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Sealts, Jr. They show us, for example, that Melville worked through stages of imagining. First; there was the poem, about a sailor who was to be hanged for plotting a mutiny. Then came Melville’s further interest in Billy in the context of the eighteenth-century British navy’s concern with mutiny as a threat to fleet-wide order. Claggart, Billy’s nemesis, was born in further reworkings and then was made more complex, as is true of Captain Vere. The more Melville worked at this (apparent) first fiction in years, the more he thought about the nature of fiction, and the more he sought to deepen (and darken) his characters. The “inside narrative” will tell of inner, psychic events, and not merely physical ones.
Surely, he did mean much of the allegorizing that readers in the classroom parade before one another. Billy, impressed from the merchant, Rights-ofMan, does, after all, cry out “Good-bye to you too, old <
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