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• W2013015087 abstract "KEVIN GODDARD Hanging Utopia: Billy Budd and the Death of Sacred History Your fathers stooped, basely stooped To palter with us in a double sense: And keep the word of promise to the ear, But break it to the heart. Frederick Douglass But in a larger sense, we can not dedicate—we can not consecrate— we can not hallow—this ground. Abraham Lincoln, The Gettysburg Address t the end of the chapter Flogging not necessary in White Jacket (1850), Melville's narrator expostulates about why corporal and capital punishment ought not to be the resort of either the American navy or people. In making his plea, he uses what had, since the early Fathers, been a standard trope governing America's idea of itself, that of the sacred nation. Escaped from the house of bondage, Israel of old did not follow after the ways of the Egyptians. To her was given an express dispensation; to her were given new things under the sun. And we Americans are the peculiar chosen people—the Israel of our time; we bear the ark of the liberties of the world. Seventy years ago we escaped from thrall; and, besides our first birthright —embracing one continent of earth—God has given to us, for a future inheritance, the broad domains of the political pagans, that shall yet come and lie down under the shade ofour Arizona Quarterly Volume 61, Number 4, Winter 2005 Copyright © 2005 by Arizona Board of Regents ISSN 0004- 1610 I02 Kevin Goddard ark, without bloody hands being lifted. God has predestinated, mankind expects, great things from our race; and great things we feel in our souls. The rest of the nations must soon be in our rear. We are the pioneers of the world; the advance'guard, sent on through the wilderness of untried things, to break a new path in the New World that is ours (153). One might suggest that in many respects the rest of Melville's writing life was taken up with showing how the New Israel had failed in its mission. There remained, as Carolyn Karcher puts it, a Shadow over the promised land. Not Israel, son of Abraham, but the outcast Ishmael, son of a slave woman, becomes the narrator's voice in MobyDick . And through Bartleby, Pierre, Israel Potter and Benito Cereño the primary characters are or become liminal figures, versions of the outcast. The Pilgrim Fathers' hope of the nation being the fulfilment of divine sanction, along with the doctrine of Manifest Destiny, underpin much of the exploration of nationalism and religion in Melville's later works. In this regard those works end ambiguously. It is a hope deferred. In Billy Budd, however, that ambiguity, I believe, makes the hope deferred a deliberately intolerable one. For the novel is his final word, at the end of the century, after a Civil War fought, at least superficially, for moral reasons, on the claims of the state to be sanctified. In this final work Melville returns to three themes which have dominated his thinking about history and the nation. These are: the oedipal relation between Father and Son1—in this case history as father and the present/future as son; the division of the body (politic) into Head and Heart (or Father and Son); and the theme of Billy's organic hesitancy, his vocal defect (ni), a symbol of the silence Melville associated with the subaltern throughout his writing. Inasmuch as the Father may be interpreted as a version of the Law, or the History dictated by that Law, and inasmuch as the Father may also be the Head, demanding obedience of the heart or body, and inasmuch as silence may be a figure for those cast out by the Father, these three themes are central to that of Sacred History. This essay seeks to examine these three elements of Billy Budd as important aspects of the trope of sacred history, which Melville is re-evaluating. It suggests that his work is in essence revisionary. Melville's words to Hawthorne in 1851 are as pertinent for Billy Budd as they are for his reading of Sacred History. I would rather be a Hanging Utopia..." @default.
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• W2013015087 title "Hanging Utopia: <i>Billy Budd</i> and the Death of Sacred History" @default.
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