Melville's "Bartleby, the Scrivener," subtitled "A Story of Wall Street," was first published in two installments in Putnam's Monthly Magazine, the issues for November and December of 1853. It follows then by two years Moby Dick, and by a few more Typee (1846) and Omoo (1847), concerning life on the islands of the South Seas, including among cannibals, popular travelogues now known mainly to solvers of crossword puzzles, where their utility as answers is boosted by a high vowel-to-consonant ratio.
"A story of Wall Street": definitely not an exotic adventure on a whaler or Polynesian isle. The narrator is a real estate lawyer, and the titular character a copyist hired, in these days before typewriters, to churn out handwritten legal instruments, the kinds of things that even back then were signed at real estate closings. The narrator introduces himself:
I am a man who, from his youth upwards, has been filled with a profound conviction that the easiest way of life is the best. Hence, though I belong to a profession proverbially energetic and nervous, even to turbulence, at times, yet nothing of that sort have I ever suffered to invade my peace. I am one of those unambitious lawyers who never address a jury, or in any way draw down public applause; but in the cool tranquility of a snug retreat, do a snug business among rich men's bonds, and mortgages, and title-deeds. All who know me consider me an eminently safe man.
There soon follows a description of his "snug retreat," with an emphasis on the view from his office windows, which at one end afford a prospect of nothing but the blackened brick wall of the adjoining building. The gap between the buildings is so narrow that the picturesque effect is made visible at all only by a thin shaft of sunlight filtering into the crevice from the unseen sky above. The office is partitioned by swinging doors, the narrator occupying one side and his copyists the other, but, when Bartleby is hired, the new copyist is placed on the narrator's side, behind a screen, so that he can be quickly summoned—he's able to hear, though not see, his employer, the narrator, from his cell within a cell. Before the events of the story begin to unwind, with the narration of Bartleby's strange ways, the narrator describes the peculiarly offset eccentricities of his three more longstanding employees. If one were to speak of the "total effect" made by the story's opening, it might be of a dungeon inhabited by madmen, though the genial narrator seems quite unaware of the picture he's painted.
Enter Bartleby, who in his job interview strikes the narrator as "pallidly neat, pitiably respectable, incurably forlorn." What everyone who's read the story will remember is, I would prefer not to. This is Bartleby's response to every request that he perform the miscellaneous duties of his position. Part of my affinity for the story arises, I'm afraid, from familiarity with the work Bartleby declines to perform. It's very detail-oriented and frequently involves comparing—that is, one person reading aloud one document while another follows along in the freshly minted one to make sure that "23 rods" hasn't become "32 rods" or "thence northeast" changed to "thence northwest," errors that would introduce a defect into the chain of title. Bartleby's accruing refusals do not seem to me as outlandish as they're meant to be. Once, where I worked for more than 25 years, a new employee being trained on her first day was told to take a break at around 10 o'clock. She asked whether what she'd been shown so far was a fair representation of the work she'd do, and, upon being told it was, she left for coffee and never came back. She'd prefer not to.
If you think Bartleby's behavior is outlandish, the problem is to account for it, and the theories are about as numerous as the commentators. In one, the story is an allegory of Melville's career: scriveners are writers, of a kind, and the idea is that Melville would prefer not to supply the public with the kind of popular tales with which he'd achieved an initial success. This is at least in line with the biographical record. In the decade beginning with the publication of Moby Dick, Melville earned from his books an average of $228 per year. According to the PBS "American Experience" documentary about him, Melville's life after Moby Dick was "a battle against obscurity and financial ruin." He eventually retired from professional authorship to take a job as a customs inspector on the New York City docks. When he died, age 72, in 1891, the manuscript of Billy Budd, his second greatest work, was discovered among his papers, but remained unpublished for 33 more years.
A related interpretation is unapologetically Marxist, or maybe Marxian, since I would prefer not to is muted compared to Workers of the world, unite, you have nothing to lose but your chains. In this view, it's pointed out that every request Bartleby declines relates to the advancement of the business enterprise. Suppose, asks Lionel Trilling in the last paragraph of his essay on the story, the narrator had one day told Bartleby that he felt faint and would like a glass of water after being helped to the couch. Would Bartleby have then replied I would prefer not to? We don't know. He's never asked to do anything like that.
It seems to me, however, that in the world according to Marx there would be no story at all. There would be no accruing episodes of inexplicable refusal and mounting exasperation on the part of the narrator/boss, because Bartleby would simply be cashiered after his first, or possibly his second or third, passive breach of duty. So there is, in addition to the mystery surrounding Bartleby, another concerning the narrator's tolerance and increasing accommodation of his blandly insubordinate employee. The narrator can't explain Bartleby but he takes a crack at explaining himself:
Nothing so aggravates an earnest person as a passive resistance. If the individual so resisted be of a not inhumane temper, and the resisting one perfectly harmless in his passivity, then, in the better moods of the former, he will endeavor charitably to construe to his imagination what proves impossible to be solved by his judgment. Even so, for the most part, I regarded Bartleby and his ways. Poor fellow! thought I, he means no mischief; it is plain he intends no insolence; his aspect sufficiently evinces that his eccentricities are involuntary. He is useful to me. I can get along with him. If I turn him away, the chances are he will fall in with some less indulgent employer, and then he will be rudely treated, and perhaps be driven forth miserably to starve. Yes. Here I can cheaply purchase a delicious self-approval.
There is in this a moral imagination and psychological subtlety that one would have thought was beyond the very safe real estate lawyer. What weighs more, Bartleby's survival or his own "delicious self-approval"? This passage occurs relatively early in the development of Bartleby's intransigence. As events unwind, Bartleby's behavior is a constant, but the narrator ratchets up his accommodations to such a point that, near the end, instead of firing Bartleby, he rents new office space, leaving Bartleby behind, and in this way finally being relieved of him. He executes this plan, though he is plainly vexed by the thought that he is abandoning Bartleby, a pang he treats by the gift of money. The upshot is that the new tenant of his old office space sends a complaint about a vagrant. A real estate lawyer would realize it wasn't his problem, but the narrator returns to his old haunts, verifies that Bartleby is indeed the source of the complaint, offers him more money, even invites him into his own house, but . . . I would prefer not to. Bartleby in the end is incarcerated at the Tombs, where the narrator visits him and, at last, is the first to discover that he's died. The story ends with a cri de coeur from the lips of the real estate lawyer: "Ah, Bartleby! Ah! humanity!"
I do not know what to make of it, but, to return again to the concept of "total effect," one reaches for words like desolating and bleak. It seems clear that "a tale of Wall Street" is meant ironically. The setting is Wall Street but the condition is general. The blackened brick wall less than ten feet from the narrator's office windows might seem like the opposite of the vistas of Moby Dick, but remember that in that novel, when Ishmael first goes aboard the Pequod for a job interview, he's asked why he wants to go whaling. He replies that he’d like to see the world. Captain Peleg answers that, in that case, he should "take a peep over the weather-bow, and then back to me and tell me what ye see there." Ishmael's narration continues:
For a moment I stood a little puzzled by this curious request, not knowing exactly how to take it, whether humorously or in earnest. But concentrating all his crow's feet into one scowl, Captain Peleg started me on the errand.
Going forward and glancing over the weather bow, I perceived that the ship swinging to her anchor with the flood-tide, was now obliquely pointing toward the open ocean. The prospect was unlimited, but exceedingly monotonous and forbidding; not the slightest variety that I could see.
"Well, what's the report?" said Peleg when I came back; "what did ye see?"
"Not much," I replied—"nothing but water; considerable horizon though, and there's a squall coming up, I think."
"Well, what does thou think then of seeing the world? Do ye wish to go round Cape Horn to see any more of it, eh? Can't ye see the world where you stand?"
I was a little staggered, but go a-whaling I must. . . .