Bartleby, the Scrivener

H​‌‍‍‍‌‍‍‌‍‌‌‍‍‍‌‍‌‌‌‍​ow does the following passage sum up the entire story of Bartleby, the Scrivener? “There would seem little need for proceeding further in this history. Imagination will readily supply the meager recital of poor Bartleby’s interment. But ere parting with the reader, let me say, that if this little narrative has sufficiently interested him, to awaken curiosity as to who Bartleby was, and what manner of life he led prior to the present narrator’s making his acquaintance, I can only reply, that in such curiosity I fully share, but am wholly unable to gratify it. Yet here I hardly know whether I should divulge one little item of rumor, which came to my ear a few months after the scrivener’s decease. Upon what basis it rested, I could never ascertain; and hence, how true it is I cannot now tell. But inasmuch as this vague report has not been without certain strange suggestive interest to me, however sad, it may prove the same with some others; and so I will briefly mention it. The report​‌‍‍‍‌‍‍‌‍‌‌‍‍‍‌‍‌‌‌‍​ was this: that Bartleby had been a subordinate clerk in the Dead Letter Office at Washington, from which he had been suddenly removed by a change in the administration. When I think over this rumor, I cannot adequately express the emotions which seize me. Dead letters! does it not sound like dead men? Conceive a man by nature and misfortune prone to a pallid hopelessness, can any business seem more fitted to heighten it than that of continually handling these dead letters, and assorting them for the flames? For by the cart-load they are annually burned. Sometimes from out the folded paper the pale clerk takes a ring:—the finger it was meant for, perhaps, moulders in the grave; a bank-note sent in swiftest charity:—he whom it would relieve, nor eats nor hungers anymore; pardon for those who died despairing; hope for those who died unhoping; good tidings for those who died stifled by unrelieved calamities. On errands of life, these letters speed to death. Ah Bartleby! Ah humanity!&​‌‍‍‍‌‍‍‌‍‌‌‍‍‍‌‍‌‌‌‍​quot;

 

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ural prestige of the municipality, where they remain to this day, displayed in the Museo Nazionale. Other wall paintings were stripped from the walls and framed, or irreparably destroyed due to excessive damage. By the end of the 18th century, two wide areas had been uncovered: the Quartiere dei Teatri with the Tempio d’Iside, and the Via delle Tombe with the Villa di Diomede. Two of the archaeologists most connected with this phase were Karl Weber and Francesco La Vega, who wrote detailed diary accounts of the works they carried out, and made very precise designs of the buildings being uncovered. During the period of French control of Naples (1806-1815), the excavation methodology changed: organization was of greater importance, and an itinerary was drawn up to accommodate the visits of scholars, as well as important personages. The French wished to excavate the buried town systematically, from west to east. In some periods of their influence, they employed as many as 1500 workmen, and this concentration of effort resulted in the Foro’s, the Terme’s, the Casa di Pansa’s, the Casa di Sallustio’s, and the Casa del Chirurgo’s excavation. With the return of the Bourbon king Ferdinand I to Naples, this method of organizing the excavations continued, but there were fewer funds available to back the project. By 1860, much of the western portion of the town had been excavated. Giuseppe Fiorelli directed the Pompeii excavation from 1863 to 1875 – introducing an entirely new system for the project; rather than uncovering the streets first, he imposed a system of uncovering the houses from the top down, in order to excavate the houses from the ground floor up — a much more efficient way of preserving everything that was discovered. During these excavations of the site, occasional voids in the ash lay

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