LEADER 03546oam 22005174a 450 001 9910524686903321 005 20230621140511.0 010 $a0-8018-0178-8 010 $a1-4214-3039-8 035 $a(CKB)4100000010460772 035 $a(OCoLC)1117490568 035 $a(MdBmJHUP)muse78122 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/88820 035 $a(MiAaPQ)EBC29139000 035 $a(Au-PeEL)EBL29139000 035 $a(OCoLC)1526859499 035 $a(oapen)doab88820 035 $a(EXLCZ)994100000010460772 100 $a20710208d1968 uy 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aMelville's Thematics of Form$eThe Great Art of Telling the Truth /$f[by] Edgar A. Dryden 205 $a1st ed. 210 $cJohns Hopkins University Press$d2019 210 1$aBaltimore,$cJohns Hopkins Press$d[1968] 210 4$dİ[1968] 215 $a1 online resource (xiv, 226 p.)$cillus 311 08$a1-4214-3080-0 311 08$a1-4214-2999-3 320 $aBibliographical footnotes. 327 $aCover -- Copyright -- Contents -- Preface -- Acknowledgments -- A Note on Texts -- I. Metaphysics and the Art of the Novel -- II. Portraits of the Artist as a Young Man: Narrative Form in Melville's Early Novels -- III. Ishmael as Teller: Self-Conscious Form in Moby-Dick -- IV. The Failure of the Author-Hero: Narrative Form in Pierre and Israel Potter -- V. The Novelist as Impostor: Subversive Form in The Confidence-Man -- Epilogue -- Index. 330 $aOriginally published in 1968. Professor Dryden sees Melville's novels both as metaphysical processes and as technical forms. The novelist is not a reporter but a creator, and what he creates from his experience is his vision of truth. Herman Melville saw the function of the novelist in terms of his ability to expose the reader to truth while simultaneously protecting him from it or, in other words, to enable the reader to experience reality indirectly and, therefore, safely. In Melville's own writing, however, this function became more difficult as his nihilism deepened. He became increasingly sensitive to his own involvement in the world of lies, and when he could no longer protect himself from the truth, he could no longer transform it into fiction. Melville's struggle to maintain the distinction between art and truth was reflected in the changing forms of his novels.Dryden traces Melville's evolving metaphysical views and studies their impact on the craftsmanship of this acutely self-conscious artist from his early novels?Typee, Redburn, and White Jacket?through Moby-Dick, Pierre, Israel Potter, and The Confidence-Man to the posthumously published Billy Budd and the closely related Benito Cereno, and he concludes that "all of Melville's narrators are in some way portraits of the artist at work." Dryden's study is a unique contribution to Melville scholarship and an important journey through the world of the novelist's vision. As such, it has significant implications for the novel as a genre and for understanding its development in America. 606 $aLiterary form$xHistory$y19th century 608 $aElectronic books. 615 0$aLiterary form$xHistory 676 $a813/.3 700 $aDryden$b Edgar A$0560115 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910524686903321 996 $aMelvilles thematics of form$9939970 997 $aUNINA