Abstract
T HE most savage caricature in all of Herman Melville's work is the briefly drawn study of Goneril in The Confidence-Man. This character, though presented in a few pages, is carefully outlined in person, in temper, and in surrounding circumstances. Melville lavished particular care upon her. In fact, the whole episode is written with richness of language, imagination, sharpness of vindictive, and implication. The name itself carries one over to Lear's savage daughter, as Melville certainly intended it should, but Melville's Goneril borrows from Shakespeare's creation only the name and the intangible connotations which accompany it. There is a further reason, however, for Melville's use of this Shakespearean name for his character.
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