Moby-Dick (Barnes & Noble Classics Series)

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  • Format: Paperback
  • Copyright: 2003-04-01
  • Publisher: Barnes & Noble Classics

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On a previous voyage, a mysterious white whale had ripped off the leg of a sea captain named Ahab. Now the crew of the Pequod, on a pursuit that features constant adventure and horrendous mishaps, must follow the mad Ahab into the abyss to satisfy his unslakeable thirst for vengeance. Narrated by the cunningly observant crew member Ishmael,Moby-Dickis the tale of the hunt for the elusive, omnipotent, and ultimately mystifying white whale--Moby Dick. On its surface,Moby-Dickis a vivid documentary of life aboard a nineteenth-century whaler, a virtual encyclopedia of whales and whaling, replete with facts, legends, and trivia thatMelvillehad gleaned from personal experience and scores of sources. But as the quest for the whale becomes increasingly perilous, the tale works on allegorical levels, likening the whale to human greed, moral consequence, good, evil, and life itself. Who is good? The great white whale who, like Nature, asks nothing but to be left in peace? Or the bold Ahab who, like scientists, explorers, and philosophers, fearlessly probes the mysteries of the universe? Who is evil? The ferocious, man-killing sea monster? Or the revenge-obsessed madman who ignores his own better nature in his quest to kill the beast? Scorned by critics upon its publication,Moby-Dickwas publicly derided during its author's lifetime. Yet Melville's masterpiece has outlived its initial misunderstanding to become an American classic of unquestionably epic proportions. Includes an extensive Dictionary of Sea Terms (37 pages).

Author Biography

Carl F. Hovde taught at Columbia University for thirty-five years. An editor for the Princeton University Press edition of Henry David Thoreau, he has also written about Ralph Waldo Emerson, Henry James, and William Faulkner.

Table of Contents

Loomingsp. 14
The Carpet-Bagp. 18
The Spouter-Innp. 21
The Counterpanep. 33
Breakfastp. 36
The Streetp. 37
The Chapelp. 39
The Pulpitp. 42
The Sermonp. 44
A Bosom Friendp. 51
Nightgownp. 54
Biographicalp. 55
Wheelbarrowp. 57
Nantucketp. 61
Chowderp. 62
The Shipp. 65
The Ramadanp. 76
His Markp. 81
The Prophetp. 84
All Astirp. 86
Going Aboardp. 88
Merry Christmasp. 91
The Lee Shorep. 94
The Advocatep. 95
Postscriptp. 99
Knights and Squiresp. 99
Knights and Squiresp. 102
Ahabp. 105
Enter Ahab; to Him, Stubbp. 108
The Pipep. 110
Queen Mabp. 111
Cetologyp. 113
The Specksynderp. 123
The Cabin-Tablep. 125
The Mast-Headp. 130
The Quarter-Deckp. 135
Sunsetp. 141
Duskp. 142
First Night-Watchp. 143
Midnight, Forecastlep. 144
Moby Dickp. 149
The Whiteness of the Whalep. 157
Hark!p. 164
The Chartp. 165
The Affidavitp. 169
Surmisesp. 176
The Mat-Makerp. 178
The First Loweringp. 180
The Hyenap. 189
Ahab's Boat and Crew. Fedallahp. 190
The Spirit-Spoutp. 192
The Albatrossp. 195
The Gamp. 197
The Town-Ho's Storyp. 200
Of the Monstrous Pictures of Whalesp. 217
Of the Less Erroneous Pictures of Whales, and the True Pictures of Whaling Scenesp. 220
Of Whales in Paint; in Teeth; in Wood; in Sheet-iron; in Stone; in Mountains; in Starsp. 223
Britp. 225
Squidp. 227
The Linep. 229
Stubb Kills a Whalep. 232
The Dartp. 236
The Crotchp. 237
Stubb's Supperp. 238
The Whale as a Dishp. 245
The Shark Massacrep. 247
Cutting Inp. 248
The Blanketp. 250
The Funeralp. 252
The Sphynxp. 253
The Jeroboam's Storyp. 255
The Monkey-Ropep. 260
Stubb and Flask Kill a Right Whale; and Then Have a Talk over Himp. 263
The Sperm Whale's Head--Contrasted Viewp. 268
The Right Whale's Head--Contrasted Viewp. 271
The Battering-Ramp. 273
The Great Heidelburgh Tunp. 275
Cistern and Bucketsp. 277
The Prairiep. 280
The Nutp. 282
The Pequod Meets the Virginp. 284
The Honor and Glory of Whalingp. 293
Jonah Historically Regardedp. 295
Pitchpolingp. 297
The Fountainp. 298
The Tailp. 302
The Grand Armadap. 306
Schools and Schoolmastersp. 316
Fast-Fish and Loose-Fishp. 318
Heads or Tailsp. 321
The Pequod Meets the Rose-Budp. 324
Ambergrisp. 329
The Castawayp. 331
A Squeeze of the Handp. 334
The Cassockp. 337
The Try-Worksp. 338
The Lampp. 342
Stowing Down and Clearing Upp. 342
The Doubloonp. 344
Leg and Arm. The Pequod, of Nantucket, Meets the Samuel Enderby, of Londonp. 349
The Decanterp. 355
A Bower in the Arsacidesp. 358
Measurement of the Whale's Skeletonp. 362
The Fossil Whalep. 364
Does the Whale's Magnitude Diminish?--Will He Perish?p. 367
Ahab's Legp. 370
The Carpenterp. 372
Ahab and the Carpenterp. 374
Ahab and Starbuck in the Cabinp. 377
Queequeg in His Coffinp. 379
The Pacificp. 384
The Blacksmithp. 385
The Forgep. 387
The Gilderp. 390
The Pequod Meets the Bachelorp. 391
The Dying Whalep. 393
The Whale Watchp. 394
The Quadrantp. 395
The Candlesp. 397
The Deck Towards the End of the First Night Watchp. 402
Midnight--The Forecastle Bulwarksp. 403
Midnight Aloft--Thunder and Lightningp. 404
The Musketp. 404
The Needlep. 407
The Log and Linep. 410
The Life-Buoyp. 412
The Deckp. 415
The Pequod Meets the Rachelp. 417
The Cabinp. 419
The Hatp. 421
The Pequod Meets the Delightp. 424
The Symphonyp. 425
The Chase--First Dayp. 428
The Chase--Second Dayp. 436
The Chase--Third Dayp. 443
Epiloguep. 452
Table of Contents provided by Ingram. All Rights Reserved.


From Carl F. Hovde's Introduction to Moby-Dick

It is clear that Melville is not Ahab, nor is he Ishmael, though here the relationship is more complicated. "Call me Ishmael," chapter I begins: The borrowed name lets us know that he will tell us only what he wants to, and that he is a man apart from his fellows. The biblical Ishmael is the illegitimate son of Abraham by Rebecca's servant Hagar, and even though the Lord is good to Ishmael later in Genesis, his half-brother, Isaac, inherits the Lord's covenant through their father (Genesis 16, 17, 21, and 25).

Melville's narrator promptly describes dark thoughts approaching self-destruction: He pauses before coffin warehouses and follows every funeral he meets. But in the novel things don't remain so grim for long. Just as the Lord in Genesis is good to Ishmael despite his illegitimacy, so Melville's Ishmael floats to rescue with his best friend's burial box. The image of death has become the means to life, a change typical of Melville's density of view and sense of ambiguity. And the narrator's depressions spoken of at the beginning are modulated by the very language in which they are described: He is serious in describing his "spleen" and the "drizzly November" in his soul, but he presents them in a way that masks the pain even as it bodies it forth. The joking tone in which that account is developed is one we hear very often from the narrator even when he speaks of serious things.

The Ishmael we hear at the beginning is in some ways the book's most illusive character because, just as the biblical name suggests an outsider, a wanderer of sorts, he wanders in and out of the novel's narrative voice as it moves along. In the early chapters he is fully present as a character as he leads us toward the Pequod, but once on board he soon melds into the crew as his storytelling duties are taken over by the much more knowledgeable narrator whose arrival is not announced, but whose presence is clear as early as chapter XXIX when we overhear an exchange between Ahab and Stubb, the second mate.

They are on the quarterdeck, where Ishmael, as a common seaman, has no right to be unless working, and even if he were he could not overhear Stubb's private thoughts as he descends into the cabin. There is much in the book that Ishmael the crew member could not see or overhear: conversations between the ship's officers, Ahab's behavior at dinner with his officers, to say nothing of Ahab's private thoughts in a dramatic monologue complete with stage directions. In "Sunset" (chap. XXXVII), the scene is "The cabin; by the stern windows; Ahab sitting alone, and gazing out." As in the preceding chapter, "The Quarter Deck" (chap. XXXVI), we have suddenly changed literary genres-we are for a short time in a play, not a novel.

As the action requires of him, Ishmael now and then returns as a man with a particular role on the ship, someone who could not have the wider knowledge we are often given. In chapter LXXII he is at one end of a rope with Queequeg at the other; in chapter XCIV he is squeezing coagulated oil back into liquid; in chapter XCVI he almost capsizes the ship; in the Epilogue he is floating with Queequeg's coffin so that the ship Rachel can bring him back to tell the story.

These are inconsistencies, but how bothersome are they? Most readers have not been much troubled. Both narrators have the same voice and personality-one simply becomes the other, and it is best to think of them as the Ishmael who acts and the Ishmael who narrates, two functions of the same identity. Often enough we may not even notice the change from one to the other because we are caught up in the action and the strange brilliance of the style.

The book's general narrator occupies a position between Ishmael, on the one hand, and Melville, on the other. We don't confuse Melville with the other two-that shared personality is the author's construction to serve his ends. But it is true that Moby-Dick is an opinionated work, and it is not surprising that the narrator sometimes expresses views that we assume to be Melville's. This is true, for example, in "The Ship" (chap. XVI), where Melville seems to wonder what it will take to turn an old American sea captain into a noble figure worthy of the greatest classical tragedies. The paragraph is a virtual recipe for what Melville will do in creating Ahab later in the book, so much so that he might have written it after he had largely finished with Ahab, and placed it early in the book as a sign of what is to come.

There are also passages in which the narrator expresses directly to the reader opinions that are appropriate to the text and are views that Melville clearly held. After explaining how property rights are established after a dead whale is temporarily abandoned, he asks, "What to the ostentatious smuggling verbalists are the thoughts of thinkers but Loose-Fish? What is the great globe itself but a Loose-Fish! And what are you, reader, but a Loose-Fish and a Fast-Fish, too?" We should be annoyed if we thought that the story line were there only to set us up for the generalization, but Melville's gifts as a storyteller prevent this: The comment rises from the action. While the passage is not about Ahab, it implies what is wrong with him-in his arrogance and isolation he denies the inevitable interdependence of personal identity and community, one of the novel's great themes.

In a novel where ambition reaches out to some of the largest matters-man's position in the natural world, the nature of charismatic rule in its moral dimensions, the very nature of reality itself-there are notable exclusions in Moby-Dick, though not through oversight. Important aspects of daily life are less represented than one would usually expect in a novel: Food, sleep, hygiene, pastimes are hardly present, nor matters of health-important on such a vessel-except for Queequeg's illness.

These exclusions come about because the literary genre closest to Moby-Dick is not the traditional prose narrative, but the epic-a form in which the texture of common life is often treated lightly to allow concentration on the protagonist and heroic action. After the nights and steaks in New Bedford's Spouter Inn and the meals of Mrs. Hussey's Nantucket chowder, there is little detail of this kind once the Pequod leaves the dock, with four-fifths of the novel still to come.

Excerpted from Moby-Dick, or The Whale by Herman Melville
All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

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