2011-12-09

Starbuck: Moby Dick




Moby-Dick

For other uses, see Moby-Dick (disambiguation).
Moby-Dick; or, The Whale
Moby-Dick FE title page.jpg
Title page, first American edition of Moby-Dick
Author(s) Herman Melville
Language English
Series none
Genre(s) Adventure novel, Epic, Sea story
Publisher Richard Bentley
Media type Print (Hardback and Paperback)
Pages 822

Moby-Dick; or, The Whale, was written by American author Herman Melville and first published in 1851. It is considered by some to be a Great American Novel and a treasure of world literature. The story tells the adventures of wandering sailor Ishmael, and his voyage on the whaleship Pequod, commanded by Captain Ahab. Ishmael soon learns that Ahab has one purpose on this voyage: to seek out a specific whale--Moby Dick, a ferocious, enigmatic white sperm whale. In a previous encounter, the whale destroyed Ahab's boat and bit off his leg, which now drives Ahab to take revenge.

In Moby-Dick, Melville employs stylized language, symbolism, and metaphor to explore numerous complex themes. Through the main character's journey, the concepts of class and social status, good and evil, and the existence of God are all examined, as Ishmael speculates upon his personal beliefs and his place in the universe. The narrator's reflections, along with his descriptions of a sailor's life aboard a whaling ship, are woven into the narrative along with Shakespearean literary devices, such as stage directions, extended soliloquies, and asides. The book portrays destructive obsession and monomania, as well as the assumption of anthropomorphism--projecting human instincts, characteristics and motivations onto animals. Moby-Dick is ruthless in attacking the sailors who attempt to hunt and kill him, but it is Ahab who invests Moby-Dick's natural instincts with malignant and evil intentions. In fact, it is not the whale but the crippled Ahab who alone possesses this characteristic.

Moby-Dick has been classified as American Romanticism. It was first published by Richard Bentley in London on October 18, 1851, in an expurgated three-volume edition titled The Whale, and weeks later as a single volume, by New York City publisher Harper and Brothers as Moby-Dick; or, The Whale on November 14, 1851. The book initially received mixed reviews, but Moby-Dick is now considered part of the Western canon, and at the center of the canon of American novels.

Background

Moby-Dick was published in 1851 during a productive time in American literature, which also saw the appearance of Nathaniel Hawthorne's The Scarlet Letter and Harriet Beecher Stowe's Uncle Tom's Cabin. Two actual events served as the genesis for Melville's tale. One was the sinking of the Nantucket ship Essex in 1820, after it was rammed by a large sperm whale 2,000 miles (3,200 km) from the western coast of South America. First mate Owen Chase, one of eight survivors, recorded the events in his 1821 Narrative of the Most Extraordinary and Distressing Shipwreck of the Whale-Ship Essex.

The other event was the alleged killing in the late 1830s of the albino sperm whale Mocha Dick, in the waters off the Chilean island of Mocha. Mocha Dick was rumored to have twenty or so harpoons in his back from other whalers, and appeared to attack ships with premeditated ferocity. One of his battles with a whaler served as subject for an article by explorer Jeremiah N. Reynolds in the May 1839 issue of The Knickerbocker or New-York Monthly Magazine. Melville was familiar with the article, which described:

Plot

Characters

The crew-members of the Pequod are carefully drawn stylizations of human types and habits; critics have often described the crew as a "self-enclosed universe". There are 30 crew members, and as there were thirty states in the union at the time, it has been suggested that, in its diversity, Melville meant the Pequod to be a metaphor for America.

Ishmael

Elijah

The character Elijah (named for the Biblical prophet Elijah, who is also referred to in the King James Bible as Elias), on learning that Ishmael and Queequeg have signed onto Ahab's ship, asks, "Anything down there about your souls?" When Ishmael reacts with surprise, Elijah continues:

Ahab

Captain Boomer

Captain of the Samuel Enderby of London, Ahab encounters him at sea. Boomer has not only seen Moby-Dick recently, but lost his arm to him in a previous attack. Like Ahab, he has replaced the missing limb with a prosthesis made of sperm whale bone. Ahab immediately assumes he has found a kindred spirit in his thirst for vengeance, but Boomer is yet another representation of the duality to be found throughout the novel; in this instance, a sane and rational counterpart to Ahab. While Boomer also anthropormorphizes Moby-Dick, describing the "boiling rage" the whale seemed to be in when Boomer attempted to capture him, he has easily come to terms with losing his arm, and harbors no ill-will against Moby-Dick, advising Ahab "he's best left alone". The Enderby's doctor provides solid reasoning for this attitude, informing the gathering:

Moby-Dick

He is a giant, albino sperm whale and the main antagonist of the novel. He bit off Ahab's leg, leaving Ahab to swear revenge. The cetacean also attacked the Rachel and killed the captain's son. At the end of the story he kills the entire crew, with the exception of Ishmael. Although he is an integral part of the novel, Moby-Dick appears in just three of the 159 chapters and the reader does not have access to his thoughts and motivations. Moby-Dick is considered to be a symbol of a number of things, among them God, nature, fate, the ocean, and the very universe itself.

The symbolism of the White Whale is deliberately enigmatic, and its inscrutability is a deliberate challenge to the reader. Ishmael describes the whale’s forehead as having wrinkles and scars on it that look like hieroglyphics, and recounts:

Mates

The three mates of the Pequod are all from New England.

Starbuck

Starbuck, the young first mate of the Pequod, is a thoughtful and intellectual Quaker from Nantucket.

Stubb

Stubb, the second mate of the Pequod, is from Cape Cod, and always seems to have a pipe in his mouth and a smile on his face. "Good-humored, easy, and careless, he presided over his whaleboat as if the most deadly encounter were but a dinner, and his crew all invited guests." (Moby-Dick, Ch. 27) Although he is not an educated man, Stubb is remarkably articulate, and during whale hunts keeps up an imaginative patter reminiscent of that of some characters in Shakespeare. Scholarly portrayals range from that of an optimistic simpleton to a paragon of lived philosophic wisdom.

Flask

Flask is the third mate of the Pequod. He is from Martha's Vineyard.

Harpooneers

Queequeg

Tashtego

Tashtego is described as a Gay Head (Wampanoag) Native American harpooneer. The personification of the hunter, he turns from hunting land animals to hunting whales. Tashtego is the harpooneer on Stubb's boat.

Daggoo

Daggoo is a gigantic (6'5") African harpooneer from a coastal village with a noble bearing and grace. He is the harpooneer on Flask's boat.

Fedallah

Fedallah is the harpooneer on Ahab's boat. He is of Persian Zoroastrian ("Parsi") descent. Because of descriptions of him having lived in China, he might have been among the great wave of Parsi traders who made their way to Hong Kong and the Far East from India during the mid-19th century. At the time when the Pequod sets sail, Fedallah is hidden on board, and he emerges with Ahab's boat's crew later on, to the surprise of the crew. Fedallah is referred to in the text as Ahab's "Dark Shadow." Ishmael calls him a "fire worshipper" and the crew speculates that he is a devil in man's disguise. He is the source of a variety of prophecies regarding Ahab and his hunt for Moby Dick. Ishmael describes him thus, standing by Ahab's boat:

Other notable characters

Pip (nicknamed "Pippin," but "Pip" for short) is a black boy from Tolland County, Connecticut, who is "the most insignificant of the Pequod's crew". Because he is physically slight, he is made a ship-keeper, (a sailor who stays aboard the ship while its whaleboats go out). Ishmael contrasts him with the "dull and torpid in his intellects" — and paler and much older — steward Dough-Boy, describing Pip as "over tender-hearted" but "at bottom very bright, with that pleasant, genial, jolly brightness peculiar to his tribe". Ishmael goes so far as to chastise the reader: "Nor smile so, while I write that this little black was brilliant, for even blackness has its brilliancy; behold yon lustrous ebony, panelled in king's cabinets."

The after-oarsman on Stubb's boat is injured, however, so Pip is temporarily reassigned to Stubb's whaleboat crew. The first time out, Pip jumps from the boat, causing Stubb and Tashtego to lose their already-harpooned whale. Tashtego and the rest of the crew are furious; Stubb chides him "officially" and "unofficially," even raising the specter of slavery: "a whale would sell for thirty times what you would, Pip, in Alabama." The next time a whale is sighted, Pip again jumps overboard and is left stranded in the "awful lonesomeness" of the sea while Stubb's and the others' boats are dragged along by their harpooned whales. By the time he is rescued, he has become (at least to the other sailors) "an idiot," "mad." Ishmael, however, thought Pip had a mystical experience: "So man's insanity is heaven's sense." Pip and his experience are crucial because they serve as foreshadowing, in Ishmael's words, "providing the sometimes madly merry and predestinated craft with a living and ever accompanying prophecy of whatever shattered sequel might prove her own." Pip's madness is full of poetry and eloquence; he is reminiscent of Tom in King Lear. Ahab later sympathizes with Pip and takes the young boy under his wing.

Dough Boy is the pale, nervous steward of the ship. The Cook (Fleece), Blacksmith (Perth), and Carpenter of the ship are each highlighted in at least one chapter near the end of the book. Fleece, a very old, half-deaf African-American with bad knees, is presented in the chapter "Stubb's Supper" at some length in a dialogue where Stubb good-humoredly takes him to task over how to prepare a variety of dishes from the whale's carcass. Ahab calls on the Carpenter to fashion a new whalebone leg after the one he wears is damaged; later he has Perth forge a special harpoon that he carries into the final confrontation with Moby-Dick.

The crew as a whole is exceedingly international, having constituents from both the United States and rest of the world. Chapter 40, "Midnight, Forecastle," highlights, in its stage-play manner (in Shakespearean style), the striking variety in the sailors' origins. A partial list of the speakers includes sailors from the Isle of Man, France, Iceland, the Netherlands, the Azores, Sicily and Malta, China, Denmark, Portugal, India, England, Spain, and Ireland.

Critical reception

Melville's expectations

In a letter to Nathaniel Hawthorne written within days of Moby-Dick's American publication, Melville made a number of revealing comments:

Contemporary

Melville was regarded as a very successful author after the acclaim received by his popular earlier works of Typee and Omoo. He considered Moby-Dick to be his magnum opus, but he was shocked and bewildered at the scathing reviews it received. Instead of bringing him the literary acclaim which he sought, this master-work started a slide toward literary obscurity in his lifetime. This was partially due to the fact that the book was first published in England, and the American literary establishment took note of what the English critics said, especially when these critics were attached to the more prestigious journals. Many critics praised it for its unique style, interesting characters, and poetic language, but others agreed with a critic with the highly regarded London Athenaeum, who described it as:

Underground

Within a year after Melville's death, Moby-Dick, along with Typee, Omoo, and Mardi, was reprinted by Harper & Brothers, giving it a chance to be rediscovered. However, only New York's literary underground seemed to take much interest, just enough to keep Melville's name circulating for the next 25 years in the capital of American publishing. During this time, a few critics were willing to devote time, space, and a modicum of praise to Melville and his works, or at least those that could still be fairly easily obtained or remembered. Other works, especially the poetry, went largely forgotten.

Then came World War I and its consequences, particularly the shaking or destruction of faith in so many aspects of Western civilization, all of which caused people concerned with culture and its potential redemptive value to experiment with new aesthetic techniques. The stage was set for Melville to find his place.

The Melville Revival

With the burgeoning of Modernist aesthetics (see Modernism and American modernism) and the war that tore everything apart still so fresh in memory, Moby-Dick began to seem increasingly relevant. Many of Melville's techniques echo those of Modernism: kaleidoscopic, hybrid in genre and tone, monumentally ambitious in trying to unite so many disparate elements and loose ends. His new readers also found in him an almost too-profound exploration of violence, hunger for power, and quixotic goals. Although many critics of this time still considered Moby-Dick extremely difficult to come to grips with, they largely saw this lack of easy understanding as an asset rather than a liability.

In 1917, American author Carl Van Doren became the first of this period to proselytize about Melville's value.

In the 1920s, British literary critics began to take notice. In his idiosyncratic but landmark Studies in Classic American Literature, novelist, poet, and short story writer D. H. Lawrence directed Americans' attention to the great originality and value of many American authors, among them Melville. Perhaps most surprising is that Lawrence saw Moby-Dick as a work of the first order despite his using the original English edition.

In his 1921 study, The American Novel, Carl Van Doren returned to Melville with much more depth. He called Moby-Dick a pinnacle of American Romanticism.

Post-revival

The next great wave of Moby-Dick appraisal came with the publication of F. O. Matthiessen's American Renaissance: Art and Expression in the Age of Emerson and Whitman. Published in 1941, the book proposed that Emerson, Whitman, Thoreau, Hawthorne, and Melville were the most prominent figures of a flowering of conflicted (and mostly pre-Civil War) literature important for its promulgation of democracy and the exploration of its possibilities, successes, and failures. Since Matthiessen's book came out shortly before the entry of the U.S. into World War II, critic Nick Selby argues that

Adaptations

Editions

Critical editions

See also

Notes

References

Further reading

External links

Online texts

Motion picture adaptations

Music

  • Ahab - Song by MC Lars based on Moby Dick
  • Leviathan - an album by Mastodon, containing several songs about Moby Dick, and a Moby Dick inspired album cover.

Documentaries

Commentary & criticism


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