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Short story by Herman Melville

"Bartleby, the Scrivener: A Story of Wall Street" is a short story by the American writer Herman Melville, first serialized anonymously in two parts in the November and December 1853 issues of Putnam's Magazine and reprinted with minor textual alterations in his The Piazza Tales in 1856. In the story, a Wall Street lawyer hires a new clerk who, after an initial bout of hard work, refuses to make copies or do any other task required of him, responding to any request with the words "I would prefer not to." The story likely takes place between 1848 and 1853, during the Antebellum Period in American history. Numerous critical essays have been published about the story, which scholar Robert Milder describes as "unquestionably the masterpiece of the short fiction" in the Melville canon.

The narrator is an unnamed elderly lawyer who works with legal documents and has an office on Wall Street in New York. He already employs two scriveners, Turkey and Nippers, to copy documents by hand, but an increase in business leads him to advertise for a third. He hires the forlorn looking Bartleby in the hope that his calmness will soothe the other two, each of whom displays an irascible temperament during an opposite half of the day. An errand boy nicknamed Ginger Nut completes the staff. At first, Bartleby produces a large volume of high quality work, but one day, when asked to help proofread a document, Bartleby answers with what soon becomes his perpetual response to every request: "I would prefer not to." To the dismay of the narrator and the irritation of the other employees, Bartleby begins to perform fewer and fewer tasks and eventually none. He instead spends long periods of time staring out one of the office's windows at a brick wall. The narrator makes several attempts to reason with Bartleby or to learn something about him, but never has any success. When the narrator stops by the office one Sunday morning, he discovers that Bartleby is living there. He is saddened by the thought of the life the young man must lead. Tension builds as business associates wonder why Bartleby is always present in the office yet does not appear to do any work. Sensing the threat to his reputation, but emotionally unable to evict Bartleby, the narrator moves his business to a different building. The new tenant of his old office comes to ask for help in removing Bartleby, and the narrator tells the man that he is not responsible for his former employee. A week or so after this, several other tenants of the narrator's former office building come to him with their landlord because Bartleby is still making a nuisance of himself; even though he has been put out of the office, he sits on the building stairs all day and sleeps in its doorway at night. The narrator agrees to visit Bartleby and attempts to reason with him. He suggests several jobs that Bartleby might try and even invites Bartleby to live with him until they figure out a better solution, but Bartleby declines these offers. The narrator leaves the building and flees the neighborhood for several days, in order not to be bothered by the landlord and tenants. When the narrator returns to work, he learns that the landlord has called the police. The officers have arrested Bartleby and imprisoned him in the Tombs as a vagrant. He goes to visit Bartleby, who spurns him, and bribes a cook to make sure Bartleby gets enough food. The narrator returns a few days later to check on Bartleby and discovers him dead of starvation, having preferred not to eat. Months later, the narrator hears a rumor that Bartleby had once worked in a dead letter office and reflects on how this might have affected him. The story ends with the narrator saying, "Ah Bartleby! Ah humanity!"

Melville's major source of inspiration for the story was an advertisement for a new book, The Lawyer's Story, printed in the Tribune and the Times on February 18, 1853. The book, published anonymously later that year, was written by popular novelist James A. Maitland. This advertisement included the complete first chapter, which started: "In the summer of 1843, having an extraordinary quantity of deeds to copy, I engaged, temporarily, an extra copying clerk, who interested me considerably, in consequence of his modest, quiet, gentlemanly demeanor, and his intense application to his duties." Melville biographer Hershel Parker said nothing else in the chapter besides this "remarkably evocative sentence" was notable. Critic Andrew Knighton said Melville may have been influenced by an obscure work from 1846, Robert Grant White's Law and Laziness: or, Students at Law of Leisure, which features an idle scrivener, while Christopher Sten suggests that Melville found inspiration in Ralph Waldo Emerson's essays, particularly "The Transcendentalist", which shows parallels to "Bartleby". Melville may have written the story as an emotional response to the bad reviews garnered by Pierre, his preceding novel. Financial difficulties may also have played a part: Moby Dick and Pierre sold so poorly that Melville was in debt to his publisher Harper & Brothers.

The story was first published anonymously as "Bartleby, the Scrivener: A Story of Wall Street" in two installments in Putnam's Monthly Magazine, in November and December 1853. It was included in Melville's The Piazza Tales, published in by Dix & Edwards in the United States in May 1856 and in Britain in June.

The narrator and the text do not explicitly explain the reason for Bartleby's behavior, leaving it open to interpretation.

A 1978 article in ELH posits that Bartleby shows classic symptoms of depression, such as his lack of motivation. He is a passive person, and good at the work he agrees to do. He refuses to divulge any personal information to the narrator. Bartleby's death is consistent with depression—having no motivation to survive, he refrains from eating until he dies.

Bartleby has been interpreted as a "psychological double" for the narrator that criticizes the "sterility, impersonality, and mechanical adjustments of the world which the lawyer inhabits." Until the end of the story, Bartleby's background is unknown and may have sprung from the narrator's mind. The narrator screens off Bartleby in a corner, which has been interpreted as symbolizing "the lawyer's compartmentalization of the unconscious forces which Bartleby represents."

Scholars have long explored the possibility that Bartleby serves as an autobiographical portrait. Lawrence Buell suggested that the scrivener may reflect Melville as disenchanted writer or artist, Leo Marx connected the story's theme of alienation with Melville's experiences and feelings of isolation, and Giles Gunn posited that Melville's personal struggles and disillusionment with the literary world influenced his portrayal of Bartleby as a withdrawn and passive character.

"Bartleby, the Scrivener" alludes to Jonathan Edwards's "Inquiry into the Freedom of the Will" and Jay Leyda, in his introduction to The Complete Stories of Herman Melville, comments on the similarities between Bartleby and The Doctrine of Philosophical Necessity by Joseph Priestley. Both Edwards and Priestley wrote about free will and determinism. Edwards states that free will requires the will to be isolated from the moment of decision, in which case Bartleby's isolation from the world would allow him to be completely free. He has the ability to do whatever he pleases. The reference to Priestley and Edwards in connection with determinism may suggest that Bartleby's exceptional exercise of his personal will, even though it leads to his death, spares him from an externally determined fate. "Bartleby" is also seen as an inquiry into ethics. Critic John Matteson sees the story (and other Melville works) as explorations of the changing meaning of 19th century "prudence." The story's narrator "struggles to decide whether his ethics will be governed by worldly prudence or Christian agape." He wants to be humane, as shown by his accommodations of the four staff and especially of Bartleby, but this conflicts with the newer, pragmatic and economically based notion of prudence supported by changing legal theory. The 1850 case Brown v. Kendall, three years before the story's publication, was important in establishing the "reasonable man" standard in the United States, and emphasized the positive action required to avoid negligence. Bartleby's passivity has no place in a legal and economic system that increasingly sides with the "reasonable" and economically active individual. His fate, an innocent decline into unemployment, prison, and starvation, dramatizes the effect of the new prudence on the economically inactive members of society.

Though no great success at the time of publication, "Bartleby, the Scrivener" is now among the most noted of American short stories. Albert Camus, in a personal letter to Liselotte Dieckmann published in The French Review in 1998, cites Melville as a key influence. On November 5, 2019, the BBC News listed "Bartleby, the Scrivener" on its list of the 100 most influential novels. The first filmed adaptation was by the Encyclopædia Britannica Educational Corporation in 1969. It was adapted, produced, and directed by Larry Yust and starred James Westerfield and Patrick Campbell, with Barry Williams of The Brady Bunch fame in a small role. The story has been adapted for film four other times as Bartleby: in 1970, starring Paul Scofield; in France, in 1976, by Maurice Ronet, starring Michel Lonsdale; in 1977, by Israel Horovitz and Michael B Styer for Maryland Center for Public Broadcasting, starring Nicholas Kepros, which was an entry in the 1978 Peabody Awards competition for television; and in 2001, by Jonathan Parker, starring Crispin Glover and David Paymer. The BBC Radio 4 adaptation dramatised by Martyn Wade, directed by Cherry Cookson, and broadcast in 2004 stars Adrian Scarborough as Bartleby, Ian Holm as the Lawyer, David Collings as Turkey, and Jonathan Keeble as Nippers. In 2009, French author Daniel Pennac read the story on the stage of La Pépinière Théâtre in Paris. The story was adapted for the stage in 2020 by Juhan Ulfsak for Von Krahl Theatre in Estonia as Pigem ei (literal translation: "Rather not").