Billy Budd - Symmetry of Form

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Inevitable Asymmetry

Approaching the conclusion of Billy Budd, it is stated by Herman Melville "The symmetry of form attainable in pure fiction can not so readily be achieved in a narration essentially having less to do with fable than with fact. Truth uncompromisingly told will always have its ragged edges." Consequently, the author's declaration proves itself not only toward the end of this novella, but throughout the narrations' chain of events. The absence of symmetry of form as seen in Billy Budd is to be attributed to the fact that this narrative holds its own truth; and as confirmed by the author himself, truth is inevitably dispersed of; lacking any sort of form, consistency, and organization. The first eight chapters of the story expose the authors' style in this novella, and can undoubtedly represent the crux of asymmetry as it applies to Billy Budd.

After being introduced to the tale in the beginning chapters, one cannot help but question Melville's unexpected detours from the story's plot to give extensive background information, and provide personal insight that enhances the readers understanding of the events taking place. Chapters one, two, six, seven, and eight construct themselves on a foundation of historical insight that is given by the author. Chapters three thru five are solely dedicated to the dignity of British naval history, which is developed side by side with the revolutionary energy that was quite evident at the time.

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"To the British Empire, the Nore mutiny was what a strike in the fire brigade would be to London threatened by general arson." Throughout chapter three, Melville continually makes reference to the negativity of mutinies in general, enabling the reader to further grasp onto the concept. Without directly providing insight into any such occurrence onboard, Melville goes on to create this connection with several other mutinies. After closely examining the structure, or lack of structure, in the beginning chapters, a conclusion can be made if the aspects that are contained in the beginning chapters were to be taken as separate entities, little sense would have been made out of them; however when combined, they continually supplement each other and crystallize the readers' view of the events as they occur.

In further expanding on the concept of asymmetry in the beginning chapters, assessing the dialogical structure in the story, as it compares with the description of characters, events, and history, becomes seemingly more questionable. Melville begins with impressments of Billy in chapters one and two, and provides a bit of dialogue alongside some action. The story then takes a dive into developing on this phase of the plot, causing it to drag on somewhat, begging the question "why?" A path commonly taken by the reader is the attempt to consume each chapter as a single entity; ignorant of the fact that only toward the end of this set of chapters can any sense be made out of these seemingly unorganized bits and pieces of insight into the characters' state-of-mind, allusions to history, and essential background information. Once all these

aspects are taken into account, the story begins to solidify; in its own unconventional method.

The irony of the asymmetry in Billy Budd lies in the fact that such a firm, solid piece was developed on a foundation of scattered facts, historical allusions, and excessively detailed descriptions. However, it is this unique style that contributes to the distinctive nature and development of this piece. In defiance to the mechanical method of literature, Melville's asymmetrical approach to the construction of Billy Budd proved that 'irregularity' does not necessarily mean 'incorrect'.

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