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Heros journey short story
Elements of a hero's journey
Heros journey short story
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All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances;
And one man in his time plays many parts.
—William Shakespeare, As You Like It (1623)
In Benito Cereno, Melville establishes contrasting forms of innocence. Innocence of mind lacks knowledge of wrongdoing, and, as a result, may commit and excuse heinous crimes. Innocence of action understands that to accomplish a greater good, a lesser evil must sometimes be committed. For example, Captain Delano is too naive to see the slave revolt because he imputes black people with good. Babo is innocent of wrongdoing because he realizes his revolt is necessary to prevent the white people from doing further wrong to his fellow slaves. Yet neither party is truly innocent; Captain Delano has no qualms about slave trading, and Babo pretends to be a slave to play on Delano's misconceptions and to manipulate his actions. Delano and Babo act as representatives of the white and black people. Delano sees the black people as absolutely good, animals incapable of evil, and the whites as the perpetrators of evil. However, as Melville's continual use of darkness and shadows to imply evil demonstrates, white people see all dark people as immoral. Babo realizes that white slave laws make it impossible for anyone but the whites to escape slavery and still be seen as “moral.” Babo also possessed a black double-consciousness, and realizes the contradiction in white perception and is able to use it to his advantage. In Delano and Babo, Melville presents dual, but not identical, shades of innocence—innocence of knowledge and innocence of action—and argues that innocence is not binary. Innocence of either thought or deed does not mean goodness becaus...
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...ut justified, the actor may not believe the speech, but endeavor to make the most convincing speech possible. The method does not affect whether the actor acts. He cannot help acting. The play is not reality, though reality is a play; because moral perfection is impossible, the actor will never both believe exactly what he says or act exactly how he should, though he has instructions to create reality in the script. The point is to try.
Works Cited
Melville, Herman. “Benito Cereno” The Piazza Tales. 2005. Project Gutenberg. Web. 17 Feb 2011. .
Merriam-Webster Inc. “Express.” Merriam-Webster. 13 Aug. 2010. Web. 17 Feb. 2011..
Richards, Jason. "Melville's (Inter)national Burlesque: Whiteface, Blackface, and "Benito Cereno." ATQ21.2 (2007): 73-94. Academic Search Complete. EBSCO. Web. 10 Feb. 2011. (79-80).
There are other contrasting aspects of the stories that call for attention. Most significantly Benito Cereno – ultimately – portrays slaves as evil and Babo as the mind behind the cunning plan that deceives Captain Delano. The reason for this one-sided representation is naturally the fact that we experience the story from Delano’s point of view. In the beginning, we perceive Babo as the typical docile, helpful, and faithful servant so often portrayed in other slave characters such as Stowe’s Uncle Tom and Jim in Twain’s Huckleberry Finn. Babo is more than just a slave; he is a “faithful fellow”, “a friend that cannot be called slave” . And despite all the underlying hints of a slave insurrection, Delano does not grasp their meaning. Examples are the slaves’ treatment of the Spanish sailors and the hatchet polishers , but in Delano’s narrow-minded world, only the white man is capable of conceiving plans of ‘evil’. And when he – and the reader too – finally sees “the mask torn away, flourishing hatchets and knives, in ferocious piratical revolt”, he is embarrassed and “with infinite pity he [withdraws] his hold from Don Benito” . From this moment on, Babo is a malign devil and Melville removes speech from Babo’s mouth. This strengthen our opinion of Babo as ‘evil’ even more, for how can we sympathise with him without hearing his version of the story? Apparently, Melville proposes no other alternative for the reader than to sympathise with the white slave owner Don Benito, whom Babo so ingeniously deceives.
In "Benito Cereno," Captain Delano's extreme naivete and desensitization towards slavery greatly affect his perceptions while aboard the San Dominick. Delano's racial stereotypes, views of master and slave relationships, and benevolent racism mask the true reality of what was occurring on board despite his constant uneasiness and skepticism. At a time when slave revolts were not unusual, the slave conditions aboard the San Dominick should have made more of an impact on Delano.
The Web. The Web. 22 March 2014. Hasen, Richard. The.
In “The Secret Lion,” Alberto Alvaro Rios establishes the theme as loss of innocence in a young boy. The narrator brings to life a boy who must leave behind his youthful perceptions about girls, the arroyo, and his green haven. All preconceptions are shattered, and each glimpse of bliss is taken away. Through this the boy gains perspective, and begins to see the world with a new awareness. Rios ingrains the loss of innocence theme through the eyes of a twelve-year-old boy who exhibits maturity, autonomy, and disillusionment.
Webster’s Desk Dictionary of the English Language. New York: Portland House. 1990. Dictionary. Page 602
Both the “character” of Frederick Douglass in Douglass’s Narrative of the Life of Frederick Douglass and the character of Babo in Herman Melville’s Benito Cereno are, among many things, a tale of heroism. Although there are clear distinctions between Douglass’s autobiography and abolitionist work and Cereno’s fictional work -specifically in terms of how they resisted slavery and to what extent they were successful- both protagonists use their intelligence and strength to overcome their white masters and a society that has subordinated them.
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
Human nature is a conglomerate perception which is the dominant liable expressed in the short story of “A Tell-Tale Heart”. Directly related, Edgar Allan Poe displays the ramifications of guilt and how it can consume oneself, as well as disclosing the nature of human defense mechanisms, all the while continuing on with displaying the labyrinth of passion and fears of humans which make a blind appearance throughout the story. A guilty conscience of one’s self is a pertinent facet of human nature that Edgar Allan Poe continually stresses throughout the story. The emotion that causes a person to choose right from wrong, good over bad is guilt, which consequently is one of the most ethically moral and methodically powerful emotion known to human nature. Throughout the story, Edgar Allan Poe displays the narrator to be rather complacent and pompous, however, the narrator establishes what one could define as apprehension and remorse after committing murder of an innocent man. It is to believe that the narrator will never confess but as his heightened senses blur the lines between real and ...
Comparing the Role of the Narrator in Melville’s Benito Cereno, Henry James’ Daisy Miller and Hwang’s M. Butterfly
In the present era of decolonization, Joseph Conrad’s Heart of Darkness presents one of fictions strongest accounts of British imperialism. Conrad’s attitude towards imperialism and race has been the subject of much literary and historical debate. Many literary critics view Conrad as accepting blindly the arrogant attitude of the white male European and condemn Conrad to be a racist and imperialists. The other side vehemently defends Conrad, perceiving the novel to be an attack on imperialism and the colonial experience. Understanding the two viewpoints side by side provides a unique understanding that leads to a commonality that both share; the novel simply presents a criticism of colonialists in Africa. The novel merely portrays a fictional account of British imperialism in the African jungle, where fiction offers maximum entertainment it lacks in focus. The novel is not a critique of European colonialism and imperialism, but rather a presentation of colonialism and the theme of darkness throughout the novel sheds a negative light on the selfishness of humanity and the system that was taking advantage of the native peoples. In Joseph Conrad’s novel, Heart of Darkness, Conrad presents a criticism of British imperial colonization not for the purpose of taking sides, but with aims of bettering the system that was in place during Conrad’s experience in the African Congo. Conrad uses the character of Marlow and his original justification of imperialism so long as it was efficient and unselfish that was later transformed when the reality of colonialism displayed the selfishness of man, to show that colonialism throughout history displaces the needs of the mother country over the colonized peoples and is thus always selfish.
Nearly every character in the play at some point has to make inferences from what he or she sees, has been told or overhears. Likewise, nearly every character in the play at some point plays a part of consciously pretending to be what they are not. The idea of acting and the illusion it creates is rarely far from the surface - Don Pedro acts to Hero, Don John acts the part of an honest friend, concerned for his brother's and Claudio's honour; Leonato and his family act as if Hero were dead, encouraged to this deception by, of all people, the Friar who feels that deception may be the way to get at truth; and all the main characters in the plot pretend to Benedick and Beatrice so convincingly that they reverse their normal attitudes to each other.
PBS. 2004. The 'Secondary' of the 'Secondary' of the 'Secondary' of the 'Secondary' Web. The Web. The Web. 15 Oct. 2013.
A long debated issue that has plagued human beings since the fall of man is what leads people to commit evil actions and whether evil is inherent in all people. In the literary work of Joseph Conrad's Heart of Darkness, Marlow grapples with those two similar issues. They way in which Charlie Marlow, the protagonist and skipper, goes about determining the answers are by observing his and other people's goals and motivations throughout his voyage of discovery and self-enlightenment in the Congo of Africa.
...even if the subject knows that it is wrong. Through reason alone, the subject reveals the deception intrinsic to the nature of illusion.
Donadoni, Eugenio. A History of Italian Literature, Volume 1. New York: New York University Press, 1969.