Herman Melville

Herman Melville

Summary

Portrait of Herman Melville Herman Melville The Piazza Tales — The Bell-Tower (1856)

A practical materialist, what Bannadonna had aimed at was to have been reached, not by logic, not by crucible, not by conjuration, not by altars; but by plain vice-bench and hammer. In short, to solve nature, to steal into her, to intrigue beyond her, to procure some one else to bind her to his hand;—these, one and all, had not been his objects; but, asking no favors from any element or any being, of himself, to rival her, outstrip her, and rule her. He stooped to conquer. With him, common sense was theurgy; machinery, miracle; Prometheus, the heroic name for machinist; man, the true God.
Source: Wikisource

Portrait of Herman Melville Herman Melville The Piazza Tales — The Bell-Tower (1856)

Bannadonna spoke:
"Excellenza, now that, following your keener eye, I glance upon the face of Una, I do, indeed perceive some little variance. But look all round the bell, and you will find no two faces entirely correspond. Because there is a law in art—but the cold wind is rising more; these lattices are but a poor defense. Suffer me, magnificoes, to conduct you, at least, partly on your way. Those in whose well-being there is a public stake, should be heedfully attended."
Source: Wikisource

Portrait of Herman Melville Herman Melville The Piazza Tales — The Bell-Tower (1856)

The clock-bell, in particular, now drew attention. Under a patient chisel, the latent beauty of its enrichments, before obscured by the cloudings incident to casting, that beauty in its shyest grace, was now revealed. Round and round the bell, twelve figures of gay girls, garlanded, hand-in-hand, danced in a choral ring—the embodied hours.
"Bannadonna," said the chief, "this bell excels all else. No added touch could here improve. Hark!" hearing a sound, "was that the wind?"
"The wind, Excellenza," was the light response. "But the figures, they are not yet without their faults.
Source: Wikisource

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