The Piazza

“And beauty is like piety.”

This fragment, drawn from the narrator’s reflection, subtly intertwines the concepts of beauty and piety, hinting at a deeper, almost spiritual reverence for the natural world. In the context of “The Piazza,” this comparison can be seen as a nod to the American landscape piety prevalent in Romantic literature, where nature is often viewed with a religious-like awe. However, Melville’s use of this analogy also carries a parodic undercurrent, questioning the idealization of nature and the romantic notions associated with it.

“For though, of old, when reverence was in vogue, and indolence was not, the devotees of Nature, doubtless, used to stand and adore—just as, in the cathedrals of those ages, the worshipers of a higher Power did—yet, in these times of failing faith and feeble knees, we have the piazza and the pew.”

This quote offers a critical examination of how the perception of nature and spirituality has evolved over time. Melville contrasts the past, where active reverence for nature was akin to religious devotion, with the present, where such admiration is more passive and confined to spaces like piazzas or pews. This shift reflects a broader societal transition from an immersive, experiential understanding of nature to a more detached and aesthetic appreciation. Melville seems to critique the idea of distance as essential for sublime experiences, suggesting that it can lead to a distorted understanding of nature’s true essence.

“But, even in December, this northern piazza does not repel—nipping cold and gusty though it be, and the north wind, like any miller, bolting by the snow, in finest flour—for then, once more, with frosted beard, I pace the sleety deck, weathering Cape Horn.”

Melville’s skillful use of metaphor and vivid imagery to convey both the physical setting and the narrator’s perseverance. The comparison of the north wind to a miller grinding snow as flour enhances the visceral quality of the winter scene, enveloping the reader in its chill and gustiness. The mention of “weathering Cape Horn” further elevates the piazza to more than just a structure; it symbolizes the narrator’s resilience and determination in the face of ridicule and harsh elements. This resilience also reflects Melville’s critique of the romanticized view of nature; despite the neighbor’s mockery and the piazza’s impractical location, the narrator finds value and meaning in his experience on the piazza, challenging the wisdom of the experienced rural folk.

“But, be that as it may, the spot in question was, at all events, so situated as to be only visible, and then but vaguely, under certain witching conditions of light and shadow.”

This quote encapsulates Melville’s nuanced use of light and shadow as symbolic literary devices to underscore the story’s central themes of Appearance Versus Reality. The phrase “witching conditions of light and shadow” evokes a sense of mystery and ambiguity, reflecting the narrator’s perception of the distant spot as an ethereal, almost supernatural destination. This depiction aligns with the narrator’s initial romanticized vision, where beauty and truth are perceived as transient and elusive, visible only under specific, almost magical conditions. Melville’s choice of the word “witching” also adds a layer of mystique, suggesting the enchanting yet deceptive nature of appearances. This subtle interplay of light and shadow in the narrative serves as a metaphor for the complexities of perception and the often blurred line between reality and fantasy, highlighting the idea that truth and understanding are not always clear-cut but often shrouded in ambiguity.

“[A]fter a gentle shower upon the mountains […] as I love to watch from the piazza, instead of thunder storms, as I used to, which wrap old Greylock, like a Sinai, till one thinks swart Moses must be climbing among scathed hemlocks there.”

This passage uses allusion and imagery, laced with parody, to critique the romanticization of the American landscape. By comparing Mount Greylock to Sinai and invoking the image of Moses, Melville not only imparts a sense of grandeur and spiritual promise to the landscape but also satirically comments on American expansionism as a journey to a promised land. This biblical allusion parodies the Romantic era’s idealistic and often naive perspective on the American wilderness. The irony lies in the contrast between this grand, almost mythical portrayal and the reality of nature, which may be harsh or (as the narrator’s shift from watching thunderstorms to showers suggests) merely mundane. This transition to a realistic perspective mirrors the broader cultural shift in America from idealistic expansionist dreams to a more sober and pragmatic understanding of the landscape and its challenges.

“But a work-a-day neighbor said, no doubt it was but some old barn—an abandoned one, its broadside beaten in, the acclivity its background. But I, though I had never been there, I knew better.”

This quote exemplifies the use of irony and character contrast to underscore the narrator’s romanticized perceptions versus the pragmatic realism of his neighbor. The term “work-a-day” denotes the neighbor’s practical, everyday experience with rural life, starkly contrasting with the narrator’s idealized and naive vision. The neighbor’s description of the destination as “some old barn” represents a realistic, grounded view of the landscape, which the narrator dismissively rejects with “I knew better.” This interaction highlights the narrator’s stubborn adherence to his romantic illusions, ignoring the experienced insight of someone more acquainted with the land. The irony lies in the narrator’s conviction that his untested beliefs hold more truth than the neighbor’s lived experience.

“How to get to fairy-land, by what road, I did not know; nor could any one inform me; not even one Edmund Spenser, who had been there—so he wrote me—further than that to reach fairy-land, it must be voyaged to, and with faith.”

This quote is laden with the literary device of allusion and a touch of irony, as the narrator refers to Edmund Spenser, a poet from the late 16th century, known for his work The Faerie Queene. By invoking Spenser, Melville connects the narrative to the tradition of romantic and allegorical literature, where journeys to fantastical lands are common. Spenser’s The Faerie Queene is a complex, allegorical work that represents a form of escapism and idealism, much like the narrator’s own quest for a fairy-like realm. The irony in the quote arises from the narrator’s admission of his cluelessness about reaching this fairyland, despite consulting an authoritative yet archaic literary figure. This reliance is portrayed as somewhat ludicrous, highlighting the disparity between the romanticized literature of the past and the practical realities of the present. Melville uses this reference to subtly critique the romanticization of nature and exploration, suggesting that such endeavors are often grounded more in fanciful notions than in practicality or reason.

“Browse, they did not—the enchanted never eat. At least, so says Don Quixote, that sagest sage that ever lived.”

This quote is a clear instance of literary allusion, referencing Miguel de Cervantes’s Don Quixote, a seminal work in Western literature known for its satirical take on chivalric romances. The mention of Don Quixote is significant as it parallels the narrator’s own quixotic journey. Don Quixote, often perceived as a deluded idealist, embarks on absurd adventures based on his misconceived notions of chivalry and romance. Similarly, the narrator in “The Piazza” sets out on a quest based on his romanticized perceptions, hoping to find an idyllic, fairy-like world.

Melville’s use of this allusion is laced with irony and a subtle critique of romantic idealism. By likening the cattle’s non-eating behavior to the enchanted beings of Don Quixote’s world, the narrator humorously underscores the impracticality and absurdity of his romantic expectations. It’s as if Melville is using this reference to remind readers that just as Don Quixote’s chivalric fantasies were out of place in his reality, so too are the narrator’s romanticized notions about nature and adventure.

“Recovering, she bade me enter; with her apron brushed off a stool; then silently resumed her own. With thanks I took the stool; but now, for a space, I, too, was mute. This, then, is the fairy-mountain house, and here, the fairy queen sitting at her fairy window.”

This passage is layered with irony, marking the disparity between the narrator’s romantic illusions and stark reality. The ironic twist lies in the narrator’s realization that the “fairy-mountain house” and its “fairy queen” are far removed from his fanciful expectations. Marianna’s mundane actions, such as brushing off a stool with her apron, stand in sharp contrast to the ethereal, almost otherworldly aura he had previously ascribed to her and her abode. This moment encapsulates the narrator’s disillusionment, highlighting the irony that often accompanies the pursuit of romantic ideals.

“She shyly started, like some Tahiti girl, secreted for a sacrifice, first catching sight, through palms, of Captain Cook.”

This comparison of Marianna to a Tahiti girl in the face of Captain Cook, juxtaposed within a pastoral American setting, captures Melville’s use of metaphor and historical allusion to challenge romantic narratives. The imagery evokes colonial encounters, paralleling the narrator’s intrusion into Marianna’s isolated world. This allusion foreshadows the story’s deviation from a traditional heroic arc, where instead of rescuing the damsel, the narrator merely observes and then leaves her unchanged, critiquing the romanticized notion of heroism. The metaphor also underscores the broader idea of the clash between idealistic fantasies and stark realities, a recurring motif in Melville’s exploration of the American experience.

“I looked; and after a time, to my surprise, recognized, more by its position than its aspect, or Marianna’s description, my own abode, glimmering much like this mountain one from the piazza. The mirage haze made it appear less a farm-house than King Charming’s palace.”

This moment, where the narrator recognizes his own home from Marianna’s perspective, is laden with irony and metaphor. The “mirage haze” transforming his simple farmhouse into “King Charming’s palace” illustrates the dissonance in Appearance Versus Reality, a key theme in “The Piazza.” This realization symbolizes the narrator’s awakening to the subjective nature of beauty and the illusory quality of romantic ideals. It also serves as a metaphor for self-reflection, as the narrator sees his own life through a different lens, understanding how his pursuits of idealism are perceived by others, and perhaps recognizing the futility in chasing fantastical visions.

“They went West, and are long dead, they say, who built it.”

This anecdote, spoken by Marianna, provides commentary on the American experience, particularly the concept of westward expansion and the elusive nature of the American Dream. This brief yet evocative statement reflects the transient and often ephemeral nature of the pioneers’ efforts and dreams. As they moved westward, driven by the promise of prosperity and new beginnings, the realities they faced were often harsh and unyielding, leading to untold stories of struggle and oblivion. This line subtly critiques the romanticized narrative of westward expansion prevalent in American lore, replacing it with a more somber acknowledgment of the sacrifices and forgotten lives that underpin much of American history. Melville’s inclusion of this line serves as a reminder of the fleeting nature of human endeavors against the backdrop of the vast, untamed American landscape.

“Yours are strange fancies, Marianna.”

This statement, directed at Marianna, reflects the narrator’s initial inability to understand her perspective. The word “fancies” implies that the narrator views Marianna’s outlook as unrealistic or whimsical, contrasting with his own supposedly rational approach. Marianna’s “fancies” ultimately reveal a deeper understanding of life’s complexities, challenging the narrator’s superficial assumptions. This moment is pivotal in the narrative, marking the beginning of the narrator’s journey toward a more empathetic and grounded understanding of the human experience.