@article{oai:nagoya.repo.nii.ac.jp:00028074,
 author = {斎木, 郁乃 and Saiki, Ikuno},
 journal = {IVY},
 month = {Mar},
 note = {Herman Melville's second novel, Omoo (1847), has been paid relatively little critical attention due to its light, incoherent, and digressive narration and lack of "highbrow" thesis. Those defects, however, turn out to be advantages if it is regarded as popular literature. As Walt Whitman puts it, Omoo is "the most readable sort of reading" and "thorough entertainment" (212). This essay is an attempt to reevaluate Omoo as one of the popular literary genres at the time, temperance literature. In the early nineteenth century, local Temperance societies established by churches and ministers exercised initiative in enforcing abstinence. By the time when Omoo was published, however, the temperance movement had been secularized and taken over by Washingtonians, ex-drunkard reformers, who tried to persuade their fellow alcoholics to dry out by confessing their own conversion experience through lectures and autobiographical narratives. Omoo can be read as a variety of the Washingtonian confessions. Melville's literary career from Typee to Moby-Dick developed as the leadership of Temperance movement was passed from religion to morals, and then from morals to laws. Moby-Dick was published in the same year when so-called Maine laws were enacted. The fact that the novel contains a caricature of Temperance society and Washingtonians in the characters of stingy Aunt Charity and alcoholic harpooners suggests that Melville was aware of historical transition of Temperance movement and considered it with abundant irony and sarcasm. Temperance narratives are defined as "first person alcoholic confessions" in which "inebriates recounted their enslavement to, and subsequent emancipation from, King Alcohol" (Cowley 3-4). John B. Gough's autobiography is a typical example of Washingtonian temperance novels in 1840s. There was a paradox in Washingtonian temperance discourses: Readers were more entertained by the display of the author's past intemperance than by his sincere plea for temperance. Melville purposely practiced this Washingtonian confusion of temperance and intemperance in Omoo. From the very beginning of the story, the narrator became "delirious" from a glass of spirituous liquor so as to motivate the whole plot by alcohol (6). More than half of the crew is a drunkard, and the novel is full of descriptions of excessive drinking. The order on the ship was kept by "these bluff, drunken energies" of the first mate, John Jermin (14). Only the "knock-down authority" of alcohol can control those rough sailors on board (15). While Omoo advocates intemperance as a resource of entertainment and authority, it also makes use of intemperance as a tool to criticize missionaries and their temperance reforms. Melville portrays how the missionaries degrade Tahitians and themselves by alcohol. The narrator and his friend, Doctor Long Ghost, who christen themselves Peter and Paul and are called "mickonaree," can be interpreted as secularized missionaries. Their dissipated behaviors mock corruption of priests and ministers., 本稿は、中・四国アメリカ文学会第33回大会（2004年6月19日，島根大学）での口頭発表に加筆修正を施したものである。},
 pages = {67--82},
 title = {『オムー』における「飲酒」擁護},
 volume = {39},
 year = {2007}
}