Journal #1

Yuna Lee

June 19-27 (Chapter 1-27)

In chapters 1-27, the narrator, Ishmael, strongly believes that all decisions are made by our fate. This is noticeable when he suggests that the “invisible police officer of the Fates” (‘Loomings”, pg. 27) is the reason why he became a sailor. To emphasize the dark and fateful mood of the book, Melville uses various foreshadowing. For instance, when Ishmael decides to stay in an inn, the name of the inn hints his future. “… faintly representing a tall straight jet of misty spray, and these words underneath – ‘The Spouter Inn’: – Peter Coffin” (‘The Carpet-beg’, pg. 32). The fact that ‘coffin’ is a box in which corpses are buried indicates a tragic future awaiting Ishmael. Besides foreshadowing, Melville uses allusion to the Bible to build a fateful mood. Father Mapple says during his sermon, “Shipmates, I do not place Jonah before you to be copied for his sin but I do place him before you as a model for repentance. Sin not; but if you do, take heed to repent of it like Jonah” (‘The Sermon’, pg. 87). The story of Jonah emphasizes the importance of true repentance and sets Jonah as a model for the characters to follow along with the story. Also, there are several biblical names in the book, such as Ahab, which indicate a connection to religious fate.

Through the language, Melville slowly develops the character and Christianity of Ishmael. Relatively at the beginning of the book, Ishmael is portrayed as someone with strong prejudices. For example, “Oh no, said he, looking a sort of diabolically funny, ‘the harpooner is a dark-complexioned chap” (‘The Spouter-inn’ pg. 39). Just because Queequeg is described as ‘dark-complexioned’, Ishmael gets suspicious and doubts on Queequeg’s suitability as a person to share a bed. However, Ishmael shows changes in his behavior and thoughts, “thought I to myself – the man’s a human being just as I am: he has just as much reason to fear me” (‘The Spouter-inn’, pg. 54). This phrase suggests that Ishmael is viewing Queequeg as an equal human being and later the two become companions. In this process, Ishmael falls to idolatry and tries to justify his actions, “Consequently, I must then unite with him in his; ergo, I must turn idolater” (‘A Bosom Friend’, pg. 96). This shows that his Christian life is very limited – when in contact with other people, he easily loses his principles as a Christian. His companion Queequeg also has a limited view of Christianity due to his background, “Struck by his desperate dauntlessness, and his wild desire to visit Chris – tendon” (‘Biographical’, pg. 101).

Lastly, I could observe many figurative languages, unique syntax, and diction used by the author. There are lots of similes such as “… like a snow hill in the air” (‘Loomings’, pg. 28), “lives like a Czar in an ice palace…” (‘The Carpet-beg’, pg. 31), etc. There is imagery, “the blackness of darkness … at last came to a dim sort of light” (‘The Carpet-beg’, pg. 31). The contrast in the atmosphere of two different settings is well represented through the contrast between the colors. Melville also uses personification, “the stubborn storm” (‘The Chapel’, pg. 69) and irony, “no suicides permitted here, and no smoking in the parlor” (‘The Ramadan’, pg. 142) – the ‘no suicide’ panel won’t actually prevent any suicides. A combination of long and short sentences is observed as well – it helped me to maintain the focus on the book – “Strange! Nothing will content them but the extremist limit of the land; loitering under the shady lee of yonder warehouses will not suffice. No. They must get just as nigh the water as they possibly can without falling in” (‘Loomings’, pg. 22). Other figurative languages/literary devices used include onomatopoeia, “pooh, pooh!” (‘The Carpet-beg’, pg. 33) and asyndeton, “A boggy, soggy, squitchy picture truly…” (‘The Spouter-inn’, pg. 35). All of these figurative languages together enrich the quality of the text.