Herman

Melville
An anti- transcendentalist or not Melville, Herman (1819-91), American novelist,
a major literary figure whose exploration of psychological and metaphysical
themes foreshadowed 20th-century literary concerns but whose works remained in
obscurity until the 1920s, when his genius was finally recognized. Melville was
born August 1, 1819, in New York City, into a family that had declined in the
world. “The Gansevoorts were solid, stable, eminent, prosperous people; the
(Hermans Fathers side) Melvilles were somewhat less successful materially,
possessing an unpredictable. erratic, mercurial strain.” (Edinger 6). This
difference between the Melvilles and Gansevoorts was the beginning of the
trouble for the Melville family. Hermans mother tried to work her way up the
social ladder by moving into bigger and better homes. While borrowing money from
the bank, her husband was spending more than he was earning. “It is my
conclusion that Maria Melville never committed herself emotionally to her
husband, but remained primarily attached to the well off Gansevoort family.” (Humford
23) Allan Melville was also attached financially to the Gansevoorts for support.


There is a lot of evidence concerning Melvilles relation to his mother Maria
Melville. “Apparently the older son Gansevoort who carried the mother’s maiden
name was distinctly her favorite.” (Edinger 7) This was a sense of alienation
the Herman Melville felt from his mother. This was one of the first symbolists
to the Biblical Ishamel. In 1837 he shipped to Liverpool as a cabin boy. Upon
returning to the U.S. he taught school and then sailed for the South Seas in
1841 on the whaler Acushnet. After an 18 month voyage he deserted the ship in
the Marquesas Islands and with a companion lived for a month among the natives,
who were cannibals. He escaped aboard an Australian trader, leaving it at
Papeete, Tahiti, where he was imprisoned temporarily. He worked as a field
laborer and then shipped to Honolulu, Hawaii, where in 1843 he enlisted as a
seaman on the U.S. Navy frigate United States. After his discharge in 1844 he
began to create novels out of his experiences and to take part in the literary
life of Boston and New York City. Melville’s first five novels all achieved
quick popularity. Typee: A Peep at Polynesian Life (1846), Omoo, a Narrative of
Adventures in the South Seas (1847), and Mardi (1849) were romances of the South
Sea islands. Redburn, His First Voyage (1849) was based on his own first trip to
sea, and White-Jacket, or the World in a Man-of-War (1850) fictionalized his
experiences in the navy. In 1850 Melville moved to a farm near Pittsfield,
Massachusetts, where he became an intimate friend of Nathaniel Hawthorne, to
whom he dedicated his masterpiece Moby-Dick; or The White Whale (1851). The
central theme of the novel is the conflict between Captain Ahab, master of the
whaler Pequod, and Moby-Dick, a great white whale that once tore off one of
Ahab’s legs at the knee. Ahab is dedicated to revenge; he drives himself and his
crew, which includes Ishmael, narrator of the story, over the seas in a
desperate search for his enemy. The body of the book is written in a wholly
original, powerful narrative style, which, in certain sections of the work,
Melville varied with great success. The most impressive of these sections are
the rhetorically magnificent sermon delivered before sailing and the soliloquies
of the mates; lengthy “flats,” passages conveying nonnarrative material,
usually of a technical nature, such as the chapter about whales; and the more
purely ornamental passages, such as the tale of the Tally-Ho, which can stand by
themselves as short stories of merit. The work is invested with Ishmael’s sense
of profound wonder at his story, but nonetheless conveys full awareness that
Ahab’s quest can have but one end. And so it proves to be: Moby-Dick destroys
the Pequod and all its crew save Ishmael. There is a certain streak of the
supernatural being projected in the writings of Melville, as is amply obvious in
Moby Dick. The story revolves around the idea of an awesome sea mammal, which
drives the passions of revenge in one man and forces him to pursue a course of
action which leads ultimately to his death as well as the deaths of his
companions. There is a great deal of imagination involved in these stories and
the creativity is highly apparent. There is an expression of belief in the
supernatural, as the author strives to create the image of a humongous beast in
the mind of the reader. There are no indications that Melville was in any way
averse to fame or to the pursuit of excellence in his work. Every author, when
writing a book, is hopeful of its success and Melville was no less. The
Piazza Tales (1856) contain some of Melville’s finest shorter works;
particularly notable are the powerful short stories “Benito Cereno” and
“Bartleby the Scrivener” and the ten descriptive sketches of the Galpagos
Islands, Ecuador, “The Encantadas.” Bartleby’s story is an allegory of
withdrawal suggesting more than one level of interpretation. Among them,
Bartleby may be seen as a writer (like Melville), who chooses no longer to
write; or as a human walled off from society by his employment on wall Street,
by the walls of his building, by the barriers of his office nook within the
building, by the brick surface he faces out his window, and by the walls of the
prison where he dies. Bartleby’s employer, the narrator of the story, has
several walls of his own to break out of. In his final grasp at communication,
the narrator invites the reading that Bartleby’s life, and the story that
presents it, are like dead letters that will never reach those that would profit
from them. He leaves us with the words, “Ah Bartleby! Ah, humanity!”
In “Bartleby, the Scrivener”, Melville tries to relate to the reader
and explain his declining situation. This story, on an allegorical level
represents Melville, his life, and what he wished his reading audience would
understand about him. This is probably what he wanted, but readers, initially,
see a melancholy story about the condition of humanity. Whether or not Melville
is an anti-transcendentalist is a question to be pondered over. As such he is as
focused on leaving an impression on his readers as any other writer on the
writing block. Therefore, I believe that Melville was transcendental in many
ways. He was a writer who portrayed his own persona through his writings and
thus he was a writer who had the power to be able to express his own emotions
and experiences through his characters. This he has accomplished by writing
stories, which had a depth, an essence of their own. Melville was not o much
concerned with the commercial success of his works, but that was still a very
high contributing factor to the motivation behind his writings. Although he
mainly drew on his personal experiences while formulating the stories that he
wrote, he greatly embellished them through his imagination and creativity to
create literary masterpieces out of them, which are appreciated greatly today.

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Being a success meant a great deal to Melville and he was always aware of the
fact that his books were not very popular during his lifetime. In fact Bartleby
the Scrivener relates to this very fact through its portrayal of a writer, and
it is greatly reflective of Melvilles own private situation. He probably
wished that his writing would be more popular among the readers, although he
professed his own demise with Bartleby’s atrophy. The expression of accepted
failure was prevalent in Scrivener. Yet this did not make Melville any less
desirous of fame and popularity. He still strove to deliver excellence in his
works in any way possible. Every writer in history has had to find a place for
himself in the mind of his readers before reaching a level of maturity and
respect in this profession. The quality of work is judged solely on the readers
perception of the work and nothing else. Melville was desirous of hitting the
right cord with the readers and his audience. He wanted to be able to capture
the attention of his audience and leave an impact on their minds, so that the
tale would be remembered long after it had been read. With Moby Dick, he used
the powerful tool of imaginative fantasy to capture the attention of his
readers. The story incorporated the extraordinary, action, adventure, revenge,
suspense…in fact every ingredient necessary for commercial success. But it
didnt prove to be so. The book is appreciated not as a classic work and
Melville has received much more fame in the present time frame. In Scrivener, he
drew a picture of a man very similar to himself. A man sick of working, finally
declines rapidly to reach his demise. However, in Herman Melville’s ‘Benito
Cereno’ reveals the author’s disgust with Emersonian transcendentalism through
the self-delusions of the protagonist. Cereno personifies nature, seeing it as a
benevolent force that acts deliberately for the good of humanity. Melville makes
it apparent that such idealism offers no practical use in a world that is as
much evil as good, and will likely be a burden. Cereno is Melville’s strongest
example of his suspicions for the American idealist. In this one case through
his expression of disgust towards the idealists and their idealism, he has
portrayed the image of a hard core idealist who is converted to a realist
through the experiences that he goes through. This also drew on his seafaring
days as experience and he struggled to bring across the death of the idealist
and the birth of the realist. But at the end of the day, whatever emotions he
possessed about the nature of idealism and idealistic thought, still form an
integral part of him. Whether or not the reader understands the general aura of
wanting to achieve something from his creations, yet Melville still strove to be
a commercial success and his aim for excellence in the field of writing
continued.