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hurrying by, with ledgerlines ruled along their brows, thinking upon rise of bread and fall of babies” (202). Decorous, complacent, and constrained, the bachelors live an existence superior to those the narrator calls Benedick, economically anxious “tradesmen.
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The sanguine, “sunny-faced” bachelors ensconced in the paradisiacal confines of Temple Bar and its EDENic “Temple Garden” are insulated from the cares and ugliness of the chaotic outer world. There are, additionally, phrasings and imagery that subtly reveal the preoccupations of the narrator and the intentions of the author, which together organically link the two parts. While Melville’s bipartite structure serves to highlight contrasts between a range of oppositions- masculine/feminine, bygone/contemporary, English/ American, bounty/deprivation, comfort/ toil-it also establishes an implicit comparison inasmuch as each sketch delineates a different form of containment, insularity, isolation, and repressed possibilities. This second sketch constitutes an allegory in the modern mode, in which the schema of correspondences is disjointed by “the disorder of a dream” (213) so that no fixed, unambiguous meaning can be ascribed to its phantasmatic details, although a murky conflation of sexual innuendo and socioeconomic critique is clearly discernible. In the more provocative second half, based on the author’s excursion to buy supplies from a Massachusetts paper mill in the winter of 1851, the same narrator witnesses an industrial process serviced exclusively by female laborers under virtually invisible bachelor supervision (217). Although his description is ostensibly genial, even blithe, in a manner typical of contemporary periodicals, his hyperbolic, almost inebriated, conceits are redolent with Melville’s own sarcastic undertone. In the first half, based on Melville’s trip to London in 1849, the male narrator describes an exclusive allmale enclave of convivial barristers, the Elm Court Temple Bar. Herman Melville’s two-part ironic sketch “The Paradise of Bachelors and the Tartarus of Maids” provides in a highly condensed form the same sly insinuation and subversive conceptual punning that characterize his better-known longer works, Moby-Dick, Pierre, and The Confidence Man. Analysis of Herman Melville’s The Paradise of Bachelors and the Tartarus of Maids