Analysis of Critical Essays on Benito Cereno
It is possible to divide the critics into two camps regarding Herman Melville's purpose in writing "Benito Cereno." Joseph Schiffman, Joyce Adler, and Sidney Kaplan all argue that Melville wrote the story to make a comment on slavery. On the other hand, Sandra Zagarell and Allan Emery contend that Melville goes beyond slavery and is pointing out other flaws in mid Nineteenth century American notion.
"Benito Cereno" tells the story of a slave revolt on a ship at sea. Schiffman, Adler, and Kaplan argue that Melville wrote the story as a comment on slavery. Schiffman and Adler contend that Melville's novella is a clear indictment of slavery. Kaplan takes the opposite view.
Joseph Schiffman, in his critical essay "Critical Problems in Melville's 'Benito
Cereno,'" argues that Melville wrote the story from a staunch abolitionist viewpoint. He points to other Melville works to prove his assertion that the color imagery of "Benito Cereno" is reversed from traditional Western thinking of "White is good, Black is evil." Schiffman points to evidence from other Melville works such as "Mardi" and "Moby-Dick." He also makes the important point that Delano does not speak for Melville in the story. However, Schiffman comments that instead, Delano is a "microcosm of American attitudes" (33). He leaves this thought quickly, however. Schiffman also focuses on the morality of
slavery and proclaims Babo the "moral victor in 'Benito Cereno'" (34). In a move that none of the other authors make, Schiffman states that Melville "wanted primarily to write a 'good story,' one that would sell" (33). He goes on to note that the subject cannot be separated...
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...G.K. Hall & Co., 1992. 76-93.
Emery, Allan Moore."'Benito Cereno' and Manifest Destiny."In Critical Essays on Herman Melville's "Benito Cereno." Robert Burkholder, ed. New York: G.K. Hall & Co.,
1992. 99-115.
Kaplan, Sidney. "Herman Melville and the American National Sin: The Meaning of 'BenitoCereno.'" In Critical Essays on Herman Melville's "Benito Cereno." Robert
Burkholder, ed. New York: G.K. Hall & Co., 1992. 37-47.
Schiffman, Joseph. "Critical Problems in Melville's 'Benito Cereno.'"In Critical Essays on Herman Melville's "Benito Cereno." Robert Burkholder, ed. New York: G.K. Hall & Co., 1992. 29-36.
Zagarell, Sandra. "Reenvisioning America: Melville's 'Benito Cereno.'"In Critical Essays onHerman Melville's "Benito Cereno." Robert Burkholder, ed. New York: G.K. Hall & Co., 1992. 127-144.
The writings of Frederick Douglass and Captain Canot both discuss the institution of slavery. However, each piece of writing was written for a different purpose. Frederick Douglass’s writing was written to show how inhumane slavery was, and how wrong it was. Whereas Captain Canot’s writing basically bragged about how “humane” he treated the slaves on his ship. However, both men made some of the same points with similar evidence.
The motivation of the Faustian character is to a great extent the same. Both Tom Walker and Jabez Stone manifestly want a better life than what they had. Each character is down on their luck. Walker lives in “a forlorn-looking house that stood alone, and had an air of starvation” (Irving 259) while Stone is “an unlucky man” (“Daniel Webster”). Each of the...
She felt that breaking the standards placed on her by her cultural norms it would displease her tradition loving father. He felt that Cisneros should find a husband and not focus on her education so much. Cisneros writes “I am the only daughter in the Mexican family of six sons” (Cisneros 366). This not only exemplifies the internal family issues of being the only female, but also the external problems of the norms placed on women in a Hispanic culture to be an ideal wife. Tan’s essay emphasized the fact that her race, gender, education and up-bringing played a role in people knowing her writing, even though she does not want it to.
Melville interjected a positive feeling into the narrative, White Jacket, by introducing three humanitarians. These included: Mad Jack, Colbrook, and Jack Chase. Each of these characters spoke out against corporal punishment in the narrative; however, the ultimate decision to punish the men remained in the hands of the unforgiving captains at sea. The main character of the novel occurred as White Jacket. Unfortunately, he committed an unwitting offense and was to be subjected to flogging. In his frantic last moments prior to flogging, White Jacket envisioned himself grabbing Captain Claret and flinging them both over the side to the more forgiving sea. Fortunately, humanitarians, Colbrook and Chase, both stepped forward at great risk to themselves and saved White Jacket from humiliation and abuse. White Jacket's desperate attempt to elude punishment conveyed to society the drastic measures needed to induce change. In the end, it remained obvious that Melville likened the ship to a working model of society. He observed that naval discipline was not compatible with democratic ideology. Author Eleanor Simpson stated in her essay, "Melville and the Negro," that Melville attacks all forms of arbitrary government and legalized brutality. Though his immediate target is the military machine as codified in the Articles of War, his whole stance is one of democratic rebellion against the law or act of government, which undermines or simply ignores the dignity and rights of men.
When inquiring about the comparisons and contrasts between Melville’s Benito Cereno and Frederick Douglass’s Narrative of the Life of an American Slave, Written by Himself, the following question almost inevitably arises: Can a work of fiction and an autobiography be compared at all? Indeed, the structure of the two stories differs greatly. Whereas Douglass’s Narrative adapts a typical pattern of autobiographies, i.e. a chronological order of birth, childhood memories, events that helped shape the narrator etc., Benito Cereno is based on a peculiar three-layered foundation of a central story recounting the main events, a deposition delineating the events prior to the first part, and an ending.
...ns it held. Melville creates a character who never sees the reality on board the ship in his many speculations, particularly because Delano sees the slaves as too ignorant as to be able to devise such a thing, when the grand irony is the he is too blind to see it. Melville reverses the master and slave roles and brings them before a very slavery-conscious audience to whom he leaves the interpretation open, but laden with subtle messages about the horrible institution of slavery.
In this case, there are three main effects of Napster on the recording industry. The first one is that it caused a large decline in record sales in a short time. According to this case, the spending on recorded music in U.S dropped 4.1% in 2001 and the industry’s top 10 albums also sold much less compared to the year before. The second effect is that it cased the sales of CD burners, blank CDs and digital audio players increase and nowadays, most new computers come with CD-RW drives installed, which means people can easily store downloaded music, share music with friends and take it with them anytime as well. The third effect is that it increased the cost of recorded music. Once people can download free music through peer-to-peer software services, they have less incentive to buy original editions, which will make recording industry spend more to fight against copyrights and invest more in new artists and new music. Overall, these three effects make the recording industry go through a hard time.
Holbrook, David. Llareggub Revisted: Dylan Thomas and the State of Modern Poetry. Cambridge: Bowes and Bowes, 1965. 100-101.
The betrayal of Jesus serves as an important Biblical allusion in Benito Cereno. In the beginning of this novella, Delano still doubts whether Cereno is dangerous or not. He says, “Or was the Spaniard less hardened than the Jew, who refrained not from supping at the board of him whom the same night he meant to betray?” (70). In this quote, Delano asks himself if Cereno will betray him that night, but also asks if Cereno has more restraint than Judas. Here, Melville uses the betrayal of Jesus to show not only Delano’s ignorance, but to represent the bond that has grown between the two men during their short time together. In Delano’s perspective, Cereno’s strange behavior and their respect towards each other are signs that something is amiss. Delano believes, incorrectly, that the out of place happenings on the ship are due to an imminent betrayal by Cereno. Demonstrated again is Delano’s ignorance as represented by his isolation from the real world. Delano’s limited knowledge of slavery, because he is from the north, causes him to buy into the terrible stereotypes against Africans, which is an evil unto
The Journals of Sylvia Plath. Ed. Ted Hughes and Frances McCullough. New York: Ballantine, 1982.
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
Herman Melville, like all other American writers of the mid and late nineteenth century, was forced to reckon with the thoughts and writings of Ralph Waldo Emerson. Emerson celebrated the untapped sources of beauty, strength, and nobility hidden within each individual. Where Emerson was inclined to see each human soul as a beacon of light, however, Melville saw fit to describe and define the darkness, the bitter and harsh world of reality that could dim, diffuse, and even extinguish light. Each man wrote about life in specific terms, while pointing toward human nature in general. The problem of evil paradoxically separates and unites both authors. Emerson looked inward and Melville pushed outward, each searching, each trying to effect change. The problem of evil remains ever-present, driving both men to reinvest in understanding the interconnectedness, the interdependency of human relations. Though "Melville alternately praised and damned 'this Plato who talks thro' his nose' ", Emerson's influence direct or indirect helped to shape Melville's ideology and thus his fiction (Sealts 82).
When Melville wrote this novel he, he wanted to prove the superiority of American Literature and American Nation. The protagonist of the novel, Captain Ahab as the tragic hero-villain, his anger and bad behavior, describes Shakespeare’s dramatic technique, the Shakespearean language and parallel scenes, which shows the things Melville has acquired from Shakespeare. Though the depiction of character and the creation of the novel are Shakespearean, the novel’s greatness lies in its
At a time when images of the white settler conquering the "savage" frontier were prevalent in antebellum America, depictions of racial polarization and, alternately, co-existence among different ethnic groups had already begun to find expression in various artistic mediums, from painting to literature. Today more than ever, such works continue to elicit critical re-examinations where race relations, colonization, and literary representation are concerned. While many literary and cultural critics have proposed allegorical readings of political and religious natures, Herman Melville's Moby-Dick can also be read relatedly as an ethnic allegory, where particular scenes and images representing death or destruction illustrate Melville's uneasiness with how white expansionist attitudes are enacted often in tension with or at the expense of different ethnic peoples living within America's geographic borders. For these purposes, I would like specifically to examine Melville's rather unconventional portrayal of a non-white character such as Queequeg. The correlation between his anticipated and ultimate death and the calamitous demise of the Pequod , as a space which rearranges traditional structures of hierarchy and accomodates ethnic diversity, in the end, demonstrates Melville's indecisive anxiety between an imagined fantasy of an alternative social reality and the historical reality of American westward expansionism.