Abstract
During his life, Carl Schmitt dealt with mystical figures. As dazzling apparitions, they are in a state of tension that requires explanation in relation to his supposedly unambiguous style. Herman Melville’s ‚Benito Cereno‘ was one of these figures that Schmitt discovered for himself in early 1941 and in whom he saw his life and work reflected. Schmitt chose this literary figure in order to explain his own presence to himself and others as well as his involvement in the Nazi regime. By interpreting his temporarily unambiguous positioning in the light of Melville’s narrative, he sought to break this unambiguity and justify life and work.
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