Moby Dick

I really enjoyed reading this short story. Bartleby’s indifference and passivity reminded me somewhat of Mersault’s from Albert Camus’s The Stranger, as well as Peter Gibbons’s from the movie Office Space. Being assigned to the “Literary Allusions and Other Moments of Literature” category of our Moby Dick blog, I was intrigued by Melville’s reference to Cicero and why the narrator has a plaster-of-paris bust of the Roman philosopher in his office. In addition to being a philosopher, Cicero was also a lawyer and politician. Despite his opposition to the dictatorship of Gaius Julius Caesar, his political positions were inconsistent and tended to shift in response to changes in the political climate. While this may be a very subtle reference, I feel that Melville makes it to draw a parallel between Cicero and the narrator, as well as emphasize the narrator’s inability to take a firm position on how to handle the strange character of Bartleby. In addition to this allusion, Melville sums up the narrator’s character in the third paragraph of the story; he writes,

I am a man who, from his youth upwards, has been filled with a profound conviction that the easiest way of life is the best… I am one of those unambitious lawyers who never addresses a jury, or in any way draws down public applause… All who know me, consider me an eminently safe man. (Melville 5)

Melville characterizes the narrator as a “safe man” who always takes the path of least resistance. While the narrator tries to learn about Bartleby and does seem to ponder about his situation, he finds it much easier to leave Bartleby behind and fend for himself. He would like to be charitable and selfless, but he never goes out on a limb to help Bartleby. He never actually asks Bartleby if there is anything that he can do for him; he can only ask Bartleby to do things for him.

References:

Melville, Herman. “Bartleby, the Scrivener: A Story of Wall Street.”http://www.enotes.com/bartleby-scrivener-text/bartleby-scrivener-1

http://en.wikipedia.org/wiki/Cicero

At last! After 132 chapters of talking about and endlessly searching for him, we finally have encountered Moby Dick in the flesh. Up to this point, Melville has not really provided us with a lengthy description or compared Moby Dick to a mythological figure or concrete object as he has with so many other characters; the whale is simply an unknowable god-like entity. But in the first chase chapter, Melville finally provides us with a description of the white whale. He writes,

A gentle joyousness—a mighty mildness of repose in swiftness, invested the gliding whale. Not the white bull Jupiter swimming away with ravished Europa clinging to his graceful horns; his lovely, leering eyes sideways intent upon the maid; with smooth bewitching fleetness, rippling straight for the nuptial bower in Crete; not Jove, not that great majesty Supreme! did surpass the glorified White Whale as he so divinely swam. (Melville 596).

Melville likens Moby Dick to the king of gods, Jupiter, but in the form of a “white bull.” Melville is referencing the story of Europa, a beautiful Phoenician princess who was abducted by Jupiter. Jupiter fell in love with Europa and disguised himself as bull; he convinced her to get onto his back and then proceeded into the sea and swam to the island of Crete. I think that Melville references this story, not simply to imbue Moby Dick with a god-like aura and divine qualities, but also because it emphasizes the whale’s seductive powers over Ahab. While the story of Europa and Jupiter is not indistinguishable from Ahab and Moby Dick, there are certain parallels between the two. Much like the white bull, Moby Dick has this intriguing and irresistible quality that Ahab can not ignore; he has been consumed by this whale for the past year and has so to speak, climbed onto Moby Dick’s back and followed him half way around the world.

As we discussed in class, The Symphony chapter is very Shakespearen and Ahab’s long confession to Starbuck is reminiscent of King Lear. In addition to this Shakespearen reference, this chapter reminds me quite a bit of Greek tragedy, in particular Homer’s Iliad. Although they are not identical, the Trojan hero Hector and Captain Ahab share the characteristic of having a wife and young child at home. Hector is also fated to be killed by Achilles and even runs three laps around the city of Troy to stay away from the Greek soldier. In the same way that Hector knows that he eventually must confront Achilles (i.e. death), Ahab knows that he must fight Moby Dick. After Ahab reveals to Starbuck how much of his life he has regretted and Starbuck is hopeful that they might return to Nantucket, Ahab acquiesces and gives in to his death; he asks

What is it, what nameless, inscrutable, unearthly thing is it; what cozening, hidden lord and master, and cruel, remorseless emperor commands me; that against all natural lovings and longings, I so keep pushing, and crowding, and jamming myself on all the time; recklessly making me ready to do what in my own proper, natural heart, I durst not so much as dare? Is Ahab, Ahab? Is it I, God, or who, that lifts this arm?… Aye, toil we how we may, we all sleep at last on the field. Sleep? Aye, and rust amid greenness. (Melville 592)

In the same way that Hector is reluctant to accept his fate, Ahab admits that there is nothing in his “natural heart” that would make him want to continue on this quest for Moby Dick. There is some “hidden lord” or “remorseless emperor” who controls Ahab’s decisions that he cannot fight much like Hector who is coerced into battle by the gods. This scene also has another reference to Greek mythology when Ahab concludes that he will “sleep at last on the field.” After their deaths, Greek heroes would rest in the fields of Elysium. Like a tragic Greek hero, Ahab believes that he will soon die and lay in the Elysian Fields rather than heaven.

Chapter 82, entitled The Honor and Glory of Whaling, is chock-full of both cultural and literary allusions. In this chapter, Melville recounts the stories of biblical and mythological figures who have killed or triumphed over whales. The chapter begins as Ishmael remarks,

The more I dive into this matter of whaling, and push my researches up to the very spring-head of it, so much the more am I impressed with its great honorableness and antiquity and especially when I find so many great demi-gods and heroes, prophets of all sorts, who one way or other have shed distinction upon it, I am transported with the reflection that I myself belong, though but subordinately, to so emblazoned a fraternity. (Melville 395)

This passage and the chapter in general serve a dual purpose. It gives Melville another chance to display his knowledge of history, mythology, and scriptures, but it primarily functions as way for Melville to demonstrate to his readers that whales have been depicted as dangerous beasts throughout history, and sailors who willingly hunt these Leviathans are elevated into a heroic and almost god-like “fraternity.”

Melville’s first literary allusion describes the story of Perseus, who Melville defines as the “first whaleman.” Perseus was a hero from Greek mythology who saved the princess Andromeda from a “Leviathan” or whale. Melville writes,

The gallant Perseus, a son of Jupiter, was the first whaleman; and to the eternal honor of our calling be it said, that the first whale attacked by our brotherhood was not killed with any sordid intent. Those were the knightly days of our profession, when we only bore arms to succor the distressed, and not to fill men’s lampfeeders. (395)

This passage is a curious juxtaposition to the last one; in the first, Melville honors whalers by putting them in the same class as “demi-gods” and “heroes.” But, in this passage he implies that killing whales “to fill men’s lampfeeders” is a “sordid intent.” I get the feeling that Melville is conflicted by whaling; while he is incredibly impressed with the courageousness it takes to attack a giant and powerful animal, he also feels that hunting whales for the sole purpose of oil is not so honorable and heroic.

Despite this not so subtle political commentary, Melville goes on and adds St. George (religious saint), Hercules (demi-god), Jonah (prophet), and Vishnoo (Hindu god) to the “emblazoned fraternity.” Although Melville was a politically-minded individual, it seems his principal goal in this chapter is to establish whalers as a brave and fearless group, despite the immoral aspects of their job.

In chapters 36 through 40, Melville inserts a Shakespearen mini-play into his novel using literary devices such as poetic rhythms & images, soliloquies, and stage direction that help to illustrate the dramatic and tragic elements of Moby Dick. Through the use of soliloquies, Melville also communicates to the reader (without relying on the narrator) the true feelings and reflections of Ahab, Starbuck, and Stubbs.

Much like Shakespeare’s Hamlet, who is driven to madness by his obsession of exacting revenge on his uncle Claudius, Ahab, admittedly, has grown mad with his fixation on killing Moby Dick. In his soliloquy, Ahab proclaims,

What I’ve dared, I’ve willed; and what I’ve willed, I’ll do! They think me mad—Starbuck does; but I’m demoniac, I am madness maddened! That wild madness that’s only calm to comprehend itself! The prophecy was that I should be dismembered; and—Aye! I lost this leg. I now prophesy that I will dismember my dismemberer (Melville 183).

Ahab’s reflections on Moby Dick and his “demoniac” attitude demonstrate that Ahab’s quest for vengeance on the whale has completely consumed him, and, as he acknowledges, has driven him quite mad. Melville’s juxtaposition of Ahab’s madness and his acknowledgement of this madness is very curious. You might ask, ‘how crazy can a person be who is aware of their madness?’ As Ahab says, “that wild madness that’s only calm to comprehend itself!”, implying that Ahab can set aside his craziness for an instant, only to recognize it; apart from that self-awareness, this madness has consumed every other aspect of his life. This passage illustrates Ahab as a flawed protagonist because he is fully aware of his madness, but he is willing to put others at risk to achieve his goal of “dismember[ing] his dismemberer.”

Starbuck’s soliloquy also plays an important role in these chapters. The first mate comments to himself:

My soul is more than matched; she’s overmanned; and by a madman! Insufferable sting, that sanity should ground arms on such a field! But he drilled deep down, and blasted all my reason out of me! I think I see his impious end; but feel that I must help him to it (Melville 184).

Despite Starbuck’s recognition of Ahab as a “madmen”, he is unable to stand up and combat his captain; he even fells compelled to help Ahab with his mission, perhaps because he prophesizes that their quest for Moby Dick will lead Ahab to an “impious end.” With Starbuck’s soliloquy, Melville foreshadows a tragic end for Ahab and the rest of the Pequod.

As Professor Friedman has said, Melville makes numerous references to literature, philosophy, and Greek/Roman mythology and history in Moby Dick.

In the first paragraph of the novel, Melville alludes to the Roman politician known as Cato the Younger. Cato lived from 95 BC to 46 BC and was a statesmen during the late Roman Republic. He is remembered for his stubbornness and being in staunch opposition to Gaius Julius Caesar and the triumvirate. I may be simplifying this quite a bit, but I believe that a Civil War broke out between supporters of Caesar and a faction of the Senate who opposed Caesar; the latter group included Cato. After Caesar’s troops defeated the rebellion army in the Battle of Thaspus, Cato committed suicide by stabbing himself (Wikipedia: http://en.wikipedia.org/wiki/Cato_the_Younger)

In Moby Dick, Ishmael compares his need to go to sea to Cato’s suicide: Melville writes:

Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world… This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship (3).

I know we talked briefly in class about how “pistol and ball” could mean that sailing is Ishmael’s substitute for either killing himself or going on a murderous rampage; however, I believe this reference to Cato’s suicide indicates that Ishmael is referring to the former. It would also be difficult for Ishmael to kill others with a just a single ball which also implies suicide.

Melville could be making this reference to Cato for a couple of reasons. He could be trying to foreshadow that Ishmael is a rebellious character who might stand up to Captain Ahab (the nautical Caesar). He could also be trying to illustrate that Ishmael’s character is somewhat pretentious since he is comparing himself to Roman figure who had the courage to oppose Caesar. Finally, Melville could simply be making a reference to Cato because he wants to show the readers that he is familiar with the history and is therefore an educated and learned individual.

Melville’s novel is highly allusive: he makes references to Shakespeare, to Milton, to contemporary authors, to historians, to classical literature in Latin and Greek. He was a multimedia man, and he put a lot of that media into his novel. This group’s job is to think about what passages or events might resemble moments in other forms of literature. Does a particular passage recall a moment in Shakespeare (one of his plays, or a line of his poetry)? Does a particular passage resemble a Greek myth you read in high school? You can also do a little bit of web research to find out what particular literary allusions Melville might be making in a passage. Or, you can make an educated guess — you can even say that a passage reminds you of a totally different, later, or more contemporary piece of literature you read (as long as you explain why).