By Harold Bloom
Means that Melville's rejection of biblical theology unearths strong expression all through all of his later fictional prose and his verse. This name gathers jointly a few of the feedback at the works of Melville, together with Moby-Dick, Typee, Omoo, The Piazza stories, and Benito Cereno.
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Additional resources for Herman Melville (Bloom's Modern Critical Views)
Time-shadows . . are perishable; . . ”7 Earlier, in the whaleman’s chapel, Ishmael, echoing Socrates in the Phaedo (Sealts, diss. p. 50), 42 Sanford E.
Gibson, ‘Herman Melville’s “Bartleby the Scrivener” and “Benito Cereno,” ’Die Neueren Sprachen, 9 (1960): 107–116; James E. , A Reader’s Guide to Herman Melville (New York, 1962), pp. 13, 160–161; Roy R. Male, Types of Short Fiction (Belmont, California 1962), pp. , Three Shorter Novels of Herman Melville (New York, 1962), pp. 229, 235–237; Maurice Friedman, Problematical Rebel (New York, 1963), pp. 77–98; Norman Springer, ‘“Bartleby” and the Terror of Limitation,’ PMLA, 80 (1965): 410–418; John Haag, ‘“Bartleby”—in for the Camera,’ in Vincent, ed.
1 Although the thrust of Melville’s letter is clear, despite the confusion in person, certain passages are not; highly suggestive, they nevertheless remain ambiguous and at times even cryptic. One in particular is worth close consideration largely because of its ambiguity in that it testifies to the author’s ESQ: A Journal of the American Renaissance, Volume 28, Number 1 (1982): pp. 11–13. © 1982 Sanford E. Marovitz. 39 40 Sanford E. Marovitz ambivalence over the foundation of religious and philosophical Truth as he struggled with the “Whale” “in his flurry” (L, pp.