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In Nathalia Wright’s view, Melville’s sentences generally have a looseness of structure, easy to use for devices as catalogue and allusion, parallel and refrain, proverb and allegory. The length of his clauses may vary greatly, but the narrative style of writing in Pierre and The Confidence-Man is there to convey feeling, not thought. Unlike Henry James, who was an innovator of sentence ordering to render the subtlest nuances in thought, Melville made few such innovations. His domain is the mainstream of English prose, with its rhythm and simplicity influenced by the King James Bible.Another important characteristic of Melville’s writing style is in its echoes and overtones Melville’s imitation of certain distinct styles is responsible for this. His three most important sources, in order, are the Bible, Shakespeare, and Milton. Direct quotation from any of the sources is slight; only one sixth of his Biblical allusions can be qualified as such because Melville adapts Biblical usage to his own narrated textual requirements of clarifying his plot.

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In terms of Biblical influence, Melville’s style can be divided into three categories. First, Melville’s use of Biblical allusion is more at the narrative level of including the allusions within his own writing style rather that formally identifying Biblical quotation. Several uses of his preferred Biblical allusions appear appear repeated several times throughout his body of work, taking on the nature of refrains. Examples of this idiom are the injunctions to be ‘as wise as serpents and as harmless as doves,’ ‘death on a pale horse,’ ‘the man of sorrows’, the ‘many mansions of heaven;’ proverbs ‘as the hairs on our heads are numbered,’ ‘pride goes before a fall,’ ‘the wages of sin is death;’ adverbs and pronouns as ‘verily, whoso, forasmuch as; phrases as come to pass, children’s children, the fat of the land, vanity of vanities, outer darkness, the apple of his eye, Ancient of Days, the rose of Sharon. Second, there are paraphrases of individual and combined verses.

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