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University Micrxxilms International 300 N INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. 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These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University Micrxxilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8426501 Zarobiia, Charles Mark THE STYLE OF HERMAN MELVILLE, OR THE DUALITIES The Ohio State University PH.D. 1984 University Microfilms International 300 N. Zeeb Road, Ann Arbor, Ml 48106 Copyright 1984 by Zarobiia, Charles Mark All Rights Reserved THE STYLE OF HERMAN MELVILLE, OR THE DUALITIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Charles Mark Zarobila, A.B., M.A. ***** The Ohxo State University 1984 Reading Committee: Approved By Daniel R. Barnes Edward P. J. Corbett iPi) • iSdward P. J. Co^b,ett Julian Markels Department of ^nglish Copyright by Charles Mark Zarobila 1984 For JOSEPH T. COTTER, who probably never read much Melville, WALTER SUTTON, who has, and for my FATHER ii ACKNOWLEDGMENT I would like to acknowledge a number of people who helped me write this study of Herman Melville's style. I thank Professors Julian Markels and Daniel R. Barnes for their help. I would like to thank, especially, Professor Edward P. J. Corbett for his aid and encouragement. I would also like to acknowledge my family, whose support allowed me to complete this project. iii VITA January 6, 1950 Born - Cleveland, Ohio 1972 A.B., John Carroll University, University Heights, Ohio 1975 M.A., Syracuse University, Syracuse, New York 1976-1977 Lecturer, Department of English, John Carroll University, University Heights, Ohio 1977-1983 Graduate Teaching Associate and Graduate Research Associate, Department of English, The Ohio State University, Columbus, Ohio PUBLICATIONS "Walt Whitman and the Panorama." Walt Whitman Review, 25 (June 1979), 51-59. With Sara Games. "A Bibliography of Works by Edward P. J. Corbett." In Essays on Classical Rhetoric and Modern Discourse. Ed. Robert J. Connors, Lisa S. Ede, and Andrea A. Lunsford. Carbondale and Edwardsville: Southern Illinois Univ. Press, 1984, pp. 248-57. FIELDS OF STUDY Major Field: American Literature to 1900. Professor Thomas Cooley Modern British and American Literature. Professor Morris Beja Nineteenth-Century British Literature. Professor Richard D. Altick Rhetoric. Professor Edward P. J. Corbett iv TABLE OF CONTENTS Page ACKNOWLEDGMENT iii VITA iv LIST OF TABLES vi LIST OF ABBREVIATIONS ' vii INTRODUCTION 1 CHAPTER I. STYLE AS PERSONALITY 3 II. MELVILLE'S DUALITIES 42 III. THE MELVILLEAN SENTENCE AND ITS RHYTHM 126 IV. A COMPARISON OF MELVILLE'S AND HAWTHORNE'S PROSE. ... 160 V. CONCLUSION: MELVILLE'S DUALISTIC MIND 176 APPENDIXES A. Locations of Sample Passages 178 in Novels and Short Works B. Melville's Dualities 179 C. Locations of Sample Passages in Hawthorne's 180 "My Kinsman, Major Molineux" ("MKMM") and The Scarlet Letter (SL) BIBLIOGRAPHY 181 v LIST OF TABLES Table Page 1. Ratios of Clauses in Melville's Sentences 156 2. A Comparison of Selected Dualities in Sample Locations from Hawthorne's "My Kinsman, Major Molineux" ("MKMM") and Melville's "Bartleby" ("B") 162 vi LIST OF ABBREVIATIONS The following abbreviations refer to the items in a "symmetrical random sample" (see Chapter II) of Melville's works, from which the majority of stylistic features used as examples throughout this study have been taken. These items will be cited parenthetically in my text: abbreviations followed by page numbers. T^ (1846) Typee: A Peep at Polynesian Life. Ed. Harrison Hayford, Hershel Parker, and G. Thomas Tanselle. Evanston and Chicago: Northwestern Univ. Press and Newberry Library, 1968. () (1847) Omoo: A Narrative of Adventures in the South Seas. Ed. Harrison Hayford, Hershel Parker, and G. Thomas Tanselle. Evanston and Chicago: Northwestern Univ. Press and Newberry Library, 1968. M (1849) Mardi and A Voyage Thither. Ed. Harrison Hayford, Hershel Parker, and G. Thomas Tanselle. Evanston and Chicago: Northwestern Univ. Press and Newberry Library, 1970. R (1849) Redburn: His First Voyage . Ed. Harrison Hayford, Hershel Parker, and G. Thomas Tanselle. Evanston and Chicago: Northwestern Univ. Press and Newberry Library, 1969. W-J (1850) White-Jacket'or The World in a Man-of-War. Ed. Harrison Hayford, Hershel Parker, and G. Thomas Tanselle. Evanston and Chicago: Northwestern Univ. Press and Newberry Library, 1970. M-D (1851) Moby-Dick; or, The Whale. Ed. Harrison Hayford and Hershel Parker. New York: Norton, 1967. P^ (1852) Pierre or The Ambiguities. Ed. Harrison Hayford, Hershel Parker, and G. Thomas Tanselle. Evanston and Chicago: Northwestern Univ. Press and Newberry Library, 1971. "B" (1853) "Bartleby, the Scrivener: A Story of Wall-Street." In Great Short Works of Herman Melville. Ed. Warner Berthoff. New York: Harper & Row, 1969, pp. 39-74. vii "E" (1854) "The Encantadas or Enchanted Isles." In Great Short Works of Herman Melville. Ed. Warner Berthoff. New York: Harper & Row, 1969, pp. 98-150. "TT" (1854) "The Two Temples." In Great Short Works of Herman Melville. Ed. Warner Berthoff. New York: Harper & Row, 1969, pp. 151-64. IP (1854- Israel Potter: His Fifty Years of Exile. New York: 1855) Russell & Russell, 1963. "PBTM" (1.855) "The Paradise of Bachelors and The Tartarus of Maids." In Great Short Works of Herman Melville. Ed. Warner Berthoff. New York: Harper & Row, 1969, pp. 202-22. BC (1855) Benito Cereno. In Great Short Works of Herman Melville. Ed/ Warner Berthoff. New York: Harper & Row, 1969, pp. 238-315. "IC" (1856) "I and My Chimney." In Great Short Works of Herman Melville. Ed. Warner Berthoff. New York: Harper & Row, 1969, pp. 327-54. C-M (1857) The Confidence-Man: His Masquerade. Ed. Hershel Parker. New York: Norton, 1971. BB (1888- Billy Budd, Sailor: (An Inside Narrative). Ed. Harrison 1891) Hayford and Merton M. Sealts, Jr. Chicago: Univ. of Chicago Press, 1962. viii INTRODUCTION My study of Herman Melville's style, like Father Mapple's sermon in Moby-Dick, was a "two-stranded lesson." For me, it was an opportunity to learn about both theories of style and the style of Herman Melville. I hope that any reader's primary interest in one of these strands will not cause him or her to become impatient when the other is more clearly in view. I enjoyed pursuing both. My thesis is that Herman Melville's style is characterized by a pattern of features that I call the "dualities," because they reflect a dualistic quality of his mind. Readers of Melville will have already noticed the parodic title of my study, but I risk using it only to foreshadow the nature of Melville's dualities. Because my thesis is based on the theory of style defined as an expression of personality, I take the time to develop that theory at the outset, and I present what Melville himself thought in relation to that theory. The major portion of my study is devoted to carefully describing Melville's dualities, which appear on all levels of his discourse and pervade all of his work. I accomplish this task by analyzing what I call a "symmetrical random sample" of Melville's prose. I then develop two special topics. I describe Melville's sentence structure in detail and show how the dualities emerge as a significant feature, responsible for Melville's characteristic sentence rhythm. 1 2 I compare Melville's prose with the prose of Nathaniel Hawthorne, his contemporary, to help show that the dualities are, in fact, characteristic of Melville. A subsidiary gain of the comparison is a brief description of the characteristic features of Hawthorne's prose. I have tried to keep the apparatus of modern stylistics under my humanist control. And I do believe that the numbers and tables, appearing occasionally throughout my study, and the few appendixes at its conclusion, instead of mystifying the reader, actually help her or him to keep track of and understand the complexities of Melville's style. I. STYLE AS PERSONALITY I am grounding my study of Herman Melville's style on the general theory of style defined as an expression of personality.
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