Exiled Royalties: Melville and the Life We ImagineOxford University Press, 05/01/2006 - 310 من الصفحات Exiled Royalties is a literary/biographical study of the course of Melville's career from his experience in Polynesia through his retirement from the New York Custom House and his composition of three late volumes of poetry and Billy Budd, Sailor. Conceived separately but narratively and thematically intertwined, the ten essays in the book are rooted in a belief that "Melville's work," as Charles Olson said, "must be left in his own 'life,'" which for Milder means primarily his spiritual, psychological, and vocational life. Four of the ten essays deal with Melville's life and work after his novelistic career ended with the The Confidence-Man in 1857. The range of issues addressed in the essays includes Melville's attitudes toward society, history, and politics, from broad ideas about democracy and the course of Western civilization to responses to particular events like the Astor Place Riots and the Civil War; his feeling about sexuality and, throughout the book, about religion; his relationship to past and present writers, especially to the phases of Euro-American Romanticism, post-Romanticism, and nascent Modernism; his relationship to his wife, Lizzie, to Hawthorne, and to his father, all of whom figured in the crisis that made for Pierre. The title essay, "Exiled Royalties," takes its origin from Ishmael's account of "the larger, darker, deeper part of Ahab"--Melville's mythic projection of a "larger, darker, deeper part" of himself. How to live nobly in spiritual exile--to be godlike in the perceptible absence of God--was a lifelong preoccupation for Melville, who, in lieu of positive belief, transposed the drama of his spiritual life to literature. The ways in which this impulse expressed itself through Melville's forty-five year career, interweaving itself with his personal life and the life of the nation and shaping both the matter and manner of his work, is the unifying subject of Exiled Royalties. |
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الصفحة 5
... morals that may be little in accordance with his own.”4 In short, Polynesia did for Melville what a night and a day with Queequeg did for Ishmael. While the brevity of his residence in Typee (less than four weeks) and his rudimentary ...
... morals that may be little in accordance with his own.”4 In short, Polynesia did for Melville what a night and a day with Queequeg did for Ishmael. While the brevity of his residence in Typee (less than four weeks) and his rudimentary ...
الصفحة 12
... moral character, and notwithstanding the apparent mildness of their dispositions, and the cheerful vivacity of their conversation, no portion of the human race was ever perhaps sunk lower into bru- tal licentiousness and moral ...
... moral character, and notwithstanding the apparent mildness of their dispositions, and the cheerful vivacity of their conversation, no portion of the human race was ever perhaps sunk lower into bru- tal licentiousness and moral ...
الصفحة 13
... moral deformity.”21 It did not occur to Ellis and Stewart that the qualities they admired in the natives might flourish because of, not despite, their eroticism. Did it occur to Melville as he wrote Typee? There are indications that it ...
... moral deformity.”21 It did not occur to Ellis and Stewart that the qualities they admired in the natives might flourish because of, not despite, their eroticism. Did it occur to Melville as he wrote Typee? There are indications that it ...
الصفحة 15
... moral center of his thinking in Typee. Like Freud in Civilization and Its Discontents, Melville sets Eros against Death, but he makes “primitive” culture the repository of Eros and civilization itself the primary agent of Death: “The ...
... moral center of his thinking in Typee. Like Freud in Civilization and Its Discontents, Melville sets Eros against Death, but he makes “primitive” culture the repository of Eros and civilization itself the primary agent of Death: “The ...
الصفحة 17
... morality. Melville's success in naturalizing the sexual is shown by the fact that “though the Victorian Age had begun ... moral tone. . . . Not that you can put your finger on a pas- sage positively offensive; but the tone is bad.”32 An ...
... morality. Melville's success in naturalizing the sexual is shown by the fact that “though the Victorian Age had begun ... moral tone. . . . Not that you can put your finger on a pas- sage positively offensive; but the tone is bad.”32 An ...
المحتوى
3 | |
Melville and PostRomanticism | 27 |
Melvilles Metaphysics of Democracy Hawthorne and His Mosses | 50 |
Ishmaels Grand Erections | 72 |
5 Exiled Royalties | 97 |
Melville Hawthorne and the Varieties of Homoerotic Experience | 118 |
Melville and the Mediterranean 185657 | 149 |
8 Uncivil Wars | 168 |
Agnostic Spirituality in Clarel | 192 |
10 Alms for Oblivion | 221 |
Notes | 249 |
Index | 285 |
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عبارات ومصطلحات مألوفة
Ahab Ahab’s American Arnold Arvin Babbalanja Battle-Pieces belief Bezanson Billy Budd Byron called Carlyle chapter character Charles Olson Christianity civilization Clarel Corr Critical cultural death democracy democratic Derwent divine Duyckinck Emerson emotional Essays ethical exile experience F. O. Matthiessen faith father feeling Freud Friedrich Schlegel Gnostic God’s Harrison Hayford Hawthorne Hawthorne’s heaven Hereafter cited Herman Melville hero Hershel Parker homoeroticism homosexual human ideal imagination intellectual Ishmael Kohut Leyda literary literature live Lizzie man’s Mardi Marquesan Matthiessen Melville seems Melville’s metaphysical mind Moby-Dick moral myth Nathaniel Hawthorne nature ness never Newton Arvin Northrop Frye Pierre poem Poetry political quest reader religion religious Rolfe Romantic rose Schiller Schlegel Sealts sense sexual Shakespeare social spiritual symbol Taji things Thomas Tanselle thought tion tragedy tragic truth Typee University Press vision Wandering Jew whale White-Jacket Whitman William writing wrote York