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Critical analysis essay example
Melville the story
Melville the story
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Herman Melville’s Billy Budd, Sailor is a critically acclaimed novella set around the shores of England in the last decade of the Eighteenth Century. The plot revolved around a young Sailor, Billy Budd, who was extracted from the ship he was originally on, The Rights of Man, and was oppressed to a British naval warship named the H.M.S. Billopotent. There were numerous allusions used throughout the novella that enhanced the meaning of this great work. The allusions used pertain towards myths, the Bible, History, and other works of literature. All of them together illuminate the true meaning of the entire novella.
Biblical Allusions were used vividly throughout this work. In fact, a significant reference was made between Billy Budd, the protagonist, and John Claggart, Billy’s Foil, throughout. Billy Budd was compared to Adam of the Garden of Eden and John Claggart to a serpent which would indicate Satan. From a reader’s perspective Herman Melville used this to evoke associations between the two characters and the Bible. Billy resembled Adam of the Garden of Eden because he was often described as a complete innocent. John Claggart, on the other hand, was referred to as someone who had a compliant exterior, but an evil and sinister interior. Moreover, there was another great reference that involved another important character, Captain the Honorable Edward Fairfax Vere, who was linked to God with Billy linked to Jesus. How? According to the Bible, God had to sacrifice his own son Jesus Christ to obtain obedience from his Kingdom. In Billy Budd, Sailor, Vere was perceived to possess strong feelings of care for Billy almost like a father would for a son. Vere had an internal conflict that had him choose between Billy to stay alive or dye...
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In conclusion, it was evident that this great work of literature provides many allusions that provide reference to more familiar work and help us understand a clearer understanding to the meaning of the work. Even though the allusions do not all pertain to the entire meaning of the work, but they do illuminate a broader perspective of the characters, setting, and tone. Yet, there were a lot of allusions that did illuminate the entire meaning of the novella, and even though the true meaning remains ambiguous they still reflected what most readers consider the meaning. The meaning of Herman Melville’s well known masterpiece is that one who had suffered was not really the one suffering, but the one who caused the suffer is really the one who is suffering.
Works Cited
Melville, Herman. Billy Budd, Sailor. New York: Tom Doherty Associates, 1988. Print.
Mary Shelley’s Frankenstein concludes with a series of speeches from Victor Frankenstein and the Creature to Captain Walton, including one where Frankenstein expends his physical strength to persuade Walton’s crew to complete their mission. This speech is striking considering Frankenstein’s previous dangerously ambitious and irresponsible actions. His speech is one of heroics and sublimity, two major values of the Romantic poet. Reading Frankenstein as a reflection of the Romantic poets who surrounded Mary Shelley while she wrote the novel, Frankenstein’s speech is one of a failed Romantic poet – one who takes Shelley’s contemporaries’ ideals too far. Shelley highlights the irony of Frankenstein’s speech through his uncharacteristic use of
... middle of paper ... ... The two characters give a sense of despair by their appearances. Yet in the passage above, the reader is made aware that their immense agony is only for themselves and not for what they have done.
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.
Not on your life, says Edgar A. Dryden (though not in so many words, of course) to the above in his splendid Melville's Thematics of Form. His argument is essentially to show that while most readers (erroneously) assume that Captain Vere is the story's tragic hero, the fact of the matter is that a "better" reading will reveal him as Melville's target, if you want to know the "truth."
Despite its prevalence, suffering is always seen an intrusion, a personal attack on its victims. However, without its presence, there would never be anyway to differentiate between happiness and sadness, nor good and evil. It is encoded into the daily lives people lead, and cannot be avoided, much like the prophecies described in Antigone. Upon finding out that he’d murdered his father and married his mother,
Once Father Mapple speaks about Jonah and the whale, it becomes clear that Herman Melville's 1851 novel has a connection to the Bible and Christianity. Melville fills Moby Dick with several biblical allusions, and the novel's main characters are linked symbolically to figures in the Bible. Melville alludes to the Bible in Moby Dick to mock Christianity. He uses his primary characters of Ishmael, Ahab, and Moby Dick to make God seem like a judgmental being who has no pity on sinners unless they obey him. He also portrays faithful Christians as outsiders who
An analysis of metaphor can offer us insight into the deeper meaning within literature. As almost nothing is directly revealed regarding its nature, such analysis is vital in the case of Thomas Wolfe’s short story ‘Only the Dead Know Brooklyn’. While the plot may be simple, even bemusing, it is in fact a delicately woven philosophical allegory. Wolfe is alluding to the theme of what it really means to live life to the fullest, can we merely wait for our ‘train t’ come’ or must we “thrust our feelers in distressful ooze” in order to truly appreciate the world around us, even if we end up ‘drownin’? The aim of this essay is to consider how Wolfe’s enigmatic story, expounded by metaphor, delivers an urgent defence of our threatened individuality, one which transcends the ordinary encounter at a Brooklyn subway station.
Herman Melville’s novels, with good reason, can be called masculine. Moby-Dick may, also with good reason, be called a man’s book and that Melville’s seafaring episode suggests a patriarchal, anti-feminine approach that adheres to the nineteenth century separation of genders. Value for masculinity in the nineteenth century America may have come from certain expected roles males were expected to fit in; I argue that its value comes from examining it not alone, but in relation to and in concomitance with femininity. As Richard H. Brodhead put it, Moby-Dick is “so outrageously masculine that we scarcely allow ourselves to do justice to the full scope of masculinism” (Brodhead 9). I concur with Brodhead in that remark, and that Melville’s use of flagrant masculinity serves as a vehicle in which femininity is brought on board The Pequod; femininity is inseparable from masculinity in Melville’s works, as staunchly masculine as they seem superficially.
Herman Melville wrote some of the most widely read works in the history of literature during the late nineteenth century. He has become a writer with whom the romantic era is associated and a man whose works have become a standard by which modern literature is judged. One of his most well-known and widely studied short pieces of fiction is a story entitled, simply, Billy Budd. In this short story, Melville tells the tale of Billy Budd, a somewhat out-of-place stuttering sailor who is too innocent for his own good. This enchanting tale, while inevitably entertaining, holds beneath it many layers of interpretive depth and among these layers of interpretation, an idea that has been entertained in the literature of many other romantic writers. Melville uses a literary technique of developing two characters that are complete opposites in all aspects and contrasting them throughout the narrative, thus allowing their own personalities to adversely compliment each other. Melville also uses this tactic in another well-known short story, Bartleby the Scrivener. Much like Melville's two stories, another romantic writer, Nathaniel Hawthorne, uses this tactic in his short story, The Artist of the Beautiful when he creates two completely different characters who vie for the same woman's love. Both writers use the contrary characters to represent the different facets of the human personality. Using this idea and many others, these romantic writers, Melville and Hawthorne, created works with depth of meaning that were both interesting to read and even more intriguing to interpret.
- - -. "Slave Ships." 1996. Blessing the Boats: New and Selected Poems, 1998-2000. Comp. Clifton. Rochester: BOA Editions, 2000. 121. Print.
Billy Budd, a 19th century novel written by Herman Melville, involves three main characters: Billy Budd, John Claggart and Captain Vere. In the beginning of the novel, Melville portrays each character with distinct personality; Billy Budd is represented as the simple-minded sailor, Claggart is viewed as the villain, and Captain Vere is seen as the honorable superior of the ship. As the novel develops, the earlier images of these characters are contradicted as previously unseen traits of each character are revealed.
Some have misinterpreted Melville's Billy Budd as a story about the distinction between divine justice, on the one hand, and human justice, on the other. Here's a summary of the "incorrect" reading that leads to this conclusion: When John Claggart falsely accuses Billy Budd of inciting mutiny, Captain Vere (whose name suggests "truth") arranges a confrontation between the accuser and the accused. When Claggart shamelessly repeats the lie to Budd's face and when Captain Vere insists that Budd defend himself and when Budd is struck speechless (if you like) and, therefore, STRIKES Claggart who falls down dead, Captain Vere suddenly has a problem on his hands, a problem he did not bargain for. You see, he feels that Budd is innocent but he also knows that he has killed a superior officer, an offense punishable by death. Here's how Melville presents Captain Vere's argument at the drumhead court:
To illustrate his theme, Melville uses a few characters who are all very different, the most important of which is Billy Budd. Billy is the focal point of the book and the single person whom we are meant to learn the most from. On the ship, the Rights-of-Man, Billy is a cynosure among his shipmates; a leader, not by authority, but by example. All the members of the crew look up to him and love him. He is "strength and beauty. Tales of his prowess [are] recited. Ashore he [is] the champion, afloat the spokesman; on every suitable occasion always foremost"(9).
In Melville’s novel of Billy Budd, there is good, evil, and reason; the good is Billy, who is often referred to as an angel, the evil is Claggert, who hates Billy for his goodness, the reason is Captain Vere, who decides what to do with Billy when Vere knows that Billy is pure goodness. Claggart tries to get Billy in trouble by accusing him of being a part of a mutiny. Billy is so overwhelmed with Claggart’s accusation that he punches him and kills him. Vere knows that Billy did not mean to kill Claggart but because they are under martial law Billy must be hanged for killing an officer. At the end of the novel it is many years later and Vere is killed in battle. Because of Vere’s last words it is obvious that his decision to end Billy’s life still haunt him because he will never know the truth or what would have been the best decision. In Britten’s opera of Billy Budd, all the characters interact the almost the same as in the novel. The biggest difference is that Vere is still alive and he is now narrating the story. The opera’s opening scene reinforces Vere’s educated characteristic from Melville’s story because books surround him in his home; however, the opera
Nathaniel Hawthorne’s craft of consistent inner struggles, impartial grounds and religious motifs created various moods, tones and contributing factors to his texts “The Scarlett Letter”, “Go to the Grace” and “The Ocean”. The evolution of classical American literature would not have been complete if it were to miss the complex writing style of Hawthorne. The diversity of Hawthorne’s techniques and applications mesh with his uniform mixture of intricate ideas and controversial themes and ventures into metaphysical questions and the vast psychological components of the human mind that have never been so thoroughly explored in literature before.