Benito Cereno - Knowledge (XXG)

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and supposedly objective speaker, but limits his reporting almost exclusively to Delano's skewed point of view." The narrator only reports what Delano sees and thinks, " no judgments and Delano's fatally racist presumptions as fact." Melville's limited narrator deceives the white readership of Putnam's Monthly "into adopting Delano's erroneous thinking." At the time of publishing, the denouement most likely came as no less shocking to the reader than to Delano himself, and "the story's final effect is to force readers to retrace their own racism to discover how, as a condition of mind, it distorts our vision." Laurie Robertson-Lorant astutely verbalizes this parallel between Delano's viewpoint and the reader's position, writing, "Babo has woven an elaborate web of deception from the American's own prejudices," and "Melville has drawn readers who adopt Delano's view of the San Dominick into the same entangling web."

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on the motif that it is a "purely self-serving" financial interest of the captain to treat his peculiar "cargo" well. The Americans display no better moral sense when they board the ship at the end of the story: it is not kindness that restrains them from killing the Africans, but their plan to claim the "cargo" for themselves. In addition to this principal state of affairs, "freedom within the confines of a slave ship did not protect the women against rape and sexual abuse," and in fact allowing the women to walk on the deck "made them more accessible to the lustful crew." Delano's impression of the female slaves is part of his overall misperception: "After Aranda's death, the women, whom Delano imagines to be as docile and sweet as does with their fawns, shave Aranda's bones clean with their hatchets, then hang his skeleton over the carved figurehead of Cristobal Colón as a warning to the surviving Spaniards."

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issue is "not his lack of intelligence, but the shape of his mind, which can process reality only through the sieve of a culturally conditioned benevolent racism," and Delano is eventually "conned by his most cherished stereotypes." Berthoff sees a contrast between Delano and Don Benito's "awareness," caused by the "harrowingly different circumstances" through which they come to meet each other. Seeing no essential difference between Delano's consciousness and the more or less blind way of life of every human being, he sees the story "as composing a paradigm of the secret ambiguity of appearances--an old theme with Melville--and, more particularly, a paradigm of the inward life of ordinary consciousness, with all its mysterious shifts, penetrations, and side-slippings, in a world in which this ambiguity of appearances is the baffling norm."

2610:. He calls 'Benito Cereno' one of Melville's "most sensitively poised pieces of writing". The tension in the story depends on how, Matthiessen observes, "the captain's mind sidles round and round the facts, almost seeing them at one moment only to be ingenuously diverted at the next". Matthiessen assumes a clear distinction of moral values, "the embodiment of good in the pale Spanish captain and of evil in the mutinied African crew", and this interpretation leads him to object: "Although the Negroes were savagely vindictive and drove a terror of blackness into Cereno's heart, the fact remains that they were slaves and that evil had thus originally been done to them." Melville's perceived failure to reckon with this makes his story, "for all its prolonged suspense, comparatively superficial". 2488:, published by Dix & Edwards in May 1856 in the United States; in June the British edition appeared. The working title of this collection when Melville prepared the magazine pages as printer's copy was "Benito Cereno & Other Sketches". Melville wrote a note to be appended to the title of "Benito Cereno", either as a footnote or a headnote, in which he acknowledged his source. Biographer Hershel Parker believes he did this because Pictor had revealed the source for the novella. Melville decided to drop the note after the change of title meant that the stories were no longer presented as sketches but as tales. In his letter of February 16, 1856, to Dix & Edwards, Melville directed that the note be dropped "as the book is now to be published as a collection of 2418:

Benito, on the other hand, shakes with fear. Apparently, Babo tests the blade across his palm, and for Delano the sound is that of a man humbling himself, while Cereno hears "the black man warning him: if you make one move toward candor, I will cut your throat." When Delano notices that the shaving cloth covering Don Benito is the Spanish flag, he finds this use an indignity that for a moment gives him occasion to see in Babo a "headsman" and in Don Benito "a man at the block", but quickly reassures himself that blacks are like children and therefore fond of bright colors, so that nothing is wrong with scene. In Delbanco's estimation, "Delano's capacity for self-deception is limitless."

2215:, "the island of Santa Maria is relocated from the coast of central Chile near Concepcion to 'down towards its southern extremity,'...the time span lengthened considerably, the legal deposition abridged and altered, the number of blacks multiplied, and names and roles are switched." One such switch is the replacement of Muri's name by his father's, Babo. Melville's Babo is a blend of the central roles that Babo and his father Muri play in the source. In their reproduction of Amasa Delano's chapter, the editors of the 1987 edition supply marginal page and line numbers indicating parallel passages in Melville's novella. (Compare quoteboxes to see one example of such parallels.) 2285:

coffined--and the state-cabin door, once connecting with the gallery, even as the dead-lights had once looked out upon it, but now calked fast like a sarcophagus lid; and to a purple-black, tarred-over panel, threshold, and post; and he bethought him of the time, when that state-cabin and this state-balcony had heard the voices of the Spanish king's officers, and the forms of the Lima viceroy's daughters had perhaps leaned where he stood--as these and other images flitted through his mind, as the cats-paw through the calm, gradually he felt rising a dreamy inquietude, like that of one who alone on the prairie feels unrest from the repose of the moon.

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narrative." Melville meant to both elevate the Cereno character, making him "as heartless and savage as the slaves," and to turn Babo into "a manifestation of pure evil." For instance, in the source Cereno himself tries to stab one of the slaves with a hidden dirk: "Transferred entirely to Babo, this action provides the crisis of the story and adds a final touch to the portrait of the slave's malignity." Some of the "apparently trifling alterations" of his source can be explained by the artistic purpose of establishing a web of imagery pertaining to monks and monasteries.

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presence of these documents represent "only the most abrupt of a series of shifts and starts in the presentation" that constitute the narrative rhythm of "tension increasing and diminishing" and of "the nervous succession of antithetical feelings and intuitions." Berthoff recognizes the sentences perform the double function of simultaneously showing and suspending, remarking, "They must communicate tension but also damp it down." Though the paragraphs are usually short, the longer ones contain what, for Berthoff, is the essential rhythm of the tale:

2392:, which led to the first free black republic in the Americas. According to scholar Hester Blum, the voyages of Columbus, "who initiated New World colonization and slavery," form the "negative inspiration" of Babo's revolt. Columbus's importance for the novella is signalled repeatedly, most dramatically by the "follow your leader"-sign under the figurehead: as revealed in the legal documents, Columbus's was the original figurehead who had been replaced by the skeleton. 2455:. Curtis expressed being "anxious" to read Melville's new story, which Dix then sent him. On 19 April Curtis wrote to Dix he found the story "very good", even though he regretted that Melville "did not work it up as a connected tale instead of putting in the dreary documents at the end." In a letter of 31 July Curtis still had reservations about "all the dreadful statistics at the end", but nevertheless proposed the serialization. 47: 2255:

Benito Cereno and Babo's unusual relationship. During his visit aboard the slave carrier, Hershel Parker observes that Delano "repeats a pattern of suspicions-followed-by-reassurance, with progressively shorter periods in which suspicions can be allayed." He describes Melville's Delano as "bluffly good-natured, practical, and resourceful but intellectually obtuse, naively optimistic, impervious to evil."

1923:, a Spanish slave ship apparently in distress. After learning from its captain Benito Cereno that a storm has taken many crewmembers and provisions, Delano offers to help out. He notices that Cereno acts awkwardly passive for a captain and the slaves display remarkably inappropriate behavior, and though this piques his suspicion he ultimately decides he is being paranoid. When he leaves the 2197:

fugitive ship by bringing down her spars. But only a few inconsiderable ropes were shot away. Soon the ship was beyond the gun's range, steering broad out of the bay; the blacks thickly clustering round the bowsprit, one moment with taunting cries towards the whites, the next with upthrown gestures hailing the now dusky moors of ocean--cawing crows escaped from the hand of the fowler.

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aspect seemed to say, since I cannot do deeds, I will not speak words. Put in irons in the hold, he was carried to Lima. During the passage, Don Benito did not visit him. Nor then, nor at any time after, would he look at him. Before the tribunal he refused. When pressed by the judges, he fainted. On the testimony of the sailors alone rested the legal identity of Babo.

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was "very striking & well done" on the whole, though he took "the dreary documents at the end" for a sign that Melville "does everything too hurriedly now." Despite Curtis's pressing to use it in the September issue—"You have paid for it", he wrote on 31 July—serializing began six months after he first voiced his approval.

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alone. Under Babo's control, Cereno claims he headed toward the Bolivian coast in order to acquire more hands on deck. Due to all of the aforementioned conditions, the ship has doubled its path several times. When Delano asks about the slaves' master, Alexandro Aranda, Benito states that he took fever aboard the ship and died.

2492:, that note is unsuitable & had better be omitted." The editors of the Northwestern-Newberry edition infer that the note, which does not survive, would have revealed the relation between the story and Amasa Delano's original account, and that Melville thought this relationship was better left unrevealed in a "tale". 2010:

distance Delano himself would have sailed within a few days, Babo nicks Cereno's neck and draws blood. It is unclear whether the nick is caused by a sudden wave on the sea, or "a momentary unsteadiness of the servant’s hand." Delano feels that slavery fosters ugly passions and invites Cereno for coffee aboard the

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cabin, Babo cuts himself in the cheek. On deck, he shows Delano the bleeding and explains that this is Don Benito's punishment for the accident. Delano is momentarily shocked by this Spanish cruelty, but when he sees Babo and Don Benito reconciled he is relieved to notice that the outrage has passed.

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Babo then draws a spot of blood from Don Benito with a flick of his razor, an accident he calls "Babo's first blood" and blames on Don Benito's shaking. He then concludes Don Benito's toilette with a comb, as if to put on a show for Delano. Then, just when Delano has preceded the other two out of the

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Throughout the majority of the novella, the crucial information that the self-liberated blacks have murdered all of the Spanish officers on board, excepting Benito Cereno, is withheld from the reader. This disruption of the ship’s status quo is repeatedly foreshadowed by Delano’s misperceptions about

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Andrew Delbanco points out Melville's elaboration of the episode in which Delano is struck by the scarcity of whites aboard when he first enters the San Dominick. The real Delano describes this in one phrase ("captain, mate, people and slaves, crowded around me to relate their stories"), but Melville

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Some months after the trial, Babo is executed never having said a word to defend himself. His body is burned but his head is fixed on a pole in the Plaza. Babo's head looks in the direction of St. Bartholomew’s church, where "the recovered bones of Aranda" lay, and further across the bridge "towards

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When the American steps into the dinghy and takes off, Don Benito jumps into the boat, falling at the feet of Captain Delano. Three Spanish sailors dive after him along with Babo, who is holding a dagger. Delano fears Babo wants to attack him, but he loses the dagger when he falls into the boat. With

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Babo reminds Cereno that it is time for his shave and suggests that Delano join them. Their suspicious behavior continues when Babo searches "for the sharpest" razor and Cereno "nervously shuddered" at the "sight of gleaming steel." Just when Delano asks Cereno how he spent over two months crossing a

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nineteenth-century America)." The second category can be further divided into three groups: critics who saw "sympathy for the slaves," a few who recognized "pro-slavery or ambivalent sentiments," and those who concentrated on "Delano as a naive American," one of whom identified "Cereno with Europe."

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Robertson-Lorent finds that "Melville indicts slavery without sentimentalizing either the blacks or the whites." Any apparently kind behavior toward the slaves is deceptive by nature: not only does such conduct not change the fact that the captain considers the slaves his property, but it also rests

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These last paragraphs introduce a new tone, after the "teasing oscillations of mood" in the first part and the "dry repetitions of the court documents," the novella's conclusion is "terse, rapid, taut with detail," and for Berthoff an admirable example of "Melville's ordinary boldness in fitting his

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The prolonged riddle of the main story is solved with the leap of Don Benito into Delano's boat—an ending of just a page and a half. This event is related a second time, now in "the cumbersome style of a judicial exposition" for which the documents in the source provided the model. For Berthoff, the

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Every so often, Delbanco notices an unusual hissing whisper or silent hand signal "might cut through Delano's haze and awaken him to the true situation, but he always reverts to 'tranquillizing' thoughts" about the white man's power and the black man's "natural servility". Unconsciously, Delano lets

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Delano is disturbed by the incidents he observes, such as when a black boy slashes the head of a white boy with a knife. Surprisingly, Cereno does not acknowledge or even seem to care about this behavior. The whispered conversations between Cereno and Babo make Delano feel uncomfortable. Gradually,

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No record of payment for the novella survives, but apparently the magazine's new owners continued to pay Melville at the rate of $ 5.00 per page. Putnam's editorial advisor George William Curtis finished reading the novella as early as April, and recommended its acceptance to Joshua Dix, because it

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moral with Delano as the American who, "confronted with evil in unescapable form, wanted only to turn over a new leaf, to deny and to forget the lesson he ought to have learned." Such an American survives "by being less than fully human," while Europeans are "broken by the weight of their knowledge

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With regard to Melville's choice to implement a third-person narration, John Bryant believes that no first-person narrator was used because it would have made the suspense hard to sustain, as first-person narrators "too easily announce their limitations." Melville "adopts the voice of an omniscient

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Delano’s experience aboard the San Dominick is depicted through his inaccurate perceptions of the racial dynamics on board the ship. He assumes that the blacks are under the dominion of Benito Cereno; in reality, they have revolted, forcing the Spanish sailors to perform for Delano as if the ship’s

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Third, while the real Delano was accompanied by his midshipman Luther, Melville's Delano visits the Spanish ship alone. Melville introduces incidents of his own invention, chief among them the shaving of Don Benito, the giant Atufal in chains, and the lunch aboard the Spanish ship. Though the names

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We soon had our guns ready; but the Spanish ship had dropped so far astern of the Perseverance, that we could bring but one gun to bear on her, which was the after one. This was fired six times, without any other effect than cutting away the fore top-mast stay, and some other small ropes which were

2022:. The remaining sailors taking flight into the masts to escape the blacks who are after them. The canvas falls off the ship's figurehead, revealing the strung-up skeleton of Alexandro Aranda. Delano secures Babo; Delano's men attack the Spanish ship to claim booty by defeating the revolting slaves. 2417:

The scene of Babo's shaving of Don Benito is, in Delbanco's words, "a meditation on subjectivity itself." Captain Delano enjoys the sight of Babo performing the kind of personal service to his master Delano thinks blacks are especially well suited for, manicuring, hair-dressing, and barbering. Don

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Biographer Parker concludes the legal documents section is roughly half Melville's own invention fused with slightly adapted documents copied from Delano. Melville's additions include cannibalism and the image of Columbus. Generally, his inventions are "not distinguishable without collation of the

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The boat was immediately dispatched back to pick up the three swimming sailors. Meantime, the guns were in readiness, though, owing to the San Dominick having glided somewhat astern of the sealer, only the aftermost could be brought to bear. With this, they fired six times; thinking to cripple the

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Other additions include the two slaves attacking the Spanish seaman, the glimpse of the jewel, and the sailor presenting the Gordian knot. Melville elaborates on Cereno's leap into Delano's boat after Babo's attempt to stab Cereno as well as the revelation of the skeleton-shaped figurehead. Final

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First, while Delano does not describe the Spanish ship, Melville provides a description of a "Spanish merchantman of the first class," that had seen better days: "The tops were large, and were railed about with what had once been octagonal net-work, all now in sad disrepair... Battered and mouldy,

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Since the 1940s, criticism has moved to reading Babo as the heroic leader of a slave rebellion whose tragic failure does not diminish the genius of the rebels. In an inversion of contemporary racial stereotypes, Babo is portrayed as a physically weak man of great intellect, his head (impaled on a

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Eventually, legal depositions taken at Lima explain the matter. Instead of storm and epidemics, a bloody slave revolt under Babo’s command caused the mortalities among the crew, including Aranda. As Delano approached, the revolting slaves set up the illusion that the surviving whites are still in

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The ship is actually filled with rebel slaves who killed their owner, Alexandro Aranda, and are in control of the Spaniards and Captain Benito. Captain Benito is constantly served by Babo, the leader of the rebellion, and Delano does not suspect anything despite the fact that Benito is never left

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Bryant observes an epistemological dimension to the story, as Delano admires the black race not for its humanity but for its perceived servility. This prejudiced view renders Delano unable to see the black people's ability to revolt and unable to understand the slave ship's state of affairs. The

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As for the black--whose brain, not body, had schemed and led the revolt, with the plot--his slight frame, inadequate to that which it held, had at once yielded to the superior muscular strength of his captor, in the boat. Seeing all was over, he uttered no sound, and could not be forced to. His

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As his foot pressed the half-damp, half-dry seamosses matting the place, and a chance phantom cats-paw--an islet of breeze, unheralded, unfollowed--as this ghostly cats-paw came fanning his cheek; as his glance fell upon the row of small, round dead-lights--all closed like coppered eyes of the

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Benito Cereno. Upon arrival, Delano is greeted by Spaniards and black men and women who beg him for water and supplies. Delano is troubled by the number of black people on board since they greatly outnumber the Spaniards. This disparity is explained by the collective cries of those on-board,

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Bartholomew's church, in whose vaults slept then, as now, the recovered bones of Aranda: and across the Rimac bridge looked towards the monastery, on Mount Agonia without; where, three months after being dismissed by the court, Benito Cereno, borne on the bier, did, indeed, follow his leader.

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As Rosalie Feltenstein first noticed, the Spanish ship and its crew are described continuously in "similes drawn from monastic life." At first sighting, the ship is likened to a "white-washed monastery after a thunderstorm." Delano first mistakes the crew for monks, "Black Friars pacing the

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Scholar Rosalie Feltenstein finds it "far from accurate" to say that he found his story ready-made in his source, a statement not just contradicted by Scudder's own inventory of alterations, but instead of suppressing only "a few items," Melville in fact "omits the whole second half of the

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Reviewing scholarship and criticism up to 1970, Nathalia Wright found that most essays were "divided between a moral - metaphysical interpretation (Babo being the embodiment of evil, Delano of unperceptive good will) and a socio-political one (the slaves corresponding chiefly to those in

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Some months after, dragged to the gibbet at the tail of a mule, the black met his voiceless end. The body was burned to ashes; but for many days, the head, that hive of subtlety, fixed on a pole in the Plaza, met, unabashed, the gaze of the whites; and across the Plaza looked towards St.

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crew was culled by a pestilent sickness. Andrew Delbanco observes the subtlety of Melville's handling of perspective, writing that Melville "moves us so close to Delano's perspective that we witness the scene as if over his shoulder and hear the 'clamorous' crowd as if through his ears."

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and captain Cereno jumps after him, he finally discovers that the slaves have taken command of the ship, and forced the surviving crew to act as usual. Employing a third-person narrator who reports Delano's point of view without any correction, the story has become a famous example of

2156:, writes that Melville "found his story ready made. He merely rewrote this Chapter including a portion of the legal documents there appended, suppressing a few items, and making some small additions." Besides changing the date to 1799, Melville made three more notable additions: 4323: 2408:

Delbanco observes that Delano's psychology switches between tension and fear. Each time some anomaly occurs, such as the slave who stands unbowed before a white man trembling with fear, Delano contemplates the matter deeply and always thinks up a reason for feeling relieved.

1898:, the story is "an oblique comment on those prevailing attitudes toward blacks and slavery in the United States that would ultimately precipitate civil war between North and South". The famous question of what had cast such a shadow upon Cereno was used by American author 2001:

his suspicions increase as he notes Cereno's sudden waves of dizziness and anxiety, the crew's awkward movements and hushed talks, and the unusual interaction of the slaves and the crew. Yet Delano answers Cereno’s questions about the crew, cargo, and arms aboard the

2587:. "'Benito Cereno' and 'The Encantadas' hold in the small compass of their beauty the essence of their author's supreme artistry". Harold H. Scudder's 1928 study of Melville's major literary source for the story was the first scholarly article on the short fiction. 2364:

because he stereotypes the mentality of the slaves", and sees them as "musical, good-humored and cheerful". In reality, enough incidents occur to suspect a "mutinous activity on the part of the slaves", but Delano "does not see them as intelligent human beings".

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of and complicity in human evil." Literary historian Richard Gray calls the novella an interrogation of "the American optimism of its narrator and the European pessimism of its protagonist, Cereno, under the shadow of slavery." Delano represents a version of

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Academic study of the novella took off, with gradually increasing numbers of annual publications on the story through the decades. Some of the most influential critics had little regard for the novella; however, F.O. Matthiesen finds that after

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himself be distracted from pursuing his apprehensions. Delbanco concludes his description of the shaving scene (see below) with an assessment of what he sees as the purpose of the rhythm: "This pattern of tension followed by release gives

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The October Issue, the first installment also carried a piece on "the suicide of slavery", referring to the possible destruction of the republic. Thus, the novella appeared in a "partisan magazine committed to the anti-slavery cause."

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of 1817, a source of such importance that "he must have written 'Benito Cereno' with Chapter 18 constantly open before him." The novella's "unreliable, even deceptive, narration" continues to cause misunderstanding. Many reviewers of

1984:, Captain Amasa Delano, spots another ship drifting towards the bay of Santa Maria. Wondering if the ship is in distress, Delano boards his whale-boat and sets sail towards the suspicious ship. He learns that the ship is called the 2554:

on 23 June singled out "Benito Cereno" and "The Encantadas" as stories that were "fresh specimens of Mr. Melville's sea-romances, but cannot be regarded as improvements on his former popular productions in that kind." The New York

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In the years after the Second World War readers found the story "embarrassing for its presumed racist treatment of the Africans", while more recent readers, by contrast, "acknowledge Melville's naturalistic critique of racism."

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compared the collection to Hawthorne's best work, "Marked by a delicate fancy, a bright and most fruitful imagination, a pure and translucent style and a certain weirdness of conceit." "The legends themselves," wrote the

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Several critics have noticed the fundamental rhythm of the story, a rhythm of tension and relief characteristic of the sentences, Captain Delano's state of mind, and even of the structure of the novella as a whole.

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Besides the role of Melville's descriptive powers in carrying the suspension in this sentence, "the rhythm of sensation and response it reproduces" is "in miniature" the rhythm of both the action and the telling.

2320:, is relevant here, the Dominicans being known as "the Black Friars." The name of the ship is not only appropriate for the African slaves, but also "hints of the blackness with which the story is filled." 2005:

without reserve, reasoning that the innocent are protected by the truth. When the dinghy arrives with supplies, Delano sends the dinghy back for more water while he continues to observe curious incidents.

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A Narrative of Voyages and Travels, in the Northern and Southern Hemispheres: Comprising Three Voyages Round the World; Together with a Voyage of Survey and Discovery, in the Pacific Ocean and Oriental

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Edited by Harrison Hayford, Alma A. MacDougall, and G. Thomas Tanselle. The Writings of Herman Melville Volume Nine. Evanston and Chicago: Northwestern University Press and The Newberry Library 1987.

2466:, a "virulently pro-slavery" magazine, denounced Putnam's as "the leading review of the Black Republican party", because the periodical was becoming "increasingly belligerent on the slavery issue." 2293:

After the presentation of the legal documents, the novella concludes in a style of "spare, rapid, matter-of-fact statement into longer paragraphs and a more sustained and concentrated emphasis:"

4849: 3799: 2506:. Olmsted, who copyedited and proofread "Benito Cereno", is responsible for some of the idiosyncratic spelling in the tale’s Putnam’s version.20 In 1855, Olmsted, who would go on to cofound 1775: 2121:, on February 20, 1805, in a deserted bay at the island of Santa Maria. Delano's account of this encounter follows his thoughts and actions before, during, and after he realizes that the 2219:

real depositions against Melville's deposition, for the Delano chapter provided dazzlingly evocative material to work from." Another important distinction between Melville's account and

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for September 1856 wrote that "All of them exhibit that peculiar richness of language, descriptive vitality, and splendidly sombre imagination which are the author's characteristics."

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at all. Feltenstein sees "a trace of nineteenth-century satanism in Babo," and asserts that "Slavery is not the issue here; the focus is upon evil in action in a certain situation."

2530:. Most reviews were unsigned, and not all singled out either "Benito Cereno" or any other individual story, but described the collection as a whole. On 9 July 1856, the Springfield 1639: 1170: 2084:, the slaves were set free under the 1833 British Act of Emancipation. Madison Washington, the leader of the revolt, became the hero of a novel a decade later, in March 1853, when 2059:. Then followed a legal battle which went all the way to the U.S. Supreme Court, where John Quincy Adams succeeded in setting the slaves free in the 1841 U.S. Supreme Court ruling 1993:

claiming that they had been hit by a fever that killed more of the Spaniard crew than of the slaves. Assuming the standard roles of the races, Delano ignores many troubling signs.

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In 1926 the novella became the first separate edition of any of his short prose pieces when the Nonesuch Press published the 1856 text with illustrations by E. McKnight Kauffer.

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a second dagger, Babo attempts to stab Don Benito. Delano’s men prevent him from achieving his purpose. Delano finally realizes that a slave revolt has been going on aboard the

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for 26 July, "have a certain wild and ghostly power; but the exaggeration of their teller's manner appears to be on the increase." Also taking the stories together, the

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According to scholar Johannes D. Bergmann, "Benito Cereno", "Bartleby", and "The Encantadas" were the most frequently praised by reviewers of the stories that make up

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As Melville's contemporary audience would have recognized, "these were, in fact, among the few trades open to free blacks in antebellum America" (Delbanco 2005, 237).

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And of his apparent error as well: the correct Spanish name for this Spanish vessel would have been "'Santo Domingo'" (Hayford, MacDougall, and Tanselle 1987, 583).

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to ferry fugitive slaves to safety. By the time Benito Cereno was being composed and edited, Putnam’s was owned by Joshua Dix, Arthur Edwards, and silent partner

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the monastery on Mount Agonia without: where, three months after being dismissed by the court, Benito Cereno, borne on the bier, did, indeed, follow his leader."

948: 2247:"Benito Cereno" is narrated from a third person point of view that is limited to the perspective of Captain Amasa Delano, an American sailor from Massachusetts. 4124:

Lynn, Kenneth S.. (1988). Lemuel Shaw and Herman Melville.. University of Minnesota Law School. Retrieved from the University of Minnesota Digital Conservancy,

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for September 1856 called the piece "most painfully interesting, and in reading it we become nervously anxious for the solution of the mystery it involves."

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Later critics, such as Valerie Bonita Gray, regard Delano's "racial perceptions" as the cause of his blindness: "Delano never suspects the truth aboard the

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its teasing rhythm of flow-and-ebb, which, since the release is never complete, has the incremental effect of building pressure toward the bursting point."

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finds it unjust to restrict attention to chapter 18, because Melville used elements from other chapters as well. He also names sources for the presence of

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explores the historical background of the novel and relates it to the larger questions of slavery and empire in American history. In 1839, the Spanish

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at the "Making of America" site of Cornell University, a site that has digital images of many significant nineteenth century books and periodicals.

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Among those editors was Richard Henry Dana, an anti-slavery activist whose Boston-based Vigilance Committee outfitted a vessel in 1852 dubbed the

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with fifty slaves became the site of slave revolt between two Cuban ports, and two crew members were killed. An American naval vessel seized the

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no hindrance to her going away. She was soon out of reach of our shot, steering out of the bay. We then had some other calculations to make.

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We pulled as fast as we could on board; and then despatched the boat for the man who was left in the water, whom we succeeded to save alive.

1912:, excluding Cereno's answer, "The negro." Over time, Melville's story has been "increasingly recognized as among his greatest achievements". 1536: 1213: 985: 4701: 2575:

The Melville Revival of the early 1920s produced the first collected edition of his works, and the publication of the Constable edition of

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Melville probably wrote the novella in the winter of 1854–55. The first mentioning of it appears in a letter of 17 April 1855 from adviser

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charge. Delano asks the sad Benito: "’you are saved; what has cast such a shadow upon you?'" To which Cereno replies: "The negro."

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sympathized with Melville’s interpretation of character Babo, as noted in her exchange of letters with Stanford English Professor

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can be seen and read at the "Making of America" site at Cornell University, see the "External links" at the bottom of this page.

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cloisters." Ironically, the ragged Babo looked "something like a begging friar of Saint Francis." Even the name of the ship,

1208: 1196: 776: 588: 234: 4733: 4121:

Hayford, Harrison, Alma A. MacDougall, and G. Thomas Tanselle (1987). "Notes on Individual Prose Pieces." In Melville 1987.

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in three installments: no. 34, October 1855; no. 35, November 1855; and no. 36, December 1855. around the same time that

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innocence which has also been read as strategy to ensure colonial power over both Spain and Africans in the "New World".

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Because of its ambiguity, the novella has been read by some as racist and pro-slavery and by others as anti-racist and

4834: 4717: 4494: 1845: 1795: 1519: 1437: 564: 345: 165: 4839: 4380: 4352: 4348: 4344: 4248:

Ed. Robert S. Levine. Cambridge Companions to Literature. Cambridge, UK & New York: Cambridge University Press.

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Melville only succeeded twice in achieving the fusion of "the inner and the outer world", in 'Benito Cereno' and

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Costerus Essays in English and American Language and Literature. New Series, Volume XII. Amsterdam: Rodopi N.V.

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when nineteen slaves killed a white sailor and took command of the ship, which then set sail to the British

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of the captains remain unchanged, Melville changes the name of the confidential servant from Muri to Babo.

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the castellated forecastle seemed some ancient turrot, long ago taken by assault, and then left to decay."

1960:

calls it "an intensely controlled work, formally one of the most nearly perfect things Melville ever did."

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Edited by -. First edition 1974. Papaerback edition, London and Boston: Routledge & Kegan Paul, 1985.

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in 1922 marked a turning-point in the evaluation of the short fiction, with Michael Sadleir's remark in

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Perspectives in American Literature, Chapter 3: Early Nineteenth Century: Herman Melville (1819–1891),

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that Melville's genius is "more perfectly and skillfully revealed" in the short fiction than it is in

2038:

In the 1850s, a revolt on a slave ship was not a far-fetched topic for a literary work. The historian

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October, November, December 1855 (serialization), May 1856 (American book), June 1856 (British book)

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The site also contains other useful links relating to Herman Melville and American literature.

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In 1799 off the coast of Chile, captain Amasa Delano of the American sealer and merchant ship

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was performed in another off-Broadway production without the other two plays of the trilogy.

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has been overtaken by the slaves aboard, thus allowing Melville to build his narrative for

4428: 4303: 4244:

Stuckey, Sterling (1998). "The Tambourine in Glory: African Culture and Melville's Art."

4035: 4008: 3994:

Bryant, John (2001). "Herman Melville: A Writer in Process" and "Notes." Herman Melville,

3770:, a division of Crown Publishers, Inc., by arrangement with Shorecrest, Inc. p. 254. 2591: 2354: 1989: 1940: 1875: 1733: 1624: 1619: 1372: 1342: 1337: 1060: 1024: 823: 741: 446: 192: 38: 3824: 2477:

correspondent "Pictor" revealed the source for the story, and inferred how it would end.

4032:. Chapter 18. Boston: Printed by E.G. House, for the author. Reprinted in Melville 1987. 3998:. Edited, with an Introduction and Notes, by John Bryant. New York: The Modern Library. 2368:

Other critics regard Melville's alteration of the year of events from 1799 to 1805, the

46: 4577: 4388: 4254:

African Culture and Melville's Art. The Creative Process in Benito Cereno and Moby-Dick

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as its stars and was later staged during the 1965-66 season of the television series

2636: 2627: 2357:

in 1986 "Babo is the genius of the story", and it is "his brain the white men fear".

2223:

to note is the death of two central characters in Melville's story, Babo and Atufal.

1908: 1899: 1755: 1684: 1131: 1114: 889: 719: 709: 493: 143: 60: 2108:

Melville's main source for the novella was the 1817 memoir of Captain Amasa Delano,

4478: 4065: 3953:. Edited by John Bryant. New York, Westport, Connecticut, London: Greenwood Press. 2595: 2350: 2039: 1760: 1597: 1573: 1479: 1472: 1203: 731: 704: 667: 645: 532: 249: 229: 207: 197: 187: 182: 172: 4289:

Greg Buzwell,Women writers, anonymity and pseudonyms | The British Library (bl.uk)

2187:

inventions are Cereno's deposition at the beginning and his death in a monastery.

1956:

cited the novella as one of the highlights in the collection. Melville biographer

1012: 4179: 3901: 1947:, as well as to Melville's use of one chapter from the historical Amasa Delano's 3929: 2436: 2431: 2152:

Harold H. Scudder, who discovered the link between 'Benito Cereno' and Delano's

2078: 2074: 2070: 2056: 1888:

in 1855. The tale, slightly revised, was included in his short story collection

1602: 1590: 943: 746: 736: 694: 508: 34: 4116:

Pierre. Israel Potter. The Piazza Tales. The Confidence-Man. Billy Budd, Sailor

4059:

American Literature: A Journal of Literary History, Criticism, and Bibliography

4518: 2047: 1879: 1750: 1047: 751: 618: 3671: 4486: 4141:

Tenth Printing, 1966, New York, London and Toronto: Oxford University Press.

3785: 2341:

as a tale that primarily explores human depravity and does not reflect upon

2154:

A Narrative of Voyages and Travels, in the Northern and Southern Hemispheres

995: 660: 522: 677: 4397: 4137:

American Renaissance: Art and Expression in the Age of Emerson and Whitman

2113:. Through this memoir, Delano recounts what happens after his vessel, the 1968: 4329: 4070:

The Empire of Necessity: Slavery, Freedom, and Deception in the New World

2043: 1882:

captained by Don Benito Cereno, first published in three installments in

1585: 1143: 1087: 1039: 699: 544: 399: 305: 51:

Herman Melville in 1860, five years after the writing of "Benito Cereno".

3655: 2384:

in Spanish, one of the first landing places of Columbus. In the 1790s a

2263:

Prose rhythm: tension vs. relief, narrative style versus legal documents

4470: 4104:. Malden MA, Oxford UK, and Victoria, Australia: Blackwell Publishing. 1871: 1568: 650: 330: 147: 2353:

in 1950, Babo was "a monster out of Gothic fiction at its worst", for

4709: 4379:

Compares the situations presented in the novella to reactions to the

4279:. Edited by James Woodress. New York: W.W. Norton & Company Inc. 4125: 4015:

With An Introduction By -. New York, London, Toronto: Penguin Books.

2550:

found that "Benito Cereno" was "told with due gravity." The New York

1270: 1092: 672: 655: 517: 352: 320: 4234:. Revised and Enlarged Edition. University of South Carolina Press. 2750:

Feltenstein's (1947, 249) claim that the name of Delano's own ship,

4462: 4446: 4146:

Melville's Short Novels: Authoritative Texts, Contexts, Criticism.

1967: 527: 513: 488: 4118:. Edited by G. Thomas Tanselle. New York: The Library of America. 2510:, was working on a series of books about the slaveholding South. 4454: 3939:

Seventh Edition, Fort Worth: Harcourt Brace College Publishers.

2430:

One other strain in criticism is to read in the story an almost

2337:. However, by the mid-20th century, at least some critics read 394: 224: 4401: 4270:

To Wake the Nations: Race in the Making of American Literature.

4172:. A Reference Publication in Literature. Boston, MA: G.K. Hall. 4088:

Invisible Man's Literary Heritage: Benito Cereno and Moby-Dick.

1935:

Much critical study has gone into the story's relation to the

4315:(1856), which is the version that is usually anthologized. 4277:

Eight American Authors: A Review of Research and Criticism

4272:

Cambridge, MA.: Belknap Press of Harvard University Press.

4185:

Baltimore and London: The Johns Hopkins University Press.

2906:

Reprinted in Hayford, MacDougall, and Tanselle (1987), 819

2669:

In 1969, produced by the French company Les Films Niepce,

2683:

wrote a poem, "Captain Amasa Delano's Dilemma," based on

2349:

spike at the end of the story) a "hive of subtlety". For

4170:

A Reader's Guide to the Short Stories of Herman Melville

1878:, a fictionalized account about the revolt on a Spanish 3656:"Sins of Omission: Hisaye Yamamoto's Vision of History" 2754:, is a combination of the name of two ships met by the 2495:

No other printing appeared during Melville's lifetime.

2662:. It was later revived off-Broadway in 1976. In 2011, 3760:

How Sweet It Was — Television: A Pictorial Commentary

4168:Newman, Lea Bertani Vozar (1986). "Benito Cereno." 4114:

Hayford, Harrison (1984). "Notes." Herman Melville,

3617:

Reprinted in Branch (1974), 356. Reviewer's italics.

2721:

as one of three one-act operas in his 1975 trilogy,

2644:

was initially produced off-Broadway in 1964 for the

2563:

effective." As if describing a detective story, the

1525:

Supplementary Convention on the Abolition of Slavery

4781: 4762: 4744: 4693: 4668: 4631:

The Paradise of Bachelors and the Tartarus of Maids

4594: 4536: 4529: 4438: 121: 113: 105: 87: 82: 74: 66: 56: 28: 16:

English-language novella by Melville published 1856

3949:Bergmann, Johannes D. (1986). "Melville's Tales." 4300:An omnibus collection of Melville's short fiction 4181:Herman Melville: A Biography. Volume 2, 1851-1891 4154:The Piazza Tales and Other Prose Pieces 1839-1860 2834:Gazeta de México del sábado 17 de octubre de 1801 2559:for 27 June found "Benito Cereno" "melodramatic, 2458:The novella was first serialized anonymously in 2376:as allusions to the French colony then known as 1894:that appeared in May 1856. According to scholar 1640:13th Amendment to the United States Constitution 4850:Works originally published in Putnam's Magazine 2307:performance to the whole developing occasion." 2194: 2132: 3014:Hayford, MacDougall, and Tanselle (1987), 809. 1972:Amasa Delano's portrait. Frontispice from his 4413: 3005:Hayford, MacDougall, and Tanselle (1987), 588 2849:Hayford, MacDougall, and Tanselle (1987), 582 1846: 8: 4311:. The full text of the version published in 4275:Wright, Nathalia (1972). "Herman Melville." 1645:Timeline of abolition of slavery and serfdom 4246:The Cambridge Companion to Herman Melville. 2055:when the ship had wandered off course near 4533: 4420: 4406: 4398: 2840:, su Capitán y Maestre Don Benito Cerreño" 2699:'s poem "Babo Speaks from Lima," based on 1853: 1839: 130: 4011:(1986). "Introduction." Herman Melville, 2388:took place there under the leadership of 2208:expands the scene to one full paragraph. 2117:, encounters the Spanish slave ship, the 4610:Poor Man's Pudding and Rich Man's Crumbs 4258:New York: Oxford University Press, Inc. 4199:. New York: Clarkson Potter/Publishers. 3967:. Reprinted 1972, New York: W.W. Norton. 2821:Benito Cerreño is the Spanish spelling: 2705:Leviathan: A Journal of Melville Studies 2677:, also titled by the titular character. 2171:by names of his own literary invention, 1650:Abolition of slave trade in Persian gulf 1515:Advisory Committee of Experts on Slavery 1495:Brussels Anti-Slavery Conference 1889–90 4209:Scudder, Harold H. (1928). "Melville's 3970:Blum, Hester (2006). "Atlantic Trade." 3757:Shulman, Arthur; Youman, Roger (1966). 2876: 2796: 2734: 1980:In 1799, the captain of a sealing ship 142: 4799:Herman Melville Memorial Room archives 4789:Herman Melville House (Troy, New York) 3977:Edited by Wyn Kelley. Wiley/Blackwell. 3903:The Grove Dictionary of American Music 25: 4734:Weeds and Wildings, and a Rose or Two 4013:Billy Budd, Sailor And Other Stories. 1537:Anglo-Egyptian Slave Trade Convention 1214:Human trafficking in Papua New Guinea 7: 4702:Battle-Pieces and Aspects of the War 3527:Quoted in Hayford et al. (1987), 581 3419:Quoted in Hayford et al. (1987), 581 3410:Quoted in Hayford et al. (1987), 581 2711:(Princeton University Press, 2013). 2581:Excursions in Victorian Bibliography 2163:Second, Melville replaces the names 1729:Slave marriages in the United States 1333:Human trafficking in the Middle East 109:magazine serialization, part of book 4371:"Obama, Melville and the Tea Party" 2451:to Joshua A. Dix, the publisher of 1068:Human trafficking in Southeast Asia 4126:http://hdl.handle.net/11299/165043 3869:10.1111/j.1750-1849.2003.tb00081.x 3158:Quoted in Berthoff (1962), 171-72. 2221:A Narrative of Voyages and Travels 2145:A Narrative of Voyages and Travels 1722:last survivors of American slavery 14: 4794:Arrowhead (Herman Melville House) 4195:Robertson-Lorant, Laurie (1996). 3980:Branch, Watson G. (ed.). (1974). 3176:Quoted in Berthoff (1962), 155-56 2640:, his trilogy of plays, in 1964. 683:Field slaves in the United States 550:Slavery in the Rashidun Caliphate 4845:Short stories by Herman Melville 4318: 4102:A History of American Literature 3996:Tales, Poems, and Other Writings 3982:Melville: The Critical Heritage. 2687:The poem was first published in 2546:On 4 June 1856, the New Bedford 560:Slavery in the Abbasid Caliphate 555:Slavery in the Umayyad Caliphate 384:Slavery in the Abbasid Caliphate 154: 45: 4213:and Captain Delano's Voyages." 3951:A Companion to Melville Studies 3626:Reprinted in Branch (1974), 359 3608:Reprinted in Branch (1974), 357 3599:Reprinted in Branch (1974), 355 3590:Reprinted in Branch (1974), 360 3581:Reprinted in Branch (1974), 359 3572:Reprinted in Branch (1974), 358 2541:United States Democratic Review 1510:Committee of Experts on Slavery 1061:East, Southeast, and South Asia 19:For the comic book writer, see 3973:A Companion to Herman Melville 2673:directed a film adaptation of 2590:In the 1950s, American author 2211:According to Melville scholar 2094:in his anti-slavery newspaper 2069:moved slaves from Virginia to 1209:Slave raiding in Easter Island 1: 4086:Gray, Valerie Bonita (1978). 4056:"Melville's 'Benito Cereno.'" 4054:Feltenstein, Rosalie (1947). 4041:Melville: His World and Work. 3800:"Revival Article in Playbill" 2707:in 2003. It was reprinted in 2202:— Melville's "Benito Cereno". 4804:Herman Melville bibliography 4362:. Additional references for 3935:A Glossary of Literary Terms 3635:Quoted in Sealts (1987), 511 3482:Quoted in Sealts (1987), 495 3311:Robertson-Lorant (1996), 350 3302:Robertson-Lorant (1996), 350 3293:Robertson-Lorant (1996), 350 2630:wrote a stage adaptation of 2484:The novella was included in 2062:United States v. The Amistad 1500:Temporary Slavery Commission 1161:Slavery in the Mongol Empire 4718:John Marr and Other Sailors 4495:Pierre; or, The Ambiguities 4328:public domain audiobook at 4148:New York, NY: Norton, 2002. 2823:Son's baptismal certificate 2372:motif, and the name of the 1520:Ad Hoc Committee on Slavery 565:Volga Bulgarian slave trade 4866: 4381:presidency of Barack Obama 4268:Sundquist, Eric J. (1993) 4144:McCall, Dan (ed.) (2002). 3702:Matthiessen (1941), 476-77 3545:Hayford et al. (1987), 580 3536:Hayford et al. (1987), 581 3509:Hayford et al. (1987), 581 3428:Hayford et al. (1987), 580 3194:Feltenstein (1947), 248-49 2088:published the short novel 1705:Great Dismal Swamp maroons 1542:Anti-Slavery International 1307:North Africa and West Asia 18: 4387:Encyclopedia Britannica. 4151:Melville, Herman (1987). 3963:Berthoff, Warner (1962). 3906:. OUP USA. January 2013. 3654:Elliott, Matthew (2009). 3239:Quoted in Gray (1978), 69 2460:Putnam's Monthly Magazine 1801:Emancipation Proclamation 1473:Opposition and resistance 1231:Sex trafficking in Europe 1219:Blackbirding in Polynesia 782:Trans-Saharan slave trade 93:Putnam's Monthly Magazine 44: 33: 4753:Hawthorne and His Mosses 3122:Delbanco (2005), p. 235. 2400:The nature of perception 2147:, 1817, Chapter 18, 325. 1581:Compensated emancipation 792:Indian Ocean slave trade 4557:Bartleby, the Scrivener 3965:The Example of Melville 3853:"Babo Speaks from Lima" 3720:Matthiessen (1941), 508 3711:Matthiessen (1941), 508 3693:Matthiessen (1941), 373 3684:Matthiessen (1941), 286 3365:Delbanco (2005), 238-39 3221:Feltenstein (1947), 254 3212:Feltenstein (1947), 253 3140:Berthoff (1962), 154-55 3131:Delbanco (2005), p. 239 3113:Robertson-Lorant (1996) 2987:Delbanco (2005), 233-34 2969:Feltenstein (1947), 249 2960:Feltenstein (1947), 247 2951:Feltenstein (1947), 247 2942:Feltenstein (1947), 246 2888:Delbanco (2005), 232-33 2703:was first published in 2426:Transatlantic contrasts 2065:. In 1841 the American 1505:1926 Slavery Convention 1261:Germany in World War II 878:North and South America 400:Contract of manumission 4669:Published posthumously 4343:was serialized in the 4217:43, June 1928, 502-32. 4100:Gray, Richard (2004). 4072:. Metropolitan Books. 4025:Delano, Amasa (1817). 3825:"Benito Cereno (1969)" 2780:These three issues of 2719:Stephen Douglas Burton 2709:A Glossary of Chickens 2690:American Poetry Review 2646:American Place Theatre 2571:Later critical history 2199: 2140: 1977: 1974:A Narrative of Voyages 986:British Virgin Islands 538:Circassian slave trade 504:Safavid imperial harem 499:Ottoman Imperial Harem 21:Benito Cereno (writer) 4571:The Lightning-Rod Man 4221:Sealts, Merton M. Jr. 4197:Melville: A Biography 3738:Wright (1972), 211-12 3464:Sealts (1987), 493-94 2504:Frederick Law Olmsted 2449:George William Curtis 2390:Toussaint L'Ouverture 1971: 1225:Europe and North Asia 1185:Australia and Oceania 885:Pre-Columbian America 457:Slave raid of Suðuroy 389:Slavery in al-Andalus 311:Black Sea slave trade 240:21st-century jihadism 4659:The Apple-Tree Table 3563:Bergmann (1986), 247 3446:Delbanco (2005), 230 3437:Delbanco (2005), 230 3401:cf. Sundquist (1993) 3356:Delbanco (2005), 238 3347:Delbanco (2005), 235 3338:Berthoff (1962), 153 3329:Berthoff (1962), 152 3320:Bryant (2001), xxxii 3185:Berthoff (1962), 156 3167:Berthoff (1962), 172 3149:Berthoff (1962), 171 3050:Delbanco (2005), 234 2996:Hayford (1984), 1457 2978:Melville (1987), 100 2858:Bergmann (1986), 265 2812:Delbanco (2005), 230 2723:An American Triptych 2522:Contemporary reviews 2473:On October 9, 1855, 2370:Christopher Columbus 1937:Toussaint Louverture 1930:unreliable narration 1896:Merton M. Sealts Jr. 1680:Indentured servitude 1608:Underground Railroad 1408:United Arab Emirates 797:Zanzibar slave trade 764:By country or region 577:Atlantic slave trade 479:Ma malakat aymanukum 363:Venetian slave trade 4390:Fugitive Slave Acts 2933:Scudder (1928), 531 2924:Scudder (1928), 530 2915:Scudder (1928), 502 2897:Scudder (1928), 503 2443:Publication history 1766:Slave Route Project 897:Americas indigenous 787:Red Sea slave trade 777:Contemporary Africa 640:Topics and practice 410:Crimean slave trade 405:Bukhara slave trade 358:Genoese slave trade 235:Contemporary Africa 215:Forced prostitution 4835:1855 short stories 4737:(1924, posthumous) 4603:Cock-A-Doodle-Doo! 4522:(1924, posthumous) 4511:The Confidence-Man 4232:Melville's Reading 4225:"Historical Note." 3849:Whitehead, Gary J. 3747:Bryant (2001), 581 3729:Wright (1972), 211 3644:Sealts (1987), 511 3554:Sealts (1987), 511 3518:Parker (2002), 272 3500:Sealts (1987), 497 3491:Sealts (1987), 495 3473:Sealts (1987), 495 3455:Parker (2002), 272 3383:Parker (2002), 241 3374:Parker (2002), 241 3230:McCall (2002), 102 3068:Parker (2002), 238 3059:Parker (2002), 239 3041:Stuckey (2009), 14 3032:Stuckey (2009), 12 3023:Parker (2002), 240 2867:Parker (2002), 242 2752:Bachelor's Delight 2329:Slavery and racism 2173:Bachelor's Delight 2086:Frederick Douglass 2012:Bachelor’s Delight 2003:Bachelor’s Delight 1982:Bachelor’s Delight 1978: 1917:Bachelor's Delight 1906:to his 1952 novel 1547:Blockade of Africa 854:Somali slave trade 770:Sub-Saharan Africa 462:Turkish Abductions 420:Khivan slave trade 415:Khazar slave trade 368:Balkan slave trade 326:Prague slave trade 4840:American novellas 4822: 4821: 4771:Isle of the Cross 4689: 4688: 4617:The Happy Failure 4309:':Benito Cereno': 4227:In Melville 1987. 4132:Matthiessen, F.O. 4110:978-0-631-22134-0 4044:New York: Knopf. 3913:978-0-19-531428-1 2803:Sealts (1988), 94 2697:Gary J. Whitehead 2654:Roscoe Lee Browne 2413:The shaving scene 2324:Themes and motifs 1863: 1862: 1813:Freedmen's Bureau 1635:Third Servile War 1630:International law 1197:Human trafficking 959:Human trafficking 634:Thirteen colonies 452:Sack of Baltimore 220:Human trafficking 129: 128: 117:Dix & Edwards 4857: 4814:Melville Glacier 4652:I and My Chimney 4539:The Piazza Tales 4534: 4422: 4415: 4408: 4399: 4394: 4378: 4336:Putnam's Monthly 4322: 4321: 4313:The Piazza Tales 4083: 4036:Delbanco, Andrew 4009:Busch, Frederick 3918: 3917: 3898: 3892: 3891: 3889: 3888: 3879:. Archived from 3851:(October 2003). 3845: 3839: 3838: 3836: 3835: 3821: 3815: 3814: 3812: 3811: 3802:. 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Times 4367: 4364:Benito Cereno. 4356: 4332: 4316: 4306: 4295: 4294:External links 4292: 4291: 4290: 4287: 4273: 4266: 4249: 4242: 4228: 4218: 4207: 4193: 4173: 4166: 4149: 4142: 4129: 4122: 4119: 4112: 4098: 4084: 4078: 4062: 4052: 4033: 4023: 4006: 3992: 3978: 3968: 3961: 3947: 3925: 3922: 3920: 3919: 3912: 3893: 3840: 3816: 3791: 3777:978-0517081358 3776: 3749: 3740: 3731: 3722: 3713: 3704: 3695: 3686: 3677: 3646: 3637: 3628: 3619: 3610: 3601: 3592: 3583: 3574: 3565: 3556: 3547: 3538: 3529: 3520: 3511: 3502: 3493: 3484: 3475: 3466: 3457: 3448: 3439: 3430: 3421: 3412: 3403: 3394: 3385: 3376: 3367: 3358: 3349: 3340: 3331: 3322: 3313: 3304: 3295: 3286: 3277: 3268: 3259: 3250: 3241: 3232: 3223: 3214: 3205: 3203:Newman (1986). 3196: 3187: 3178: 3169: 3160: 3151: 3142: 3133: 3124: 3115: 3106: 3097: 3088: 3086:Delbanco(2005) 3079: 3070: 3061: 3052: 3043: 3034: 3025: 3016: 3007: 2998: 2989: 2980: 2971: 2962: 2953: 2944: 2935: 2926: 2917: 2908: 2899: 2890: 2881: 2877:Grandin (2014) 2869: 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Club 3826: 3820: 3817: 3806:on 2012-01-29 3805: 3801: 3795: 3792: 3787: 3783: 3779: 3773: 3769: 3768:Bonanza Books 3762: 3761: 3753: 3750: 3744: 3741: 3735: 3732: 3726: 3723: 3717: 3714: 3708: 3705: 3699: 3696: 3690: 3687: 3681: 3678: 3673: 3669: 3665: 3661: 3657: 3650: 3647: 3641: 3638: 3632: 3629: 3623: 3620: 3614: 3611: 3605: 3602: 3596: 3593: 3587: 3584: 3578: 3575: 3569: 3566: 3560: 3557: 3551: 3548: 3542: 3539: 3533: 3530: 3524: 3521: 3515: 3512: 3506: 3503: 3497: 3494: 3488: 3485: 3479: 3476: 3470: 3467: 3461: 3458: 3452: 3449: 3443: 3440: 3434: 3431: 3425: 3422: 3416: 3413: 3407: 3404: 3398: 3395: 3389: 3386: 3380: 3377: 3371: 3368: 3362: 3359: 3353: 3350: 3344: 3341: 3335: 3332: 3326: 3323: 3317: 3314: 3308: 3305: 3299: 3296: 3290: 3287: 3281: 3278: 3272: 3269: 3263: 3260: 3254: 3251: 3245: 3242: 3236: 3233: 3227: 3224: 3218: 3215: 3209: 3206: 3200: 3197: 3191: 3188: 3182: 3179: 3173: 3170: 3164: 3161: 3155: 3152: 3146: 3143: 3137: 3134: 3128: 3125: 3119: 3116: 3110: 3107: 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1142: 1141: 1140: 1137: 1133: 1132:comfort women 1130: 1129: 1128: 1125: 1123: 1120: 1116: 1115:Chukri System 1113: 1111: 1108: 1107: 1106: 1103: 1099: 1096: 1094: 1091: 1089: 1086: 1085: 1084: 1081: 1079: 1076: 1074: 1071: 1069: 1066: 1065: 1062: 1059: 1058: 1055: 1052: 1049: 1045: 1041: 1038: 1036: 1033: 1032: 1031: 1028: 1026: 1023: 1021: 1018: 1014: 1011: 1010: 1009: 1006: 1004: 1003:Latin America 1001: 997: 994: 992: 989: 987: 984: 982: 979: 978: 977: 974: 972: 969: 967: 964: 960: 957: 955: 954:interregional 952: 950: 947: 945: 942: 940: 939:prison labour 937: 935: 932: 930: 927: 925: 922: 920: 917: 915: 912: 911: 910: 909:United States 907: 903: 900: 899: 898: 895: 891: 888: 887: 886: 883: 882: 879: 876: 875: 872: 869: 867: 864: 862: 859: 855: 852: 851: 850: 847: 845: 842: 840: 837: 835: 832: 830: 827: 825: 822: 820: 817: 815: 812: 810: 807: 805: 802: 798: 795: 794: 793: 790: 788: 785: 783: 780: 778: 775: 774: 771: 768: 767: 761: 760: 753: 750: 748: 745: 743: 740: 738: 735: 733: 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Retrieved 3881:the original 3863:(2): 86–87. 3860: 3856: 3843: 3832:. Retrieved 3828: 3819: 3808:. Retrieved 3804:the original 3794: 3766:. 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Adams 1781:Washington 1751:Slave name 1700:convention 1675:Common law 1048:Encomienda 844:Seychelles 829:Mauritania 752:Slave ship 619:Panyarring 614:New France 263:Historical 4774:(ca 1853) 4645:The 'Gees 4487:Moby-Dick 3877:143761291 3857:Leviathan 3672:0163-755X 2760:Moby-Dick 2693:in 1996. 2604:Moby-Dick 2585:Moby-Dick 2537:Athenaeum 2517:Reception 2500:Moby Dick 2380:, called 2077:. In the 1786:Jefferson 1443:Mormonism 1378:Palestine 1192:Australia 1122:Indonesia 1013:Lei Áurea 996:Code Noir 976:Caribbean 949:Treatment 688:Treatment 661:Devshirme 523:Odalisque 341:In Russia 282:Babylonia 270:Antiquity 114:Publisher 4763:Possible 4755:" (1850) 4726:Timoleon 4661:" (1856) 4654:" (1856) 4647:" (1856) 4640:" (1855) 4633:" (1855) 4626:" (1854) 4619:" (1854) 4612:" (1854) 4605:" (1853) 4353:December 4349:November 4330:LibriVox 4223:(1987). 4178:(2002). 4134:(1941). 4068:(2014). 4038:(2005). 3932:(1999). 3786:36258864 2782:Putnam's 2490:'Tales' 2453:Putnam's 2432:Jamesian 2044:schooner 1904:epigraph 1818:Iron bit 1808:40 acres 1771:breeding 1586:Freedman 1421:Religion 1281:Portugal 1166:Thailand 1156:Maldives 1151:Malaysia 1144:Kwalliso 1088:Booi Aha 1040:Restavek 1020:Colombia 991:Trinidad 981:Barbados 871:Zanzibar 819:Ethiopia 700:Saqaliba 594:Database 545:Saqaliba 306:Ancillae 136:a series 134:Part of 75:Genre(s) 67:Language 4782:Related 4471:Redburn 4432:(works) 4345:October 4029:Islands 2552:Tribune 2311:Imagery 2111:Islands 2075:Bahamas 2053:Amistad 1976:, 1817. 1949:Voyages 1872:novella 1796:Lincoln 1669:Related 1569:Liberia 1455:Judaism 1393:Tunisia 1368:Morocco 1358:Lebanon 1323:Bahrain 1318:Algeria 1286:Romania 1251:Denmark 1244:Slavery 1178:Vietnam 849:Somalia 839:Nigeria 814:Comoros 742:Pirates 651:Ghilman 584:Bristol 474:history 447:pirates 336:History 225:Peonage 148:slavery 70:English 57:Country 4745:Essays 4729:(1891) 4721:(1888) 4713:(1876) 4710:Clarel 4705:(1866) 4694:Poetry 4542:(1856) 4514:(1857) 4506:(1855) 4498:(1852) 4490:(1851) 4482:(1850) 4474:(1849) 4466:(1849) 4458:(1847) 4450:(1846) 4439:Novels 4377:, 2014 4283: 4262: 4238: 4203: 4189: 4162: 4108: 4094: 4076: 4048: 4019: 4002: 3988: 3957: 3943: 3910: 3875: 3784: 3774: 3670: 2756:Pequod 2080:Creole 2067:Creole 1902:as an 1717:owners 1353:Kuwait 1348:Jordan 1301:Sweden 1291:Russia 1276:Poland 1271:Norway 1093:Laogai 1078:Brunei 1073:Bhutan 1035:revolt 1008:Brazil 971:Canada 934:partus 919:female 804:Angola 673:Coolie 656:Mamluk 609:Nantes 589:Brazil 518:Cariye 353:Thrall 321:Kholop 287:Greece 4463:Mardi 4447:Typee 3873:S2CID 3764:(PDF) 3660:MELUS 2729:Notes 2648:with 2626:Poet 2557:Times 2169:Tryal 2123:Tryal 2119:Tryal 1939:-led 1870:is a 1744:songs 1739:films 1657:] 1613:songs 1450:Islam 1428:Bible 1403:Yemen 1398:Qatar 1388:Syria 1363:Libya 1328:Egypt 1296:Spain 1266:Malta 1139:Korea 1127:Japan 1105:India 1083:China 1030:Haiti 890:Aztec 866:Sudan 834:Niger 726:Naval 599:Dutch 528:Qiyan 514:Jarya 489:Harem 331:Serfs 277:Egypt 4455:Omoo 4351:and 4281:ISBN 4260:ISBN 4236:ISBN 4215:PMLA 4201:ISBN 4187:ISBN 4160:ISBN 4106:ISBN 4092:ISBN 4074:ISBN 4046:ISBN 4017:ISBN 4000:ISBN 3986:ISBN 3955:ISBN 3941:ISBN 3908:ISBN 3782:OCLC 3772:ISBN 3668:ISSN 2652:and 2634:for 2343:race 2175:and 2167:and 2082:case 1695:laws 1557:U.S. 1552:U.K. 1490:U.S. 1485:U.K. 1373:Oman 1343:Iraq 1338:Iran 1025:Cuba 929:maps 824:Mali 809:Chad 395:Baqt 292:Rome 188:Debt 146:and 4302:at 3865:doi 2758:in 2561:not 1990:Don 1874:by 37:by 4831:: 4373:, 4347:, 3871:. 3859:. 3855:. 3827:. 3780:. 3664:34 3662:. 3658:. 2725:. 2129:. 2100:. 1932:. 1655:fa 138:on 96:, 4751:" 4679:" 4675:" 4657:" 4650:" 4643:" 4636:" 4629:" 4622:" 4615:" 4608:" 4601:" 4587:" 4583:" 4580:" 4576:" 4573:" 4569:" 4566:" 4562:" 4559:" 4555:" 4552:" 4548:" 4421:e 4414:t 4407:v 4393:. 4383:. 4256:. 4183:. 4156:. 4139:. 4128:. 4082:. 3975:. 3937:. 3916:. 3890:. 3867:: 3861:5 3837:. 3813:. 3788:. 3674:. 2879:. 1854:e 1847:t 1840:v 1050:) 1046:( 516:/ 391:‎ 23:.

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