“Bartleby the Scrivener: A story of Wall Street” (1853) was a short story written by Herman Melville. The story begins with a short introduction of the narrator, an unambitious, prudent, lawyer who has an office located on Wall Street. In the introduction the narrator also briefly introduces Bartleby, a scrivener that the narrator has hired. The narrator goes on to say that Bartleby is the strangest scrivener he had ever seen or heard of, and almost makes the reader pity Bartleby throughout the story. This story, like all pieces of literature, can be interpreted differently by each reader. This essay’s purpose is to discuss some these interpretations.
One of the first interpretations of Herman Melville’s “Bartleby the Scrivener: A Story of Wall Street” is actually quite
Dilgen does this by utilizing the narrator to represent the one percent (corporations and big businesses) and using Bartleby as a symbolism of the other ninety-nine percent on the population. The writer then goes on to explain that Melville’s story helps question what responsibilities we have to fellow humans. Melville also went on to describe other Scriveners in the narrator’s law office, Turkey and Nippers. Corey Evan Thompson, writes a notable article about one of them called, “The Prodromal Phase of Alcoholism in Herman Melville’s BARTLEBY, THE SCRIVENER and COCK-A-DOODLE-DOO.” In his entry Thompson states that, “alcohol abuse during the first century after the founding of the United States, was rampant” (Thompson). Suggesting that Turkey’s erratic behavior in the afternoon was due to alcoholism:
“Would be incautious in dipping his pen into his inkstand. All his blots upon my documents were dropped there after twelve o’clock, meridian. Indeed, not only would he be reckless, and sadly given to making blots in the afternoon, but, some days, he went further, and was rather noisy.”
Misery loves company and in Melville's "Bartleby the Scrivener", Bartleby exhibits traits of depression and catatonic schizophrenia as defined in the DSM-IV; however the narrator's other employees also show symptoms of catatonia either influenced by Bartleby or by Melville's own mental state. The theme of mental disorder is prominent throughout the text and a close analysis of specific passages in concordance with the DSM-IV will first reveal how Bartleby exemplifies these mental disorders and secondly show to what extent the entire story serves to personify them.
In what follows I shall resort to a shortcut. Instead of reporting on Brook Thomas's interpretation as a whole, I shall cite some of the most strikingly important and interesting passages. Given the foregoing (and your possible prior knowledge of Melville's story), these quotations should speak for themselves.
In Herman Melville's short story, Bartleby, the Scrivener, the narrator's attitude towards Bartleby is constantly changing, the narrator's attitude is conveyed through the author's use of literary elements such as; diction-descriptive and comical, point of view-first person, and tone-confusion and sadness.
This can be seen in how the narrator and other lawyers never want to do anything that harms themselves or their reputation. Melville shows us this side of the lawyers when they come to the narrator to help rid themselves of Bartleby and they state, “Every body is concerned; clients are leaving the offices; some fears are entertained of a mob; something you must do, and that without delay.” Then, the narrator decides to help not out of the goodness of his heart but because he is “fearful then of being exposed to the papers.” All the lawyers have no true concerns of what happens to Bartleby as long as he is out of their way. This helps to give the reader some insight into how the law is there to attempt to keep people formed to the society intended where everyone has there place to help society run smoothly and if someone doesn’t conform to this society, they are told that they are breaking the law and must be imprisoned. Therefore, the lawyers decide to call the police on Bartleby and have him thrown in jail for nothing other than his
In conclusion, this essay analyzes the similarities and differences of the two stories written by Herman Melville, Billy Budd and Bartleby. The settings, characters, and endings in the two stories reveal very interesting comparisons and contrasts. The comparison and contrast also includes the interpretation of the symbolism that Melville used in his two stories. The characters, Billy and Bartleby, could even be considered autobiographical representatives of Herman Melville.
Herman Melville uses a first person point of view to show the narrator’s first hand fascination with his employee Bartleby, as well as Bartleby’s strange behavior and insubordination.
In the short story “Bartleby, the Scrivener,” which was written by Herman Melville, the character named Bartleby is a very odd, yet interesting individual. In the story, Bartleby is introduced when he responds to a job opening at the narrator’s office. Although there is no background information given about him, it becomes very apparent that he will be the antagonist in this story. Unlike the usual image put on the antagonist, Bartleby causes conflict with a very quiet and calm temperament. This character’s attitude, along with the fact that he is a flat and static character, makes him a very unique antagonist, and this fact is shown through the way other characters approach and deal with his conflict.
When reading Nathaniel Hawthorne’s “Young Goodman Brown” or Herman Melville’s “Bartleby the Scrivener,” the audience might notice how they are stories of men who become detached from the society after a notable change in how they act towards the world. However, while Bartleby’s disconnection stems from work-related changes, Young Goodman Brown’s disconnection is caused by a “spiritual” experience. I want to focus on how many things these characters have in common, to show what may have caused their change of view in the societies around them.
McCall focuses his argument within the way in which Melville has written Bartleby, The Scrivener, he goes into detail about the comical aspects within the story and uses Melville’s description of Bartleby’s saying “I prefer not to,’ he respectfully and slowly said, and mildly disappeared.” (272). McCall suggests that the adverbs Melville uses, “respectfully” , “slowly” and “mildly” , “create[s] a leisurely little excursion into the uncanny” (279). I agree that the lawyer must have had some wit and good intentions in making the claim about Bartleby up to a point, I cannot accept this fully because many people still believe that the lawyer is unreliable. Most critics within the majority, as McCall reinstates, “believe, “the lawyer is “self-satisfied”, “pompous”…”a smug fool” who is ‘terribly unkind to a very sick man’ “(2660. I disagree with the idea that the lawyer was unkind and Bartleby was sick. The lawyer was fascinated by Bartleby’s responses to the job, and Bartleby, I feel knew exactly what he was doing in stating his responses. McCall acknowledges that “these cure two central problems in the story: the nature of Bartleby’s illness and the lawyer’s capacity to understand it,”
Melville, Herman. "Bartleby the Scrivener." The Norton Anthology of American Literature. Ed. Nina Baym. New York: Norton & Company, 2003. 2330-2355
The body of this argument lies in a meager psychoanalysis of Melville. I have had to take a very broad approach, look at Melville purely as a man. I have attempted to put the reader into Melville's head, where I have attempted to put myself. To better achieve this I discuss much of Melville's background, hoping to give the reader a sense of what he had experienced. I have written with confidence, but hopefully not too much, you must decide for yourselves what of mine you feel is right. It is always very hard to use psychoanalytical approaches, because, as the mind is a mystery, it is all ultimately unproved. All psychoanalytical opinion is based on event, as all psychology is based on the idea that men are shaped by experience. I speculate below, on things I cannot really know, and I do this only to achieve some rough personal connections between Melville and his Moby-Dick. It serves me, and I hope you as well.
Bartleby’s wasting away strikes a chord with the Narrator as he cries out, “Ah, Bartleby! Ah, humanity,” drawing the connection between the two (Melville 34). The Narrator’s desperate cry exposes the far-reaching significance of Bartleby and the fate his passing indicates for the rest of humanity. For this reason, I contend that pigeonholing Melville’s “Bartleby, The Scrivener” into a series on analogies for the Occupy movement is an unethical misuse of Melville’s short story. One analogy Castronovo points to is charity: “Like the scrivener who refuses the narrator’s charity because its ultimate goal is to justify the system for accruing wealth that the lawyer represents, the occupiers…proved uninterested in reforms that seemed intended merely to ensure that the financial system could go on functioning as before” (Castronovo 253). Bartleby’s ethics are not nearly as explicit as the occupiers and to allege that he refuses the Narrator’s charity for the same reasons as them, simplifies Melville’s purpose for Bartleby; his wasting away cannot be analogous with the occupier’s simply being
Bartleby- The Scrivener In Herman Melville’s “Bartleby the Scrivener”, the author uses several themes to convey his ideas. The three most important themes are alienation, man’s desire to have a free conscience, and man’s desire to avoid conflict. Melville uses the actions of an eccentric scrivener named Bartleby, and the responses of his cohorts, to show these underlying themes to the reader. The first theme, alienation, is displayed best by Bartleby’s actions. He has a divider put up so that the other scriveners cannot see him, while all of them have desks out in the open so they are full view of each other, as well as the narrator. This caused discourse with all of the others in the office. This is proven when Turkey exclaims, “ I think I’ll just step behind his screen and black his eyes for him.”(p.2411) The other scriveners also felt alienated by the actions of the narrator. His lack of resolve when dealing with Bartleby angered them because they knew that if they would have taken the same actions, they would have been dismissed much more rapidly. The narrator admits to this when he said, “ With any other man I should have flown outright into a dreadful passion, scorned all further words, and thrust him ignominiously from my presence.” (2409) The next theme is man’s desire to avoid conflict. The narrator avoids conflict on several occasions. The first time Bartleby refused to proofread a paper, the narrator simply had someone else do it instead of confronting him and re...
Moby-Dick is the one American story which every individual seems to recognize. Because of its pervasiveness into our country’s collective psyche, the tale has been reproduced in film and cartoon, and references to the characters and the whale can be found in commercials, sitcoms, and music, proving the novel to still be relevant today. It is the epitome of American Romanticism because it delves into the human spirit, the force of imagination, and power of the emotions and the intellect. The novel praises and critiques the American society in sharp and unequivocal terms, while, at the same time, mirroring this mixed society through the “multinational crew of...the Pequod” (Shaw 61). Melville, through his elaborate construction of the novel, “makes the American landscape a place for epic conquest” (Lyons 462). The primary draw of this novel is the story itself: a whaling ship, headed by a monomaniac, and the pursuit of a whale, or the American dream and its attainment, making a clear “connection between Romanticism and nationalism” (Evans 9). The novel calls upon the reader’s imagination, emotions, and intellect to fully understand the journey of the story, the journey which takes the reader on a most unusual trip into the soul of mankind.
The ocean not only engulfs two‑thirds of the earth but two‑thirds of Moby Dick; a literary space penned by Herman Melville which sweeps the reader in its ever‑elusive eddies of symbolic complexity. The symbolism in the novel ceaselessly ebbs and flows like the sea, submerging the reader into Melville’s imaginative sea voyage. This paper will examine the watery depths as a recognizable setting from the corporeal universe, further observing how Melville juxtaposes this element in such a peculiar way, that the reader has no choice but to abandon, “reason, tradition, belief, and rely solely on thought to interpret these images,” which accordingly creates an “opportunity for open imagination” (Glover, 2003:42) (Bachelard,1983: 22). From beginning