Exiled Royalties: Melville and the Life We ImagineOxford University Press, 2006/01/05 - 310 ページ 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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xiii ページ
... religion are transposed not to a religion of art but to a religion in art, a self-contemplative sublimity whose defining quality is a posture of aspiration beyond “the clay-cold bonds which round our being cling.”9 Byron's “we” are ...
... religion are transposed not to a religion of art but to a religion in art, a self-contemplative sublimity whose defining quality is a posture of aspiration beyond “the clay-cold bonds which round our being cling.”9 Byron's “we” are ...
xiv ページ
... religion; his relationship to America and his American audience; his relationship to past and present writers; his relationship to his wife, Lizzie, to Hawthorne, to his dead father, and to identic images of himself. Among literary ...
... religion; his relationship to America and his American audience; his relationship to past and present writers; his relationship to his wife, Lizzie, to Hawthorne, to his dead father, and to identic images of himself. Among literary ...
5 ページ
... religious press, Melville muted erotic passages in his book and excised many of its attacks on Western missionaries. In doing so he bowdlerized two of his chief themes, the ... religion—“I saw everything, but could anticipating freedom 5.
... religious press, Melville muted erotic passages in his book and excised many of its attacks on Western missionaries. In doing so he bowdlerized two of his chief themes, the ... religion—“I saw everything, but could anticipating freedom 5.
6 ページ
... religion—“I saw everything, but could comprehend nothing” (T 177)—applies nearly as well to Typee eroticism. Sexuality was omnipresent and, evidently, socially constitutive but in ways that Melville could glimpse only as outcroppings of ...
... religion—“I saw everything, but could comprehend nothing” (T 177)—applies nearly as well to Typee eroticism. Sexuality was omnipresent and, evidently, socially constitutive but in ways that Melville could glimpse only as outcroppings of ...
8 ページ
... religious with nonreligious sources, Melville takes Ellis as his tacit point of departure—“It has been said, that the only way to civilize a people, is to form in them habits of industry” (O 189)—then proceeds to observe, echoing the ...
... religious with nonreligious sources, Melville takes Ellis as his tacit point of departure—“It has been said, that the only way to civilize a people, is to form in them habits of industry” (O 189)—then proceeds to observe, echoing the ...
目次
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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多く使われている語句
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