Benito Cereno

Simms’s “Caloya” and Fredrick Douglass’s Narrative both utilize the antagonist characters, Mingo in “Caloya” and slave owners in Fredrick Douglass’s Narrative, to demonize the sexuality of the antagonists’ races; however, “Caloya” focuses on Mingo’s race and natural tendencies to represent black men as sex hungry and natural savages, while Narrative focuses on slave owners abuse of power and greed to represent white men as cruel, sex and money addicts. Throughout “Caloya”, Simms details Mingo’s life as a slave under Colonel Gillison and follows Mingo’s quest to woo a Native American Women. In Mingo’s quest to do so, readers become aware of his high sex drive, infidelity, and cunning nature. Additionally, Simms details the extent of which Colonel

Captain Amasa Delano is an interesting embodiment of white complacency about slavery and it's perpetuation. Delano is a human metaphor for white sentiment of the time. His deepest sensibilities of order and hierarchy make it impossible for him to see the realities of slavery. Delano's blindness to the mutiny is a metaphor for his blindness to the moral depravity of slavery. The examination of Captain Delano's views of nature, beauty, and humanity, allow us to see his often confusing system of hierarchical order which cripples his ability to see the mutiny and the injustice of slavery.

In Herman Melville’s mysterious novella, “Benito Cereno”, Captain Amasa Delano observes, what appears to be, a distressed Spanish slave ship navigating into the harbor of St. Maria. Disregarding the opposition from his crew, Captain Delano leaves his ship, Bachelor's Delight, and approaches the foreign vessel, San Dominick, via a whaleboat. In addition to offering water and provisions to the vessel in distress, Captain Delano encounters—who appears to be in command of the vessel—Don Benito Cereno, and his “faithful” negro servant Babo. Throughout the novella, Captain Delano witnesses many suspicious behaviors from Benito Cereno, Babo, and the other slaves on board. Although Captain Delano has mixed feelings about Benito Cereno, in which he often views him as a “paper captain” who has “little of command but the name”, Captain Delano fails to latch onto his intuition of who is truly in command of the ship until it’s almost too late.

Olaudah Equiano 's The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, Written by Himself, is the story of the eponymous real-life character, Olaudah Equiano, his life, trials, tribulations and journey from slavery at an early age to freedom. For Equiano, it seems that slavery is almost a metaphysical phenomenon. His entire life is essentially characterized by the different experiences relating slavery, from Africa to the Middle Passage to plantation life in the West Indies and United States. Equiano’s views on slavery are tough to articulate and truly complex. Throughout the novel he makes reference to different ‘degrees of slavery,’ at times condemning the practice, and at other times contradicting

“The Autobiography of a Runaway Slave” revolves around the life of Esteban Montejo: who once set his life is the Caribbean island of Cuba; in which this story provides readers with another distinctive approach to teaching the lives of slavery. As the narration progresses through this writing, readers consequently have many opportunities to annotate how the abolition of slavery played a great role in his personal life. Evidently, whether it is intentional or unintentional, the narrator frequently mentions the ending of slavery, as he substantially detailed “…till slavery left Cuba,” (Barnet 38); “… I got to know all these people better after slavery was abolished,” (Barnet 58); and “It was after Abolition that the term ‘effeminate’ came into

Equiano wrote to help show society the evils that lie in slavery. He used writing, to tell the truth of conditions of life for slaves, making readers feel every word he used through their senses: “The stench of the hold, while we were on the coast, was so intolerably loathsome, that it was dangerous to remain there for anytime” (Equiano 364). While they both wrote with different purposes in mind, Rowlandson and Equiano managed to paint a picture so vivid that it invoked emotions that edified society.

Although Olaudah Equiano was not directly involved in American slavery, several aspects of The Life of Olaudah Equiano can be used to understand why the institution lasted so long. A major part of the novel was dedicated to counter one of the major propagating ideas of slavery: the widespread myth that Africans were either not fully human or were of a less developed branch of humanity so enslaving them was moral. Equiano spends the first section of the book

Early American Literature reflects many conflicting differences in the presentation of slavery during that time period. Through the two chosen texts, the reader is presented with two different perspectives of slavery; Frederick Douglass’s narrative provides a look at a slave’s life through the eyes if a slave while Benito Cereno showcases the tale of a slave uprising from the viewpoint of the slave owner.. Benito Cereno’s work shows the stereotypical attitude towards African-American slaves and the immorality of that outlook according to Douglass’s narrative. Cereno portrays the typical white slave owner of his time, while Douglass’ narrative shows the thoughts of the slaves. The two stories together show that white Americans are oblivious to the ramifications and overall effects of slavery. These texts assist a moralistic purpose in trying to open up America’s eyes to the true nature of slavery by revealing it’s inhumanity and depicting the cruelty that was allowed.

In Melville’s story, Cereno, heir to the San Dominick, whose human cargo murdered the ship’s masters, felt he needed to stay in control of the ship to comfort himself yet lacked the Spanish colonial support necessary to do so. During the boat’s slave uprising, slave-leader Babo commanded hatchet-wielding slaves to execute the ship’s former owner, Don Alexandro Aranda and other colonial officials on the San Dominick, ordering Cereno to turn the ship around for Senegal. Losing control in the aftermath of this traumatic slave revolt, Cereno could no longer care for and exert dominance over the ship’s enslaved dependents like traditionally patriarchal captains did in the past. Fearfully, without any other Spaniards of influence nearby, Cereno struggled to survive on his political worldview and uphold his personal liberty through patriarchal superiority.

Equiano’s luck soon shifted when he was once again kidnapped and sold as a slave, this time he would have to endure the notoriously dreadful journey across the sea to America. Knowing that this was a pivotal point in his life and that he would become a gudgeon to the harshness of slavery, Equiano attempted to prepare himself for what lay ahead. However, the sight of the inhumane acts he witnessed on the African coast, while being transported, were new to Equiano and instilled fear into his consciousness.

Just when the reader had thought it couldn’t get worse for the troubled boy, he aches, “we were soon deprived of even the small comfort of weeping together.” Even after he shares with us that he has been thrown in a sack and basically deprived of his basic human rights, this was a new rock bottom for Equiano. No love, no shelter, no family. It’s the horrible details Equiano writes about that gives the reader mental images of him being torn from his family and village and sold into slavery with his sister in North America and West Indies.

Herman Melville 's Benito Cereno (1856) and Frederick Douglass 's The Heroic Slave (1852) provide social commentary on the evils, injustices and dehumanizing effects of slavery. Melville 's "Babo" and Douglass 's "Madison Washington" are similar in motive—the pursuit of liberty and destruction of slavery. The ways in which these characters are perceived, however, differ and stem directly from the author 's construction of the narrative. By examining the slave uprisings within the both texts, it is clear that Melville creates a story that depicts “Babo’s” rebellion as maliciously calculated, while Douglass paints the portrait of Madison 's resistance as rightfully deserved and necessary. Douglass 's novel is overtly an abolitionist narrative, unlike Melville’s Benito Cereno, which is quite ambiguous in its didactic message. Critic, William L. Andrews, notes that “The Heroic Slave uses the techniques of fiction to remodel the raw materials of history into a more meaningful and usable truth ” (Andrews 11). There is transparency in Douglass 's goal for the novel—to expose and unveil the atrocities of slavery (separation of families, murder of loved ones, perpetual subjectivity, etc.) and denounce preconceived notions of black inferiority. Madison Washington is a slave, but also a human being—not

A major example of the grayness in this story is in this excerpt: "The morning was one peculiar to that coast. Everything was mute and calm; everything gray. The sea, though undulated into long roods of swells, seemed fixed, and was sleeked at the surface like waved lead that has cooled and set in the smelter 's mould. The sky seemed a gray surtout. Flights of troubled gray fowl, kith and kin with flights of troubled gray vapors among which they were mixed, skimmed low and fitfully over the waters, as swallows over meadows before storms (Melville)." Captain Delano believed that blacks were kind-hearted and humble people and may have had good intentions, but he still found nothing wrong with the slaves aboard the San Dominick. He even thought Babo as an ideal servant for Captain Cereno, saying he was submissive, yet happy (Richards). Delano may have good thoughts about the slaves he still believes nothing is wrong with the idea of them and that kind of thinking settles more on the bad side of things. While Benito Cereno and Babo on the other hand are what really create the gray in the story. Benito Cereno was a captain of a slave ship, so there was no question that he was in favor of slavery also considering that he had a personal slave servant. Babo was a slave on this ship, he was enslaved, like all the other slaves, for no reason other than that the whites thought they

The works of Herman Melville and Frederick Douglass are both centered on the topic of slavery. Although both texts are similar in the sense that they focus directly on the theme of slavery, the functions of each work differ drastically. The differences in the works stem from both the style of the text, and the way that this style functions in accordance with the reader. Although Herman Melville’s Benito Cereno is drawn from an actual event, Melville embellishes and alters the event in the style of prose. The prose style used by Melville invites the reader to question the story while understanding that the majority of the work is fictional. The confusion of Captain Delano is brought onto the reader, and therefore engages the reader because of the limited point of view the story is told in. Frederick Douglass’s Narrative of the Life of Frederick Douglass tells of actual events that occurred using twentieth and twenty-first century plain style. This style of writing does not ask the reader to question what he is saying, but feel his emotions as they read the narrative. Although readers may understand both works to be stories about slavery written differently in terms of style, I argue that the way the texts are written sets up the readers interpretation of them. Melville and Douglass differ because Melville’s work invites the reader to think, whereas Douglass’s work invites the reader to feel.

For as much as it represents exploration, ingenuity, and freedom, the ship has secured a place for itself in the Gothic imagination as a space of claustrophobic terror and enslavement. As a Foucauldian heterotopia, the space of the ship is indeed “a place without a place”, which functions only in relation to the void that surrounds it. However, the asylum a ship provides is what also makes it a prison, trapping its crew with any hostile elements that may be aboard. Focusing on a select group of texts, including Herman Melville’s Benito Cereno and Moby-Dick, this paper will examine the ship, that “heterotopia par excellence”, as a Gothic environment. It will discuss not only the ship’s potential for Gothic horror, but also the role of the ship