"Bartleby, the Scrivener" Melville, Herman
American novelist and short story writer.
The following entry presents criticism of Melville's short story "Bartleby, the Scrivener: A Story of Wall Street," first published in two installments on November 1 and December 1, 1853, in Putnam's Monthly Magazine. See also Benito Cereno Criticism, Billy Budd Criticism, Pierre, or, The Ambiguities Criticism, and Redburn: His First Voyage Criticism.
The account of a young man's inability to conform to life on Wall Street in the mid-nineteenth century, "Bartleby, the Scrivener" is hailed by some scholars as the first modern American short story for its break with the moralizing, overt allegorizing, romantic characters, form, and other traits of earlier, traditional tales. More critical attention has been devoted to "Bartleby, the Scrivener" than any other short story by Melville, and the work's symbolic suggestiveness, thematic depth, and narrative ambiguity ensure its continuing appeal. Lea Bertani Vozar Newman has observed: "Whatever other chords 'Bartleby' may touch in the reader, the alienation that links this story to works by Dostoevsky, Kafka, and Camus attests to its modernity."
Plot and Major Characters
"Bartleby, the Scrivener" is narrated by a Wall Street lawyer who deals in investment opportunities for wealthy clients. A recent hire, Bartleby, works diligently at first copying legal documents but gradually begins to decline his responsibilities with the statement "I would prefer not to." Eventually Bartleby refrains from all copying and stares at the wall immediately outside of a window in the law office. Only when clients become affected by Bartleby's idiosyncratic and unnerving behavior does the lawyer take significant action, choosing to move his place of business to another building rather than fire Bartleby, who "would prefer not to" quit the lawyer's service; Bartleby refuses to vacate the building and is consequently jailed for vagrancy. The narrator, feeling somehow responsible for Bartleby's condition and incarceration, visits Bartleby, whom he finds dead from self-imposed starvation. At the conclusion of the story, the narrator relates a rumor about Bartleby's occupation prior to becoming a scrivener: Bartleby worked in the postal service's dead-letter office, where all lost, improperly addressed, or otherwise undeliverable mail ends.
Major ThemesOf "Bartleby, the Scrivener," Lewis Leary has stated: "Its charm resides in what Melville preferred not to reveal, so that no one key opens it to simple, or single, or precise meaning." Much of the story's complexity originates in the limited narrative perspective of the lawyer, who unintentionally reveals more about himself than he intends while relating the few facts known about Bartleby. As a result, differing and sometimes conflicting themes have been attributed to the story. Some interpretations focus on the lawyer, variously characterizing him as self-serving or well-meaning; Bartleby has been perceived as psychotic, comical, nihilistic, Christ-like, or devoid of a social persona. As well, Bartleby is commonly identified as the por-trait of a writer alienated by society for his refusal to "copy" the formula established by popular writers. Other commentators, focusing on the bleak mood and conclusion of the story, describe "Bartleby, the Scrivener" as a condemnation of capitalist society, a statement on the absurdity of life, or a disheartening existentialist commentary. Further intepretations present the story as a satire of specific historical individuals, a parable about failed Christian charity, a critique of contemporary philosophies, or a metaphor for the divided psyche of an individual; still another set of essays explicate "Bartleby, the Scrivener" in terms of Melville's other works.
Written in the wake of Moby-Dick (1851) and Pierre (1852), which were regarded as critical and popular failures during his lifetime, "Bartleby, the Scrivener" is Melville's first published short story. Financially strapped by the poor reception of his earlier efforts, Melville began contributing stories and sketches through the mid-1850s to popular magazines as a source of steady income. His short fiction was on the whole favorably received but Melville died generally unknown and unappreciated. The novella Billy Budd, left in manuscript at his death, was not published until 1924. Its appearance, along with Raymond M. Weaver's 1921 biography Herman Melville: Mariner and Mystic and other critical attention, led to a revival of interest in the Melville canon. Most commentators at this time emphasized the autobiographical element of "Bartleby, the Scrivener," contending that the author intended to depict an artist misunderstood by society. Another early and influential school of critics applied a psychological approach, diagnosing Bartleby as schizophrenic, manic depressive, autistic, or mad. The complex and subtle critical history of "Bartleby, the Scrivener" is best encapsulated in essays by Lea Bertani Vozar Newman and Milton R. Stern.
SOURCE: "Melville's Parable of the Walls," in The Sewanee Review, Vol. LXI, No. 4, Autumn, 1953, pp. 602-27.
[Marx is an American educator and critic. In the following seminal essay, he examines the autobiographical aspect of "Bartleby, the Scrivener," focusing on the symbol of the walls and the depiction of the artist's situation in society]
25. Of a wall . . . : Unbroken, unrelieved by breaks or interruptions; absolutely uniform and continuous.
—New English Dictionary
In the spring of 1851, while still at work on Moby Dick, Herman Melville wrote his celebrated "dollars damn me" letter to Hawthorne:
In a week or so, I go to New York, to bury myself in a third-story room, and work and slave on my "Whale" while it is driving through the press. That is the only way I can finish it now—I am so pulled hither and thither by circumstances. The calm, the coolness, the silent grassgrowing mood in which a man ought always to compose, —that, I fear, can seldom be mine. Dollars damn me. . . . My dear Sir, a presentiment is on me, —I shall at last be worn out and perish. . . . What I feel most moved to write, that is banned, —it will not pay. Yet, altogether, write the other way I cannot.
He went on and wrote the "Whale" as he felt moved to write it; the public was apathetic and most critics were cool. Nevertheless Melville stubbornly refused to return to the other way, to his more successful earlier modes, the South Sea romance and the travel narrative. In 1852 he published Pierre, a novel even more certain not to be popular. And this time the critics were vehemently hostile. Then, the following year, Melville turned to shorter fiction. "Bartleby the Scrivener," the first of his stories, dealt with a problem unmistakably like the one Melville had described to Hawthorne.
There are excellent reasons for reading "Bartleby" as a parable having to do with Melville's own fate as a writer. To begin with, the story is about a kind of writer, a "copyist" in a Wall Street lawyer's office. Furthermore, the copyist is a man who obstinately refuses to go on doing the sort of writing demanded of him. Under the circumstances there can be little doubt about the connection between Bartleby's dilemma and Melville's own. Although some critics have noted the autobiographical relevance of this facet of the story, a close examination of the parable reveals a more detailed parallel with Melville's situation than has been suggested. In fact the theme itself can be described in a way which at once establishes a more precise relation. "Bartleby" is not only about a writer who refuses to conform to the demands of society, but it is, more relevantly, about a writer who foresakes conventional modes because of an irresistible preoccupation with the most baffling philosophical questions. This shift of Bartleby's attention is the symbolic equivalent of Melville's own shift of interest between Typee and Moby Dick And it is significant that Melville's story, read in this light, does not by any means proclaim the desirability of the change. It was written in a time of deep hopelessness, and as I shall attempt to show, it reflects Melville's doubts about the value of his recent work.
Indeed, if I am correct about what this parable means, it has immense importance, for it provides the most explicit and mercilessly self-critical statement of his own dilemma that Melville has left us. Perhaps it is because "Bartleby" reveals so much of his situation that Melville took such extraordinary pains to mask its meaning. This may explain why he chose to rely upon symbols which derive from his earlier work, and to handle them with so light a touch that only the reader who comes to the story after an immersion in the other novels can be expected to see how much is being said here. Whatever Melville's motive may have been, I believe it may legitimately be accounted a grave defect of the parable that we must go back to Typee and Moby Dick and Pierre for the clues to its meaning. It is as if Melville had decided that the only adequate test of a reader's qualifications for sharing so damaging a self-revelation was a thorough reading of his own work.
"Bartleby the Scrivener" is a parable about a particular kind of writer's relations to a particular kind of society. The subtitle, "A Story of Wall Street," provides the first clue about the nature of the society. It is a commercial society, dominated by a concern with property and finance.
Most of the action takes place in Wall Street. But the designation has a further meaning: as Melville describes the street it literally becomes a walled street. The walls are the controlling symbols of the story, and in fact it may be said that this is a parable of walls, the walls which hem in the meditative artist and for that matter every reflective man. Melville also explicitly tells us that certain prosaic facts are "indispensable" to an understanding of the story. These facts fall into two categories: first, details concerning the personality and profession of the narrator, the center of consciousness in this tale, and more important, the actual floor-plan of his chambers.
The narrator is a Wall Street lawyer. One can easily surmise that at this unhappy turning point in his life Melville was fascinated by the problem of seeing what his sort of writer looked like to a representative American. For his narrator he therefore chose, as he did in "Benito Cereno," which belongs to the same period, a man of middling status with a propensity for getting along with people, but a man of distinctly limited perception. Speaking in lucid, matter-of-fact language, this observer of Bartleby's strange behavior describes himself as comfortable, methodical and prudent. He has prospered; he unabashedly tells of the praise with which John Jacob Astor has spoken of him. Naturally, he is a conservative, or as he says, an "eminently safe" man, proud of his snug traffic in rich men's bonds, mortgages and deeds. As he tells the story we are made to feel his mildness, his good humor, his satisfaction with himself and his way of life. He is the sort who prefers the remunerative though avowedly obsolete sinecure of the Mastership of Chancery, which has just been bestowed upon him when the action starts, to the exciting notoriety of the courtroom. He wants only to be left alone; nothing disturbs his complacency until Bartleby appears. As a spokesman for the society he is well chosen; he stands at its center and performs a critical role, unravelling and retying the invisible cords of property and equity which intertwine in Wall Street and bind the social system.
The lawyer describes his chambers with great care, and only when the plan of the office is clearly in mind can we find the key to the parable. Although the chambers are on the second floor, the surrounding buildings rise above them, and as a result only very limited vistas are presented to those inside the office. At each end the windows look out upon a wall. One of the walls, which is part of a sky-light shaft, is white. It provides the best light available, but even from the windows which open upon the white wall the sky is invisible. No direct rays of the sun penetrate the legal sanctum. The wall at the other end gives us what seems at first to be a sharply contrasting view of the outside world. It is a lofty brick structure within ten feet of the lawyer's window. It stands in an everlasting shade and is black with age; the space it encloses reminds the lawyer of a huge black cistern. But we are not encouraged to take this extreme black and white, earthward and skyward contrast at face value (readers of Moby Dick will recall how illusory colors can be), for the lawyer tells us that the two "views," in spite of their colors, have something very important in common: they are equally "deficient in what landscape painters call *life'." The difference in color is less important than the fact that what we see through each window is only a wall.
This is all we are told about the arrangement of the chambers until Bartleby is hired. When the lawyer is appointed Master in Chancery he requires the services of another copyist. He places an advertisement, Bartleby appears, and the lawyer hastily checks his qualifications and hires him. Clearly the lawyer cares little about Bartleby's previous experience; the kind of writer wanted in Wall Street need merely be one of the great interchangeable white-collar labor force. It is true that Bartleby seems to him peculiarly pitiable and forlorn, but on the other hand the lawyer is favorably impressed by his neat, respectable appearance. So sedate does he seem that the boss decides to place Bartleby's desk close to his own. This is his first mistake; he thinks it will be useful to have so quiet and apparently tractable a man within easy call. He does not understand Bartleby then or at any point until their difficult relationship ends.
When Bartleby arrives we discover that there is also a kind of wall inside the office. It consists of the ground-glass folding-doors which separate the lawyer's desk, and now Bartleby's, from the desks of the other employees, the copyists and the office boy. Unlike the walls outside the windows, however, this is a social barrier men can cross, and the lawyer makes a point of telling us that he opens and shuts these doors according to his humor. Even when they are shut, it should be noted, the ground glass provides at least an illusion of penetrability quite different from the opaqueness of the walls outside.
So far we have been told of only two possible views of the external world which are to be had from the office, one black and the other white. It is fitting that the coming of a writer like Bartleby is what makes us aware of another view, one neither black nor white, but a quite distinct third view which is now added to the topography of the Wall Street microcosm.
I placed his desk close up to a small side-window in that part of the room [a corner near the folding-doors]—a window which originally had afforded a lateral view of certain grimy back yards and bricks, but which, owing to subsequent erections, commanded at present no view at all, though it gave some light. Within three feet of the panes was a wall, and the light came down from far above, between two lofty buildings, as from a very small opening in a dome. Still further to a satisfactory arrangement, I procured a high green folding screen, which might entirely isolate Bartleby from my sight, though not remove him from my voice. And thus, in a manner, privacy and society were conjoined.
Notice that of all the people in the office Bartleby is to be in the best possible position to make a close scrutiny of a wall. His is only three feet away. And although the narrator mentions that the new writer's window offers "no view at all," we recall that he has, paradoxically, used the word "view" a moment before to describe the walled vista to be had through the other windows. Actually every window in the office looks out upon some sort of wall; the important difference between Bartleby and the others is that he is closest to a wall. Another notable difference is implied by the lawyer's failure to specify the color of Bartleby's wall. Apparently it is almost colorless, or blank. This also enhances the new man's ability to scrutinize and know the wall which limits his vision; he does not have to contend with the illusion of blackness or whiteness. Only Bartleby faces the stark problem of perception presented by the walls. For him external reality thus takes on some of the character it had for Ishmael, who knew that color did not reside in objects, and therefore saw beyond the deceptive whiteness of the whale to "a colorless, all-color of atheism." As we shall see, only the nature of the wall with which the enigmatic Bartleby is confronted can account for his strange behavior later.
What follows (and it is necessary to remember that all the impressions we receive are the lawyer's) takes place in three consecutive movements: Bartleby's gradually stiffening resistance to the Wall Street routine, then a series of attempts by the lawyer to enforce the scrivener's conformity, and finally, society's punishment of the recalcitrant writer.
During the first movement Bartleby holds the initiative. After he is hired he seems content to remain in the quasiisolation provided by the "protective" green screen and to work silently and industriously. This screen, too, is a kind of wall, and its color, as will become apparent, means a great deal. Although Bartleby seems pleased with it and places great reliance upon it, the screen is an extremely in-effectual wall. It is the flimsiest of all the walls in and out of the office; it has most in common with the ground glass door—both are "folding," that is, susceptible to human manipulation.
Bartleby likes his job, and in fact at first seems the exemplar of the writer wanted by Wall Street. Like Melville himself in the years between Typee and Pierre, he is an ardent and indefatigable worker; Bartleby impresses the lawyer with probably having "been long famished for something to copy." He copies by sun-light and candle-light, and his employer, although he does detect a curiously silent and mechanical quality in Bartleby's behavior, is well satisfied.
The first sign of trouble is Bartleby's refusal to "check copy." It is customary for the scriveners to help each other in this dull task, but when Bartleby is first asked to do it, to everyone's astonishment, he simply says that he prefers not to. From the lawyer's point of view "to verify the accuracy of his copy" is an indispensable part of the writer's job. But evidently Bartleby is the sort of writer who is little concerned with the detailed accuracy of his work, or in any case he does not share the lawyer's standards of accuracy. This passage is troublesome because the words "verify accuracy" seem to suggest a latter-day conception of "realism." For Melville to imply that what the public wanted of him in 1853 was a kind of "realism" is not plausible on historical grounds. But if we recall the nature of the "originals" which the lawyer wants impeccably copied the incident makes sense. These documents are mortgages and title-deeds, and they incorporate the official version of social (property) relations as they exist at the time. It occurs to the lawyer that "the mettlesome poet, Byron" would not have acceded to such a demand either. And like the revolutionary poet, Bartleby apparently cares nothing for "common usage" or "common sense"—a lawyer's way of saying that this writer does not want his work to em-body a faithful copy of human relations as they are conceived in the Street.
After this we hear over and over again the reiterated refrain of Bartleby's nay-saying. To every request that he do something other than copy he replies with his deceptively mild, "I would prefer not to." He adamantly refuses to verify the accuracy of copy, or to run errands, or to do anything but write. But it is not until much later that the good-natured lawyer begins to grasp the seriousness of his employee's passive resistance. A number of things hinder his perception. For one thing he admits that he is put off by the writer's impassive mask (he expresses himself only in his work); this and the fact that there seems nothing "ordinarily human" about him saves Bartleby from being fired on the spot. Then, too, his business preoccupations constantly "hurry" the lawyer away from considering what to do about Bartleby. He has more important things to think about; and since the scrivener unobtrusively goes on working in his green hermitage, the lawyer continues to regard him as a "valuable acquisition."
On this typically pragmatic basis the narrator has become reconciled to Bartleby until, one Sunday, when most people are in church, he decides to stop at his office. Before-hand he tells us that there are several keys to this Wall Street world, four in fact, and that he himself has one, one of the other copyists has another, and the scrub woman has the third. (Apparently the representative of each social stratum has its own key.) But there is a fourth key he cannot account for. When he arrives at the office, expecting it to be deserted, he finds to his amazement that Bartleby is there. (If this suggests, however, that Bartleby holds the missing key, it is merely an intimation, for we are never actually provided with explicit evidence that he does, a detail which serves to underline Melville's misgivings about Bartleby's conduct throughout the story.) After waiting until Bartleby has a chance to leave, the lawyer enters and soon discovers that the scrivener has become a permanent resident of his Wall Street chambers, that he sleeps and eats as well as works there.
At this strange discovery the narrator feels mixed emotions. On the one hand the effrontery, the vaguely felt sense that his rights are being subverted, angers him. He thinks his actual identity, manifestly inseparable from his property rights, is threatened. "For I consider that one . . . is somehow unmanned when he tranquilly permits his hired clerk to dictate to him, and order him away from his own premises." But at the same time the lawyer feels pity at the thought of this man inhabiting the silent desert that is Wall Street on Sunday. Such abject friendlessness and loneliness draws him, by the bond of common humanity, to sympathize with the horrible solitude of the writer. So horrible is this solitude that it provokes in his mind a premonitory image of the scrivener's "pale form . . . laid out, among uncaring strangers, in its shivering winding sheet." He is reminded of the many "quiet mysteries" of the man, and of the "long periods he would stand looking out, at his pale window behind the screen, upon the dead brick wall." The lawyer now is aware that death is somehow an important constituent of that nocolor wall which comprises Bartleby's view of reality. After this we hear several times of the forlorn writer immobilized in a "dead-wall revery." He is obsessed by the wall of death which stands between him and a more ample reality than he finds in Wall Street.
The puzzled lawyer now concludes that Bartleby is the victim of an "innate" or "incurable" disorder; he decides to question him, and if that reveals nothing useful, to dismiss him. But his efforts to make Bartleby talk about himself fail. Communication between the writer and the rest of Wall Street society has almost completely broken down. The next day the lawyer notices that Bartleby now remains permanently fixed in a "dead-wall revery." He questions the writer, who calmly announces that he has given up all writing. "And what is the reason?" asks the lawyer. "Do you not see the reason for yourself?" Bartleby enigmatically replies. The lawyer looks, and the only clue he finds is the dull and glazed look of Bartleby's eyes. It occurs to him that the writer's "unexampled diligence" in copying may have had this effect upon his eyes, particularly since he has been working near the dim window. (The light surely is very bad, since the wall is only three feet away.) If the lawyer is correct in assuming that the scrivener's vision has been "temporarily impaired" (Bartleby never admits it himself) then it is the proximity of the colorless dead-wall which has incapacitated him. As a writer he has become paralyzed by trying to work in the shadow of the philosophic problems represented by the wall. From now on Bartleby does nothing but stand and gaze at the impenetrable wall.
Here Melville might seem to be abandoning the equivalence he has established between Bartleby's history and his own. Until he chooses to have Bartleby stop writing and stare at the wall the parallel between his career as a writer and Bartleby's is transparently close. The period immediately following the scrivener's arrival at the office, when he works with such exemplary diligence and apparent satisfaction, clearly corresponds to the years after Melville's return to America, when he so industriously devoted himself to his first novels. And Bartleby's intransigence ("I prefer not to") corresponds to Melville's refusal ("Yet. . . write the other way I cannot.") to write another Omoo, or, in his own words, another "beggarly Redburn." Bartleby's switch from copying what he is told to copy to staring at the wall is therefore, presumably, the emblematic counterpart to that stage in Melville's career when he shifted from writing best-selling romances to a preoccupation with the philosophic themes which dominate Mardi, Moby Dick and Pierre. But the question is, can we accept Bartleby's merely passive staring at the blank wall as in any sense a parallel to the state of mind in which Melville wrote the later novels?
The answer, if we recall who is telling the story, is Yes. This is the lawyer's story, and in his eyes, as in the eyes of Melville's critics and the public, this stage of his career is artistically barren; his turn to metaphysical themes is in fact the equivalent of ceasing to write. In the...
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SOURCE: "Worldly Safety and Other-worldly Saviors," in The Wake of the Gods: Melville's Mythology, Stanford University Press, 1963, pp. 126-52.
[Franklin is an American critic with a special interest in the work of Herman Melville. In the following excerpt, he interprets "Bartleby, the Scrivener" as a religious allegory, particularly emphasizing Christian and Hindu motifs in the story.]
There are essentially three ethics available to man—action in and of the world, action in the world for other-worldly reasons, and nonaction, that is, withdrawal from the world. We might call the extreme of the first the ethic of Wall Street, the extreme of the second the ethic of...
(The entire section is 4083 words.)
SOURCE: " 'Bartleby': Art and Social Commitment," in Philological Quarterly, Vol. XLIII, No. 1, January, 1964, pp. 87-98.
[Gardner was an American novelist, educator, and critic with a special interest in medieval literature. As a critic, he championed the moral function of literature. In the following essay, he analyzes the relationship of the individual to society as portrayed in "Bartleby, the Scrivener."]
In "Bartleby," man looks at man, artist looks at artist, and God looks at God. To understand that the narrator is at least as right as Bartleby, both on the surface and on symbolic levels, is to understand the remarkable interpenétration of form and content in...
(The entire section is 4879 words.)
SOURCE: "Bartleby the Scrivener: A Story of Wall Street," in Prefaces to The Experience of Literature, Harcourt Brace Jovanovich, 1979, pp. 74-8.
[A respected American critic and literary historian, Trilling was also an essayist, editor, novelist, and short story writer. His exploration of liberal arts theory and its implications for the conduct of life led Trilling to function not only as a literary critic, but also as a social commentator. In the following essay, which originally appeared in The Experience of Literature (1967), he describes Bartleby as an individual alienated by the capitalist spirit. ]
In a letter he wrote to Hawthorne in 1851, Melville,...
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SOURCE: "Bartleby: Man and Metaphor," in Studies in Short Fiction, Vol. V, 1968, pp. 342-48.
[Firchow is an American critic. In the following essay, he examines the meaning and significance of the final paragraph of "Bartleby, the Scrivener. " ]
"Bartleby," as the anonymous narrator informs us at the very outset of Melville's story, is a brief account of that portion of the life of this strangest of all scriveners that the narrator has been privileged to see with his "own astonished eyes." Of other, more ordinary scriveners, he almost apologetically explains, he might have related "divers histories," or written even "the complete life." But not for Bartleby: for him...
(The entire section is 2875 words.)
SOURCE: "The Problem of Symbolist Form in Melville's 'Bartleby the Scrivener'," in Modern Language Quarterly, Vol. 31, 1970, pp. 345-58.
[Bigelow is an American critic and educator. In the following essay, he proposes that the symbolism in "Bartleby, the Scrivener" is too rich to be reduced to a single, definitive meaning.]
One proffers another critique of Melville's "Bartleby" with some diffidence, feeling overawed by a recent bibliography of criticism of the story which contains 117 items and includes the names of the most formidable Melville scholars [Donald M. Fiene, "A Bibliography of Criticism of 'Bartleby the Scrivener,' " in Melville Annual 1965. A...
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SOURCE: " 'Bartleby the Scrivener': Language as Wall," in College Literature, Vol. II, No. 1, Winter 1975, pp. 17-27.
[Pinsker is an American scholar and poet, and the author of several books on contemporary American literature. He has a particular interest in American humor and is known for his own witty critical style. In the following essay, he interprets "Bartleby, the Scrivener" as a statement on the inability of language to fully circumscribe human experience.]
Melville's puzzling story "Bartleby the Scrivener" threatens to make scriveners of us all, endlessly writing those dead letters called literary criticism. Scholars with a biographical bent have pointed out...
(The entire section is 4510 words.)
SOURCE: " 'Bartleby' as Paradigm," in The Method of Melville's Short Fiction, Duke University Press, 1975, pp. 26-44.
[Bickley is an American educator and critic with a special interest in the work of Herman Melville and Joel Chandler Harris. In the following excerpt, he provides an overview of "Bartleby, the Scrivener, " noting the influence of Washington Irving and Nathaniel Hawthorne on the story's style, structure, and themes.]
Technique and biography cannot be kept entirely separate in examining "Bartleby, the Scrivener. A Story of Wall-Street" (Putnam's, Nov., Dec. 1853); Melville's shift to magazine-writing, however his earlier work may have...
(The entire section is 5145 words.)
SOURCE: "The 'Incurable Disorder' in 'Bartleby the Scrivener'," in Delta, England, Vol. 6, May, 1978, pp. 79-93.
[In the essay below, Joswick compares thematic aspects of "Bartleby the Scrivener" to those of Melville's controversial novel Pierre.]
"Pray leave me; who was ever cured by talk?"
Herman Melville, The Confidence-Man
"Bartleby the Scrivener: A Story of Wall Street" was Melville's first publication following what the majority of contemporary reviewers considered his most disastrous and blasphemous novel. Because of that scathing critical condemnation of Pierre,...
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SOURCE: "Bartleby & Schizophrenia," in The Massachusetts Review, Vol XIX, No. 3, Autumn, 1978, pp. 555-68.
History and Development of Symptoms. The patient, a young apprentice in Chartered Accountancy, was admitted to hospital in January 1958, at the age of 23 years. . . . On leaving school at 17 he embarked on a career of his own choosing, that of chartered accountancy with a City firm. For the first five years his performance was beyond reproach. . . .
. . . The initial change was a general slowing up and impairment in efficiency in carrying out all his usual activities, both at work in the office and at home. . . .
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SOURCE: "Towards 'Bartleby the Scrivener'," in The Stoic Strain in American Literature, edited by Duane J. MacMillan, University of Toronto Press, 1979, pp. 19-41.
[Stern is an American critic. In the following excerpt, he assesses critical perspectives on "Bartleby, the Scrivener." ]
When Ishmael asserted that the changefulness of life 'requires a strong decoction of Seneca and the Stoics to enable you to grin and bear it,' he was offering a jocular way to handle the shock and horror that accompany the discovery of our human oneness in our common, mortal victimization by the conditions of life. 'Bartleby the Scrivener' is a tale of that discovery, not by seafarers in...
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SOURCE: " 'Bartleby the Scrivener': A Simple Reading," in Arizona Quarterly, Vol. 41, No. 2, Summer, 1985, pp. 143-51.
[In the following essay, Murphy contends that "Bartleby, the Scrivener" is a metaphorical story about the inner life of one individual, the lawyer. ]
It is a fact not generally acknowledged that "Bartleby, the Scrivener" is a story with only one character—the lawyer who tells it. Bartleby is simply an aspect of The Lawyer's character, long suppressed. Ginger Nut, Nippers, and Turkey are other facets of his personality or stages in his career. Even personages with "walk-on" parts like The Grubman, The Turnkey, and The Landlord are not separate...
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SOURCE: "Up Wall Street towards Broadway: The Narrator's Pilgrimage in Melville's 'Bartleby the Scrivener'," in Studies in Short Fiction, Vol. 24, No. 3, Summer, 1987, pp. 263-70.
[In the following essay, Forst contends that "Bartleby, the Scrivener" records a spiritual awakening undergone by the narrator. ]
"No materials exist," says Bartleby's worldly employer, for "a full and satisfactory biography of this man."
For nothing is ever "ascertainable" about such men, except what our own "astonished eyes" tell us. Perhaps such men hardly "exist" except deep in our mythic imaginations where, as archetypes, they rest, until their presence is urged forth...
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