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I the SIGNIFICANCE of the CHRISTIAN ETHIC in HERMAN MELVILLE's PIERRE; OR the AMBIGUITIES Edward L. Raniszeski a Dissertation

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I the SIGNIFICANCE of the CHRISTIAN ETHIC in HERMAN MELVILLE's PIERRE; OR the AMBIGUITIES Edward L. Raniszeski a Dissertation I - THE SIGNIFICANCE OF THE CHRISTIAN ETHIC IN HERMAN MELVILLE'S PIERRE; OR THE AMBIGUITIES Edward L. Raniszeski A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY March 1973 Approved by Doctoyral Committee ____ Advisor ^partment of^Znglishu Graduate School Rejjr'esentative © 1973 EDWARD L. RÀNISZESKI ALL RIGHTS RESERVED. il ABSTRACT It is the basic assertion of this paper that the text of Pierre shows, through its irony and complex moral picture, an acceptance of the basic tenets of Christian theology. After the publication of Pierre in 1851 Herman Melville's earlier reputation with British and American audiences sharply declined. Most of his contemporary critics charged the hook with indecency and anti-Christian sentiment. This is a reading which goes against the grain of major critical appraisals of the book. The study surveys, reviews, and analyzes -the history of critical comments concerning Pierre and demonstrates that much of the poor reception can be traced to cultural and literary prejudices. A significant part of the research deals with the various moral alternatives afforded Pierre by his society. It is seen that he may elect as his spiritual guide Christianity, the Protestant-Christian Ethic, Virtuous Expediency, Idealism, or Atheism. Each variable is defined and discussed at length in an effort to expose its Individual philosophical roots and how it ultimately pertains to Pierre. The major portion of the investigation is devoted to the textual demonstration of how Melville manipulates Pierre into circumstances that illuminate the fallacy of all the alternatives with the exception of Christianity. Each of the major and minor characters is shown to play an important role in the gradual growth toward Christian realization by identifying him as an archetypal representative of ethical quantities in Pierre's society. It is finally shown in the case of each character that he is truly Christian or only Christian in name, and that there is a definite correlation between the favor and sympathy Melville shows toward characters and the degree to which they are Christian. Pierre; Or The Ambiguities is shown to be a reaffirmation of the validity and effectiveness of basic Christian principles. Ill ACKNOWLEDGMENTS I must give my sentiments and gratitude to more than Mount Greylock, for unlike Melville during the production of Pierre, I was blessed» with an abundance of help and inspira­ tion from fellow men. My natural gratitude is warmly entended to my mentor and dear friend, J. Robert Bashore, for his valuable and undying interest in my project. To him there is little I can say to aptly describe my appreciation. Many persons have read the manuscript for me and to them all I am grateful. The members of my graduate committee have always been warm, helpful, and encouraging to me and my thanks is here recorded. To Dr. Charles Crow», whose sharp insights and keen understanding of Melville led me essentially to undertake this project, I am eternally grateful. My debt to Dr. Robert Meyers for his close guidance in the apprecia­ tion of artistic fora and criticism is beyond survey. To Dr. Gerald Rigby I owe thanks for his being more than a graduate school representative, but an interested and con­ scious scholar whose comments were always illuminating and constructive. A special note of thanks must also be extended Dr. Ralph Wolfe and Dr. Sheldon Halpern for coming to my aid when all seemed dark and impossible. IV Naturally ray debt goes beyond and deeper than the actual writing of this study. Thanks must be given to Dr. Robert S. Ward of The University of Miami for his wisdom as a teacher and unforgettably warm friendship. I most cherish the many long and chartless talks that we enjoyed together which helped me know the importance of knowing. To my friend F. E. Black and my students with whom I debated the issues of my study, I offer my thanks. So many others have been forces in this study without knowing it that I find it difficult to thank them all individually. I would especially like to thank Milton Stern and Geoffrey Clive for their intense studies which have been a constant source for my paper. I owe thanks to the clerical staff of the Bowling Green English Department for their ever-present courtesy and promptness. I shall not attempt to account what I owe my wife; it is too sacred, and is too deeply rooted in our love. I find it most fitting, therefore, to dedicate this to her and my mother and father. Edward L. Raniszeski V TABLE OP CONTENTS Page INTRODUCTION ................................................ 1 CHAPTER ONE: ANTECEDENTS FOR PIERRE ...................... 8 Reception and reputation ............................ 8 CHAPTER TWO: SECULAR HUMANISM vs. SUBJECTIVE TRUTH . .42 Two Christian alternatives in Pierre ................42 Five moral alternatives opento Pierre .......50 Christianity................... 50 Protestant-Christian Ethic ...................... 51 Virtuous Expediency ..... .................. 52 Idealism..........................................53 Atheism....................... 55 CHAPTER THREE: PIERRE, FAITHLESS VICTIM OF MORAL DUALISM......... ... ................................ 64 Fate and free will: dual agents of despair and isolation.............................................. 74 Pierre's faith vs. fatalism and free will........... 81 Growth and degeneration: ironic forces in Pierre. .89 Possibilities for romantic justification of Pierre's guest....................................... 95 Pierre's rejection of moral idealism: three approaches .. .................... ........ 102 Pierre's unconscious motives ...................... 105 Pierre's conscious motives ........................ 112 Pierre as Hamlet 113 VI Pierre as Galahad.............................127 Pierre as Christ ...............................135 Pierre as Sensuous lover ..................... 146 Pierre as Satan.............. 166 CHAPTER FOUR: ISABEL AND LUCY, AGENTS OF MORAL EQUIPOISE................................................. 175 Lucy: a female Enceladus............................189 Isabel the ambiguous .............................. 202 CHAPTER FIVE: THE MINOR CHARACTERS AS MORAL INDICES. 211 Plotinus Plinlimmon: a moral zero ................. 213 Reverend Falsgrave and Glen Stanly: unions of opposites.................................. 220 Mary Glendinning: ruler of a social theocracy ... 228 Other minor characters as moral extremes ......... 236 SUMMARY........................... .......................249 BIBLIOGRAPHY.............................. 252 INTRODUCTORY Literary studies concerning the works of Herman Melville have with regular frequency gravitated to Moby-Dick (1851); and, such intense concentration has, at times, had an adverse effect on the reputation of that work as well as on the critical estimation of most of his later stories. The sometimes overexuberant critics of Melville’s '’masterpiece” have dived so deeply into its mysteries that they have made Moby-Dick seem frighteningly incomprehensible. A trend away « from concentration on Moby-Dick in Melville scholarship needs to be encouraged. Within the past few years such a reassess­ ment of critical judgments has begun which not only uncovers the lesser known works but adds a degree of objective analysis (both literarily and socially) to the treatment of the entire canon.1 Certainly, refocusing critical scopes on Pierre; Or The Ambiguities (1852), Israel Potter: His 1 Seet-'Edgar A. Dryden's Melville’s Thematics of Form: The Great Art of Telling the Truth, Baltimore, 1968; H. Bruce Franklin’s'The Wake of the Gods : Melville’s Mythology, Stan­ ford, 1963; Martin L. Pops’ The Melville Archetype, Kent, Ohio, 1970; Joel Porte’s The Romance in America: Studies in Cooper, Poe, Hawthorne, Melville and James, Middletown, 1969; and John D. Seelye’s Melville; The Ironic Diagram, Evanston, 1970. 2 Fifty Years of Exile (1855), The Piazza-Tales (1856), The Confidence-Man (1857), Clarel (1876), etc. cannot but shar­ pen our perception regarding Melville’s art. Pierre is, I believe, a pivotal book for Melville. It is the next book after Moby-Dick and one in which, I contend, Melville may have stopped experimenting with technique and continued to wrestle with the metaphysics that Ahab and Ishmael synthesized from Melville’s earlier characters. It seems very possible that the Pequod's voyage might have been only a beginning of an armada of new ideas which Melville went on to develop in his next four attempts. It seems certain, however,'that Ishmael's floating tomb of new knowledge did finally arrive home safely and is more vibrantly reworked in Pierre. Whatever the proofs, exegene- tic studies are always, to some degree, speculative and, therefore, we will not be here primarily concerned with Pierre's ability to provide intellectual impetus for The Confidence-Man, Clarel, and others that follow. Pierre is of primary interest here--though without doubt, Melville's artistic and intellectual development can be marked as a continuous march forward from Typee (1846) through The Con­ fidence Man. What makes Pierre; Or The Ambiguities so important, from a genetic point of view, is the fact that 3 in it Melville says that he "writes as he pleases." He throws conventional standards to the wind and commits him­ self to the economic and social "annihilation" that he spoke of to Hawthorne after the dismal reviews of Moby-Dick. Pierre subtracts from its conclusions
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