By Bryan C. Short
The ability of Herman Melville's fiction owes a lot to his literary voice - a protean talking presence dropped at existence via cutting edge and masterful rhetoric. during this publication Bryan C. brief explores the evolution of that voice via research of Melville's works, the applying of literary and rhetorical conception and biographical insights.
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Extra info for Cast by means of figures: Herman Melville's rhetorical development
Melville's belief in the powers of literary rhetoric, as manifested in numerous passages from the letters of the late 1840s, directly reflects a set of ideas which Blair summarizes in what for him is an uncharacteristically purple passage. What I have now explained, concerning the use and effects of Figures, naturally leads us to reflect on the wonderful power of Language; and, indeed, we cannot reflect on it without the highest admiration. What a fine vehicle is it now become for all the conceptions of the human mind; even for the most subtile and delicate workings of the imagination!
The moment passes, and the fragment resumes its arabesque adventure. Melville drives his second fragment forward without resolving its conflict between outer erotic mystery and inner burlesque. Its high-spirited incongruity of voice and energetic enjoyment of language overshadow its incessant clichés; like the novels of Charles Brockden Brown or Poe's tales of the grotesque, it transcends its own preposterousness and keeps the reader's curiosity piqued. Because the fragmented decorum of the sketch seems likely to conclude on a note of either Romance or spoof, its strangely shrill ending comes as a surprise.
It was too bad! To be outgeneraled, routed, defeated, by a mere rib of the earth? It was not to be borne! I thought I should never survive the inexpressible mortification of the moment; and in the heighth of my despair, I bethought me of putting a romantic end to my existence upon the very spot which had witnessed my discomfiture. " The moment passes, and the fragment resumes its arabesque adventure. Melville drives his second fragment forward without resolving its conflict between outer erotic mystery and inner burlesque.
Cast by means of figures: Herman Melville's rhetorical development by Bryan C. Short