A Structuralist Reading of Billy Budd
. . . truth is revealed only when formal order is destroyed. - Dryden, p. 209
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."
I want to emphasize at the outset is that EVERYTHING DRYDEN SAYS IS SUPPORTED BY THE TEXT he is analyzing. In other words, he cannot be accused of reading-into! Well, how does Dryden denormalize (as it were) the reading above? Rather simply even if rather spectacularly. Here's as brief a version of Dryden's argument as I can possibly give you: Captain Vere's argument is very formally ordered and highly symmetrical. Furthermore, it is in keeping with this compassionate and wise man's philosophy according to which (as Melville's text tells us) "with mankind forms, . . . measured forms are everything" (84). Interestingly enough, Dryden points out, the published report concerning the whole Budd affair at the end of the story, which is taken from a "naval chronicle of the time," and which thus represents an "authorized" version of the whole affair (85), is also formally ordered and highly symmetrical. The trouble is that this "authorized" account is totally false. According to this version Billy Budd was evil while John Claggart was good, etc. Perhaps, Dryden argues, we may find something in Melville's text that would confirm a suspicion we may already be entertaining - namely, that formally ordered and highly symmetrical arguments may themselves be suspicious. Dryden finds the text in question very close to the one where Captain Vere makes his claim about "measured forms." It reads as follows: "The symmetry of form attainable in pure fiction cannot so readily be achieved in a narration essentially having less to do with fable than with fact. TRUTH UNCOMPROMISINGLY TOLD WILL ALWAYS HAVE ITS RAGGED EDGES" (84; capitals mine).
In contradistinction to Captain Vere's argument or the naval chronicle's "authorized" version, then, Dryden asks us to examine Melville's own way of telling his story. Is it formally ordered and highly symmetrical?
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
Analysis: Melville's Great American Novel draws on both Biblical and Shakespearean myths. Captain Ahab is "a grand, ungodly, god-like man … above the common" whose pursuit of the great white whale is a fable about obsession and over-reaching. Just as Macbeth and Lear subvert the natural order of things, Ahab takes on Nature in his
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.
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.
Wagner, Richard. “Outlines of the Artwork of the Future,” in Multimedia from Wagner to Virtual Reality, eds. R. Packer and K. Jordan. W.W. Norton, 2001.
One of the literary elements that Melville uses that convey the narrator's attitude towards Bartleby is diction. The author's diction in this short story is very descriptive and is also slightly comical. One of the ways this is used is when the author gently mocks the narrator by having him expose his flaws through his own words. For example, when the narrator talks of John Jacob Astor, a well respected man who complemented him, we find out how full of himself he is and how highly he thinks of himself. "The late John Jacob Astor, a parsonage little given to poetic enthusiasm, had no hesitation in pronouncing my first grand point…I will freely add, that I was not insensible to the late John Jacob Astor's good opinion." (Page 122, Paragraph2) Another example of the author's use of diction appears on page 127 in paragraph 2; "At first, Bartleby did an extraordinary quantity of writing. As if long famished for something to copy, he seemed to gorge himself on my documents. There was no pause for digestion. He ran a day and night line, copying by sunlight and by candle-light. I should have been quite delighted with his application, had he been cheerfully industrious. But he wrote on silently, palely, mechanically." Here the narrator's description of Bartleby's writing habits in the office, at first, tell us that he is very pleased with his progress and the work he has done but then it tells us that he is not very enthusiastic but...
Before exploring Ishmael, Ahab, and Moby Dick and their Biblical counterparts, it is important to understand Melville's background. He grew up as a baptized Calvinist in the Dutch Reformed Church. His parents trained him to obey God at all times, even if God’s commands seem unjust and cruel. However, he quickly turned against his faith after his father died. During his travels, he witnessed diseases, catastrophes, and hatred throughou...
Through Bartleby’s flat and static character type, it is amazing how many different types of conflict he causes. From the first order to examine the law copies, to the last request to dine in the prison, Bartleby’s conflictive reply of “I would prefer not to” stays the same (Melville 150). In this way, he is a very simple character, yet he is still very hard to truly understand. Even ...
At first glance, Herman Melville’s novel Moby Dick, appears to be the story of a man, his captain, and the whale that they quest to destroy. But a closer look reveals the author’s intense look at several metaphysical ideologies. He explores some of the most ponderous quandaries of his time, among these being the existence of evil, knowledge of the self and the existential, and the possibility of a determined fate. All of these were questions which philosophers had dealt with and written about, but Melville took it to a new level: not only writing about these things, but also doing so in a lovely poetic language backed by a tale packed with intrigue. He explores the general existence of evil in his antagonist, the white whale, and through the general malice that nature presents to humans throughout the novel. The narrator, Ishmael, gains a lot of knowledge about himself through his experiences on the whaling voyage, where he also is able to learn much about the phenomenon of existence itself. Also, through Captain Ahab, he sees more about the existence of man and the things that exist within man’s heart. Especially through Ahab and his ongoing quest for the white whale, and also in general conversation amongst the whalers, the issue of fate and whether one’s destiny is predetermined are addressed in great detail, with much thought and insight interpolated from the author’s own viewpoints on the subject.
the story is played out. Faulkner does not use chronological order in this short story. Instead, he uses an order that has many twists and turns. It appears to have no relevance while being read, but in turn, plays an important role in how the story is interpreted by the reader. Why does Faulkner present the plot of this story in this manner? How does it affect the reader? What does the convoluted plot presentation do to this story? How might the story be different if the plot was presented in chronological order? These are a few questions that have come to my attention while reading this story. I would like to give my opinion on this backed by evidence from the story itself.
One of the first interpretations of Herman Melville’s “Bartleby the Scrivener: A Story of Wall Street” is actually quite
SCOTT, T. (1996). Virtual Reality: A Historical Perspective. Available: http://ei.cs.vt.edu/~history/Tate.VR.html#2. Last accessed 8th January 2014.
"What to Expect in the Future." What to Expect in the Future for Virtual Reality Games. N.p., n.d. Web. 02 Mar. 2014. .
Teachers report how their role in the classroom is getting different with each year, instead of being a teacher who gives the answers, teachers have found themselves as a support for students which help them build ideas and how to get information from various sources (Youngbut, 1998). The advantages of virtual reality in educational system is that it enables large groups of students to interact with each other as well as within the virtual environment. It is able to present complicated subjects in an accessible way to students which is rewarding, fun and easy to access.
You are 10,000 feet in the air, the skydiving instructor yells for you to jump, you push yourself into the open air, you freefall for 10 straight minutes as the air pushes against your face, as you land, you remove your virtual reality goggles and you are back in your cozy living room. Alright we may not be at this point yet, but this could be how we entertain and thrill ourselves in the near future; the full implementation of virtual reality into our daily lives. As soon as I found out about virtual reality, I was entirely intrigued. The idea that you could experience anything without having to leave your home enticed the adventurer in me. We will explore the history and progression of virtual reality and discuss the pros and cons of the emerging