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Herman Melville - “Bartleby the Scrivener”
Herman Melville“Bartleby the Scrivener”
Herman Melville - “Bartleby the Scrivener”
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Suppression and Subversion through Walls in “Bartleby the Scrivener” In “Bartleby the Scrivener” an elderly lawyer recounts the tenure of a scrivener, Bartleby, from his office. The progression of this employer/employee relationship depicts disengagement between opposing social classes and its consequences. The presence of the subtitle of “Bartleby the Scrivener: A Tale of Wall Street” has been given much consideration. The subtitle carries the baggage of the emerging capitalistic culture, but it also alludes to the confinement that walls enable. Melville strategically uses architecture in his short story, “Bartleby the Scrivener” to demonstrate the disengagement between social classes that capitalism produces. In the story, the narrator, representative of the upper class, controls the actual physical partition separating him and the scriveners, representative of the lower class. In the same way that he controls the sliding doors, the lawyer manipulates religion and economic factors to control the separation between him and Bartleby. Architecture is also a part of Bartleby’s characterization; he is always staring at a brick wall. Melville is acknowledging Bartleby’s inability to conquer the brick wall. Melville demonstrates in the relationship between Bartleby and the lawyer that the walls that each puts up are not without consequence, ultimately leading to the death of Bartleby. Whereas capitalistic culture constructs a sky-lit window of opportunity for the lawyer, Bartleby is bound to a vision of a brick wall. Melville also uses architecture to demonstrate the ways in which each character engages and disengages with the other. Ultimately, the architecture of the social classes that a capitalistic culture produces results ... ... middle of paper ... ...r hand, Bartleby is unable to conquer the confines of the lawyer, but he does find a way to manipulate them in order to subvert the authority of the lawyer. The walls that the lawyer and the scrivener use disguise the bonds of common humanity that Melville is interested in uncovering. Because the lawyer ignored the fraternal bond between them, he refused to recognize Bartleby as an individual, ultimately causing Bartleby’s erasure, through starvation. Works Cited Barnett, Louise K. “Bartleby as Alienated Worker.” Studies in Short Fiction 6.4 (1974): 379-385. Print. Marx, Karl. The Communist Manifesto. Chicago: Henry Regnery, 1954. Print. Melville, Herman. “Bartleby, the Scrivener.” Electronic Classics Series. Penn State U, 2002. 1-45. 18 Nov. 2010. Wilson, James C. “ ‘Bartleby’: The Walls of Wall Street.” Arizona Quarterly 37.4 (1981): 335-346. Print.
Melville, Herman. "Bartleby the Scrivener." The Story and Its Writer. Ed. Ann Charters. Boston: St. Martin's, 1995: 513-539.
Bartleby, the Scrivener, a story of lawyer and scrivener, questions like: What is worth living for in the world? What does society to value or shape what it means to be successful or of worth in the world that is inhabited? This is done through various implications of Bartleby’s actions and responses, as well as the lawyer’s, and the descriptions and imagery of the environment.
In Melville’s, “Bartleby the Scrivener,” a lawyer’s idea of relationships is tested. As a bachelor, his disconnection with people is an obstacle he has to overcome. The relationships between his coworkers and himself are simple and detached until Bartleby is introduced. The lawyer is befuddled at the unique behavior that this character displays and cannot help but take particular interest in him. When Bartleby is asked to work, he simply says, “I would prefer not to,” and when he quits working, he begins to stare at the wall (1112). This wall may symbolize the wall that the lawyer has built up in an attempt to ward off relationships, or it may simple symbolize Wall Street. When the lawyer finds out that Bartleby is l...
Bartleby demonstrates behaviours indicative of depression, the symptoms he has in accordance with the DSM-IV are a loss of interest in activities accompanied by a change in appetite, sleep, and feelings of guilt (Diagnostic and Statistical Manual of Mental Disorders, 4th edition, 320). Very shortly after Bartleby begins his work as a Scrivener he is described by the narrator as having done “nothing but stand at his window in his dead-wall revery”. (Melville, 126) In contrast, Bartleby had previously been described as a very hard worker and this process of doing increasingly less shows how his a diminishing sense of interest both in his work but also of the perception others have of him. It is also noted that included in this lack of interest is a social withdrawal (DSM—IV, 321) which corresponds well to Bartleby in that his workspace becomes known as his “hermitage”. During small talk which included Bartleby he says that he “would prefer to be left alone”. (Melville, 120) Bartleby only emerges from his hermitage when called upon and quickly returns when faced with confrontation.
This can be seen in how the narrator and other lawyers never want to do anything that harms themselves or their reputation. Melville shows us this side of the lawyers when they come to the narrator to help rid themselves of Bartleby and they state, “Every body is concerned; clients are leaving the offices; some fears are entertained of a mob; something you must do, and that without delay.” Then, the narrator decides to help not out of the goodness of his heart but because he is “fearful then of being exposed to the papers.” All the lawyers have no true concerns of what happens to Bartleby as long as he is out of their way. This helps to give the reader some insight into how the law is there to attempt to keep people formed to the society intended where everyone has there place to help society run smoothly and if someone doesn’t conform to this society, they are told that they are breaking the law and must be imprisoned. Therefore, the lawyers decide to call the police on Bartleby and have him thrown in jail for nothing other than his
Lyons, Oliver, and Bill Bonnie. "An Interview with Tobias Wolff." Contemporary Literature. 31.1 (1990): 1-16. Web. 12 Feb. 2012.
When reading Nathaniel Hawthorne’s “Young Goodman Brown” or Herman Melville’s “Bartleby the Scrivener,” the audience might notice how they are stories of men who become detached from the society after a notable change in how they act towards the world. However, while Bartleby’s disconnection stems from work-related changes, Young Goodman Brown’s disconnection is caused by a “spiritual” experience. I want to focus on how many things these characters have in common, to show what may have caused their change of view in the societies around them.
McCall focuses his argument within the way in which Melville has written Bartleby, The Scrivener, he goes into detail about the comical aspects within the story and uses Melville’s description of Bartleby’s saying “I prefer not to,’ he respectfully and slowly said, and mildly disappeared.” (272). McCall suggests that the adverbs Melville uses, “respectfully” , “slowly” and “mildly” , “create[s] a leisurely little excursion into the uncanny” (279). I agree that the lawyer must have had some wit and good intentions in making the claim about Bartleby up to a point, I cannot accept this fully because many people still believe that the lawyer is unreliable. Most critics within the majority, as McCall reinstates, “believe, “the lawyer is “self-satisfied”, “pompous”…”a smug fool” who is ‘terribly unkind to a very sick man’ “(2660. I disagree with the idea that the lawyer was unkind and Bartleby was sick. The lawyer was fascinated by Bartleby’s responses to the job, and Bartleby, I feel knew exactly what he was doing in stating his responses. McCall acknowledges that “these cure two central problems in the story: the nature of Bartleby’s illness and the lawyer’s capacity to understand it,”
Melville intends something less black and white with more gray shading. Melville uses dramatic irony and grim humor in “Bartleby, the Scrivener: A Story of Wall Street. This is to show the reader how the Lawyer assumes he is a safe, successful and powerful man with extensive control in his polite society until he hires a man named Bartleby. This relationship is slowly revealed to be quite a conundrum for the Lawyer and the reader. Melville shows how the Lawyer never had any power or control over Bartleby but quite the opposite; Bartleby held all the power and control in this relationship. I will explore the important of the power struggle and the fight to maintain control between the Lawyer and Bartleby.
Bartleby’s wasting away strikes a chord with the Narrator as he cries out, “Ah, Bartleby! Ah, humanity,” drawing the connection between the two (Melville 34). The Narrator’s desperate cry exposes the far-reaching significance of Bartleby and the fate his passing indicates for the rest of humanity. For this reason, I contend that pigeonholing Melville’s “Bartleby, The Scrivener” into a series on analogies for the Occupy movement is an unethical misuse of Melville’s short story. One analogy Castronovo points to is charity: “Like the scrivener who refuses the narrator’s charity because its ultimate goal is to justify the system for accruing wealth that the lawyer represents, the occupiers…proved uninterested in reforms that seemed intended merely to ensure that the financial system could go on functioning as before” (Castronovo 253). Bartleby’s ethics are not nearly as explicit as the occupiers and to allege that he refuses the Narrator’s charity for the same reasons as them, simplifies Melville’s purpose for Bartleby; his wasting away cannot be analogous with the occupier’s simply being
Melville, Herman, and Herman Melville. Bartleby ; And, Benito Cereno. New York: Dover Publications, 1990. Print.
Melville, Herman. “Bartleby, the Scrivener.” The Norton Anthology of American Literature. 8th ed. Nina Baym and Robert S. Levine. Vol. B. New York: Norton, 2012. 1483-1509. Print.
Melville, Herman. “Bartleby the Scrivener: A Story of Wall-Street.” Melville’s Short Novels: Authoritative Texts, Contexts, Criticism. Ed. Dan McCall. New York: Norton, 2002. 3-35.
Abrams, M.H., The Norton Anthology of English Literature. Sixth Edition, Vol. 1. New York: W.W. Norton & Co. Inc., 1993
Melville, Herman. “Bartleby, the Scrivener A Story of Wall Street.” “The Norton Anthology American Literature.” 8th Ed. Nina Baym. New York: W.W. Norton & Company, Inc, 1979 1102-1128. Print.