate acting and ability to command demonstrate Delano's own lack of intelligence.
The passages also
satirize the popular notion of the natural servitude and geniality
of the negro.
The sentimentality of God creating "the whole negro
to some pleasant tune" (p. 2 6 4 ) becomes suddenly grim in the context of the entire story, especially considering the information
130
from t h e d e p o s i t i o n t h a t t h e n e g r e s s e s " s a n g m e l a n c h o l y sOngs to
---
t h e n e g r o e s , a n d t h a t t h i s melancholy --t o n e was more i n f l a m i n g t h a n
7
-a d i f f e r e n t
--
one would h a v e b e e n , and was
- intended"
(p. 3 0 1 ) .
These p a s s a g e s i l l u s t r a t e , t o t h e d e g r e e o f c o n v i c t i o n ,
t h e p s y c h o l o g i c a l b l i n d n e s s o f C a p t a i n Delano.
H e a p p e a r s t o be
d e s c r i b i n g n e g r o e s n o t from what h e sees b u t from a m e n t a l p i c t u r e of them.
When t h e s t o r y t e l l s u s t h a t Delano " w a s amused
w i t h an odd i n s t a n c e o f t h e A f r i c a n l o v e o f b r i g h t c o l o r s and
f i n e shows," when Babo t a k e s a f l a g from t h e l o c k e r f o r u s e as a n
.
a p r o n , Delano i s i n f a c t d e s c r i b i n g h i s own f o n d n e s s f o r p r e t t y
colours.
F o r , a s it t u r n s o u t , t h e f l a g i s t h e S p a n i s h o n e , and
i t s u s e as a n a p r o n i s a d e l i b e r a t e i n s u l t t o Don B e n i t o as w e l l
as a s y m b o l i c g e s t u r e o f m a s t e r y .
Y e t D e l a n o , ' s t i l l absorbed i n
h i s mental p i c t u r e of j o l l y negroes, can only say:
"why, Don B e n i t o , t h i s i s t h e f l a g
It's well
of S p a i n you u s e h e r e .
i t ' s o n l y I and n o t t h e King, t h a t
s e e s t h i s , " h e added, w i t h . a s m i l e ,
" b u t " -- t u r n i n g t o w a r d s t h e b l a c k
-- " i t ' s a l l o n e , I s u p p o s e , s o
t h e c o l o r s b e g a y , " which p l a y f u l
remark d i d n o t f a i l somewhat t o
t i c k l e t h e n e g r o . ( p . 266)
The i r o n y o f t h e s i t u a t i o n i s , o f c o u r s e , t h a t Delano t h i n k s h e
h a s c a u g h t Babo i n a n e r r o r and g e n e r o u s l y t u r n e d it i n t o a joke;
i n a c t u a l i t y , B a b o ' s u s e o f t h e f l a g h a s been d e l i b e r a t e .
More-
o v e r , t h e - i n c i d e n t f o l l o w s a s t r a n g e moment when Delano f a n c i e s
t h a t h e i s w i t n e s s i n g an e x e c u t i o n :
-
" n o r , as h e saw t h e two t h u s
p o s t u r e d , c o u l d h e r e s i s t t h e v a g a r y , t h a t i n t h e b l a c k h e saw a
headsman and i n t h e w h i t e a man a t t h e b l o c k " ( p , 2661.
Delano
d i s m i s s e s t h e i m p r e s s i o n , b u t i t s s u g g e s t i v e n e s s p u t s a d a r k and
i r o n i c meaning t o h i s words:
" i t ' s a l l one, I suppose, s o t h e col-
P
o r s b e gay" (p. 2 6 6 ) .
For, i n t h e l a t t e r phrase, t h e ~ m e k i c a n
c a p t a i n seems u n c o n s c i o u s l y t o g i v e h i s a s s e n t t o t h e s a d i s t i c
nuances of t h e s h a v i n g .
But w h i l e i n t h i s and o t h e r i n s t a n c e s C a p t a i n Delano
i n s i s t s i n s e e i n g a c h e e r f u l demeanor where none e x i s t s , t h i s i s
Much of t h e t i m e h e i s
o n l y one s i d e o f h i s a l t e r n a t i n g moods.
f e a r f u l t h a t Don B e n i t o i s p l o t t i n g t o murder him.
Indeed, h i s
f e a r s , misplaced a s t h e y a r e , s t i l l s t r i k e t h e r e a d e r as b e i n g
c o n t r a d i c t o r y , as t h e man h i m s e l f i s .
For.the f i r s t part of-his .
-
s t a y on board h e i s l a r g e l y s y m p a t h e t i c t o Don B e n i t o ' s c l e a r
d e b i l i t y d e s p i t e t h e b i z a r r e c o n d i t i o n s on t h e s h i p .
Eventually,
C e r e n o ' s odd b e h a v i o u r p r o v e s t o b e t o o much even f o r D e l a n o ' s
credulity:
The s i n g u l a r a l t e r n a t i o n s o f c o u r t e s y and i l l - b r e e d i n g i n t h e S p a n i s h
c a p t a i n w e r e unaccountable, except
on one of two s u p p o s i t i o n s -- innoce n t l u n a c y , o r wicked i m p o s t u r e .
( p . 239)
The i r o n y , o f c o u r s e , i s t h a t t h e "wicked i m p o s t u r e " i s t a k i n g
p l a c e under t h e c o n t r o l o f t h e b l a c k s , b u t f o r t h e p u r p o s e o f
t h i s d i s c u s s i o n , l e t u s n o t e t h a t t h e c a p t a i n as e a s i l y r e g r e t s
h i s "ungenerous s u r m i s e s "
' h i s former f o r e b o d i n g s "
( p . 2 4 1 ) , and soon b e g i n s " t o l a u g h a t
(p. 246).
The v a r i o u s d i s t u r b i n g m y s t e r -
i e s on board become " t h o s e o l d s c i s s o r s ' g r i n d e r s ,
-
-
and t h o s e b e d - r i d d e n
... t h e
t h e Ashantees;
o l d k n i t t i n g women, t h e oakum-pickers;
and
dark Spaniard h i m s e l f , t h e c e n t r a l hobgoblin of a l l "
(p. 246).
Much o f h i s s e l f - p a c i f i c a t i o n
i s due t o r a t i o n a l i z a t i o n ,
t o what h e c a l l s "good s e n s e " (p. 2 5 7 ) , t o t h e " e x e r t i n g [of
] his
good n a t u r e t o t h e u t m o s t " ( p . 2 5 7 ) , t o t h o u g h t s t h a t a r e " t r a n q u i l i z i n g " (p. 246),
t h e r e b y s u g g e s t i n g t h e a v o i d a n c e o f any
~ O S -
!
s i b l e unpleasant t r u t h s .
I f Delano d o e s n o t p e r c e i v e t h e t r u e c h a r a c t e r o f t h e
s i t u a t i o n , what d o e s h e p a c i f y h i m s e l f a g a i n s t ?
Many o f h i s
H e a l t e r n a t e s t o s u c h a d e g r e e between compas-
f e a r s a r e vague.
s i o n and s u s p i c i o n , between c o n s t a n t a n a l y s i s o f a c t i o n s and t h e
r e l u c t a n c e t o t h i n k t o o deeply, t h a t no d i s t i n c t impression i s
formed o f t h e s o u r c e o f h i s t e r r o r .
The enigmas prompt Delano
t o say t o himself:
What, I , Amasa Delano -- J a c k o f
t h e Beach, as t h e y c a l l e d m e when
a lad
Who would murder Amasa
Delano? H i s c o n s c i e n c e i s c l e a n .
T h e r e i s someone above.
Fie, f i e ,
J a c k of t h e Beach!
You a r e a c h i l d
( p . 256)
indeed
...
'
...
J u s t a t t h i s p o i n t , when h i s c o n f i d e n c e i s w a v e r i n g i n h i s own
s a n i t y and i n t h e supposed b e n e v o l e n t o r d e r o f r e a l i t y , Delano
r e - a f f i r m s f o r h i m s e l f what h e c o n s i d e r s t o b e h i s i d e n t i t y .
He
i s a good f e l l o w , a man o f r i g h t c o n d u c t -- t h e s t u f f o f which,
i n h i s own e y e s , h e r o e s a r e made
childish fears.
--
and h e c h i d e s h i m s e l f f o r
Yet h e i s c h i l d - l i k e ,
i n h i s m o r a l i n n o c e n c e , and
i t i s h i s i n n o c e n c e which a l l o w s him t o i m p u t e o n l y c l e a r - c u t mora l d i s t i n c t i o n s t o appearances.
B e n i t o Cereno i s a s h i p ' s cap-
t a i n , a l e a d e r o f men, and t h e r e f o r e t o D e l a n o ' s " b l u n t - t h i n k i n g "
( p . 231) mind must b e r e s p o n s i b l e f o r t h e m y s t e r i e s on t h e San
Dominick;
e s p e c i a l l y s i n c e negroes are, i n h i s e s t i m a t i o n , "indis-
p u t a b l e i n f e r i o r s " (p. 2 6 4 ) .
Amasa Delano l i s t s f o u r o c c u r r e n c e s a s b e i n g e s p e c i a l l y
m y s t e r i o u s t o him:
F i r s t , t h e a f f a i r of t h e S p a n i s h l a d
a s s a i l e d w i t h a k n i f e by t h e s l a v e
Second, t h e t y r a n n y i n Don
boy
...
*
133
B e n i t o t s t r e a t m e n t of ~ t u f a i ,t h e
black;
a s i f a c h i l d should lead
a b u l l of t h e N i l e by t h e r i n g i n
h i s nose.
T h i r d , t h e t r a m p l i n g of
t h e s a i l o r by t h e two n e g r o e s
F o u r t h , t h e c r i n g i n g submission t o
t h e i r m a s t e r , of a l l t h e s h i p ' s
u n d e r l i n g s , m ~ s t l yb l a c k s . (p. 258)
...
P a s s i n g o v e r , f o r t h e moment, t h a t D e l a n o ' s u n d e r s t a n d i n g of t h e s e
happenings i s t h e r e v e r s a l of t h e t r u e s i t u a t i o n , l e t u s i n s t e a d
look a t t h e p o t e n t i a l f o r f e a r i n them.
The f i r s t of t h e s e i n c i -
d e n t s i s d e s c r i b e d by t h e a u t h o r i n a c l e a r , s t r a i g h t f o r w a r d
manner.
.
Three b l a c k s and two crewmen are c l e a n i n g a p l a t t e r ,
P
when "one of t h e b l a c k boys, enraged a t a word dropped by one of
h i s w h i t e companions, s e i z e d a k n i f e , and
... s t r u c k
t h e lad over
t h e head, i n f l i c t i n g a gash from which b l o o d flowed" (p. 233).
The sudden v i o l e n c e i s d e s c r i b e d by Don B e n i t o as mere " s p o r t t 1
(p. 233), t o Delano's d i s b e l i e f ;
b u t t h e e n t i r e i n c i d e n t , includ-
i n g Delano's r e a c t i o n , i s conveyed i n a l i t e r a l manner, devoid of
any m a n i f e s t p s y c h i c c u r r e n t s .
There i s no h i n t of f e a r h e r e .
But what i s i n t e r e s t i n g i s t h a t immediately p r e c e d i n g t h e i n c i d e n t , we f i n d C a p t a i n Delano " s t a r t e d a t t h e o c c a s i o n a l cymballing
of t h e hatchet-polishers"
(p. 2 3 3 ) , c a u s i n g him t o a c c e p t o n l y
w i t h r e l u c t a n c e and "even w i t h s h r i n k i n g " ( p . 233) C e r e n o t s i n v i t a t i o n t o go up t o t h e poop.
chet-polishers,
S t e p p i n g between two of t h e
hat-
Delano f e e l s "an a p p r e h e n s i v e t w i t c h i n t h e c a l - -
v e s of h i s l e g s t t (p. 2 3 3 ) .
The r i t u a l w i t h t h e c h a i n e d A t u f a l and Don B e n i t o i s
l i k e w i s e f r e e o f any f e a r - i n d u c i n g s i g n i f i c a n c e f o r Delano.
Atu-
f a 1 s t a n d s "mute" (p. 2361 b e f o r e t h e S p a n i s h c a p t a i n and r e f u s e s
t o a s k f o r pardon, w h i l e Delano l o o k s on i n " a d m i r a t i o n v f (p. 236)
a t t h e " c o l o s s a l form of t h e negro" ( p . 2 3 7 ) .
But a l i t t l e w h i l e
134
l a t e r , De'lano's a t t e n t i o n i s i n a d v e r t e n t l y drawn t o w a r d s Don Beni t o and Babo, who h a v e withdrawn t o one s i d e t o c o n v e r s e , and f a c i n g t h e "two w h i s p e r e r s " ( p . 239) Delano h a s a " s l i g h t s t a r t "
( p . 2 3 9 ) , f o r h e b e l i e v e s t h a t " i t seemed a s i f t h e v i s i t o r had,
a t l e a s t p a r t l y , b e e n t h e s u b j e c t of t h e withdrawn c o n s u l t a t i o n
g o i n g on
..." ( p .
239).
The s a i l o r mobbed by t h e b l a c k s i s o n e of t h o s e o c c u r r e n c e s t h a t happen s o s u d d e n l y t h e y a r e a l m o s t l o s t i n t h e gene r a l p a t t e r n of events.
Because of some a c c i d e n t a l p u s h i n g , one
of t h e s a i l o r s i s "dashed
... t o
c r i e s o f t h e oakum-pickers"
t h e deck, d e s p i t e t h e e a r n e s t
(p. 247).
Y e t a f t e r an e x p r e s s i o n of
a l a r m , Delano i s e a s i l y d i s t r a c t e d b y - t h e " p l e a s i n g " ( p . 247)
s p e c t a c l e o f Babo m i n i s t e r i n g t o a f a i n t i n g Don B e n i t o .
i n g l y o f f e r s money t o Don B e n i t o f o r B a b o ' s o w n e r s h i p .
He jokBut,
once more, t h e moment o f f e a r i s removed from t h e s e l e c t e d mystery.
The moment o f f e a r o c c u r s , r a t h e r , d u r i n g a l o n g i n t r o s p e c -
t i o n preceding t h e violence.
A s Delano a n a l y z e s t h e s t r a n g e be-
h a v i o u r t h a t h a s been o c c u r r i n g , Delano f a n c i e s t h a t " a s e a c h
p o i n t was r e c a l l e d , t h e b l a c k w i z a r d s o f A s h a n t e e would s t r i k e up
w i t h t h e i r h a t c h e t s , a s i n ominous comment on t h e w h i t e s t r a n g e r ' s
thoughts"
(p. 244).
I n c o n j u n c t i o n w i t h t h e momentary concealment
o f h i s s h i p by a p r o j e c t i n g land-mass,
t h e sound of t h e c l a s h i n g
s t e e l e n g e n d e r s "a g h o s t l y d r e a d of Don B e n i t o "
(p. 244).
I n e a c h o f t h e s e t h r e e i n c i d e n c e s , s p e c i a l l y n o t e d by
Amasa Delano a s p u z z l i n g m y s t e r i e s , t h e r e i s s e l f - c o n t r a d i c t i o n
and i r o n i c comment.
Not o n l y d o t h e s e i n c i d e n t s provoke no f e a r
i n Delano, t h e s e l e c t i o n of t h e s e p a r t i c u l a r examples i n d i c a t e s
more o f an u n e a s i n e s s t h r o u g h t h e c o l l a p s e o f decorum t h a n a f e a r
I
f.?
'
b a s e d on i n s t i n c t i v e s e l f - p r e s e r v a t i o n .
T h e r e i s a good d e a l of
i r o n y i n t h e f a c t t h a t i n t h e e v i d e n t t o t a l d e g e n e r a t i o n o f command, b a s e d a t t h e v e r y l e a s t i n Don B e n i t o s s e x t r e m e p h y s i c a l
d i s t r e s s , t h e American c a p t a i n s h o u l d s e l e c t t h r e e p a r t i c u l a r
examples a s e i t h e r t h e p r o o f of c o n s p i r a c y o r t h e p r a c t i c e o f a
" v e r y c a p r i c i o u s commander" (p. 2 5 8 ) .
I n t h e f a c e of v i o l e n c e ,
moreover, Delano shows n o f e a r a n d , a t one t i m e ,
f o r t h e massive bulk of Atufal.
shows a d m i r a t i o n
What d o e s i n s p i r e f e a r i n him
a r e c l o s e l y r e l a t e d e x p e r i e n c e s t h a t h o l d no o v e r t t h r e a t .
In
.
e a c h c a s e , f e a r i s i n d u c e d b e c a u s e o f a n imagined communication,
of u n d i s c l o s e d b u t s e e m i n g l y d i s t u r b i n g meaning.
Delano's eyes
c a n n o t p e r c e i v e any key t o t h e m y s t e r i e s a n d t h e s e l e a v e him
u n a f r a i d , t h o u g h somewhat p e r p l e x e d ;
h e a r s f i l l s him w i t h dreadg1,
b u t what he imagines h e
p r e c i s e l y because such an experi-
ence i s n o t o f a m a t e r i a l o r d e r and c a n s i g n i f y any o f s e v e r a l
possible conclusions.
"A v e r y c a p r i c i o u s commander"
( p . , 258) h e
c a n d e a l w i t h , a s h e c a n w i t h a " v i c t i m of m e n t a l d i s o r d e r " ( p .
2 2 6 ) , o r an o v e r t a c t o f t r e a c h e r y as h e b e l i e v e s i s h a p p e n i n g
when Don B e n i t o l e a p s i n t o h i s d e p a r t i n g b o a t ( p . 2 8 2 ) ;
what h e
c a n n o t manage i s a m b i v a l e n c e , m u l t i p l e a m b i g u i t y , t h e c o n d i t i o n o f - b e i n g where s e v e r a l c o n t r a d i c t o r y p o i n t s - o f - v i e w
t r u e and y e t r e m a i n u n r e v e a l e d .
may b e e q u a l l y
We have o n l y t o remember, i n
t h i s r e s p e c t , t h e mood of e chantment t h a t accompanies Delano o n '
b
h i s t o u r s of t h e s h i p , o f h i s t r y i n g " t o b r e a k one charm" (, .-
-
and b e i n g "becharmed anew" (p. 2 5 2 ) , t o a c c e p t t h e t e r r i f y i n g
vagueness o f h i s e x p e r i e n c e .
I n t h i s sense, t h e f o u r t h mystery,
["the c r i n g i n g submission t o t h e i r master, of a l l t h e s h i p ' s
u n d e r l i n g s " (p.
2 5 8 ) ) , c a n n o t be f i x e d t o one i n c i d e n t , t r u e o r
?
r
136
imagined,. o f a t o t a l m i s a p p r e h e n s i o n o f t h e r e s p e c t i v e r o l e s of
Cereno and t h e b l a c k s ;
t h e m y s t e r y i s due r a t h e r t o a misap-
p l i e d s e n s e o f decorum, t o a r i g i d b e l i e f t h a t t h e p o s i t i o n s o f
m a s t e r and s l a v e , e v e n when ' r e v e r s e d , s h o u l d b e o b v i o u s , a n d t o
Delano's i n a b i l i t y t o p e r c e i v e " s a t i r e o r i r o n y " (p. 2 3 8 ) , a n d
hence, t o f a i l t o n o t i c e a c t i n g .
Appearances on t h e s h i p t e l l
him n o t h i n g , o t h e r t h a n t h e i r own n e g l e c t a n d s a d d e n e d s t a t e .
When h e o b s e r v e s a s a i l o r t a r r i n g a c l o c k - s t r a p ,
he notes that
the s a i l o r ' s is a face:
.
which would h a v e b e e n a v e r y f i n e
one b u t f o r i t s h a g g a r d n e s s .
Whether t h i s h a g g a r d n e s s had a u g h t
t o do w i t h c r i m i n a l i t y , could n o t
b e determined;
s i n c e , as i n t e n s e
h e a t and c o l d , t h o u g h u n l i k e , produce l i k e s e n s a t i o n s , s o i n n o c e n c e
and g u i l t , when, t h r o u g h c a s u a l
association with mental pain,
s t a m p i n g any v i s i b l e i m p r e s s , u s e
one s e a l -- a h a c k e d one. ( p . 2 4 9 )
I n t h e above p a s s a g e w e a r e t o l d q u i t e c l e a r l y o f t h e m y s t e r y of
appearances.
The t o n e u s e d i s i m p e r s o n a l and t h e message i s
generally a p p l i c a b l e , implying t h e presence of d i f f i c u l t y f o r a l l
men.
Such a g e n e r a l i z a t i o n p u t s D e l a n o ' s p r e d i c a m e n t i n t o a more
human p e r s p e c t i v e , f o r on b o a r d t h i s s h i p , h e i s s p i r i t u a l l y
a l o n e , can r e l y on no o n e , and y e t h i s , and t h e S p a n i a r d ' s , v e r y
e x i s t e n c e d e p e n d s o n how h e s o l v e s t h e enigmas.
This uncertainty,
c l o s e l y a l l i e d t o d r e a d , i s p o r t r a y e d by M e l v i l l e t h r o u g h t h e u s e
of h i n t s , s u p p o s i t i o n s , t h e sudden m a n i f e s t a t i o n o f images whose
meaning i s u n c l e a r , and a g e n e r a l i n t e r r o g a t i v e p a t t e r n :
What meant t h i s ? ' Something t h e man
had s o u g h t t o c o m u n i c a t e , unbeknown t o any o n e , e v e n t o h i s captain.
Did t h e secret i n v o l v e a u g h t
u n f a v o u r a b l e t o h i s c a p t a i n ? Were
r
those previous misgivings of
Captain Delano's about t o b e v e r i f i e d ? O r , i n h i s h a u n t e d mood a t
t h e moment, had some random, unint e n t i o n a l motion o f t h e man, w h i l e
busy w i t h t h e s t a y , as i f r e p a i r i n g
i t , been m i s t a k e n f o r a s i g n i f i c a n t
beckoning? (p. 253)
A S p a n i a r d h a s made some u n d e t e r m i n e d movement w i t h a m a r l i n g -
s p i k e and s u d d e n l y l e f t ,
A s w i l l b e shown l a t e r , s u c h i n c i d e n t s
p o i n t t o an i l l u s o r i n e s s o f e x p e r i e n c e t h a t makes d e c i s i v e act i o n precarious,
Moreover, t h e i n t e n s i t y of f e a r i n t h e g e n e r a l
.
atmosphere c a n b e e f f e c t i v e l y f e l t , a s i n t h e above p a s s a g e , by
i t s i n f l u e n c e on Amasa Delano, who, as a b e n e v o l e n t man o f a c t i o n ,
as a n a d m i r e r o f Newfoundland d o g s , n e g r o s e r v a n t s , t h e s t r e n g t h
and t e n d e r n e s s of s a v a g e s , t h e p r o p r i e t i e s of s m a r t n a v a l d r e s s
--
s u c h a man f i n d s h i m s e l f momentarily on t h e e d g e o f p a r a n o i c
madness. 92
Goodness, i n M e l v i l l e ' s f i c t i o n , i s a v i r t u e r e p l e t e
w i t h ambiguity.
Since it cannot be s a i d t o e x i s t uninfluenced
by men's b a s e r f e e l i n g s , i t s u s e i s a l m o s t a l w a y s e n i g m a t i c a n d
ironical,
The n a r r a t o r i n B a r t l e b y The
- S c r i v e n e r i s a good man
who s i n c e r e l y w i s h e s t o h e l p h i s s c r i v e n e r .
Y e t his intentions
a r e s o q u a l i f i e d by h i s m a t e r i a l i s m and s e l f - s e e k i n g t h a t h i s
goodness becomes i n e f f e c t i v e and even v a l u e l e s s .
Cereno, Amasa Delano i s a man
I n BenFto
close i n t h e s p i r i t of ordinari-
n e s s t o t h e n a r r a t o r of " B a r t l e b y " ,
.
By t h e t i m e w e have f o l l o w e d
Delano t h r o u g h a few o f t h e i n c i d e n t s on t h e San Dominick we c a n
see t h a t h i s goodness i s a l s o l i m i t e d by h i s l a c k o f s p i r i t u a l
depth.
An e x a m i n a t i o n o f s e v e r a l of t h e e v e n t s d i s c l o s e s t h a t
C a p t a i n Delano i s n o t o n l y g e n e r a l l y s e l f - s e r v i n g b u t a t t i m e s
-
138
c u r i o u s l y ~ c a l l o u s . The most d r a m a t i c e v i d e n c e i s t h e t e l i i n g
s c e n e i n t h e b o a t a s i t i s a b o u t t o l e a v e t h e San Dominick.
Don
B e n i t o l e a p s i n t o t h e b o a t and Delano, convinced h e i s a b o u t t o
b e murdered, , s e i z e s t h e S p a n i s h c a p t a i n "by t h e t h r o a t " (p. 2 8 2 ) .
A s Don B e n i t o l a t e r r e c a l l s it:
you were w i t h me a l l day; s t o o d
w i t h m e , s a t w i t h me, t a l k e d w i t h
me, looked a t me, a t e w i t h me,
and y e t , your l a s t
drank w i t h m e ;
a c t was t o c l u t c h f o r a monster,
n o t o n l y an i n n o c e n t man, b u t t h e
most p i t i a b l e of a l l men. ( p . 305-306)
Delano's s e l f - e s t e e m i s such t h a t o n l y h i s s u r v i v a l seems t o b e
a t stake.
The f o u r m y s t e r i e s p a r t i c u l a r l y bothersome t o Delano,
and a l r e a d y mentioned h e r e , a r e good examples of a s e l f - e s t e e m
t h a t i s e x e r c i s e d a t some c o s t t o o t h e r s .
I n t h e f i r s t , when t h e
Spanish boy i s s t r u c k w i t h a k n i f e , Delano r e f l e c t s on Don
B e n i t o ' s importence and t h e n p r o c e e d s t o a d v i s e him on how b e s t
t o employ t h e b l a c k s , a t e r r i b l e i r o n y c o n s i d e r i n g t h e circumstances.
He t e l l s Don B e n i t o what h
e h i m s e l f h a s done i n t h e p a s t :
Why, even w i t h my l i t t l e band, I
f i n d such a c o u r s e i n d i s p e n s a b l e .
I once k e p t a crew on my q u a r t e r deck thrumming mats f o r my c a b i n ,
when, f o r t h r e e d a y s , I had g i v e n
( p . 234)
up my s h i p
...
There seems l i t t l e e l s e t h a n c o n v e r s a t i o n a l v a l u e h e r e u n l e s s we
c o n s i d e r - t h a t i t r e v e a l s t h e smallmindedness of someone who
assumes h i s r e a s o n a b l e a d v i c e f i t s a l l o c c a s i o n s .
The minor ego-
t i s m t h e n becomes a major stumbling-block t o u n d e r s t a n d i n g .
L a t e r , when a s a i l o r i s "dashed
... t o
t h e deckt1 (p. 247)
Delano Is d i s t r a c t e d by one o f C e r e n o v s coughing f i t s .
Delano's
r e a c t i o n t o t h i s i s s u p e r f i c i a l l y p r o p e r , b u t on d e e p e r r e a d i n g ,
i s somewhat c u r i o u s :
Such d i s c r e t i o n was h e r e e v i n c e d
a s q u i t e wiped away, i n t h e v i s i t o r ' s
e y e s , any b l e m i s h of i m p r o p r i e t y
which might have a t t a c h e d t o t h e
a t t e n d a n t , from t h e i n d e c o r o u s conf e r e n c e s b e f o r e mentioned
(p. 247)
...
There i s no mention i n ~ e l a n o ' sr u m i n a t i o n s o f t h e s a i l o r ' s
i n j u r y n o r of Don B e n i t o ' s c o n d i t i o n ;
evident.
no f e e l i n g f o r them i s
I n s t e a d , Delano i s t h i n k i n g of what might have been
s a i d a b o u t him.
concern w i t h it.
H i s r e a d i n e s s t o f o r g i v e i m p r o p r i e t y shows h i s
Such s e n s i t i v i t y t o decorum a l s o c a l l s t o mind
.
t h e e a r l i e r s c e n e w i t h t h e c h a i n e d A t u f a l , where, i n l i s t e n i n g
t o an e x p l a n a t i o n of t h e supposed meaning o f t h e r i t u a l , Delano
i s suddenly "annoyed by t h e c o n v e r s a t i o n a l f a m i l i a r i t i e s "
.
(2. 238)
of Babo, an i n a p p r o p r i a t e f e e l i n g i n t h e l i g h t of t h e numerous
examples of t h e g e n e r a l c o n f u s i o n and muted v i o l e n c e on t h e s h i p .
A f t e r r e c e i v i n g a k n o t from an o l d s a i l o r some t i m e l a t e r , and
n o t knowing what t o d o w i t h it, Delano b e g i n s t o worry t h a t such
p e r p l e x i n g i n c i d e n t s may mean h i s l i f e i s i n danger.
From t h i s
anxiety, he t r i e s t o pacify himself:
What, I , Amasa Delano -- J a c k of
t h e Beach, a s t h e y c a l l e d me when
a l a d -- I , Amasa; t h e same t h a t ,
d u c k - s a t c h e l i n hand, used t o
paddle along t h e water-side t o t h e
school-house made from t h e o l d
h u l k -- I , l i t t l e J a c k o f t h e
Beach, t h a t used t o go b e r r y i n g
I to
w i t h c o u s i n Nat and t h e r e s t ;
b e murdered h e r e a t t h e ends of t h e
e a r t h , on b o a r d a haunted p i r a t e s h i p by a h o r r i b l e S p a n i a r d ? Too
n o n s e n s i c a l t o t h i n k o f ! Who would
murder Amasa Delano? H i s c o n s c i e n c e
i s c l e a n . Cp. 256)
The egoism h e r e i s q u i t e complex.
On t h e one hand it seems a nor-
mal r e a c t i o n of s e l f - c o n c e r n i n a t h r e a t e n i n g s i t u a t i o n and a r e -
*
140
a f f i r m a t i o n of i d e n t i t y ;
on t h e ' o t h e r hand, t h e repeated"'1"
s e t a p a r t , i n e a c h c a s e , from t h e r e s t o f t h e s e n t e n c e , d i s t i n g u i s h e s a k i n d of a r r o g a n c e t h a t i s mixed w i t h a c h i l d i s h s e n s e o f
importance. 93
What t h e r e i s of l o g i c i n t h e p a s s a g e a l s o p o i n t s
t o a revealing f a l l a c y of thinking.
Because h e i s a good man,
w i t h a c l e a n c o n s c i e n c e , h e i s immune from v i o l e n c e ;
history is
t h e f i n a l r e f u t a t i o n o f s u c h a b e l i e f , and Don B e n i t o i s t h e
most immediate example o f t h e i d e a ' s u n r e a l i t y .
Furthermore, h i s
s e n s e of " c l e a n " c o n s c i e n c e i s s u r e l y an i n s t a n c e of u n c o n s c i o u s
i r o n y , f o r it a p p a r e n t l y f a i l s t o a c c o u n t f o r i g n o r a n c e and s t u pidity
--
as i f w e c o u l d b e s a v e d from m o r a l r e s p o n s i b i l i t y
b e c a u s e o f good i n t e n t i o n s and b e c a u s e o f what w e d i d n o t know.
The c l e a n c o n s c i e n c e of b l a c k s d i d n o t s a v e them from s l a v e r y :
i t c a n n o t s a v e Delano from t h e r e s p o n s i b i l i t y of h i s m i s s i o n .
A s i f i t m i g h t b e p a s s e d o v e r by a c a s u a l r e a d e r ,
the
i r o n y o f t h e p a s s a g e i s emphasized by D e l a n o ' s t h o u g h t s imrnedia t e l y a f t e r w a r d s , when Babo b r i n g s an i n v i t a t i o n from Don B e n i t o .
T h i s c o u r t e s y i s enough t o a l l a y D e l a n o ' s f e a r s , i n d i c a t i n g h i s
s u p e r f i c i a l i t y and h i s s e n s e o f s e l f - i m p o r t a n c e .
The c o m p a r a t i v e
p r o f u n d i t y o f h i s a n a l y s e s of e v e n t s a r e a l s o somewhat r i d i c u l e d
by t h e s e n t i m e n t a l i t y h e e v i n c e s when h e s i g h t s h i s b o a t :
Ha!
g l a n c i n g towards t h e boat;
t h e r e ' s Rover;
good dog;
a white
A pretty big
bone i n h e r mouth.
bone t h o u g h , seems t o m e -- What?
Y e s , s h e h a s f a l l e n a f o u l of t h e
It s e t s
bubbling t i d e - r i p there.
h e r t h e o t h e r way, t o o , f o r t h e
time.
Patience.
( p . 256-2571
Patience, recognizably t h e c o r r e c t a t t i t u d e i n t h e circumstances,
i s a l s o a d e v a s t a t i n g l y i r o n i c reminder of t h e t e r r i b l e s u f f e r i n g
141
o f Don B e n i t o t a k i n g p l a c e a s Delano i s i n d u l g i n g i n h i s homely,
Duxbury-like s e n t i m e n t s .
T h i s i r o n y i s n o t s o much a n i n d i c t m e n t
of Delano a s it i s a s y m b o l i c e x p r e s s i o n o f t h e e x t r a o r d i n a r y and
abysmal e x p e r i e n c e s t h a t s u r r o u n d u s a s we are engaged i n t h e
o r d i n a r y t h o u g h t s and t a s k s o f e v e r y d a y i i f e .
Amasa D e l a n o ' s b r a v e r y and g o o d n e s s s h o u l d n o t b e d i s m i s s e d , e v e n i f t h e y are r e n d e r e d i n e f f e c t i v e and shown t o b e
ambiguous i n t h e t o t a l i t y o f h i s l i m i t e d c h a r a c t e r .
H e i s a rep-
r e s e n t a t i v e man, a s many c r i t i c s have ~ o i n t e do u t , a n d h i s react i o n s are n o t meant t o b e much d i f f e r e n t from t h o s e o f h i s g e n e r a t i o n , i f t h e y were t o f i n d t h e m s e l v e s i n h i s ~ i t u a t i o n . ' ~ H i s
c h a r a c t e r i z a t i o n shows something o f t h e c o m p l e x i t y o f M e l v i l l e ' s
a r t , f o r he i s n e i t h e r h e r o nor v i l l a i n , y e t i n h i s o r d i n a r i n e s s
c o n t a i n s t h e p o t e n t i a l i t i e s of b o t h .
H i s v e r y common-ness makes
h i s e x p e r i e n c e a l l t h e more f r i g h t e n i n g and p r o f o u n d , s i n c e it
i m p l i e s t h e e x p e r i e n c e c o u l d happen, i n a p p r o p r i a t e d i s g u i s e , t o
any o r d i n a r y man.
I f A m a s a Delano r e p r e s e n t s o r d i n a r y , f a m i l i a r l i f e , t h e n
Don B e n i t o r e p r e s e n t s t h e e x t r a o r d i n a r y , n o t b y v i r t u e o f any
g i f t s b u t through misfortune.
A comparative treatment of t h e i r
c h a r a c t e r s i s n o t p o s s i b l e b e c a u s e Don B e n i t o ' s s i m u l a t e d b e h a v i our prevents t h e expression of h i s t r u e f e e l i n g s .
-
H i s character
-
can o n l y b e i n f e r r e d from t h e m e t a p h o r i c a l a n d s y m b o l i c p a t t e r n s
o f e x p e r i e n c e on t h e San Dominick, a s u b j e c t which w e s h a l l examine l a t e r .
Don B e n i t o i s t h e o b j e c t o f n a r r a t i v e d i s c l o s u r e and
n o t i t s i n s t r u m e n t , and b e c a u s e Delano c a n n o t comprehend c l e a r l y
t h e e v e n t s b e i n g d i s c l o s e d , much c o n c e r n i n g Don B e n i t o r e m a i n s
unclear.
I n g e n e r a l , w e may s a y h e a p p e a r s - t o b e a good and sen-
-
142
s i t i v e man, b u t h i s s e n s i t i v i t y i s s o q u a l i f i e d by t h e t e k r o r s o f
h i s e x p e r i e n c e t h a t t h e word seems i n a d e q u a t e t o t h e s i t u a t i o n .
What, f o r example, are w e t o make of h i s h o r r o r o f t h e b l a c k Babo,
s o pronounced, t h a t h e c a n n o t b e a r t o l o o k him i n t h e f a c e ?
His
g e n e r a l l y c o n s u m p t i v e a p p e a r a n c e and h i s e v e n t u a l d e a t h from t h e
s t r e s s e s o f h i s o r d e a l , makes o f h i s s e n s i t i v i t y a q u a l i t y mixed
w i t h c o w a r d i c e , i m p o t e n c e , and a r e v u l s i o n o f l i f e .
Furthermore,
h i s symbolic e q u i v a l e n c e t o C h a r l e s V , t o m o n a s t i c i s m i n g e n e r a l ,
and, by v i r t u e of b e i n g a S p a n i a r d , h i s s y m b o l i c r e s p o n s i b i l i t y
f o r S p a n i s h c r u e l t i e s i n South America and d u r i n g t h e I n q u i s i t i o n ,
make him a complex c h a r a c t e r t h a t c a n n o t b e g l i b l y i n t e r p r e t e d a s
a mere v i c t i m .
Amasa Delano, however, remains t h e k e y t o t h e e x p e r i -
e n c e on t h e San Dominick.
Merely by v i r t u e o f M e l v i l l e h a v i n g
a p p r o p r i a t e d t h e f a c t s o f t h e s t o r y from t h e h i s t o r i c a l Amasa
D e l a n o ' s n a r r a t i v e , i t can b e s a f e l y s a i d t h a t D e l a n o ' s p e r c e p t i o n of e v e n t s i s c r u c i a l .
S i n c e h i s p e r c e p t i o n i s shown t o b e
l i m i t e d b o t h b y h i s own n a t u r e and by t h e i n h e r e n t l y m y s t e r i o u s
n a t u r e o f a p p e a r a n c e s i n t h e s t o r y , u n c e r t a i n t y and a m b i g u i t y
must b e acknowledged as t h e c o n t r o l l i n g f a c t o r s o f e x p e r i e n c e .
I t d o e s n o good t o d i s t i n g u i s h between h i s e x p e r i e n c e and t h e
complete e x p e r i e n c e i n t h i s r e s p e c t , f o r a l l l i t e r a l experience
i s f i l t e r e d t h r o u g h h i s mind and t h e d e e p e r t r u t h s o f t h e s t o r y ,
unknown t o Delano, a r e o f t h e m s e l v e s complexly ambiguous.
The
i m p l i c a t i o n s o f a c c e p t i n g u n c e r t a i n t y and a m b i g u i t y a s t h e c h i e f
f e a t u r e s mean, f o r example, t h a t t h e s l a v e r y i s s u e c a n n o t b e
settled.
W
e can i d e n t i f y Delano's hidden p r e j u d i c e a g a i n s t t h e
b l a c k s , b u t t h e c h a r a c t e r s o f Don B e n i t o , Babo, and t h e r e s t of
-
,
143
t h e b l a c k s , are i r r e t r i e v a b l y l o c k e d w i t h i n a much
tery.
mys-
~t i s t o t h e n a t u r e of t h i s m y s t e r y t h a t w e must now t u r n .
-
T h e Anarchy of
- Appearances-
When t h e n a r r a t o r in' P i e r r e t e l l s u s t h a t "man's l i f e
seems b u t an a c t i n g upon m y s t e r i o u s
hint^^^,'^
h e c o u l d b e commen-
t i n g upon t h e problem Delano f a c e s on t h e San Dominick.
Delano
imagines h e i s r e c e i v i n g t h r e a t e n i n g communications of a subl i m i n a l n a t u r e from a v a r i e t y of s o u r c e s : w h i s p e r i n g s , sudden
movements, t h e s o u n d s o f t h e Ashantees s h a r p e n i n g b l a d e s , f u r t i v e
o r seemingly g u i l t y e x p r e s s i o n s on Don B e n i t o ' s f a c e .
What t h e
American c a p t a i n w o r r i e s a b o u t i s t h a t " e v e r y s o u l on b o a r d " i s
. .
Don B e n i t o ' s " c a r e f u l l y d r i l l e d r e c r u i t i n t h e p l o t " ( p . 2 4 5 ) .
Of c o u r s e , i n a s e n s e , Delano i s c o r r e c t i n h i s " i n c r e d i b l e
inference" (p. 245);
cealed.
the t r u e state-of-affairs
i s b e i n g con-
But it i s n o t o n l y what i s b e i n g d i s g u i s e d t h a t e l u d e s
D e l a n o ' s d e t e c t i o n , it i s t h e f a c t o f d i s g u i s e i t s e l f , i n a l l
i t s v a r i e g a t e d , m u l t i l e v e l l e d forms.
The f u l l r a n g e o f d i s g u i s e d a p p e a r a n c e s i n B e n i t o Cereno
-
p r e f i g u r e s t h e u s e o f s i m i l a r concealment i n The
- Confidence-Man.
D i s g u i s e on t h e San Dominick i s s o v a r i e d and w i t h o u t i n t e r r u p t i o n t h a t it p o i n t s t o a s y m b o l i c f l u x i n t h e n a t u r e o f appeara n c e s , an a n a r c h y t h a t i s i t s e l f seemingly w i t h o u t c a u s e .
Mel-
v i l l e u s e s r e v e r s a l s , d i s p l a c e m e n t s and t r a n s p o s i t i o n s , and m e t a p h o r i c a l masking t o convey a v i s i o n of r e a l i t y t h a t i n Pierre i s
c a l l e d : " s u r f a c e s t r a t i f i e d on s u r f a c e .
To i t s a x i s , t h e w o r l d
b e i n g n o t h i n g b u t s u p e r i n d u c e d s u p e r f i c i e s . 11 9 6
S e t t i n g i s portrayed i n unusual fashion.
Instead of
h a v i n g a s e n s e o f p l a c e deepened by c o n c r e t e imagery, X e l v i l l e
o f t e n s u p e r i m p o s e s d e s c r i p t i o n s of o t h e r p l a c e s o n t o t h e images
o f s h i p and sea.
I n t h e b e g i n n i n g of t h e s t . o r y , when Delano can-
145
P
n o t q u i t e ~ d i s c e r nt h e i d e n t i t y o f t h e S p a n i s h v e s s e l , t h e v e s s e l
i s d e s c r i b e d as: "a Lima i n t r i g u a n t e t s one s i n i s t e r e y e p e e r i n g
'h whitewashed m o n a s t e r y a f t e r a
a c r o s s t h e Plaza1' (p. 2 1 8 ) ;
thunder-storm,
s e e n p e r c h e d upon some dun c l i f f among t h e
P y r e n e e s " (p. 2 1 9 ) .
Both o f t h e s e images are e v i d e n t i l l u s i o n s ,
b u t a s t h e f i r s t two i n a series o f f o r e i g n s e t t i n g s , t h e y s e t
t h e tone of i l l u s o r i n e s s .
The "Lima" image a l r e a d y i n d i c a t e s
t h e f u t u r e Lima o f B a b o ' s e x e c u t i o n , o f B a b o ' s p o l e - f i x e d head
s t a r i n g a c r o s s t h e P l a z a , of B e n i t o C e r e n o ' s d e a t h .
The "white-
washed monastery" i n t r o d u c e s t h e r e l i g i o u s imagery t h a t p l a y s a
disturbing r o l e i n t h e story.
The w h i t e hue i s an i r o n i c r e v e r -
s a l o f t h e b l a c k a s c e n d a n c y w i t h i n , b u t as t h e w h i t e i s a n i l l u s i o n o f t h e s p r a y a n d c l o u d s so i s t h e p o s i t i o n o f t h e b l a c k s
suggested t o b e f i n a l l y undetermined.
The m o n a s t e r y i s a p l a c e
o f s e c l u s i o n on t o p a mountain and g r i m l y s u g g e s t s Don B e n i t o ' s
s e c l u s i o n and e v e n t u a l d e a t h on Mount Agonia.
Such m i r r o r i n g
o f m e t a p h o r s d i s r u p t s t h e c o n t i n u i t y o f p l a c e and i m p l i e s a c i r c u l a r i t y o f t i m e t h a t mocks e f f o r t s a t c e r t a i n t y and freedom.
When t h e v e s s e l i s f i n a l l y i d e n t i f i e d as a S p a n i s h s l a v e r , t h e
f i r s t image t h a t comes t o mind, a s i f i n r e j e c t i o n o f i t s m a t e r i a l
i d e n t i t y , i s a "super-annuated"
I t a l i a n p a l a c e which " s t i l l , u n d e r
a d e c l i n e o f masters, p r e s e r v e d s i g n s o f f o r m e r s t a t e " ( p . 2 1 9 ) .
The s e n s e o f f o r m e r g l o r y and p r e s e n t d e c a y , h e r e i n t r o d u c e d , ism
m a i n t a i n e d t h r o u g h o u t t h e t a l e i n s u c h d e t a i l s as t h e p a r t i c u l a r s
o f Don B e n i t o ' s " S o u t h Americanv1 g e n t l e m a n f s d r e s s " (p. 231) cont r a s t e d by h i s p h y s i c a l d e b i l i t y .
Decay i s f u i t h e r emphasized i n
t h e c a r e f u l d e s c r i p t i o n of t h e s h i p ' s f e a t u r e s :
-
The t o p s were l a r g e and were r a i l e d
a b o u t w i t h what had once been o c t a g o n a l network, a l l now i n s a d d i s repair,
These t o p s hung overhead
l i k e t h r e e ruinous a v i a r i e s
B a t t e r e d and mouldy, t h e c a s t e l l a t e d
f o r e c a s t l e seemed some a n c i e n t t u r r e t , l o n g ago t a k e n by a s s a u l t , and
t h e n l e f t t o decay, Toward t h e
s t e r n , two h i g h - r a i s e d q u a r t e r g a l l e r i e s -- t h e b a l u s t r a d e s h e r e and
t h e r e covered w i t h dry, t i n d e r y seamoss -- opening o u t from t h e unocc u p i e d s t a t e - c a b i n , whose d e a d - l i g h t s ,
f o r a l l t h e m i l d w e a t h e r , were herm e t i c a l l y c l o s e d and c a l k e d -- t h e s e
t e n a n t l e s s b a l c o n i e s hung o v e r t h e
s e a as i f i t were t h e grand v e n e t i a n c a n a l . ( p , 220)
...
Words l i k e " d i s r e p a i r " , " r u i n o u s " , " b a t t e r e d " , "mouldy" ,
" t e n a n t l e s s " , a l l communicate decay;
"t i n d e r y " ,
the careful attention t o
d e t a i l p a r a d o x i c a l l y r e s t o r e s a s e n s e of m a t e r i a l r e a l i t y t o t h e
s h i p , even though t h i s r e a l i t y a t t e s t s t o t h e r a v a g e s of Nature
and Time.
However, t h i s d e s c r i p t i o n e n d s w i t h t h e image of t h e
I t a l i a n p a l a c e and t h u s a sudden t r a n s p o s i t i o n o f b o t h s h i p and
s e a t o a "Venetian c a n a l " .
This sense of t h e Past mysteriously
coterminous w i t h t h e P r e s e n t , i s n o t c o n f i n e d t o a p a r t i c u l a r
period.
D i f f e r e n t l o c a t i o n s and d i f f e r e n t t i m e s a r e evoked by
t h e San Dominick, s e e n from d i f f e r e n t p e r s p e c t i v e s .
Earlier, the
s h i p i s compared t o " E z e k i a l ' s V a l l e y o f Dry Bones" (p. 2 2 0 ) ,
s i m u l t a n e o u s l y evoking a n c i e n t h i s t o r y , myth, s a c r e d v i s i o n , and
t h e t i m e l e s s n e s s of d e a t h .
T h i s image a l o n e , combining t r a n s c e n l
d e n t a l t i m e , b i b l i c a l h i s t o r y , and t i m e l e s s n e s s , e f f e c t i v e l y dest r o y s any n o t i o n of o r d i n a r y t i m e and f a m i l i a r s p a c e i n f a v o u r of
t h e symbolic r e a l m of r e v e l a t i o n .
The s h i p , i f i i t s d i f f e r e n t
a s p e c t s , r e v e a l s i t s e l f suddenly t o t h e a u t h o r as whatever may
b e s t si.gni.fy i t s symbolic es.sence.
Since 'the 'revelations a r e
t
v a r i o u s , t h e San Dominick's s y m b o l i c s i g n i f i c a n c e r e m a i n s ' u l t i m a t e l y ambiguous.
R e v e l a t i o n s i n terms o f s e t t i n g c o n t i n u e a f t e r C a p t a i n
Delano h a s b o a r d e d t h e s h i p .
The s e n s a t i o n o f coming a b o a r d a
s t r a n g e s h i p i s compared t o e n t e r i n g a s t r a n g e h o u s e :
Both h o u s e a n d s h i p -- t h e one by
i t s w a l l s and b l i n d s , t h e o t h e r
by i t s h i g h b u l w a r k s l i k e r a m p a r t s
-- h o a r d from v i e w t h e i r i n t e r i o r s
till t h e l a s t moment;
but i n the
case of t h e s h i p there is t h i s
addition: t h a t t h e l i v i n g spectacle
it c o n t a i n s upon i t s sudden and
c o m p l e t e d i s c l o s u r e , h a s , i n cont r a s t w i t h t h e b l a n k o c e a n which
zones it, something o f t h e e f f e c t
of enchantment.
The s h i p seems
unreal;
t h e s e s t r a n g e costumes,
g e s t u r e s , a n d f a c e s , b u t a shadowy
t a b l e a u j u s t emerged from t h e deep,
which d i r e c t l y must r e c e i v e back
what it gave. ( p . 221)
The d e v i c e o f u s i n g t h e f a m i l i a r t o d i s c l o s e t h e u n f a m i l i a r i s
h e r e e s p e c i a l l y e f f e c t i v e b e c a u s e i t i n c i d e n t a l l y manages t o convey t h e t r a n s i t i o n from a f a m i l i a r w o r l d ( t h e B a c h e l o r ' s D e l i g h t ) 97
t o t h e u n d o u b t e d l y s t r a n g e world o f t h e San Dominick, t h e p o l a r i t y o f h o u s e a n d s h i p as w e l l l o o k i n g f o r w a r d t o t h e a n t i t h e s i s
o f D e l a n o ' s Duxbury-conditioned s e n s e o f n e i g h b o u r l i n e s s and
homely c o m f o r t s and B e n i t o C e r e n o ' s Old World s e n s e o f l o s s and
of e v i l .
The " u n r e a l " q u a l i t y o f a s h i p i s s e l f - e x p l a n a t o r y
if
m y s t e r i o u s , b u t t h e g h o s t l y and d e a t h - l i k e q u a l i t y o f i t s s t r a n g e
r e l a t i o n t o t h e "deep" t r a n s f o r m s " u n r e a l " t o a s y m b o l i c c o n d i t i o n
t h a t i s more - t h a n j u s t a c o n t r a s t t o t h e f a m i l i a r n o v e l t i e s o f
houses.
The p a s s a g e s i g n i f i e s t h i s u n r e a l i t y as e n c h a n t m e n t and
i t i s a n e n c h a n t m e n t t h a t d o e s n o t o n l y r e s u l t f r o m a commonwealth
o f w h i t e s a n d b l a c k s b u t a l s o from t h e o c e a n i c m y s t e r i e s o f N a t u r e
-
t h a t a r e a n e c h o of ~ o b yD i c k and The E n c a n t a d a s .
I n The E n c a n t a d a s , M e l v i l l e e x p l o r e d t h e e f f e c t s of
enchantment i n terms of l a n d s c a p e .
I n t h e s e s k e t c h e s , enchant-
ment i s a c o n d i t i o n o f man's s u b j u g a t i o n by N a t u r e , e x p e r i e n c e d
as d e l u s i o n and o f t e n a s waking dream.
The E n c a n t a d a s a r e an
i s l a n d g r o u p , known f o r t h e i r " a i r o f s p e l l - b o u n d d e s e r t n e s s " ; 98
t o them "change n e v e r comes;
o f sorrows"
."
n e i t h e r t h e change of seasons nor
They s e e m c u r s e d by t h e Almighty as i f t h e y were
a l i v i n g m a t e r i a l r e m i n d e r o f t h e s p i r i t u a l t o r m e n t s of h e l l .
.
The sea s u r r o u n d i n g t h e i s l a n d s i s c a l l e d by some s a i l o r s " t h e
Enchanted Ground",100
t o s i g n i f y t h e c a p r i c i o u s c u r r e n t s and
v a r i a b l e winds t h a t c a n mean sudden d i s a s t e r a g a i n s t t h e r o c k s
o r i n t h e l e a s t a h e l p l e s s d r i f t i n g by t h e s e " h o t a r i d i t i e s " . 1 0 1
The s i g n i f i c a n t p o i n t , i n t e r m s o f o u r d i s c u s s i o n , i s t h a t
Melville portrayed, i n t h e s e sketches, an e x t r e m i t y o f conscio u s n e s s w h e r e i n man t o u c h e s t h e unknown.
The unknown f o r
M e l v i l l e c o u l d n o t b e s i m p l y a s c i e n t i f i c unknown, m e a s u r i n g t h e
l i m i t s of man's knowledge o f t h e f a m i l i a r w o r l d ;
i n these sket-
c h e s h e shows t h a t t h e unknown i s u n i m a g i n a b l e e x c e p t i n e x t r e m e
m a n i f e s t a t i o n s o f m o r a l and m e t a p h y s i c a l phenomena.
Thus t h e
i s l a n d s are d e s c r i b e d a s a " w a i l i n g s p i r i t " lo2c r y i n g o u t f o r
L a z a r u s t o " d i p t h e t i p o f h i s f i n g e r i n w a t e r and c o o l my t o n g u e ,
f o r I a ~ - t o r m e n t e di n t h i s flame". lo3 S y m b o l i c a l l y , t h e y c o r r e s pond t o a human c o n d i t i o n o f s o l i t u d e a n d incommunicable s u f f e r i n g , a s i n t h e o r d e a l s o f H u n i l l a , marooned, and t h e n r a p e d and
abandoned by p a s s i n g s a i l o r s , o r as i n t h e case o f t h e Hermit
O b e r l u s , a m i s a n t h r o p i s t more b e s t i a l t h a n human.
Nature plays
a p a r t i n s u c h human e x p e r i e n c e s , b u t . t h e ' p a r t She p l a y s i s s e e n
-
a s mysterious.
The s a v a g e r y of N a t u r e and t h e s a v a g e r y of man
a r e i n t h i s way compared and l e f t t o t h e r e a d e r t o d e c i d e upon
t h e i r p r e c i s e r e l a t i o n s h i p and upon t h e p r o b a b i l i t i e s o f man's
ever escaping h i s c a r n a l inheritance.
I n B e n i t o Cereno, t h e e v e n t s a r e l o c a t e d " t o w a r d t h e
s o u t h e r n e x t r e m i t y o f t h e l o n g c o a s t of C h i l e " (p. 2 1 7 ) , a n a r e a
t h a t , i n r e l a t i o n t o t h e c i v i l i z e d r e g i o n s o f Europe and t h e
Americas, i s c l o s e t o t h e T a r t a r u s - l i k e i s l a n d s o f The E n c a n t a d a s ,
S a n t a Maria, "a s m a l l , d e s e r t , u n i n h a b i t e d ' i s l a n d " (p. 217) found
i n an " e x t r e m i t y " , s u g g e s t s t o a r e a d e r o f The
- E n c a n t a d a s a n imag i n a t i v e geography superimposed on t h e l i t e r a l one.
It is a
geography where c h a n g i n g c u r r e n t s , v a p o r s , l o n g c a l m s , imply a
s t a t e of p r e c a r i o u s n e s s , of i l l u s i o n and e n c h a n t m e n t , o f man's
imprisonment by f o r c e s o f F a t e .
I t i s s m a l l wonder, t h e n , t h a t
i n t h i s c o n d i t i o n o f e n c h a n t m e n t t h e San Dominick c a n a p p e a r t o
b e many t h i n g s .
Why
- s u c h enchantment s h o u l d e x i s t i s n o t g i v e n ,
l e a d i n g t h e r e a d e r t o s u p p o s e t h a t it i s a s y m b o l i c s t a t e o f
e n d u r i n g i m p a c t a n d n o t s i m p l y an e c c e n t r i c , a c c i d e n t a l phenomenon of N a t u r e .
The h o u s e and s h i p c o r r e s p o n d e n c e i s u s e d i n t e r m i t t e n t l y
At times,
t o f u r t h e r t h e e f f e c t s of i l l u s o r y e x p e r i e n c e ,
Delano
f e e l s l o s t , a s i f he w e r e i n a strange chateau i n a " f a r inland
c o u n t r y " -(p. 2 5 2 ) ;
once h e d e s c r i b e s h i m s e l f as " a l o n e on t h e
p r a i r i e " (p. 2 5 7 ) .
The o c e a n s w e l l s m o m e n t a r i l y become " t e r r a c e s "
(p. 252).
Don B e n i t o ' s t e m p o r a r y c a b i n i s a " c l u t t e r e d h a l l o f
some e c c e n t r i c b a c h e l o r - s q u i r e
i n t h e country"
'
(p. 2 6 2 ) .
Don
B e n i t o f s c l o t h i n g r e s e m b l e s t h a t "of a n i n v a l i d c o u r t i e r t o t t e r i n g
a b o u t London i n t h e t i m e of t h e p l a g u e "
(p. 2 3 2 ) .
A balustrade
becomes " t h e c h a r r e d r u i n o f some summer-house"
(p. 2 5 2 ) .
u p t u r n e d b o a t i s a " s u b t e r r a n e o u s s o r t o f cave''
Cp. 261)
.
An o l d
A sai-
l o r , d i m l y s e e n b e h i n d some r i g g i n g , d i s a p p e a r s s u d d e n l y " i n t o
t h e r e c e s s e s o f t h e hempen f o r e s t , l i k e a p o a c h e r " (p. 2 5 3 ) .
The
reversals o f l a n d and sea i n t h e s e images e f f e c t i v e l y s u g g e s t t h e
d i s o r i e n t a t i o n o f C a p t a i n Delano.
By c o n t i n u a l l y p o i n t i n g e l s e -
where, t h e s e t t i n g imagery a l s o u n i v e r s a l i z e s D e l a n o ' s e x p e r i e n c e , f r e e i n g i t on a s y m b o l i c l e v e l from t h e l i m i t a t i o n s o f t h e
t i m e and p l a c e .
However, t h i s i s n o t t o s u g g e s t t h a t M e l v i l l e
i s g e n e r a l i z i n g t h e e x p e r i e n c e on t h e San Dominick i n t h e manner
o f p a r a b l e by employing a n t i t h e t i c a l imagery.
The d e n s i t y o f
d e t a i l i s i t s own argument a g a i n s t a s i m p l e m e t a p h o r i c a l c o r r e s pondence, f o r s u c h d e n s i t y k e e p s u s a t t e n t i v e t o t h e p a r t i c u l a r i t y o•’ t h e e x p e r i e n c e and t o t h e c o n t i n u a l c r e a t i o n of a unique
Present.
The sudden t r a n s p o s i t i o n s o f s e t t i n g i n s t e a d emphasize
a mood o f u n c e r t a i n t y and p r e c a r i o u s n e s s .
The a u g m e n t a t i o n o f
t h e P r e s e n t by o t h e r d i m e n s i o n s h e i g h t e n s a w a r e n e s s n o t o f
i n c r e a s e d p o s s i b i l i t i e s b u t o f t h e p e r p e t u i t y o f d i m i n i s h e d possibilities.
J u s t as t h e v a r i o u s s e t t i n g s show e i t h e r a d e c l i n e
o f power o r n a t u r a l i s o l a t i o n , s o t h e San Dominick d e m o n s t r a t e s
t h a t d e c a y a n d s o l i t u d e a r e c o n s t a n t s o f human e x p e r i e n c e and n o t
i t s exceptions.
O t h e r p h y s i c a l imagery r e i n f o r c e s t h e i m p r e s s i o n of
i l l u s i o n a n d d e c a y c r e a t e d by t h e d i s c o n t i n u i t y o f t i m e and p l a c e .
D e l a n o ' s r e p e a t e d o b s e r v a t i o n s of C e r e n o ' s c l o t h i n g d o more t h a n
suggest Delano's s u p e r f i c i a l i t y .
Xn e a c h c a s e , a r i c h c o n c r e t e -
n e s s o f a p p e a r a n c e s i s c r e a t e d t h a t i s a t once c o n t r a d i c t e d by
t h e g r e a t e r i l l u s o r i n e s s of mood and s e t t i n g , by t h e s i t u a t i o n a l
d u p l i c i t i e s , and by B e n i t o Cereno's s p i r i t u a l and p h y s i c a i decay.
An example of t h i s s t a t e of c o n t r a d i c t i o n c a n b e found i n t h e
f i r s t d e s c r i p t i o n of Don B e n i t o ' s d r e s s :
A s master and man s t o o d b e f o r e him,
t h e black upholding t h e white,
Captain Delano c o u l d n o t b u t b e t h i n k
him of t h e b e a u t y o f t h a t r e l a t i o n s h i p which c o u l d p r e s e n t such a
s p e c t a c l e o f f i d e l i t y on t h e one
hand and c o n f i d e n c e on t h e o t h e r .
The s c e n e was h e i g h t e n e d by t h e
c o n t r a s t i n d r e s s , denoting t h e i r
relative positions.
The S p a n i a r d
wore a l o o s e C h i l e j a c k e t of d a r k
velvet;
w h i t e s m a l l - c l o t h e r s and
stockings, with s i l v e r buckles a t
t h e knee and i n s t e p ; a high-crowned
sombrero, of f i n e g r a s s ; a s l e n d e r
sword, s i l v e r mounted, hung from a
t h e l a s t being
knot i n h i s s a s h
an almost i n v a r i a b l e a d j u n c t , more
f o r u t i l i t y t h a n ornament, of a
South American g e n t l e m a n ' s d r e s s
t o t h i s hour.
E x c e p t i n g when h i s
occasional nervous c o n t o r t i o n s
brought a b o u t d i s a r r a y , t h e r e was
a certain precision i n h i s a t t i r e
curiously a t variance with the
u n s i g h t l y d i s o r d e r around
( p . 231)
--
,..
I n t h e above p a s s a g e , t h e r e v e r s a l s c r e a t e d by t h e i r o n i c m i s apprehension of appearances a r e almost d i z z y i n g .
t e n c e a l o n e i s s u b t l y complex,
A s future disclosures indicate,
"master and man" i s a hollow p h r a s e ;
of t h e b l a c k h o l d i n g him.
The f i r s t sen-
Don B e n i t o i s now t h e s l a v e
Even t h e word " u p h o l d i n g " h a s i t s
i r o n i c s i g n i f i c a n c e , s i n c e i n r e a l i t y Babo i s h o l d i n g B e n i t o down,
i n t h e manner of t h e s t e r n - p i e c e emblem.
Y e t by t h e t i m e we
l e a r n t h e f a c t s of t h e s i t u a t i o n , i n t h e c o u r t - d e p o s i t i o n ,
the
r o l e s have once more r e v e r s e d themselves, a n d ~ a b oi s a g a i n a
s l a v e , a l t h o u g h i t would b e c o r r e c t t o s a y i n q u a l i f i c a t i o n t h a t
Don B e n i t o i s n o l o n g e r a master.
L i k @ w i s e , " f i d e 1 i t y 1 ' and "con-
f i d e n c e " 'are s i m i l a r m i s r e p r e s e n t a t i o n s o f t h e r e l a t i o n s h i p b e t ween B e n i t o and Babo.
The c o n f i d e n c e i s i n r e a l i t y B a b o t s , who
h a s o r g a n i z e d t h e u p r i s i n g and t h e c h a r a d e .
~ i d e l i t yi s a qua-
l i t y t h a t c h a r a c t e r i z e s Don B e n i t o t s l o v e of t h e murdered Aranda
and evokes a t e r r o r i n him t h a t h e may have t o f o l l o w h i s l e a d e r .
Moreover, f i d e l i t y a n d c o n f i d e n c e are t h e v e r y v i r t u e s t h a t m i g h t
d e s c r i b e Delano h i m s e l f , w i t h h i s b e n e v o l e n c e , s i m p l e t r u s t , and
r e p e a t e d a l l u s i o n s t o dogs.
Thus, b e f o r e w e e v e n a r r i v e a t t h e
d e s c r i p t i o n o f Don B e n i t o ' s d r e s s , t h e s i t u a t i o n a l d u p l i c i t y h a s
f r a c t u r e d any s e n s e of t h e s o l i d i t y o f a p p e a r a n c e s and undermined
Arnasa D e l a n o ' s c a p a c i t y t o see t h i n g s a s t h e y a r e .
The s t y l i z e d
q u a l i t y of Don B e n i t o ' s u n i f o r m becomes a g r o t e s q u e costume o f
p r e t e n c e , e m p h a s i z i n g t h e d i s t a n c e between t h e o f f i c e and i t s
e f f e c t i v e power.
A s w e l e a r n a t t h e end of t h e s t o r y , Don
Benito's scabbard h a s been a r t i f i c a l l y s t i f f e n e d , s i g n i f y i n g
n a t u r a l and m e t a p h o r i c a l impotence.
The " u n s i g h t l y d i s o r d e r " on
t h e s h i p , as n o t e d b y Delano, i s a h i g h l y i n a d e q u a t e means o f
d e s c r i b i n g t h e p r o f o u n d d e g e n e r a t i o n on t h e San Dominick.
It is
D e l a n o ' s c o s m e t i c v i e w o f a p p e a r a n c e s t h a t h e r e i r o n i c a l l y cont r o l s what v a l u e s a r e t o b e i m p a r t e d t o a p p e a r a n c e s .
I f c l o t h i n g imagery i n t h i s and o t h e r i n s t a n c e s r e v e a l s
a disguised r e a l i t y , t h e n p h y s i c a l appearances i n d i c a t e nothing
o f t h e man w i t h i n .
he is sickly;
Don B e n i t o h a s a " c a d a v e r o u s a s p e c t " ( p . 2 3 3 ) ;
h i s e y e s a r e o f t e n d e s c r i b e d as s h i f t i n g o r a v e r t e d
from D e l a n o ' s p r e s e n c e .
C a p t a i n Delano i n t e r p r e t s s u c h m a n i f e s -
t a t i o n s a s e v i d e n c e o f Don B e n i t o t s p l o t t i n g , o f t h e p o s s i b i l i t y
t h a t "under t h e a s p e c t of i n f a n t i l e weakness, t h e most s a v a g e
e n e r g i e s might be' 'couched
--'
t h o s e v e l v e t s of t h e S p a n i a r d b u t
-
153
t h e s i l k y paw t o h i s f a n g s " ( p a 2 4 0 ) .
This complete misreading
of Don B e n i t o ' s t e r r i f i e d s t a t e i s o n l y matched b y D e l a n o ' s i n a b i l i t y t o i n t e r p r e t Babo.
H e b e g i n s h i s m i s a p p r e h e n s i o n by
c a l l i n g Babo:
" F a i t h f u l fellow!" c r i e d Captain
Delano.
"Don B e n i t o , I envy you
s l a v e I cannot
such a f r i e n d ;
c a l l him." (p. 231)
and c o n t i n u e s i t b y i n s i s t i n g on s e e i n g Babo a s p a r t i c u l a r l y do-
c i l e and g e n i a l .
I t is only i n t h e boat,
a f t e r Babo h a s l e a p e d
i n w i t h a d a g g e r , t h a t Delano f i n a l l y comprehends something of
Babo's m a l i c e i n h i s " c o u n t e n a n c e l i v i d l y v i n d i c t i v e , e x p r e s s i n g
t h e centred purpose of h i s s o u l
... "
(p. 2 8 3 ) .
I t i s o n l y be-
c a u s e t h e d i s g u i s e h a s been dropped t h a t Delano c a n see Babo's
i n t e n t i o n s , b u t i n g e n e r a l D e l a n o ' s a t t e n t i o n t o p h y s i c a l appeara n c e s o n l y d i s c l o s e s a d i s t u r b i n g ambivalence.
Observing a sai-
l o r d o i n g some t a r r i n g work, Delano f e e l s t h a t c r i m i n a l i t y c a n n o t
b e d e t e r m i n e d from h a g g a r d n e s s , s i n c e " i n n o c e n c e and g u i l t , when,
t h r o u g h c a s u a l a s s o c i a t i o n w i t h m e n t a l p a i n , s t a m p i n g any v i s i b l e
i m p r e s s , u s e one s e a l
--
a hacked one" ( p . 2 4 9 ) .
L a t e r , when
Delano and Don B e n i t o are s e r v e d l u n c h , Delano d e m o n s t r a t e s once
more h i s i n a b i l i t y t o p r o b e beyond s u r f a c e a t t r a c t i v e n e s s , a s h e
i s s t r u c k w i t h t h e m u l a t t o s t e w a r d ' s a p p a r e n t "extreme d e s i r e t o
p l e a s e " (p. 2 7 0 ) .
W e l e a r n l a t e r from t h e d e p o s i t i o n t h a t it i s
t h i s same s t e w a r d who p r o p o s e d " p o i s o n i n g adi sh f o r t h e generous
Delano compounds t h e i r o n y
o f h i s m i s p e r c e p t i o n by a t t e m p t i n g t o engage Don B e n i t o i n convers a t i o n a b o u t t h e m y s t e r i e s o f physiognomy:
"Don B e n i t o , " w h i s p e r e d h e , " I am
g l a d t o see t h i s usher-of-the-goldenrod of yours;
t h e s i g h t r e f u t e s an
154
u g l y remark once made t o me by a
Barbados p l a n t e r ;
t h a t when a
m u l a t t o h a s a r e g u l a r European
f a c e , look o u t f o r him; h e i s a
d e v i l . But s e e , your steward h e r e
h a s f e a t u r e s more r e g u l a r t h a n
King George's of England;
and y e t
t h e r e he nods, and bows, and
smiles;
a k i n g , i n d e e d -- t h e
k i n g of k i n d h e a r t s and p o l i t e f e l lows. What a p l e a s a n t v o i c e h e h a s ,
t o o . " (p. 2 7 0 )
The remark o f t h e "Barbados p l a n t e r " i s n o t proven t r u e by t h e
s t e w a r d ' s t r e a c h e r y f o r t h e s i m p l e r e a s o n t h a t Don B e n i t o h a s a
.
r
" r e g u l a r European f a c e " and i s n o t o n l y misjudged by Delano a s a
"monster" b u t even a f t e r t h e San Dominick h a s been r e c a p t u r e d and
h i s o r d e a l n a r r a t e d , h e manages t o shock Delano w i t h t h e d e p t h of
h i s feelings against t h e blacks.
f r e e of g u i l t and misjudgment.
Neither white nor black a r e
Indeed, t h e above p a s s a g e i s a
condemnation of f a c i l e i n t e r p r e t a t i o n s and s i m p l e r e s o l u t i o n s , i f
s e e n i n t h e c o n t e x t of t h e s t o r y ' s range of s y m b o l i c a l l y a c h i e v e d
irresolutions.
Roles a r e a l s o used i n a way t h a t shows t h e i r u l t i m a t e
i n s i g n i f i c a n c e r e l a t e d t o problems of b e i n g , c e r t i t u d e , and f r e e dom.
The r e v e r s a l s of m a s t e r and s l a v e o n l y s i g n i f y some of t h e
r o l e manipulation.
B e n i t o Cereno i s compared t o C h a r l e s V,
i n the
s i m i l a r degree of t h e i r "contemptuous a v e r s i o n " t o o t h e r men " j u s t
p r e v i o u s - t o t h e a n c h o r i t i s h r e t i r e m e n t of t h a t monarch from t h e
t h r o n e " (p. 2 2 6 ) .
,
A s one c r i t i c h a s b r i l l i a n t l y shown, t h e u s e of
Charles V i n t h e s t o r y connects together t h e various r e l i g i o u s
metaphors and symbols i n a v i s i o n of t h e temporal and s p i r i t u a l
decay of t h e Church. l o 4 Such a l l u s i v e n e s s , w h i l e c l e a r on t h e
l e v e l of p a r a b l e , c r e a t e s t e x t u a l problems.
To t h e d e g r e e t h a t
we bec0m.e aware of t h e r e l a t i o n s h i p between Don B e n i t o
the
b l a c k s a s e n a c t i n g t h e h i s t o r y of t h e Church's m i s a p p r o p r i a t i o n
of temporal power from ~ h a r l e sV, s o do we l o s e s i g h t of t h e
American C a p t a i n Delano's immediate e x p e r i e n c e .
Such a r e a d i n g
of r e l i g i o u s metaphor can ,only b e v a l i d ( a s it probably i s ) a s
one of many p e r s p e c t i v e s on t h e c h i a r o s c u r o of i l l u s i o n s on t h e
San Dominick.
Babo, f o r example, w h i l e d e s c r i b e d as a "begging
f r i a r of S t .
ranc cis" (p. 2311, i s a l s o " l i k e a s h e p h e r d ' s dogw
(p, 223).
The minor c h a r a c t e r s a r e d e s c r i b e d a s momentarily
inhabiting various roles.
o f England.
The s t e w a r d i s compared t o King George
The h a t c h e t - p o l i s h e r s
are like "tailors";
one of t h e
n e g r o e s assumes t h e p e r s o n a l i t y of an " a t t o r n e y " (p. 2 5 5 ) ;
when
Delano's men s t o r m t h e San Dominick t h e y become l i k e " t r o o p e r s
i n t h e saddle" (p.287).
Animal imagery, a s w e l l , i s used t o con-
vey t h e more c a r n a l m y s t e r i e s of t h e c h a r a c t e r s 1 r o l e s ,
Babo, a s
h a s been mentioned, i s l i k e n e d t o a "dog" and negroes i n g e n e r a l
a r e d e s c r i b e d by Delano a s Newfoundland dogs.
c a l l e d " p i l o t f i s h " (p. 226);
Messenger boys a r e
a Barcelona " t a r " i s d e s c r i b e d a s
a " g r i z z l y b e a r " c a s t i n g " s h e e p ' s e y e s n ( p . 250);
a sleeping
n e g r e s s i s " l i k e a doe i n t h e shade of a woodland rock" ( p , 251)
and h e r s p r a w l i n g baby l i k e a "wideawake fawn" (p. 251);
a group
of women and c h i l d r e n a r e " l i k e a s o c i a l c i r c l e of b a t s " (p. 261);
Babo i s d e s c r i b e d a s w r i t h i n g " s n a k i s h l y " (p. 283) on t h e b o a t ' s
bottom as Delano i s p r e p a r i n g t o c a s t o f f from t h e San Dominick.
I n a l l of t h e s e c a s e s , t h e e a s y t r a n s i e n c e of human c h a r a c t e r i s t i c s ' i s a s u b t l e i n d i c a t i o n of t h e p r e c a r i o u s n e s s of human v a l u e s .
If Don B e n i t o i s b o t h m a s t e r and s l a v e , i f Babo i s b o t h
s l a v e and m a s t e r , i f such r o l e s a r e s o e a s i l y i n t e r c h a n g e a b l e ,
t h e n human i d e n t i t y c a n n o t b e d e t e r m i n e d by a man's a c t i o n s .
complex s t a t e - o f - a p p e a r a n c e s
The
which a l l o w a n o l d s a i l o r t o b e "an
E g y p t i a n p r i e s t , making Gordian k n o t s f o r t h e t e m p l e o f Amrnon"
(p. 2 5 4 ) , which w i t h h o l d t h e s i g n i f i c a n c e o f t h e k n o t s from
Delano, i s e q u a l l y r e s p o n s i b l e f o r t h e s i m u l t a n e o u s p e r c e p t i o n s
o f t h e c h a r a c t e r s a s v i c t i m s of c i r c u m s t a n c e s a n d as a c t o r s i n
a r i t u a l of e v i l .
I t d o e s n o t matter t h a t w e may n o t b e a b l e t o
d e t e r m i n e p r e c i s e l y t h e i d e n t i t y o f t h e r i t u a l , s i n c e s o many of
t h e a c t i v i t i e s on b o a r d have ,a r i t u a l c h a r a c t e r , and y e t may b e
only loosely related.
.
lo5 N e i t h e r c a n w e s a y t h a t t h e s t o r y i s a
s t u d y o f freedom, n o r o f s l a v e r y , n o r o f a f a i l e d r e b e l l i o n , n o r
o f a symbolic b a t t l e between good and e v i l .
I n each case, too
much i s l e f t u n d e t e r m i n e d , t o o much c o n t r a d i c t e d , t o o much q u a l i f i e d by t h e p r i m a r y i m p o r t a n c e o f A m a s a D e l a n o ' s l i m i t e d percep-
t i o n of e v e n t s .
W e h a v e s e e n s u c h a s e p a r a t i o n between c h a r a c -
t e r s b e f o r e , i n ' Bar,t:l'eb,y The
- 'S'criue,ner,. T h e r e , t h e n a r r a t o r '.s
r e n d i t i o n o f e v e n t s , l i m i t e d by h i s p e r s o n a l i t y , p r e v e n t s u s from
e v e r knowing t h e t r u t h a b o u t B a r t l e b y .
n o t s o l i m i t e d by p o i n t - o f - v i e w ,
I n B e n i t o Cereno, w e a r e
having t h e a u t h o r ' s voice indi-
c a t i n g meanings o u t s i d e t h e r a n g e o f D e l a n o ' s p e r c e p t i o n s .
The
d i f f i c u l t y i s t h a t a u t h o r i a l t o n e i s c l e a r l y e v i d e n t i n symbol
a n d metaphor, which i n t h e m s e l v e s have a l m o s t a h i e r o g l y p h i c
obscurity.
The s t e r n - p i e c e emblem, t h e s c e n e w i t h A t u f a l s t a n d i n g
b e f o r e Don B e n i t o , t h e s c e n e w i t h t h e "Gordian" k n o t , t h e s h a v i n g
scene
--
a l l a p p e a r t o have a r i t u a l s i g n i f i c a n c e , and y e t even
a f t e r we have l e a r n e d o f t h e sham, w e t c a n o n l y s u r m i s e a b o u t
t h e i r meanings.
The u s e o f a d e p o s i t i o n t o c l a r i f y . t h e m y s t e r y o f e v e n t s
157
i s only s u p e r f i c i a l l y successful.
W e l e a r n how t h e s l a v e s r e v o l -
t e d and, how t h e y murdered t h e w h i t e s , how t h e y c o n t r o l l e d t h e
S p a n i a r d s and how t h e y d e c e i v e d Arnasa Delano.
Y e t little is
r e s o l v e d by t h e document, f o r t h e new e v i d e n c e c o m p l i c a t e s t h e
enigmas r a t h e r t h a n s o l v i n g them.
B e n i t o Cereno h a s d i f f i c u l t y
c o n v i n c i n g t h e c o u r t of t h e v e r a c i t y o f h i s s t o r y .
The c y c l e of
u n c e r t a i n t y i s r e p e a t e d : j u s t as Delano w a s o n l y c o n v i n c e d o f t h e
a p p a r e n t t r u t h o f e v e n t s r e l a t e d by Cereno b e c a u s e t h e b l a c k s
s u p p o r t e d i t " a s w i t h one voice'' r e l a t i n g "a common t a l e o f s u f - .
f e r i n g " ( p . 2 2 1 ) , s o t h e c o u r t i s c o n v i n c e d o f what Don B e n i t o
now s a y s i s t h e t r u t h b e c a u s e i t i s s u p p o r t e d by t h e w h i t e s :
Some d i s c l o s u r e s t h e r e i n w e r e , a t
t h e t i m e , h e l d dubious f o r both
l e a r n e d and n a t u r a l reasons.
The
t r i b u n a l i n c l i n e d t o t h e opinion
t h a t t h e deponent, n o t undisturbed
i n - h i s mind b y r e c e n t e v e n t s , r a v e d
o f some t h i n g s which c o u l d n e v e r
h a v e happened.
B u t s u b s e q u e n t dep o s i t i o n s of t h e surviving. s a i l o r s ,
b e a r i n g o u t t h e r e v e l a t i o n s of t h e i r
captain i n s e v e r a l of t h e s t r a n g e s t
p a r t i c u l a r s , gave credence t o t h e
rest. (p. 289)
Such a q u a l i f i c a t i o n h i n t s a t t h e u n a v a i l a b i l i t y o f t h e " t r u t h " .
Moreover, o t h e r i n t e r e s t i n g c o r r e s p o n d e n c e s c a n b e found i n t h e
d e p o s i t i o n which r e v e a l t h a t e v i l i s n o t l i m i t e d t o t h e b l a c k s .
When t h e n e g r o e s r e v o l t t h e y k i l l s e v e r a l o f t h e w h i t e s i n vengeance f o r t h e i r c a p t i v i t y ;
w e l e a r n from t h e d e p o s i t i o n t h a t a f t e r
t h e c a p t u r e o f t h e San Dominick by D e l a n o ' s men s e v e r a l o f t h e
b l a c k s are k i l l e d :
b the sailors
2
..'.
We a l s o l e a r n t h a t j u s t a s Babo c u t Don B e n i t o w i t h a r a z o r i n
t h e shaving s c e n e , s o a s a i l o r tries t o c u t a s h a c k l e d negro
with a razor,
" a i m i n g it a t t h e n e g r o ' s t h r o a t "
(p, 3 0 3 ) .
Delano
i s p u t i n t h e p o s i t i o n of d i s a r m i n g a s a i l o r named B a r l o who i s
t r y i n g t o k i l l a s h a c k l e d b l a c k w i t h a d a g g e r , j u s t as e a r l i e r
i n t h e b o a t h e h a d d i s a r m e d Babo of h i s d a g g e r (p. 3 0 3 ) .
These
and o t h e r c o r r e s p o n d e n c e s between t h e n a r r a t i v e a n d t h e d e p o s i t i o n demonstrate t h a t d e s p i t e t h e r e s t o r a t i o n of o r d e r t h e enigmas remain.
Indeed, such correspondences answer, i n p a r t ,
M a t t h i e s s e n ' s c r i t i c i s m o f B e n i t o C e r e n o ' s method o f " r a i s i n g
unanswered q u e s t i o n s " , lo6f o r t h e d e p o s i t i o n i m p l i e s t h a t unanswered q u e s t i o n s are t h e v e r y n a t u r e o f t h e e x p e r i e n c e s i n t h e
story.
Some c r i t i c s have found t h a t t h e i n c l u s i o n o f t h e depos i t i o n was an a r t i s t i c e r r o r , g i v i n g an uneven a n d u n f i n i s h e d
q u a l i t y t o t h e t a l e . lo7 Such an a t t i t u d e shows an u n w i l l i n g n e s s
t o follow t h e imagistic p a t t e r n s i n t h e s t o r y , f o r they indicate
an ambiguity of appearances t h a t cannot be r e s o l v e d ;
without t h e
d e p o s i t i o n t h e r e c o u l d b e no p o i n t o f o b j e c t i v i t y from which a
l i t e r a l comprehension o f e v e n t s c o u l d b e a c h i e v e d .
However, t h e
d e p o s i t i o n i s i m p o r t a n t f o r o t h e r r e a s o n s as w e l l ,
A s an h i s t o -
r i c a l document, t h e d e p o s i t i o n s u g g e s t s t h a t t h e c r u e l t i e s i n f l i c t e d by b l a c k s a n d w h i t e s on e a c h o t h e r i s a r e c u r r i n g phenomenon.
A s t h e c o r r e s p o n d e n c e s mentioned above i n d i c a t e ,
such recurrence
i s g i v e n h i s t o r i c a l v a l i d i t y , even t h o u g h t h e f i n a l i r o n y i n t h i s
r e s p e c t i s t h a t h i s t o r y c a n n o t answer any o f t h e m y s t e r i e s t h a t
*
159
need e x p l a n a t i o n b u t c a n merely p e r p e t u a t e t h e myth o f v i o l e n c e ,
of man a g a i n s t man, e n a c t e d on t h e San Dominick. lo8 S i n c e t h e
s t o r y does n o t end w i t h t h e d e p o s i t i o n , w e h a v e f u r t h e r e v i d e n c e
t h a t t h e human s i g n i f i c a n c e o f s u f f e r i n g c a n n o t b e v a l i d l y communicated by any o t h e r means t h a t A r t .
The d e p o s i t i o n a l s o b r i n g s up a q u e s t i o n o f t h e n a r r a t i v e structure.
To answer t h i s q u e s t i o n w e m u s t b r i e f l y examine
the narrator's role.
I n g e n e r a l , w e are w i l l i n g t o a c c e p t as
r e a d e r s t h e c o - e x i s t e n c e of Amasa Delano t h e p e r c e i v e r o f e v e n t s .
and t h e a u t h o r a s n a r r a t o r .
I t i s u s u a l l y clear where D e l a n o ' s
comprehension o f e v e n t s e n d s and where t h e a u t h o r - n a r r a t o r ' s
b e g i n s i n t h e communication o f images.
However, when w e come t o
t h e d e p o s i t i o n t h e r e i s a sudden a e s t h e t i c c o l l i s i o n o f s u r f a c e s ,
a p p a r e n t l y i n d i c a t i n g t h e a u t h o r ' s hand more c l e a r l y t h a n m i g h t
be desired.
The i n e l e g a n c e i s o n l y a p p a r e n t .
The c o l l i s i o n b e t -
ween t h e l a n g u a g e o f document and t h e l a n g u a g e o f A r t , between
f a c t and symbol, emphasizes t h e t e x t u a l e x p e r i e n c e o f t h e s t o r y .
A s was shown i n t h e a n a l y s i s of t h e s t o r y ' s f i r s t few p a g e s ,
tex-
t u a l i t y effectively re-creates a meditative experience i n t h e
m i d s t o f complex a p p e a r a n c e s w h i l e a l s o s u g g e s t i n g by i t s own
mediation t h e d i s t a n c e o f " t r u t h " .
Truth i s a c o n s t a n t c r e a t i o n ,
e v e r o u t of r e a c h o f t h e u n d e r s t a n d i n g , as i s s u g g e s t e d by t h e
a c c u m u l a t i o n of images, e a c h p r o v i d i n g a d i f f e r e n t and problema t i c p e r s p e c t i v e on t h e s u f f e r i n g of t h e s h i p ' s i n h a b i t a n t s .
The
d e p o s i t i o n i l l u s t r a t e s by a n t i t h e s i s what h i s t o r i c a l t e s t i m o n y
c a n d o and what it c a n n o t d o , and t h e r e b y creates a f u l l e r a p p r e c i a t i o n i n t h e r e a d e r o f t h e symbolic i m a g i n a t i o n .
The n a r r a t o r -
a u t h o r u s e s t h e d e p o s i t i o n t o show t h e u n f i n i s h e d c o n d i t i o n o f
,
truth, for the deposition is itself a re-creation of the actual
events, yet further removed from experience.
Neither historical
testimony nor symbol satisfies the demand for completeness of
information, but incompleteness is crucial to the story's
achievement.
Since everything disclosed in the story indicates
that in life man is captive to one force or another, whether it
be Society, Nature, or Metaphysical Law, then incompleteness of
understanding at least suggests that a certain mental freedom
is possible in pursuance of the elusive truth.
In attempting to .
render the life of a mind capable of interrogating ambiguities
of the order found in Benito Cereno, symbolization is the textual process that occurs.
This is by no means a private experi-
ence, since symbolization is an ongoing process in the mind
carried on by the reader. 109
r
Enchantment.
and Death
I n Benito Cereno, t h e encounter w i t h qppearances d i s c l o s e s a p r i n c i p l e of r e l a t i v i t y .
Images o f s e t t i n g , o f p h y s i -
c a l a p p e a r a n c e , o f r o l e s and a c t i v i t i e s , t h e i r o n i c s i g n i f i c a n c e
o f words spoken, t h e m i s p e r c e p t i o n of c o n d i t i o n s by Amasa Delano,
a l l suggest a state-of-contradiction
s o t o t a l t h a t w e can only
u n d e r s t a n d t h i n g s r e l a t i v e t o one a n o t h e r , and a s s u c h a b e w i l d e r i n g a n a r c h y becomes t h e dominant e x p e r i e n c e on t h e San Dominick.
For example, w e c a n s p e a k o f Amasa ~ e l a n oa s a h e r o r e l a -
.
t i v e t o t h e f a c t t h a t h e r e c a p t u r e s t h e S p a n i s h s h i p and n o t f o r
any moral o r i n t e l l e c t u a l v i r t u e s , which i n d e e d would c o n t r a i n d i c a t e h i s heroism.
Don B e n i t o i s t h e master o f t h e San
Dominick r e l a t i v e t o t h e c h a r a d e c o n t r o l l e d by Babo.
Babo i s an
e v i l g e n i u s r e l a t i v e t o t h e s u f f e r i n g o f t h e w h i t e s b u t a h e r o of
t h e oppressed blacks.
The names M e l v i l l e h a s c h o s e n f o r h i s
c h a r a c t e r s r e i n f o r c e t h e ambivalence of t h e i r r o l e s and t h e i n determinacy of t h e i r f i n a l p o s i t i o n s .
Delano h i m s e l f p r o v i d e s a
c l u e t o t h e s i g n i f i c a n c e o f names by a t t e m p t i n g t o u n d e r s t a n d
what might b e i n d i c a t e d by Don B e n i t o 1 s name: " B e n i t o Cereno
Don B e n i t o Cereno
--
a s o u n d i n g name1' (p. 2 4 0 ) .
"sound", b u t what t h e y s i g n i f y i s u n c l e a r .
--
The names d o
A s one c r i t i c h a s
shown, Amasa i s t h e name o f a t r e a c h e r o u s b i b l i c a l commander o f
-
King David;
B e n i t o Cereno may s u g g e s t s e r e n i t y and goodness
b u t Cereno a p p a r e n t l y h a s a s e c o n d a r y meaning o f " s h a m e l e s s f e l low";
Babo may d e r i v e i t s r o o t s from t h e Tuscan "Babbo" mean-
i n g "Daddy"
and mean "No".
o r i t may come from t h e W e s t ~ f i i c a nHausa language
I n e a c h c a s e , t h e h i d d e n root-meanings o f t h e
names s u p p o r t t h e l i n e o f imagery which stresses t h e c h a r a c t e r s '
-
I
ambivalence.
Delano i s n o t t r e a c h e r o u s , b u t h e i s p r e j u d i c e d ,
smallminded, a n d c o m p a r a t i v e l y e g o t i s t i c a l .
Don B e n i t o ' s e x t r e m e
s e n s i t i v i t y and costume o f " s i n g u l a r r i c h n e s s 1 ' Cp. 2231 may imply
weak m o r a l c h a r a c t e r and a d e c a d e n t i n t e l l e c t u a l i n h e r i t a n c e .
S i n c e Babo i s n e v e r a l l o w e d f u l l human e x p r e s s i o n by t h e w h i t e s
i t i s n o t p o s s i b l e t o deny h i s h e r o i s m c o n c l u s i v e l y .
But t h e
important consideration, a t t h i s p o i n t i n our discussion, i s t o
see t h a t s u c h name-play m e r e l y s t r e n g t h e n s t h e view t h a t no d i s t i n c t moral p o s i t i o n i n t h e s t o r y can b e argued f o r M e l v i l l e .
.
The p r e s e n c e o f h i s t o r i c a l p e r s p e c t i v e s u g g e s t s by i t s l o n g view
t h e r e p e t i t i o n o f c y c l e s o f dominance and s u b j u g a t i o n , w i t h w h i t e
and b l a c k i n t e r m i t t e n t l y r e v e r s i n g r o l e s ,
Such a n i n t e r p r e t a t i o n
i s b o r n e o u t by t h e i m a g i s t i c c o r r e s p o n d e n c e s i n t h e d e p o s i t i o n
where w h i t e s k i l l b l a c k s i n t h e manner t h a t t h e i r m a t e s h a v e b e e n
killed.
I f w e a d o p t such a p e r s p e c t i v e , t h e r e i s no problem w i t h
t h e "slavery" issue.
s e l v e s enslaved.
B l a c k s are e n s l a v e d by w h i t e s who are them-
Don B e n i t o ' s c u l t u r a l i n h e r i t a n c e i n c l u d e s t h e
I n q u i s i t i o n , and i n t h e s h a v i n g s c e n e , where Babo c o n d u c t s a c r u e l
mimicry o f c a s t r a t i o n and murder, t h i s i n h e r i t a n c e i s i r o n i c a l l y
suggested.
The f l o o r o f t h e cuddy w a s m a t t e d
On one s i d e w a s a c l a w - f o o t e d
old table
a thumbed m i s s a l on
i t , a n d o v e r it a s m a l l , meagre
c r u c i f i x a t t a c h e d t o t h e bulk-head;
Under t h e t a b l e l a y a d e n t e d c u t l a s s
o r two, w i t h a hacked h a r p o o n ,
among some melancholy o l d r i g g i n g ,
l i k e a heap of poor f r i a r s ' s g i r d les. T h e r e w e r e a l s o two l o n g ,
s h a r p - r i b b e d s e t t e e s o f Malacca
c a n e , b l a c k w i t h a g e , and uncomforta b l e t o look a t a s i n q u i s i t o r s '
r a c k s , w i t h a l a r g e , misshapen armchair, w h i c h , f u r n i s h e d w i t h a r u d e
,..
...
r
b a r b e r ' s c r o t c h a t t h e back:
Worki n g w i t h a s c r e w , seemed some g r o t e s q u e e n g i n e o f t o r m e n t . (p. 263)
The I n q u i s i t o r s murdered t h o u s a n d s t o p r e s e r v e t h e i r dogma; 115
now, Babo, i n h i s s y m b o l i c r o l e as a F r a n c i s c a n f r i a r , r e - e n a c t s
t h e t o r t u r e s p s y c h o l o g i c a l l y o n Don B e n i t o .
The P a s t h a s r e t u r n e d
t o i n h a b i t t h e P r e s e n t b e f o r e t h e u n s e e i n g e y e s o f Arnasa Delano,
who h a s no P a s t , m e t a p h o r i c a l l y , o t h e r t h a n " b e r r y i n g w i t h c o u s i n
Natqt as " J a c k of t h e Beachqq (p. 2 5 6 ) .
F o r Amasa Delano, a t t h e
e n d o f t h e s t o r y , " t h e p a s t i s p a s s e d q 1 (p. .306) , b e c a u s e h e h a s
.
n o memory o f e v i l p e r s o n a l l y s u f f e r e d , a n d h e n c e n o s e n s e o f a
P r e s e n t c r e a t e d by t h e P a s t .
F o r Don B e n i t o , on t h e o t h e r hand,
t h e "negro" h a s " c a s t s u c h a shadowq1 (p. 306) t h a t t h e S p a n i a r d
f e e l s d r i v e n t o h i s q'tombll Cp.
306).
Don B e n i t o v s d r a m a t i c s t a t e m e n t o n l y p r o v e s t o b e a d i f f i c u l t y i f w e i n s i s t on a m o r a l h i e r a r c h y i n t h e s t o r y and see
him as a k i n d o f C h r i s t - f i g u r e .
B u t i f w e u n d e r s t a n d Cereno as a
v i c t i m o f c i r c u m s t a n c e s , who h a s b e e n s o marked by e v i l t h a t h e
c a n n e v e r f o r g e t i t , h i s a n t i p a t h y t o t h e b l a c k s i s a t l e a s t consistent.
The argument t h a t h e u t t e r s t h e s t o r y ' s s y m b o l i c mean-
i n g as an e x p e r i e n c e o f e v i l i s c o n t r a d i c t e d by a l m o s t e v e r y t h i n g
i n t h e story.
- i n d i v i d u a l l y , t h e meaning o f t h e San
F o r him,
Dominick e x p e r i e n c e r e s i d e s i n e v i l .
F o r Delano i t r e s i d e s i n
t h e u l t i m a t e b e n e f i c e n c e o f " P r o v i d e n c e q 1 overcoming t h e e v i l s o f -
a " s t r a n g e h i s t o r y q ' on a " s t r a n g e c r a f t q q @.2 5 7 ) .
For t h e read-
e r , who must r e c o n c i l e t h e s e two p o s i t i o n s w i t h t h e undetermined
one o f Babo, t h e s y m b o l i c meaning o f " n e g r o V qs h o u l d p r o p e r l y o n l y
be ambiguity.
Babo i s t h e o n l y one o f t h e t h r e e m a j o r c h a r a c t e r s who
-
i
is never unmasked.
He dies silent and unrepentant.
164
considering
his role in the murder of the whites there can be no doubt of his
characterization as evil
Dominick.
-- relative to
the incidents on the San
To attempt to generalize his punishment as an unneces-
sary stigmatization of the negro is to deny the symbolic truth of
the stern-piece emblem: "a dark satyr in a mask, holding his foot
on the prostrate neck of a writhing figure, likewise masked"
(p. 220).
There are two figures in the emblem, but as masked be-
ings they can represent a number of possible meanings, none of
which are necessarily an indication of absolute significance.
.
In
one sense, the emblem can represent the Christian victory over
powers of darkness;
ironically, (as an emblem of a Spanish ship
compared to an "Acapulco" treasure-ship), the Christian forces
massacred the Aztecs and the Incas.
can signify the opposite
--
In another sense, the emblem
the victory of evil;
but given the
reversals of the story does black or white occupy the role of
evil?
There can be no satisfying answer to such a direct question
since the emblem itself offers us a masked vision. 116
There is one symbolic certainty in the story.
the only proffered form of completeness.
of Benito Cereno is imbued with death.
Death is
The entire atmosphere
The opening images of the
Spanish ship as an "intriguante's one eye" Cp. 278) and as a
"whitewashed monastery'' (p. 219 1 are themselves disturbing portents of what is to come.
"her keel
The San Dominick is a ship of death:
... laid, her ribs put together, and she launched, from
Ezekialls Valley of 9 r y Bonesn (p. 220).
Ara.ndafsskeleton is
nailed to the bow, and shrounded, below which are sketched the
darkly ironic words: "follow your leader" Cp.. 220).
Various imag-
?
165
e r y o f enchantment s t r a n g e l y emphasizes d e a t h - l i k e e x p e r i e n c e :
t h e s e a seems " l a i d o u t and l e a d e d up, i t s c o u r s e f i n i s h e d , s o u l
gone, d e f u n c t "
t o l l t ' (p. 2 3 6 ) ;
(p. 257);
t h e s h i p ' s b e l l r i n g s "a g r a v e - y a r d
c l i n g i n g t o t h e s h i p i s v e g e t a b l e matter " L i k e
mourning weeds, d a r k f e s t o o n s o f s e a - g r a s s s l i m i l y swept t o and
f r o o v e r t h e name, w i t h e v e r y h e a r s e - l i k e r o l l "
(p.
220);
the
c h a n t s o f t h e oakum-pickers are d e s c r i b e d as a " f u n e r a l march"
(p. 222);
t h e d e a d - l i g h t s o f t h e s h i p are " a l l c l o s e d l i k e cop-
p e r e d e y e s o f t h e c o f f i n e d " (p. 252) ;
a t one t i m e a c a b i n - d o o r
,
i s s e e n as " c a l k e d f a s t l i k e a s a r c o p h a g u s l i d " (p. 2 5 2 ) .
I n The E n c a n t a d a s , d e a t h and e n c h a n t m e n t are c l o s e l y
related.
The n a r r a t o r o f t h e s k e t c h e s i s h a u n t e d b y a v i s i o n of
a " g i g a n t i c t o r t o i s e " , 117 t h e i s l a n d s ' p r i n c i p a l form o f a n i m a l
118
l i f e , which h a s t h e l e t t e r s "Memento*****"
b u r n i n g on i t s
back.
Throughout t h e s k e t c h e s , images o f d e l u s i o n , p r e c a r i o u s -
n e s s , and d e a t h a r e a r t i c u l a t e d e i t h e r as e v e r p r e s e n t d a n g e r s f o r
unwary s a i l o r s o r a s d e f i n i n g m e t a p h o r s i n t h e a c c o u n t s o f t h e
islands' occasional inhabitants.
The p r i n c i p l e e l a b o r a t e d i s
t h a t n o t h i n g i s w h a t it a p p e a r s t o b e ;
Rock Rodondo g i v e s t h e
appearance of being a s a i l i n g s h i p t o approaching mariners u n t i l ,
i f t h e y are i n e x p e r i e n c e d , it i s t o o l a t e t o t u r n a s i d e .
I n B e n i t o Cereno, w e f i n d a c o r r e s p o n d i n g u s e of enchantment.
When C a p t a i n Delano sees h i s s h i p f a l l v i c t i m t o a n
u n p r e d i c t a b l e c u r r e n t " w i t h e n c h a n t e d s a i l s 1 ' Cp. 2441, h e b e g i n s
" t o f e e l a g h o s t l y d r e a d o f Don Benito'!
Cp. 2 4 4 ) .
Under t h i s
i n f l u e n c e , h e i m a g i n e s t h a t h e m i g h t b e t r a p p e d i n t h e manner o f
Malay p r i a t e s who e n t i c e g u e s t s o n t o " v a c a n t d e c k s , b e n e a t h which
p r o w l e d a h u n d r e d s p e a r s w i t h y e l l o w a r m s r e a d y t o u p t h r u s t them
-
through t h e mats"
Cp. 245)
.
I r o n i c a l l y , Don B e n i t o i n f o r k him
a t t h e s t o r y ' s e n d t h a t i n t h e c a b i n " e v e r y i n c h o f ground Cwas)
mined i n t o honey combs u n d e r you"
Cp. 3 0 5 ) .
The d e l u s i o n f i r s t
s u f f e r e d u n d e r t h e i n f l u e n c e of t h e e n c h a n t e d s e t t i n g t u r n s o u t
t o have b e e n c l a i r v o y a n t p e r c e p t i o n .
The p a r t i c u l a r u s e of
"honey combs" t o d e s c r i b e t h e d e a t h t r a p r e l a t e s an e n c h a n t i n g
sweetness w i t h death.
The p o i n t t o b e made h e r e i s t h a t oppo-
sites a r e brought t o g e t h e r suddenly f o r t h e i r o n i c purpose of
r e v e a l i n g ever-new f o r m s o f enchantment.
The p r o c e s s o f r e a s o n
t h a t Delano t r i e s t o employ t o s o l v e t h e enigmas on t h e s h i p i s
c o n t i n u a l l y b e f u d d l e d b y v a g u e n e s s : " T r y i n g t o b r e a k o n e charm,
h e was b u t becharmed anew" (p. 252) ;
"But t h e s e e n c h a n t m e n t s
w e r e a l i t t l e d i s e n c h a n t e d as h i s e y e f e l l on t h e c o r r o d e d mainchains" (p. 252);
" H e r u b b e d h i s e y e s and l o o k e d h a r d "
(p. 253);
t r y i n g t o a n a l y z e t h e r e l a t i o n s h i p o f t h e w h i t e s and b l a c k s
Delano f e e l s l o s t i n "mazes".
B u t it i s t h e p r o c e s s o f r e a s o n
i t s e l f which i s d a n g e r o u s l y u n d e r m i n i n g i n t h e s t r u g g l e f o r s u r v i v a l , f o r as w e l e a r n a t t h e e n d of t h e s t o r y t h r o u g h t h e d e s c r i p t i o n of B a b o ' s h e a d a s " t h a t h i v e o f s u b t l e t y " ( p . 3 0 7 ) ,
r e a s o n may p r o v e t o b e s w e e t t o i t s e l f b u t a d a n g e r o u s enchantment
i n t h e attempted perception of r e a l i t y .
The e x t r a o r d i n a r y s u b t l e -
t y of such i m a g i s t i c i n v o l v e m e n t bears w i t n e s s t o t h e c o m p l e x i t y
of self-deception.
Amongst t h e r e l i g i o u s p a t t e r n s o f t h e s t o r y ,
^
t r a n s c e n d e n t a l t r u t h s and m e t a p h y s i c a l t e r r o r s are b r o u g h t t o g e t h e r under t h e g u i s e o f o n e o r a n o t h e r image t o s u g g e s t t h e t h o u g h t
t h q t w'ith e v e r y l i f e - i n d u c i n g e x p e r i e n c e d e a t h ' i s t h e u n r e v e a l e d ,
shadowed h a l f .
Tn t h e s h a v i n g s c e n e , i s an i n c o n s p i c u o u s - l o o k i n g
p e d e s t a l " l i k e a f o n t " Cp. 2631, on i t s own p o s s i b l y s u g g e s t i n g
167
t h e sacrament of b a p t i s m .
I n c o n j u n c t i o n w i t h B a b o l s s u b c l e emp-
loyment of t e r r o r on t h e h e l p l e s s Don B e n i t o , t h e f o n t t a k e s on
a darker significance.
When Babo a n o i n t s Don B e n i t o ' s head
" w i t h a s m a l l b o t t l e o f s c e n t e d waterst1 Cp. 2681,
t h e presence of
t h e f o n t i n t h e t e x t i m p l i e s a s y m b o l i c a n o i n t i n g i n t h e manner
o f t h e s a c r a m e n t o f Extreme U n c t i o n
death.
-- t h e
l a s t sacrament before
S i n c e d e a t h t o t h e l i v i n g is a c e s s a t i o n a n d a n o t h i n g -
n e s s , and y e t demands a c o n t i n u o u s s t r u g g l e f o r s e l f - a s s e r t i o n ,
t h e u n r e l i e v e d p r e s e n c e o f d e a t h i n B e n i t o "Cereno i n d i c a t e s ,
p a r a d o x i c a l l y , an e n d u r i n g c o u r a g e o f t h e mind, f e d by t h e uncont r o l l a b l e t e n s i o n s o f s e e i n g i t s own f u t u r e d e g e n e r a t i o n .
Babo, t h e c o n s c i o u s n e s s o f e v i l , t h e i n t e l l i g e n t manip u l a t o r of s i m i l i t u d e a n d o f c o n t r a r i n e s s , t h e b l a c k n e s s t h a t
seems i m p e n e t r a b l e , i s a symbol o f t h e mind,
H i s head,
a pole, i s an ambivalent presence i n t h e p u b l i c Plaza;
f i x e d on
symbol-
i c a l l y unvanquished i t m e e t s t h e " g a z e of t h e w h i t e s " and i s
"unabashed" ( p . 307), a n d it l o o k s beyond them t o w a r d s t h e p l a c e
of i n t e r m e n t o f B e n i t o Cereno, whose m o r a l i m a g i n a t i o n c o u l d n o t
s u r v i v e i t s b a p t i s m of e v i l .
Such a n i n t e r p r e t a t i o n i s n o t meant t o summarize t h e
s t o r y ' s symbolic meaning.
R a t h e r , it p r o p o s e s i t s e l f a s a pos-
s i b l e i n t e r p r e t a t i o n o f symbols t h a t must f i n a l l y e l u d e o u r a b i l i t y t o e x p l a i n them f o r t h e v e r y r e a s o n t h a t e q u i v o c a t i o n and
masking p l a y s u c h a n i n p o r t a n t r o l e i n t h e s t o r y .
'
B e n i t o Cereno
i s an i n t e r r o g a t i o n o f m y s t e r y , of gmbiguous a p p e a r a n c e s t h a t con-
c e a l ' t h e everpresence of death.
L i k e i t s title character, i t s
u l t i m a t e s i g n i f i c a n c e i s i n t e r r e d i n t h e r e c e s s e s of i t s symbolic
depths.
EPTLOGUE
I n a l e t t e r t o Hawthorne o f 1851, M e l v i l l e d e s c r i b e d
what h e c o n s i d e r e d t o b e t h e q u a l i t y o f H a w t h o r n e v s mind,
It i s
a description t h a t could s u i t PIelville himself:
There i s a c e r t a i n t r a g i c phase of
humanity which, i n o u r o p i n i o n , w a s
n e v e r more p o w e r f u l l y embodied t h a n
b y Hawthorne. W e mean t h e t r a g i c a l n e s s o f human t h o u g h t i n i t s own
u n b i a s e d , n a t i v e , and p r o f o u n d e r
By v i s a b l e s i c - t r u t h ,
workings
we mean t h e a p p r e h e n s i o n o f t h e abs o l u t e c o n d i t i o n of p r e s e n t t h i n g s
as t h e y s t r i k e t h e e y e o f t h e man
who f e a r s them n o t , t h o u g h t h e y d o
t h e i r w o r s t t o him, -- t h e man who
d e c l a r e s himself a sovereign
n a t u r e ( i n h i m s e l f ) amid t h e powers
o f h e a v e n , h e l l , a n d e a r t h . H e may
p e r i s h ; b u t s o l o n g as h e e x i s t s
h e i n s i s t s upon t r e a t i n g w i t h a l l
powers upon a n e q u a l b a s i s . l l g
...
...
This kind of courage
--
a n a s s u m p t i o n o f t h e r e s p o n s i b i l i t i e s of
b e i n g w i t n e s s t o t h e t r u t h no m a t t e r what t h e c o s t
--
seems more
e v i d e n t i n Moby
Dick and P i e r r e t h a n i n t h e t a l e s o f t h e 1 8 5 0 ' s .
-Yet,
d e s p i t e t h e f a c t t h a t M e l v i l l e had moved from t h e grand
scale, (till t h e p o e t r y o f C l a r e l ) , t o t h e c o m p a r a t i v e l y minor
s c a l e of i n d i v i d u a l s t r u g g l e , t h e c o u r a g e i s s t i l l p r e s e n t i n i t s
r e f u s a l t o b e shaken from t h e t a s k o f r e a d i n g t h e " a b s o l u t e cond i t i o n of p r e s e n t t h i n g s " ,
subject-matter,
expression,
I n t h e i r v i t a l i t y and v a r i e t y o f
t h e t a l e s demonstrate a perseverance of c r e a t i v e
- Scr:i'venerI. Co'ck:-A-'Dcjo.dle'-Doo!,
B u t , i n . .Ba:rtI_ebyThe
and B e n i t o Cereno, t h e r e i s o n e i m p o r t a n t i m a g i n a t i v e d i f f e r e n c e
from t h e p e r f o r m a n c e of Moby
-Dick.
The v i t a l t r u t h s of c h a r a c t e r
i n t h e t h r e e t a l e s a r e w i t h h e l d f r o n scrutiny.;whe;reas,
corres-
p o n d i n g l y , w e l e a r n a good d e a l a b o u t Ahab a n d P i e r r e from r e p o r t e d experience.
~ a r t l e b y ,Merrymusk, and B e n i t o Cereno, l a r g e l y
r e s i d e i n S i l e n . c e , and t h e r e s p e c t i v e n a r r a t o r s o f t h e s t o r i e s
f a i l t o p e n e t r a t e . t o t h e c o r e of t h e s i l e n t c h a r a c t e r s ' e x p e r i e n ces.
thing,
I n e a c h c a s e t h e s i l e n c e i s ambiguous;
it may s i g n i f y e v e r y -
(an " a b s o l u t e c o n d i t i o n of p r e s e n t t h i n g s " ) , o r i t may s i g -
n i f y n o t h i n g Can e m p t i n e s s ) .
Bartleby i s associated with walls,
and s o h i s s i l e n c e 'might . r e p r e . s e n t t h e i m p e n e t r a b z l i t y o f i n d i v i d u a l s u f f e r i n g o r it might r e p r e s e n t t h e emptiness a t t h e h e a r t o f
what w e u s u a l l y c a l l d a i l y l i f e .
flerrymusk's s i l e n c e p r e v e n t s u s
from knowing w i t h c e r t a i n t y w h e t h e r t h e t r a n s c e n d e n t a l song o f
t h e cock i s l i f e - e n h a n c i n g o r d e a t h - i n d u c i n g ,
ous and unresolved f a s h i o n
--
both.
or
--
i n some c u r i -
Benito Cereno's s i l e n c e i s
l i k e a " p a l l " c o n c e a l i n g any f u r t h e r e x p l a n a t i o n o f h i s e x p e r i ence of t h e "negro".
On t h e o t h e r hand, w e f i n d t h a t t h e s t r a n g e
s i l e n c e o f t h e s e t h r e e f i g u r e s prompts t h e n a r r a t i v e e x e r c i s e of
i n t e l l i g e n c e and imagination.
W i t h i n t h e i r l i m i t a t i o n s , t h e law-
Cock-A-Doodle-Dool,
y e r i n "Bartleby", t h e farmer i n -
Amasa Delano
i n B e n i t o Cereno, u s e t h e i r powers t o u n r a v e l t h e m y s t e r i e s
b e f o r e them;
f o r t h e period of t h e s t o r y , t h e a c t i v e search f o r
u n d e r s t a n d i n g becomes t h e dominant f e a t u r e o f t h e i r l i v e s .
this activity,
t h e o r d h a r i n e s s o f men,
B a r t l e b y and t h e l a w y e r - n a r r a t o r ) ,
Through
( o f , f o r example, b o t h
i s shown t o b e m y s t e r i o u s , f o r
such o r d i n a r i n e s s i n c l u d e s t h e c o n t r a d i c t i o n s of p e r s o n a l i t y , t h e
h e l p l e s s good i n t e n t i o n s o f t h e h e a r t , and t h e m e t a p h y s i c a l e n i g -
m a s of t h e i n d i v i d u a l ' s r e l a t i o n s h i p t o q u e s t i o n s o f F a t e and
E t e r n i t y , B e i n g a n d Death.
S i l e n c e , t h e r e f o r e , symbolizes i n
t h e s e t h r e e s t o r i e s t h e i n s c r u t a b i l i t y o f men.
Through t h e organ-
i z e d experience of t h i s i n s c r u t a b i l i t y , w e a l s o apprehend, witho u t l o s i n g f o c u s o f t h e immedi3te e v e n t s , t h e i n s c r u t a b i 1 i . t ~of
God and N a t u r e .
171
.Another f e a t u r e of t h e s e t a l e s i s t h e e v e r p r e s e n c e of
death.
Death i s n o t s i m p l y t h e l i t e r a l e v e n t a t t h e e n d i n g of
the tale;
throughout.
s y m b o l i c a l l y , it i n h a b i t s t h e s i g n i f i c a n t e x p e r i e n c e
Yet, a g a i n s t what would seem a g r a d u a l d i s i n t e g r a -
t i o n .of v i t a l i t y t h r o u g h such a p r e s e n c e , t h e r e i s a c o u n t e r movement of hope, f e a r , a n g e r , d i s c r i m i n a t i o n , a t t e m p t e d l o v e ,
t h a t ' s e e k s t o h a l t t h e i n e v i t a b l e c e s s a t i o n of being.
The
d e s p e r a t i o n , i n t h e s e s t o r i e s t o d i s c o v e r t h e t r u t h i s correspond i n g l y matched by t h e urgency of T i m e .
I n ' " ~ a r t l e b y " ,t h e n a r r a -
t o r f e e l s he must a c t immediately o r e l s e l o s e h i s r e p u t a t i o n
and h i s v e r y s a n i t y .
In Cock-A-Doodle-Dool,
-
t h e atmosphere i s
imbued w i t h i m p r e s s i o n s o f d i s e a s e and d e a t h , c o n c e a l e d moment a r i l y by t h e i n v i g o r a t i n g crowing of t h e cock, and t h e t h r e a t
of t h e dun
--
which t h e n a r r a t o r t r i e s t o p u t o f f
--
i s another
m a n i f e s t a t i o n of t h e s u h t l e d e v i t a l i z i n g i n f l u e n c e of d e a t h .
In
B e n i t o Cereno, Amasa Delano's m e n t a l p e r e g r i n a t i o n s h o l d - t h e f a t e
of a l l on board t h e San Dominick;
h i s v e r y h e s i t a n c y t o a c t on
h i s s u s p i c i o n s i r o n i c a l l y s a v e s t h e l i f e of B e n i t o Cereno.
t h e life-and-death
In
s t r u g g l e s o f t h e s e s t o r i e s , b o t h t h e tempor-
a r y r e p r i e v e and t h e e v e n t u a l d e a t h a r e ambiguously r e l a t e d i n
t h e l a r g e r e f f o r t t o denominate t h e i n e x p r e s s i b l e , t h e edge of
which i s always j u s t beyond t h e g r a s p of t h e i n t e l l i g e n c e .
How
c l o s e ~ m & a Delano comes a t t i m e s i n h i s p a r a n o i d i n t r o s p e c t i o n s
t o t h e t r u t h of e v e n t s and y e t , when t h e " p a s t i s p a s s e d " , how
f a r he shows h i m s e l f t o b e gram an a p p r e c i a t i o n of Don B e n i t o ' s
suffering!
I n one s e n s e , such an i r o n i c paradox t r a n s c e n d s lit-
e r a r y manipulation.
I t s c h a r a c t e r w e c a n d e s c r i b e i n t h i s way:
c o n s c i o u s n e s s expands and i s f e l t a s t r u t h t o t h e d e g r e e t h a t it
-
c o n f r o n t s . i t s own e n d .
p e r h a p s t h i s i s one e x p l a n a t i o n f o r t h e
s t r a n g e magnetism o f s u c h f i g u r e s a s B a r t l e b y , Mexrynusk, B e n i t o
Cereno, t h a t i n t h e i r a w a r e n e s s of d e a t h , t h e i r u t t e r a n c e s evi n c e a d e g r e e o f c o n v i c t i o n t h a t i s o t h e r w i s e l a c k i n g i n anyt h i n g else i n t h e n a r r a t i v e s .
T h i s p a r a d o x may a l s o s u g g e s t
one r e a s o n f o r t h e f a i l u r e s o f t h e l a w y e r , t h e f a r m e r , and
Amasa Delano i n t h e i r r e s p e c t i v e c i r c u m s t a n c e s .
They are unwil-
l i n g t o c o n f r o n t t h e i r own e n d , p e r h a p s u n a b l e
c o n f r o n t it,
and s o , a r e f o r t h e t i m e b e i n g " s a v e d " from t h e c o n s c i o u s n e s s
.
o f it.
A s r e a d e r s , w e are p u t i n a u n i q u e p o s i t i o n by M e l v i l l e .
W e a r e p l a c e d somewhere i n between "Amasa Delano" a n d " B e n i t o
Cereno" and i n t h e m i d s t o f t h e t o t a l a m b i g u i t y o f t h e i r e x p e r i e n c e s w e must work o u t o u r own p r o p e r r e l a t i o n s h i p t o t h e t e x t .
The u n i q u e n e s s o f o u r p o s i t i o n i s due t o t h e f a c t t h a t t h e t o t a l i t y o f S n a r r a t i o n , commentary, and s y m b o l i z a t i o n c r e a t e s a medit a t i v e l e v e l o f involvement.
W e move i n t o t h e t i m e o f t h e t e x t
and s h a r e w i t h M e l v i l l e c r e a t i v e s p e c u l a t i o n a b o u t t h e e v o l v i n g
d e s t i n i e s of h i s characters.
,
The c l a u s t r o p h o b i c t e n s i o n o f t h e
p s y c h o l o g i c a l i m p a s s e i n which B a r t l e b y and Don B e n i t o r e s p e c t i v e l y f i n d t h e m s e l v e s i s t r a n s f o r m e d by t h e t e x t i n t o a l a r g e n e s s
of i n t e l l e c t u a l e x p e r i e n c e .
T h i s e x p e r i e n c e , p r e d i c a t e d by t h e
e x t r e m e s -of b e h a v i o u r and m e t a p h y s i c a l s p e c u l a t i o n i n t h e s t o r i e s ,
becomes f o r u s a p r o c e s s 02 d i s c o v e r i n g what i t means t o b e human,
i r r e s p e c t i v e of t i m e a n d p l a c e .
the
We, a s r e a d e r s , a r e i n c l u d e d i n
a c t i v i t y o f c h a l l e n g i n g an unknown f u t u r e t h r o u g h lit-
e r a r y c r e a t i o n by w i t n e s s i n g t h e t r a n s f i o r m a t i o n o f e c c e n t r i c
i n c i d e n c e s i n t o memorable a n d u n a n s w e r a b l e p e r f o r m a n c e s .
-
P
i
!
'Such a l e v e l of involvement h a s been d e s c r i b e d i n t h i s
t h e s i s a s a f e a t u r e of t h e s t o r i e s ' t e x t u a l i t y ,
Tn M e l v i l l e ' s
i
hands t e x t u a l i t y c r e a t e s t h r o u g h i t s own a r t i f i c e t h e c o n d i t i o n
i
of v i s i b l e t r u t h ( " v i s a b l e t r u t h v 1 ;
)
t h e d i f f i c u l t y of t h e v i s i b l e
t r u t h i s meant, p o s s i b l y , t o correspond t o t h e d i f f i c u l t y of t h e
appearances of r e a l i t y .
-
Thus,' B a r t l e b y The S c r i v e n e r i t s e l f
becomes t h e e x e r c i s e of t h e "apprehension o f t h e . a b s o l u t e condit i o n of p r e s e n t t h i n g s " .
I n such a p e r s p e c t i v e , a c h i e v e d appre-
hension c o r r e s p o n d s t o r e v e l a t i o n , b u t a r e v e l a t i o n t h a t i s
.
unique t o b e i n g a w i t n e s s t o t h e i n s c r u t a b l e o r d i n a r i n e s s of
everyday e x i s t e n c e .
Where t h e u n u s u a l , t h e b i z a r r e , o r t h e malign m a n i f e s t l y
o c c u r s a s an a c c i d e n t a l i n c i d e n t i n o r d i n a r y l i v e s , M e l v i l l e
p l a c e s himself i n such i n t e r s e c t i o n s a s a f a m i l i a r v o i c e .
How
h e does s o h a s been t h e s u b j e c t of t h i s t h e s i s t h r o u g h t h r e e p a r t i c u l a r examples.
Why he does s o can p e r h a p s be e x p r e s s e d by
u s i n g Hannah A r e n d t ' s words i n h e r d i s c u s s i o n of some contempora r y p r o b l e q s o f moral e x p e r i e n c e :
Whatever c a n n o t become t h e o b j e c t
of d i s c o u r s e -- t h e t r u l y s u b l i m e ,
t h e t r u l y h o r r i b l e o r t h e uncanny
-- may f i n d a human v o i c e t h r o u g h
which t o sound i n t o t h e w o r l d , b u t
i t i s n o t e x a c t l y human. We humani z e what i s going on i n t h e world
and i n o u r s e l v e s o n l y by s p e a k i n g of it, and i n t h e c o u r s e o f speaki n g of it we l e a r n t o b e human.l20
,
LIST OF
--
REFERENCES
'~
h e L e t t e r s of Herman Melville, e d . Merrell R. Davis and
W i l l i a m H. G i l n a n mew Haven: Y a l e U n i v e r s i t y P r e s s , 19651,
p. 1 2 4 .
-
2 ~ e r m a nM e l v i l l e , P i e r r e o r The m b i g u i t i e s , ed. H a r r i s o n
Hayf o r d , H e r s h e l P a r k e r , and ~ T ~ h o r n aT sa n s e l l e , NorthwesternNewberry E d i t i o n (Chicago: N o r t h w e s t e r n U n i v e r s i t y P r e s s , 1 9 7 1 ) ,
pp. 138-139.
4 ~ 0 . M a t t h i e s s e n , American: : ~ e n a : i s s : a n c (New
e
York : Oxford
U n i v e r s i t y P r e s s , 1 9 7 4 ) , p , 433.
.
'~erman Melville, T
h e E n c a n t a d a s , i n B i l l y Budd, S a i l o r &
O t h e r S t o r i e s , e d . H a r o l d Beaver (Harmondsworth: Penguin, 1 9 6 7 ) ,
pp. 137-138.
6 ~ o b i nB l a s e r (Dept. o f E n g l i s h , Simon F r a s e r U n i v e r s i t y ,
1979), during t u t o r i a l conferences.
' ~ h a r l e s F e i d e l s o n J r . , Symbolism a n d Amer:ican L i t e r a t u r e
(Chicago: The U n i v e r s i t y o f Chicago Press, 1 9 5 3 ) , p. 198.
-
-Wall
' ~ e r m a n M e l v i l l e , B a r t l e b y The S c r i v e n e r : A S t o r y of
S t r e e t i n B i l l y Budd, S a i l o r & O t h e r S t o r i e s ,
H a r o l d Beaver
(Harxtsndsworth: P e n g u i n , 1 9 6 7 r . A l l r e f e r n c e s a r e t o t h i s e d i t i o n of t h e work, which i s b a s e d on t h e f i r s t e d i t i o n of The
P i a z z a T a l e s (May 1 8 5 6 ) , and are i n c l u d e d i n t h e t e x t of the
thesis.
ea,
-
his
r e f e r s t o M e l v i l l e ' s m y t h o l o g i z i n g o f s p a c e i n Moby
Dick, e s p e c i a l l y a s a r g u e d by C h a r l e s Olson i n h i s C a ll M e Ishmael
(London: J o n a t h a n Cape, 1 9 6 7 ) .
-
l 0 ~ d s p i t et h e e x c e l l e n t e f f o r t s o f s u c h b i o g r a p h e r s a s Leon
Howard and J a y Leyda, M e l v i l l e ' s f e e l i n g s a b o u t h i s own work reW e know t h a t h e w a s f a s c i n a t e d w i t h t h e
main l a r g e l y unknown.
But
"Agatha s t o r y " and wanted Hawthorne t o u s e i t i n a f i c t i o n .
n e i t h e r men d i d re-work t h e ~ t o r y ,and s p e c u l a t i o n t h a t t h e Agatha
theme of s i l e n t and p a t i e n t s u f f e r i n g i n f o r m s M e l v i l l e ' s s u b s e q u e n t
t a l e s i s r i s k y i f such speculation r e p l a c e s t h e discovery of narFor b i o g r a p h i c a l m a t e r i a l on the "Agatha
r a t i v e experience.
s t o r y s e e Leon Howard, Herman Etelvi'l'le: A B i o g r a p h y (Berkeley:
197-203.'
U n i v e r s i t y o f ~ a l i f o r n i aP r e s s , 1951) ,
-
pp.
'%bid.,
pp. 201-208.
----
1 2 ~ e w i sMumford, Herman M e l v i l l e : 3 St'udy o f H i s L i f e ' a n d
V i s i o n ~ r e v . e d . (New York: H a r c o u r t , Brace & World, 19621 pp.
162-165.
Mumford t y p i f i e s t h e u n f o r t u n a t e c r i t i c a l e f f o r t s t o
e q u a t e M e l v i l l e a n d - ~ a r t l e b ~ .Such b i o g r a p h i c a l c r i t i c i s m i s
ultimately anti-art i n its reductive tendencies.
,
1 3 # e l v i l l e a c q u i r e d a copy of Don. Q u i x o t e i n 1855 b u t may
See Howard, p. 227.
have read t h e novel earlier.
-----
148. Bruce F r a n k l i n , The Wake o f t h e Gods: M e l v i l l e ' s
~ y t h ~ o l o g(yS t a n f o r d , S t a n f o r d U n i v e r s i t y P r e s s , 1 9 6 3 ) , pp.
. ,
1 5 w a l t e r S u t t o n , c i t e d i n F r a n k l i n , pp.
133-134.
-
1 6 ~ a r r yL e v i n , The Power of B l a c k n e s s : Hawthorne, F o e ,
1 9 5 8 ) , pp. 1 8 7 - 1 8 8 7 ~ h e
M e l v i l l e , ( N e w York: A l f r e d A. =opf,
p o s s i b l e s i m i l a r i t y between M e l v i l l e and B a r t l e b y c a n o n l y b e
u s e f u l a s a minor p e r s p e c t i v e on t h e t a l e , i f w e want t o a v o i d
t h e r e d u c t i o n o f a r t . J a y Leyda m e n t i o n s t h a t a f r i e n d o f
M e l v i l l e ' s , E l i F l y , worked i n a l a w - o f f i c e and w a s i n s t i t u t i o n a l i z e d i n a m e n t a l h o s p i t a l -- i n f o r m a t i o n t h a t q i v e s some b a s i s
- complete S t o r i e s of
f o r t h e ' t o u c h of madness' i n B a r t l e b y ,
Herman M e l v i l l e ( N e w York: Random House, 1949) , p. 4 5 5 7 -
he
1 7 ~ h e r ehave been numerous s t u d i e s o f B a r t l e b y , t h e cumulat i v e , e f f e c t o f which seems t o h a v e b e e n t o make t h e s t o r y less
accehsible.
The f o l l o w i n g s e l e c t i o n shows s o m e t h i n g o f t h e r a n g e
o f i n t e r p r e t a t i o n : Mario DIAvanzo sees B a r t l e b y a s a v i c t i m i z e d
N e w 'England
a r t i s t i n M e l v i l l e ' s ' B a r t l e b y ' a n d J o h n J a c o b st or" , Q u a r t e r l y 4 1 ( 1 9 6 8 ) , pp. 259-264;
P e t e r E . Firchow f e e l s t h a t
B a r t l e b y i s a m e t a p h o r i c a l dead l e t t e r s e n t t o t h e n a r r a t o r , i n
" B a r t l e b y : Man & Metaphor", S t u d i e s i n S h o r t F i c t i o n V (Summer
B a r t l e b y a s a redeemer
1 9 6 8 ) , pp. 342-348;
Marvin F i s h e r
f i g u r e made m e n t a l l y ill by a c o r r u p t s o c i e t y , i n " ' B a r t l e b y ' ,
M e l v i l l e ' s C i r c u m s c r i b e d S c r i v e n e r " , S o u t h e r n Review 10 (19741,
pp. 59-79;
R i c h a r d F o g l e u n d e r s t a n d s B a r t l e b y a s an a b s o l u t i s t ,
i n M e l v i l l e ' s S h o r t e r T a l e s (n.p.: U n i v e r s i t y o f Oklahoma P r e s s ,
19601, p.- 19; E g b e r t S. O l i v e r sees B a r t l e b y a s a p a r o d y o f
Thoreau, i n " A Second Look a t ' B a r t l e b y " ' ,
G o l l s r ; e SngU;;;? YZ
Leonard Pops sees B a r t l e b y as ' I ~ i G r e
(May l 9 4 5 ) , pp. 431-439;
made p a s s i v e " , i n The M e l v i l l e A r c h e t y p e [Kent, Ohio: Kent S t a t e
U n i v e r s i t y P r e s s , 19701, p. 127; f o r John S e e l y e , B a r t l e b y i s a
d i s c i p l e of Emerson who shows t h e b a n k r u p t c y of ~ r a n s c e n d e n t a l i s m ,
and L a t e r
i n "T,he Contemporary ' B a r t l e b y ! " , S t u d i e s i n t h e ,Minor Works o f M e l v i l l e e d . Raymona ~ u l l (- H a r t f o r d ; ~ r a n s c e n d e n t a lBooks,
19701, pp. 12-18;
f o r Robert Spector, B a r t l e b y i s t h e i n d i f f e r e n t
cosmos, i n " ~ e l v i l l es ' B a r t l e b y and t h e Absurdv';Ninete'en'thCentury F i c t i o n 16 ( 1 9 6 1 ) , pp. 175-177;
B a r t l e b y i s a n "emascul a t e d C h r i s t " f o r ~ i l l i a mBysshe S t e i n , i n " B a r t l e b y : The ~ h r i s t i a n
sees
-
--
-
'
conscience.", A Symposium: B a r t l e b y The
- S c r i v e n e r ed. ~ o w a r dP.
V i n c e n t ( ~ e n t yOhio: Kent S t a t e U n i v e r s i t y P r e s s , 19661, pp.
104-112;
N a t h a l i a Wright s e e s B a r t l e b y as d e r i v i n g g r o n ~ e l v i l l e ' s
r e a d i n g s of B u r t o n , i n " M e l v i l l e a n d ' O l d B u r t o n v , with ' ~ a r t l e b y '
as a n Anatomy o f Melancholy" , Tenne's's'ee S t u d i e s 'in' L i ' t e r a t u r e 15
C1970), pp. 1-13.
-
1 8 ~ e w t o nA r v i n , Herman Melville (New York: S l o a n e , 1950) ,
p. 244; R i c h a r d Chase, Herman M e ' l v i l l e : A C r i t i c a l S t u d y ( N e w
York: MacMillan, 19491, p. 143; ~ordecai- arcu us, " M e l v i l l e l s
B a r t l e b y as a P s y c h o l o g i c a l Double", Co'llege E n g l i s h X X I I I
( F e b r u a r y 19621, pp. 365-368.
191,eo Marx, l l M e l v i l l e ' s P a r a b l e o f t h e W a l l s " ,
Review 861 (1953) , pp. 602-627.
2 0 ~ a u r i c eFriedman,
Symposium, pp. 64-81.
Sewanee
" B a r t l e b y and t h e Modern E x i l e " ,
A
in -
' ' ~ h a r l e s G. Hoffman, "The S h o r t e r ~ i c t i o n so f Herman
M e l v i l l e " , S o u t h A t l a n t i c Quarterly L I I ( J u l y 1953) , p. 420.
-
2 2 ~ i n g s l e yWidmer , T h e Ways of N i h i l i s m : Herman M e l v i l l e ' s
S h o r t Novels ( n . p . , C a l i f o r n i a c o l l e g e s P u b l i c a t i o n , 1970) ,
pp. 91-125.
- Conf idence-Man:
- H
i s Masquerade ( N e w
2 3 ~ e r m a nM e l v i l l e , The
York: N e w American L i b r a r y , 1 9 5 4 ) , pp. 245-246:
r As
f o r o r i g i n a l characters i n f i c t i o n , a grateful reader
...
w i l l on m e e t i n g o n e , k e e p t h e a n n i v e r s a r y o f t h a t day
the original character
i s l i k e a r e v o l v i n g Drumrnond
l i g h t , r a y i n g away from i t s e l f a l l a r o u n d i t -- e v e r y t h i n g
i s lit by i t , e v e r y t h i n g s t a r t s u p t o it (mark how it i s
w i t h H a m l e t ) , s o t h a t i n c e r t a i n minds t h e r e f o l l o w s upon
...
t h e adequate conception of such a c h a r a c t e r , an e f f e c t , i n
i t s way, a k i n t o t h a t which G e n e s i s a t t e n d s upon t h e b e g i n ning of things.
Widmer i s good when h e
2 4 ~ i d m e r ,pp. 91-125.
personality of t h e n a r r a t o r i n i t s s e l f - i n t e r e s t s ,
a n a l y s i s t e n d s t o p o l a r i z e the f i g u r e s o f B a r t l e b y
r a t o r , a r e l a t i o n s h i p which d o e s n o t d o j u s t i c e t o
o f t h e n a r r a t o r t o g e t t o understand Bartleby.
26
F o g l e , pp.
17-19,
analyzes t h e
although h i s
and t h e n a r the efforts
177
2 7 ~ h & e i s an i n t e r e s t i n g p a r a l l e l t o t h e n a r r a t o r ' s exagg e r a t e d f e a r of B a r t l e b y i n a contemporary s t u d y 02 s o c i a l psychology: The M a n i p u l a t i o n of Human Behayiour, ed. A.E. Biderman
and K. Zinmer (New York: w x e y , 19611, p, 4 :
-
t h e i n a b i l i t y t o make o t h e r s f u l f i l l o n e ' s w i s h e s ;
and
t h e r e v e r s e , t h e f e a r of b e i n g c o n t r o l l e d by o t h e r s ,
w i t h t h e consequent l o s s of t h e autonomy t h a t i s b e l i e v e d
These
t o be fundamental t o t h e c o n c e p t i o n of t h e s e l f .
opposites a r e incongruously exaggerated i n paranoid thinki n g , one of t h e most p r e v a l e n t m e n t a l symptoms of Western
Man.
2 8 ~ r a n k l i n ,pp.
126-133.
2 9 ~ i l l i a mB. Dillingham, M e l v i l l e I s S h o r t F i c t i o n (Athens,
Georgia: u n i v e r s i t y of Georgia P r e s s , 1 9 7 7 ) , pp. 18-55,
Dillingham s e e s t h e n a r r a t o r a s m o t i v a t e d p r i n c i p a l l y by f e a r .
However, D i l l i n g h a m ' s a n a l y s i s f a i l s t o a c c o u n t f o r t h e m y s t e r i ous bond between lawyer and s c r i v e n e r .
3 0 ~ a n i e lStempel and Bruce M. S t i l l i a n s , " ' B a r t l e b y t h e
S c r i v e n e r ' : A p a r a b l e of pessimism", Nineteenth-Century F i c t i o n
27 ( l 9 7 2 ) , pp. 268-282.
-God ( P r i n c e t o n :
31~awrance Thompson, Melvi,lfle' s Q u a r r e l With
P r i n c e t o n U n i v e r s i t y P r e s s , 1 9 5 2 ) , pp. 147-294.
While Thompson
was one of t h e e a r l i e s t c r i t i c s t o n o t e t h e s u b t l e t i e s o f
M e l v i l l e ' s i r o n i c t o n e i n Moby Dick and P i e r r e , h e weakens h i s
p g s i t i o n by i n s i s t i n g t h a t M e l v i l l e ' s m o t i v e s were a l m o s t wholly
c y n i c a l and s a t i r i c , t h e r e b y i g n o r i n g t h e a m b i g u i t y of t h e work.
-
3 2 ~ fM e l v i l l e ' s i n t e n t i o n s a r e symbolic, t h e y can o n l y b e
s o i n a Swiftian sense, r e c a l l i n g t h e I r i s h s a t i r i s t ' s v i s i o n of
c a r n a l i t y a s b o t h u n m i t i g a t e d o r i g i n a l s i n and comic e x c e s s ,
Such a v i s i o n i s c l o s e t o t h e contemporary n o t i o n of ' b l a c k
humour '
.
3 3 ~ h e r ehave been many a n a l y s e s of t h e m o t i f o f copying i n
See P e t e r
" B a r t l e b y " and i t s i r o n i c c o r r e s p o n d e n c e s t o f o r g e r y .
Firchow, - " B a r t l e b y : Man and Metaphor", pp. 342-348, and R. Bruce
- Method of M e l v i l l e ' s S h o r t F i c t i o n (Durham, N.C. :
B i c k l e y J r . , The
Duke U n i v e r s i t y P r e s s , 19751, pp. 26-44.
3 5 ~ o ran a c c o u n t of M e l v i l l e ! s u s e of t h e . h i s t o r i c a l c o l t ' s
l i f e s e e T.H. Giddings, " f l e l y i l l e , t h e colt-Adams Murder, and
- AmeY.i-cari F i , c t i o n 2 C19741, pp. 123-132.
' B a r t l e b y u , S t u d i e s .in
l
37Herman Melville, ~ o b yDick; or, The
- Wha>le ed. Harold
,
p. 262.
(Harmondsworth:
penguin,
1
9
z
)
Beaver,
..
381bid., pp. 454-455.
3 9 ~ e eMatthiessen, pp. 445-466, for a good discussion of the
metaphysics in Moby Dick.
40~ranklin,pp. 132-133.
411bid., pp. 132-133.
42pi.erre,pp. 138-139.
43Letter to Evert A. Duyckinck, 3 March 1849, in Davis and
Gilman, p. 79.
44~atthiessen,pp. 431-445.
--
46~obyDick, p. 287.
55~idmer,pp. 119-120.
13
For now s h o u l d I haye l a i n still
and been q u i e t , I s h o u l d have s l e p t :
t h e n had I been a t rest,
14
With k i n g s and c o u n s e l l o r s of
t h e e a r t h , which b u i l t d e s o l a t e
p l a c e s f o r themselves;
Cock-A-Doodle-Doo!
O r The Crowing o f The
" ~ e r m a n Melville, Noble Cock Beneventano: i n Herman N e l v i l l e : ~ i l l Budd.
y
Sailor &
Other S t o r i e s , e d . ~ a r b l dBeaver (Harmondsworth: penguin, 1967) 7
B e a v e r ' s e d i t i o n i s r e p r i n t e d from t h e S t a n d a r d E d i t i o n of
A l l further
P l e l v i l l e works, v o l . 13, e d i t e d by Raymond Weaver.
r e f e r e n c e s t o t h i s s t o r y a r e from B e a v e r l s . e d i t i o n and a p p e a r i n
.
t h e body of t h e t h e s i s .
---
-
C _ -
,-
6 h 7 i l l i a m Bysshe S t e i n , " M e l v i l l e R o a s t s T h o r e a u ' s Cock",
Modern Language Notes 74 (1959) pp. 218-219.
6 2 ~ o w a r d ,p.
C
210
6 3 ~ i l l i n g h a m ,pp. 56-74.
6 4 ~ a r t i nGreen, Re-Appraisals, ( N e w York: Norton, 1965) ,
pp. 108-112.
Green chooses t o i n t e r p r e t t h e s t o r y a s merely an
e x a g g e r a t e d s e x u a l joke.
6 5 ~ i c k l e y ,pp. 62-66, summarizes some of t h e e v i d e n c e of
M e l v i l l e ' s p o s s i b l e a t t a c k on Thoreau and T r a n s c e n d e n t a l i s m .
F e i d e l s o n , p. 32, c h a r a c t e r i z e s t h e d i f f e r e n c e between M e l v i l l e
and t h e T r a n s c e n d e n t a l i s t s a s :
The d i v e r s i t y t h a t Emerson and Whitman e a s i l y a c c e p t e d a s
new f r o n t i e r s o f e x p l o r a t i o n p r e s e n t s i t s e l f t o M e l v i l l e
a s a- network of paradox.
6 6 ~ e l v i l l es t i r r e v e r e n c e a t what h e c o n s i d e r e d t o b e t h e
He
s u p e r f i c i a l i t i e s o f l i f e may owe some i n f l u e n c e t o R a b e l a i s .
had a l r e a d y r e a d some of R a b e l a i s i n 1848, a c c o r d i n g t o Howard,
p. 115. Edward Rosenberry, P J e l ~ 2 l l eand
' t h e Comic S i r i t (New
York: Octagon, 19691, .p. 65, q u o t i n g f x o m a ~ sat u y on ~ a b e l a i s ,
relates:
9-h-
What p r i n c i p a l l y a t t r q c t e d M e l v i l l e t o Rabel'ais; beyond t h e
rowdiness. of h i s humor, w a s .a s p i r i t whilch 'he p r o f o u n d l y
180
" t h e s p i r i t which h a s t h e wish
s h a r e d w i t h t h e Frenchman
and r e s o l u t i o n a t any c o s t t o m a i n t a i n i t s e l 2 i n v i o l a t e ,
f r e e , s u p e r i o r t o chance and c i r c u m s t a n c e , immune t o e v e r y
d e b i l i t a t i n g c o n t a g i o n of t h e mass-mind and mass-temper.('
--
--
S t u d i e s i n t h e Minor a n d L a t e r Flarks" o f M e l v i l l e , pp. 85-92.
N i l l e t t p r o v i d e s a good g e n e r a l s u r v e y o f t h e meaning of s i l e n c e
in Melvillets fiction.
The i r o n i c s i g n i f i c a n c e of Merrymusk's
Is h i s name merry music?
name makes h i s s i l e n c e ambiguous.
~ c c o r d i n gt o William Bysshe S t e i n , t h e name means "sweet o r
p l e a s a n t t e s t i c l e " Cp. 5 ) : " M e l v i l l e t s Cock and t h e B e l l o f S a i n t
P a u l " , Emerson s o c i e t y Q u a r t e r l y , 27 (second q u a r t e r , 1962) , pp.
5-10.
The d i f f e r e n t po-ot-meanings
of Merrymusk informi n g t h e q u a l i t y of t h e c h a r a c t e r ' s s i l e n c e a r e an example o f how
complex M e l v i l l e makes h i s images.
. .-
-
6 9 ~ a n i e Hoffman,
l
Form and F a b l e i n American F i c t i o n ( N e w
York: Oxford U n i v e r s i t y ~ r e s C 1 9 6 5 ) .
7 0 ~ b i d . ,pp.
16-2x3.
7 1 ~ b i d . , pp.
23-32.
-
7 3 ~ o s e n b e r r ys' t r e a t m e n t of comedy i n M e l v i l l e ' s work i l l u s t r a t e s many o f M e l v i l l e ' s d e v i c e s , a l t h o u g h Rosenberry d o e s n o t
pay s p e c i a l a t t e n t i o n t o t h e t a l e s .
<
7 4 ~ e l v i l l e ' su s e of Wordsworth i s n o t s o much a parody as it
i s an i r o n i c e x c u r s u s , e x t e n d e d f o r a l t o g e t h e r d i f f e r e n t purposes.
M e l v i l l e ' s i n t e r r o g a t i o n of t h e ambiguity o f c r e a t i v e power i s n o t
B u t Melville's
p a r t i c u l a r l y a theme o f R e s o l u t i o n and Independence.
I n Moby
thought i s a t t i m e s c l o s e t o t h e v i s l o n of Wordsworth.
Dick, ch. 7 0 , "The Sphynx", p. 418, Ahab s a y s :
how f a r beyond a l l u t t e r a n c e s
' 0 Nature, and 0 s o u l of man:
a r e y o u r l i n k e d a n a l o g i e s : n o t t h e s m a l l e s t atom s t i r s o r .
l i v e s i n m a t t e r , b u t has i t s cunning d u p l i c a t e i n mind.'
-
7 5 ~ o w a r d ,pp. 208-210, t e l l s u s of M e l v i l l e ' s f a s c i n a t i o n
w i t h t h e theme of " p a t i e n t endurancet1 Cp. 2101. What gave t e n s i o n
t o t h e endurance i s ' p o s s i b l y r e v e a l e d i n M e l y i l l e t s s t a t e m e n t t o
Hawthorne:
--
it w i l l
What 1 f e e l p o s t qoved t o w r i t e , t h a t i s bqnned,
Yet, a l t o g e t h e r , w r i t e t h e ' o t h e r way I - .c a n n o t .
n o t pay,
" L e t t e r t o Hawthorne", J u n e '1851, i n Davis and Gilman, p. 128.
M e l v i l l e was compelled t o w r i t e i n a k i n d o f s e c r e c y i n h i s f i c -
s u g g e s t i o n s of which c a n b e gound throught i o n a f t e r Noby P
Dick
I
out' P i e r r e , t o b a l a n c e t h e demands of a r t and of t h e marketplace.
7601son, pp. 85-102, i n t e r p r e t s M e l v i l l e 1s comparative d i s i n t e r e s t i n t h e e p i c form, Cother t h a n C l a r e 1 1 a s a c r u c i f i x i o n
of t h e s p i r i t , perhaps due t o h i s i n a b i l i t y t o r e s t c o m f o r t a b l y
i n r e l i g i o u s b e l i e f ox u n b e l i e f .
But a l t h o u g h M e l v i l l e w r o t e n o
more s e a - e p i c s , h e d i d w r i t e more o r l e s s i n t h e manner t h a t h e
- Confidencewanted, s i h c e P i e r r e , t h e magazine s t o r i e s , and The
Man
were
n
o
t
q
r
e
a
t
~
o
p
u
l
a
r
s
u
c
c
e
s
s
e
s
and
t
h
e
r
e
i
s no e v i d e n c e
t h a t ~ e l v i l l e - e x p e c t e 2t h e y would be.
7 7 ~ a r n e rB e r t h o f f ' s a n a l y s i s of M e l v i l l e ' s n a r r a t o r s i s t h e
o n l y g e n e r a l s t u d y I have s e e n , a l t h o u g h h e does n o t t r e a t CockSee The
- Example of M e l v i l l e ( P r i n c e t o n : P r i n c e t o n
A-Doodle-Doo!
U n i v e r s i t y P r e s s , l 9 6 2 ) , pp. 115-132,
-
-
-
and H i s t o r y o f C o n s c i o u s n e s s ,
8 ~ r i c hNeumann , The O ~ i g i n s7
t r a n s . R.F.C. H u l l , ( P r m c e t o n : P r m c e t o n u n i v e r s i t y Press, 1 9 5 4 ) ,
pp. 170-256.
Neumann g i v e s a good a c c o u n t of t h e ' h e r o ' s ' t r i a l s i n myth and
l i t e r a t u r e , a l b e i t with a Jungian b i a s ,
I
7 9 ~ h er e l a t i o n s h i p o f freedom t o t r a n s c e n d e n c e , a s a problem
of c o n s c i o u s n e s s , i s s y m b o l i c a l l y c h a r a c t e r i z e d by M e l v i l l e i n t h e
q u o t a t i o n p r e f a c i n g h i s The
- Bell-Tower:
'Seeking t o conquer a l a r g e r l i b e r t y , man b u t e x t e n d s t h e
empire o f n e c e s s i t y . '
8 0 ~ o s e n b e r r y ,p. 200, n o t e s :
I am i n d e b t e d t o Walter B l a i r f o r t h e s u g g e s t i o n t h a t M e l v i l l e ' s
s t y l e and n a r r a t i v e methods were i n f l u e n c e d by o r a l
" r e h e a r s a l s " of h i s s t o r i e s , p a r i c u l a r l y i n Typee and Omoo,
which h e d e s c r i b e s i n h i s p r e f a c s a s h a v i n g been "spun a s a
See a l s o
yarn" many t i m e s b e f o r e b e i n g w r i t t e n down
J u l i a n Hawthorne's comments on M e l v i l l e a s a s t o r y t e l l e r i n
M e t c a l f , Herman M e l v i l l e , p.
4
...
* l ~ e r m a nM e l v i l l e , B e n i t o Cereno, i n Herman M e l v i l l e : B i l l y
Budd, S a i l o r & Other S t o r i e s , ed. Harold Beaver ~Harmondsworth,
Penquin, 19675, B e a v e r ' s t e x t i s b a s e d on t h e f i r s t e d i t i o n of
he-piazza T a l e s . A l l f u r t h e r r e f e r e n c e s t o t h e s t o r y a r e from
=erbs
e d i t i o n and a r e i n c l u d e d i n t h e body of t h e t h e s i s .
-
8 2 ~ t a n l e yW i l l i a m s , " ! F o l l o ~Your Leader! : p l e l y i l l e ' s ' B e n i t o
Cereno' ' I , V i r g i n i a Q u a r t e r . 1 ~Review, y o l . XXXII CKintec, 1 9 4 7 ) ,
p. 6 1 .
,
'
8 3 ~ a k Van
l
Doren, " A Note of C o n f e s s i o n " , Nation v o l . C X X V I I
(December 5 , 19282, ,p. 622.
84
--a s t h e " r e a l i z a t i o n of
Fogle, p. 143, s e e s BenitcsCereno
mystery" i n answer t o t h e c r i t i c s ' c h a r g e s t h a t M e l v i l l e l s s t o r y
b e t r a y s an a n t i p a t h y t o b l a c k s .
Other i m p o r t a n t d i s c u s s i o n s on
t h e s l a v e r y theme a r e : Warren D'Azevado, " R e v o l t on t h e San
Dominick", Phylon X V I I (second Q u a r t e r 19561, pp. 129-140;
R o s a l i e F e l t e n s t e i n , l ' M e l v i l l e ' - s ' B e n i t o Cereno' 'I, American
a l l e n Guttmann,
L i t e r a t u r e X I X (~ov;mber 19471 , pp. 245-255;
"The Enduring Innocence o f G a p t a i n Amasa Delano", Boston
U n i v e r s i t y S t u d i e s i n Eng-lish. V (Spring 1961) , pp. 35-45;
l
i n M e l v i l l e ' s 'Benito
J o s e p h Shiffman, " ~ r i t i c a Problems
c e r e k o 1" , ~ o - d e r nLanguage Q u a r t e r l y , X I (September 1950) , pp.
317-324.
8 6 ~ a r o l dH. Scudder, " M e l v i l l e l s ' B e n i t o Cereno' and C a p t a i n
Delano's Voyages", P.M.L.A.
43 (19281, pp. 502-532.
"•’0,
an e x c e l l e n t t r e a t m e n t of ' p s y c h i c m a t e r i a l i t y '
Gaston Bachelard,. The Poe.tics: b f Space. t r a n s . Maria J o l a s
(Boston: Beacon P r e s s , 1969)
-
.
-
see
good d e a l h a s been w r i t t e n a b o u t Babo's c r u e l t y i n t h i s
and o t h e r s c e n e s , b u t t h e d e l i b e r a t e vagueness and ambiguity of
t h e l i t e r a l and m e t a p h o r i c a l l e v e l s i n t h e s t o r y make it unwise
t o i n s i s t on a s t r i c t w h i t e - b l a c k p o l a r i t y .
See C h a r l e s
G l i c k s b e r g , " M e l v i l l e and t h e Negro Problem", Phylon I1 ( 1 9 5 0 ) ,
pp. 207-215, f o r an i n t e r p r e t a t i o n of Babo a s b l a c k r e v o l u t i o n a r y
l
hero.
' l ~ e e Widmer, pp. 60-63, f o r an i n t e r p r e t a t i o n of B e n i t o
Cereno a s e x i s t e n t i a l d r e a d .
D i l l i n g h a m , p. 259, s e e s t h e o r i g i n
o f t h i s d r e a d n o t i n d i v i d e d b e i n g b u t i n t h e h o r r o r s of c a n n i - b a l i s m , s u g g e s t e d by t h e manner of Aranda's d e a t h .
9 2 ~ h esudden and momentary a c c e s s of i r r a t i o n a l f e a r i s a
f e a t u r e of a l l of M e l v i l l e r s t a l e s . M e l v i l l e u n d e r s t o o d how
c l o s e . e y e n t h e s a n e s t of men c o u l d b e t o madness g i y e n t h e approp r i a t e circumstance^: .
For i n a l l of u s l o d g e s t h e same g u e l t o l i g h t t h e same f i r e .
And h e who h a s n e v e r f e l t , momentarily, what n a d n e s s i s h a s
but
a mouthful of b r a i n s .
.
.
"Herman M e l v i l l e v q u o t e d i n W i l l i a m E l l e r y Sedgewjck, Herman
'Melville The Tragedy. 'of Mind CCambridge: H a r v a r d U n i y e x s i t y
P r e s s , 19441, p. 5.
--
9 3 ~ i d m e r , pp. 82-83, shows a p e r c e p t i v e u n d e r s t a n d i n g o f t h e
n a r r a t o r , t h o u g h t h i s t h e s j s a r g u e s a g a i n s t Widmer's a n a l y s i s of
t h e s t o r y a s a n u n r e s o l v e d a t t a c k on t h e b l a c k s ,
9 4 ~ o two
r
c o n t r a s t i n g views see Widmer, p. 78, who f i n d s
Delano t o b e a s u b t l e p o r t r a y a l o f t h e "good American" and
B a r r y P h i l l i p s , " ' T h e Good C a p t a i n ' " A Reading of ' B e n i t o
Cereno1'I, T e x a s ' S t u d i e s i n Z i t e r a t u r e and Language IV (Summer 19621,
who e n v i s i o n s Delano a s " p r i g g i s h " a n d T r e a c h e r o u s l y s t u p i d "
(p. 1 9 1 ) .
-
9 7 ~ h eB. a c h e l o r ' s D e l i g h t r e c a l l s , i n i t s name, b o t h t h e
haven o f The P a r a d i s e o f B a c h e l o r s , w h e r e i n u n m a r r i e d men f i n d
r e f u g e from r e a l i t y , and t h e " g l a d s h i p " B a c h e l o r i n Moby Dick
(- c h . 1 1 5.) . Both r e f e r e n c e s s t r e s s t h e n a i v e and f o r t u n a t e as
a c t s o f moral innocence, a q u a l i t y of being t h a t i s rendered
ambiguous i n t h e m i d s t o f e v i l .
-
-
--
~
9 8~ h eE n c a n t a d a s , p.
l o 4 p r a n k l i n , pp.
-+
134
136-150.
l o 5 g o b i n Magowan, "Masque and Symbol i n M e l v i l l e t s ' B e n i t o
Magowan proC e r e n o t q l , C o l l e e E n g l i s h 23 (19621, pp, 346-351.
v i d e s ' a n e x c e l e n t t r e a t m e n t of r i t u a l , b u t X cqnno5 a g r e e t h a t
t h e s t o r y i s p r i m a r i l y a n i n d i c t m e n t 02 s l a v e r y .
107 *
Arvin, pp.
238-240.
'08nax P u t z e l , "The Source and t h e Symbols of N e l v i l l e ~ s
' B e n i t o Cerenovl', American ' L i t e r a t u r e 3 4 Cl9621, pp. 189206.
P u t z e l r e l a t e s p s y c h o l o g i c a l and h i s t o x i c a l m a t e r i a l s i n
s e e i n g B e n i t o Cexeno a s a p r o d u c t of d i v i d e d American consciousness.
good example o f r e a d e r p a r t i c i p a t i o n i n t h e p r o c e s s of
s y m b o l i z a t i o n i s M e l v i l l e t s r e a c t i o n t o Hawthorne's- work.
" L e t t e r t o Hawthorne", , A p r i l 1851, Davis and Gilman, pp. 123-125,
" O ~ o r one of many a n a l y s e s a r g u i n g B a b o l s heroism s e e
Richard E , Ray, " ' ~ e n i t oCerenol : Babo a s Leader1', S t u d i e s i n
t h e Minor and L a t e r Works o f M e l v i l l e , PD. 31-37.
-
E . Nnolim, M e l v i l l e I s B e n i t o Cereno: A StUdy i n
ll'charles
of Name Gymbolisn .(New York: N e w V o i c e s , 19747, p. 15.
Meaning --
'12Thomas E . Connolly, "A Note on Name-Symbolism i n M e l v i l l e " ,
American L i t e r a t u r e ,XXV ( J a n u a r y 1 9 5 4 ) , p. 490, a s quoted by Nnolim,
p. 2 6 .
' 1 5 ~ s t i m a t e s f o r t h e number p u t t o d e a t h d u r i n g t h e I n q u i s i t i o n
v a r y between 200,000 and 400,000.
See Michael H a r r i s o n , The
- Roots
,
p.
259.
o
f
W
i
t
c
h
c
r
a
f
t
(London:
Tandem,
1975)
' 1 6 ~ h e r e a r e numerous a l l u s i o n s i n t h e t e x t t o d r a m a t i c p e r formance, a s i f a masque were t a k i n g p l a c e whose purpose i s o n l y
dimly p e r c e i v e d by De$no.
See Magowan, pp, 346-351, f o r a t r e a t ment of t h e a t r e imagery.
The p r e v a l e n c e of mask imagery emphasizes
t h e h i d d e n n e s s o f t r u t h , and i s m i r r o r e d i n t h e language by what
Richard Chase h a s c a l l e d t h e "mood of withdrawal" (p. 152) i n
A C r i t i c a l Study CNew York: MacMillan, 1 9 5 0 ) .
Herman M e l v i l l e : l l 7 T h e E n c a n t a d a s , p.
'181bid.
, p.
136.
136.
Davis and Gilman, ,p. 1 2 4 .
L19uLettey t o Hawthorne"
--
l2O ~ a n n a hArendt ,. Men. I n . Dark>Times CNew York: H a r c o u r t , Brace
& World, 19681, p. 25.
-_C_
A r e n d t , Hannah. Men I n Dark Times,
World, 1968.
Netq Yoxk; H q x c o u r t , B r a c e &
- - _ _ I
!
Herman Me'lville.
A r v i n , Newton.
N e w York:
S l o a n e , 1950.
-\
#
'
\
-
The Encliafed Fl'ood.
New York: Random House, 1950.
B a c h e l a r d , Gaston, The'
- PoeTi'cS Df
- Space, t r a n s . Maria J o l a s .
Boston: Beacon P r e s s , 1969.
\
-
Auden, W.H.
,
/'
I
--
--
B a i r d , James.
I s h m a e l : A S t u d y of t h e Symbolic Mode i n ~ r i m i t i v i s m .
B a l t i m o r e : J o h n H O P E U~n i~v e~r s i t y P r e s s , 1956.
The
- Example of M e l v i l l e .
B e r t h o f f , Warner.
U n i v e r s i t y P r e s s , 1962.
Princeton: princeton'
The
- Method of 3 f e l v i l l e ' s S h o r t F i c t i o n .
B i c k l e y , R. Bruce.
N.C. : Duke U n i v e r s i t y p r e s s , 1975.
Durham,
-Manipulation o f Human
Biderman, A.E. a n d H. Z i m m e r , e d s . The
Behaviour., N e w York: Wiley, 1961.
-
in
Braswell, William.
M e l v i l l e ' s R e l i g i o u s Thought: An E s s a y Interpretation,
Durham, N.C.:
Duke ~ n i v e r s i t y ~ r e s s1943.
,
e A C r i t . i c , a l ' S ' t ~ d y . N e w York :
Chase, Richard.
Herman M e ' l ~ i Z ' l :
MacMillan, 1949.
, ed. Melville: A Collection of C r i t i c a l Essays.
~rentze- all, 1962.
Englewood c l i f f s ; N.J.:
D ' Avanzo, Mario.
" M e l v i l l e 1s ' B a r t l e b y ' and J o h n J a c o b A s t o r " ,
N e w England Q u a r t e r l y , 4 1 (19681, pp. 259-264.
The
- L e t t e r s o f Herman
D a v i s , M e r r e l l , a n d y i l l i a m Gilman, e d s .
N e w HBven: Y a l e U n i v e r s i t y P r e s s , 1960.
Melville.
XVII,
" R e v o l t on t h e San Dominick", ~ h ~ l o n
,
(second Q u a r t e r 1956) , pp. 129-140.
D ' Azevado, Warren.
Melville's Short Fiction.
Dillingham, W i l l i a m .
The U n i v e r s i t y o f G e o r g i a P r e s s , 1977.
Athens, ~ e o r g i a :
and American L i t e r a t u r e .
Feidelson, Charles.
Symbolism The U n i v e r s i t y o f C h i c a g o Press, 1953,
1
Chicago:
, and P a u l B r o d k o r b , J r . , e d s . r n t e r p r e t a t i o n s o f American
Literature.
New Yayk; Oxgord U n i v e r s i t y P r e s s , 1 9 5 9 ,
F e l t e n s t e i n , ,Rosalie.
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