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Benito Cereno de Herman Melville

Benito Cereno

Autor Herman Melville
en Limba Engleză Paperback
"Benito Cereno" contains some of Herman Melville's most vivid action writing, though the action is all suspense and premonition until the climax. Why this story hasn't been more widely acclaimed remains a mystery, as it captures the imagination of a 'young reader' in a tighter grip than Billy Budd. Joseph Conrad's famous story of the Congo was written decades after Melville's story of a mutiny, and it's extremely unlikely that Conrad was thinking of Benito Cereno when he wrote Heart of Darkness, but the two extended stories have a lot in common: scenes of human depravity, ambiguities about good and evil, nightmarish descriptions, an atmosphere of suspended horror. More historically-informed readers will surely guess the mystery of Captain Cereno's behavior on his ghastly ship long before the good-natured American Captain Delano. Readers of Melville's era, recalling the news of the ship Amistad, would have guessed even quicker and more certainly. In fact, the tension between the reader's aroused suspicions and the benevolent opacity of Captain Delano is at the core of the reading experience. The 'Good' seldom have much insight into the "Wicked." But wait, don't rush to judgment about wickedness when you read Herman Melville Is mutiny a greater wickedness than slavery, and is violence in the act of self-liberation less or more justified than violence in defense of property? And is Captain Delano's good-natured racism, based on his assumption that blacks are docile and unintelligent, not the basis for his nearly disastrous lack of acumen? Babo, the ringleader of the mutiny, may be a horrid beast in Delano's mind but he's surely the smartest Homo sapiens on the scene, a representation that can't have been unintended by Melville. Apparently Melville used the memoirs of a real Captain Amasa Delano as the inspiration for this spine-tingling story of terror on a becalmed sailing ship. The denouement of the tale is told in the form of court depositions, lending a journalistic credibility to the narrative. Though some critics have found that structure disjointed and anticlimactic, even if that were so, the larger part of the novella is every bit as spooky as Conrad's masterpiece.
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Specificații

ISBN-13: 9781495285035
ISBN-10: 1495285030
Pagini: 100
Dimensiuni: 127 x 203 x 5 mm
Greutate: 0.11 kg
Editura: CREATESPACE

Descriere

Descriere de la o altă ediție sau format:
“Benito Cereno,” a story of atmospheric Gothic horror and striking political resonance, represents Herman Melville’s most profound and unsettling engagement with the horrors of New World slavery. Narrating the story of a slave revolt using materials drawn from Amasa Delano’s non-fictional account of the Tryal Rebellion from earlier in the nineteenth century, Melville’s story probes the moral complexities of the antebellum United States and its position within the Americas. Melville explores the psychology of slavery and racism and the role of violence in both the resistance to, and the perpetuation of, slavery in the Americas.
The appendices to this volume illustrate how Melville’s satirical treatment of racism and his ambivalent response to violent resistance to slavery connect with antislavery literature (poetry, fiction, and non-fiction alike) in the middle of the nineteenth century, and they also consider how “Benito Cereno” functions as a central piece in Melville’s contribution to the literature of the Americas.

Recenzii

“Benito Cereno,” a story of atmospheric Gothic horror and striking political resonance, represents Herman Melville’s most profound and unsettling engagement with the horrors of New World slavery. Narrating the story of a slave revolt using materials drawn from Amasa Delano’s non-fictional account of the Tryal Rebellion from earlier in the nineteenth century, Melville’s story probes the moral complexities of the antebellum United States and its position within the Americas. Melville explores the psychology of slavery and racism and the role of violence in both the resistance to, and the perpetuation of, slavery in the Americas.
The appendices to this volume illustrate how Melville’s satirical treatment of racism and his ambivalent response to violent resistance to slavery connect with antislavery literature (poetry, fiction, and non-fiction alike) in the middle of the nineteenth century, and they also consider how “Benito Cereno” functions as a central piece in Melville’s contribution to the literature of the Americas.

“The Broadview Press edition of Herman Melville’s ‘Benito Cereno’ is vital for teaching, research, and exploring the power of American short fiction. From abolitionist writings to texts about the Haitian Revolution to reflections by Melville’s contemporaries, Brian Yothers has reassembled crucial materials for a profound journey into Melville’s fictional universe. Whether you are interested in the historical context that inspired Melville or the philosophical questions that saturate his art, this captivating edition contains all of the major materials and literary artifacts. If you’re teaching, rereading, or even discovering ‘Benito Cereno’ for the first time, this edition is a fresh and fully updated take on Melville’s classic.” — Christopher Freeburg, University of Illinois, Urbana-Champaign

Cuprins

Acknowledgements
Introduction
Herman Melville: A Brief Chronology
A Note on the Text
“Benito Cereno”
Appendix A: Representations of Slave Revolt and the Slave Trade
  • 1. From Amasa Delano, Narrative of Voyages and Travels in the Northern and Southern Hemispheres (1817)
  • 2. From Frederick Douglass, “The Heroic Slave” (1853)
  • 3. From John Quincy Adams, Argument of John Quincy Adams Before the Supreme Court of the United States, in the Case of United States, Appellants, Cinque, and Others, Africans (1841)
  • 4. From Frederick Douglass, My Bondage and My Freedom (1855)
  • 5. From Harriet Beecher Stowe, Dred, A Tale of the Great Dismal Swamp (1856)
  • 6. From The Confessions of Nat Turner (1832)
  • 7. Am I Not a Man and a Brother? (1787)
  • 8. Stowage of the British Slave Ship Brookes under the Regulated Slave Trade Act of 1788
  • 9. The Slave Deck of the Bark “Wildfire” Brought into Key West on 30 April 1860
  • 10. The Abolition of the Slave Trade (1792)
  • 11. Cinque, the Chief of the Amistad Captives (1840)
Appendix B: Herman Melville on Race, Slavery, Colonialism, and Violence
  • 1. From Herman Melville, Typee (1846)
  • 2. From Herman Melville, “Mr. Parkman’s Tour,” New York Literary World (31 March 1849)
  • 3. From Herman Melville, “A Bosom Friend,” in Moby-Dick, or, The Whale (1851)
  • 4. From Herman Melville, “Midnight, Forecastle,” in Moby-Dick, or, The Whale (1851)
  • 5. Herman Melville, “Formerly a Slave,” in Battle-Pieces and Aspects of the War (1866)
  • 6. Herman Melville, “The Swamp Angel,” in Battle-Pieces and Aspects of the War (1866)
  • 7. From Herman Melville, Supplement to Battle-Pieces and Aspects of the War (1866)
  • 8. From Herman Melville, Clarel, A Poem and Pilgrimage in the Holy Land (1876)
Appendix C: The Haitian Revolution and the Black Legend
  • 1. John Greenleaf Whittier, “Toussaint L’Ouverture” (1833)
  • 2. William Wordsworth, “To Toussaint L’Ouverture” (1802)
  • 3. From Frank J. Webb, The Garies and Their Friends (1857)
  • 4. Toussaint Louverture
  • 5. From Daniel Defoe, The Life and Strange Surprizing Adventures of Robinson Crusoe (1719)
  • 6. From James Montgomery, The West Indies (1810)
Appendix D: Anti-Slavery Rhetoric and Poetry
  • 1. From Frederick Douglass, “What to the Slave is the Fourth of July?” (5 July 1852)
  • 2. Frederick Douglass, “A Parody,” in Narrative of the Life of Frederick Douglass (1845)
  • 3. Elizabeth Barrett Browning, “The Runaway Slave at Pilgrim’s Point” (1849)
  • 4. James Russell Lowell, “The Present Crisis” (1844)
  • 5. James M. Whitfield, “To Cinque” (1853)
  • 6. James M. Whitfield, “Lines on the Death of John Quincy Adams” (1853)
  • 7. James M. Whitfield, “America” (1853)
  • 8. Frances E.W. Harper, “The Slave Mother. A Tale of the Ohio” (1857)
  • 9. Harriet Beecher Stowe, “Caste and Christ” (1853)
  • 10. From Lydia Maria Child, An Appeal in Favor of that Class of Americans Called Africans (1833)
  • 11. Lydia Maria Child, “The Influence of Slavery with Regard to Moral Purity” (1838)
  • 12. Lydia Huntley Sigourney, “To the First Slave Ship” (1827)
Appendix E: Melville and the Theory of Short Fiction
  • 1. From Herman Melville, “Hawthorne and his Mosses,” Literary World (1850)
  • 2. From Edgar Allan Poe, Review of Nathaniel Hawthorne’s Twice-Told Tales, Graham’s Magazine (1842)
  • 3. Review of The Piazza Tales, United States Democratic Review (September 1856)
  • 4. Nathaniel Hawthorne, Preface to The House of the Seven Gables (1852)
Works Cited and Select Bibliography

Notă biografică

Herman Melville (1819 - 1891) was an American novelist, short story writer and poet of the American Renaissance period. His best known works include Typee (1846), a romantic account of his experiences in Polynesian life and his whaling novel Moby-Dick (1851). His work was almost forgotten during his last thirty years. Herman Melville's writing draws on his experience at sea as a common sailor, exploration of literature and philosophy and engagement in the contradictions of American society in a period of rapid change. He developed a complex, baroque style: the vocabulary is rich and original, a strong sense of rhythm infuses the elaborate sentences, the imagery is often mystical or ironic and the abundance of allusion extends to scripture, myth, philosophy, literature and the visual arts.