The exaltation of the whaling career and the wondrous exploits of the peculiar, yet noble art of the whaleman is a common theme throughout the book, and especially this section. “But look at the godly, honest, unostentatious, hospitable, social, free-and-easy whaler!(237)”, Ishmael exclaims as he refers to a friendly meeting of whalemen, compared to the irreparably flawed greetings of other varieties of seafarers. Dreamy evenings aboard a gentle Pequod surrounded by an ocean of brit, the majesty of whales and the thrill of the whale hunt, the skillful management of the “magical, sometimes horrible (273)” whale-line, and the bodily and spiritual isolation of the “savage” whaler–this kind of life frightens, and also undoubtedly allures the readers. Ishmael is even quick to condemn prominent artists for not accurately portraying the anatomy of whales, and at times, he does appear inflated with the notion that he is superior to petty landsmen, but disguises it well with his familiar, good-natured writing (or rather, the character’s voice within Melville’s writing) . And when the reader becomes accustomed to Ishmael’s way of viewing the world, it still becomes nothing short of impressive when, out of sheer passion and awe, he is able to make out the image of a whale in the starry heavens (268), or ponder at the dreadful power of the Deity from none other than a whale’s brow (334). Even the brutish Stubb is portrayed with admiration as he nimbly captures the sperm whale (279-281).

And yet, however compelling the nature of Ishmael’s arguments, the allure of the whaling life is instantly shambled when we are exposed to the true cruelty of a whale’s murder. It is a wonder that Ishmael can possess such an unbounded reverence for the great “leviathan”, with no perceivable ounce of horror as he describes the “spasmodically dilating and contracting his spout-hole, with sharp, cracking, agonized respirations”, and the “gush after gush of clotted red gore”, like the “purple lees of red wine”, shooting out into the air (281). However, Ishmael is of the opinion that we are not the least bit civilized either, and is quick to point out our hypocrisy: “But no doubt the first man that ever murdered an ox was regarded as a murderer (…) Look at your knife-handle, there, my civilized and enlightened gourmand dining off that roast beef, what is that handle made of? (293)”.

To us landsmen, the whaling life is still not convincing enough, for even that justification does not explain the sheer insanity of falling into a dismembered whale head, as the unfortunate Tashtego does in “Cistern and Buckets”. When Queequeg dives to the rescue, I was afraid he would reach the “final dive” that Ishmael only briefly referred to at the beginning of the book. Thankfully, both Queequeg and Tashtego survive, at least for now. More unsettling still is the “devil-worship (287)” of the sharks, which follow the Pequod’s traverse like a larger, and infinitely more sinister group of maggots. Although Fleece and Stubb attempt to converse with the sharks in an odd display of humor and stupidity, the author could be trying to tell us something much deeper through this interaction. Fleece’s resolution to the “Christian” method of reasoning with the sharks proves just as ineffective as his previous cursing at them, perhaps signifying that aboard the Pequod, the powers of Christendom amount to a foreign and useless notion; it is a world of savagery as Ishmael stated before. It is also ironic that the religious professions of Stubb greatly contrast his frightening, aggressive demeanor towards Fleece. Melville’s reflections on tolerance from the very beginning of the friendship between Christian Ishmael and pagan Queequeg echo back to us in all of its subtle criticisms. On a slightly lighter note, I also wondered whether the monkey-rope tying Queequeg and Ishmael together during the dangerous descent of the blubber-hook (309) somehow symbolized the nature of their inseparable friendship; their lives were at that moment physically tied together, just as they are bound by fate throughout the story.

But that is not the only time we ponder at the hidden meaning within Melville’s writing. “The Town-Ho’s Story” certainly left me wondering if Radney’s death by the white whale was the only element of foreshadowing layered through the tale, or whether the division and violence of the crew were indeed pointing to a future conflict within the Pequod. Melville has a repetitive way of applying an unobserved, wondrous feat of nature to a quick, philosophical reflection about our own lives: “consider them both, the sea and the land; and do you not find a strange analogy to something in yourself?…(270)” We are told to imagine the two whale heads hanging upon the sides of the boat are indeed the heads of Locke and Kant, and are then that we should throw them overboard (318); we can only speculate and wonder at the cause for such a statement. The ghost-like apparition of the great Squid (272) seemed like yet another omen of dread for the crew, and Ishmael admits to the existence of superstitions concerning the unusual sight. We are even left pondering about meaning behind the Italian line engravings–or are they Indian hieroglyphics?–upon the blubber of the sperm whale (298). The further comparison of a whale to the famous dome of St. Peter’s (300) is particularly interesting–the whale is just as beautiful, ethereal, inconceivably massive, and overflows with symbols of heaven and feelings of splendor. Ahab’s Shakespearean monologue towards the whale head (302) only worsens his maddening impression upon Ishmael and the readers, and the delirium of Gabriel on the neighboring Jeroboam crew also makes us frightened with the notion that Pequod itself may eventually reach such sinister levels of disorder.

Ana Luiza Bueno

July 14	18 pages
July 15	18 pages
July 16	18 pages
July 17	14 pages

Moby Dick Journal #3

A big emphasis is brought upon the importance of definitions. Not only was it noticed that approximately 30 pages were used to define unfamiliar words or terms at the end of the book, but entire chapters were dedicated to the clarification of whaling expressions. Page 296, as well as page 298 and many others were used to not only define, but to present an extensive collection of examples and stories behind each unfamiliar term used in the previous chapter. Whenever there isn’t an entire chapter dedicated to definitions, there are always footers that are used to provide a thorough explanation of terms like in page 301, where the words fluke and tail are clarified. I consider this extensive and detailed cautiousness Melville has for the better understanding of the reader an admirable trait. Although the glossary placed at the end was potentially not included in the original copy, the chapters and foot-notes were placed by the author and make the novel an even better experience.

Another notable attribute is Melville’s way of manipulating dialogues as to characterize people’s background by presenting their drawl or accent. Some characters, as seen in page 321, “That lively cry upon this deadly calm might almost convert a better man” spoken by Captain Ahab, is considerably similar to Melville’s style of writing as narration in the novel. Nonetheless, in other instances, when there is a large difference in spoken pronunciation, it is made known to the reader by altering letters in words just enough to change its diction. An example of this is found in page 304, where a man of color, Cook, is shown to have a much inferior education and, in turn, a poor vocabulary. In using phrases such as “dat is natur” instead of “that is nature” and “neighbor’s mout” rather than “neighbor’s mouth” not only adds a depth of reality, but also provides us with a stronger connection to the story in itself. Giving a dialogue its accuracy is much like giving depth and texture to a painting. The more realistic a painting is, the better and more appreciable it is. The same applies to speech in a book; the feeling of being merged in can only be obtained when the reader can relate to what or how something is being said. This, I admit, is very effective, but I do wish that it could be used more often in Moby Dick.

In addition to these things, calmness followed by chaos is an aspect of Melville’s writing that is seen throughout the novel, mainly when getting closer to finding a whale. Ere the capture of the second whale, there was an “intense copper calm” and, one page later, “sail ho!” and they had their second encounter (page 320_. This was a constant theme found as I read. The same occurred when they caught sight of the sperm whale in a previous section. In page 221, a “dreaminess reigned all over the ship and all over the sea”. As before, in the same chapter, they found Moby Dick, which is, in essence, the heart of the novel. Now this “calmness” generates a subconscious alertness and curiosity to future critical circumstances in the novel. This pattern of calmness then climax is engraved in the readers’ minds and forms a type of anticipation that, although some sections might be somewhat dull, what is to come is worth reading.

Finally, the author’s consistency in portraying captains as insane is a noteworthy and interesting characteristic of his writing. As most readers must’ve thought following through the couple few descriptions of Ahab near the beginning of the book, he was somewhat mysterious and, in ways, reminded us of a lunatic. His backstory was a complete mystery and all we knew of him was his greatness, yet harshness. He isolated himself for an extremely long time and, seeing that he was not physically ill, it could’ve only been something going on inside his mind. In addition, his burning revenge was way beyond measure and probably led him to insanity. Similarly, the captain from the Jeroboam was definitely not ordinary. Page 324 characterizes him as a crazy man that suggested he was Angel Gabriel. All of the ship’s members were fearful of him and not unreasonably. This is a pattern I found in the book and consider it quite interesting, although I’m not sure if they were purposeful or not.

There were some parts in this section which at first made me wonder, “why is this here?”, such as the alteration to a play-like writing style, or the descriptions on the varying classes of whales. Soon enough, however, the significance of these writing devices was made clear. Later on in the book, Ishmael’s references to, or even full-blown tales of great whaling adventures would not be complete if we did not have some background on the Right Whale, the Sperm Whale, the Greenland Whale, and so on. Even though we do not remember all of the details about Ishmael’s rambles on cetology, we still feel “experienced” enough to comprehend his stories on a deeper level once we are familiar with the different whales that are within them; they even feel like individual characters. Now, the abrupt change to the play format at first seemed very confusing to me, but later on I realized that somehow, it inexplicably heightened the mood of madness and desperation the author was attempting to convey. The chapter “Midnight, Forecastle”, with its detached style and all of the mindless celebration, gives us the impression that the sailors are all marionettes in the hands their puppet-master. “Sunset” and “Dusk” contain soliloquies of Ahab and Starbuck respectively, and it is the first time the novel switches to a point of view of other characters besides Ishmael. To me, they felt like the climax of suspense and drama in this section. The uncertainty of Starbuck and the mad obsession of Ahab really made me think that ghastly horrors awaited the Pequod crew.

Although the theme of fate and ominous suspense becomes magnified later on in the book, it resurfaces significantly throughout this section as well. Starbuck’s hesitation to join the pursuit of Moby Dick is an evident use of foreshadowing; he is the only one sensible enough to question the “foreboding invocation (pg 168)”. His frightful exclamation at page 167 “God keep me–God keep us all!”, felt like a death-sentence for the characters. However, the culmination of the theme of fate for this section lay on page 188: “Such a crew, so officered, seemed specially picked and packed by some infernal fatality to help him to his monomaniac revenge.” Ishmael goes on to describe how it seemed as if evil magic had bound the crew together to follow Ahab’s bidding. Sperm whales are guided by an “infallible instinct (199)”, and even the Zodiac is used to predict the locations of the white whale (200). And just before the spectacular appearance of the dreaded Moby Dick, a long description of a dreamy afternoon which appeared to be weaved together by the Fates themselves (214) looms in to remind us of the familiar mood of the novel. Finally, the section ends with the ghostly spouts of the white whale (232).

The main purpose of the book, the whale Moby Dick, is thoroughly described in the frightful chapter that bears the whale’s name, as well as the following chapter, “The Whiteness of the Whale”, which to me was the most provoking section of the book so far. We finally learn what makes Moby Dick particularly entrancing to Ishmael, and that is its white color. The argument that it is the whiteness of the whale–not the massive size or even its ravaging actions–that emanates the horrifying effect it has on people, is so intricately well-written and convincing. The entire universe is shrouded with the ethereal and the dread of the color white, according to Ishmael. As he personally converses with the reader and cites so many examples for his view–even some that almost two-hundred years later we can still relate to–we are completely enticed by the singularity of whiteness in creation by the end of the chapter, and are bewildered by the fact that we never actually noticed it before. It certainly adds to the fright of Moby Dick.

Melville’s development of the different characters is especially admirable; we are able to decipher so much about a character from a single, well-written paragraph. We would expect long descriptions about physical appearance or somebody’s particular day-to-day trifles to bore us, but instead, they are intriguing and even humorous at times. The trials of humble Flask under Ahab’s strict regime (pg. 154), Ishmael’s pleasant meditations on the mast-head (157-163), Starbuck’s conflicting thoughts about the white whale quest, the monotone and yet passionate encouragements of the quirky Stubb, little Flask atop the massive Daggoo (220), and Ishmael’s desperation upon realizing that his life is an absolute joke and that he runs the serious risk of losing it upon that fateful whaling journey–all of these, as well as others, are the most enjoyable moments of the book and they quickly lead you to root for the characters, however mad their pursuits may be. It is also what makes the occasional mental descent of the crew so poignant at times: “Beelzebub himself might climb up the side and step down into the cabin to chat with the captain, and it would not create any unsubduable excitement at the forecastle (229).” We are finally introduced to the long-awaited Captain Ahab; in fact, this entire section contains several descriptions which surround him with an inescapable aura of mystique and apprehension. The scar that crosses his face like a lightning that hits a tree (129) is an introduction to his eerie persona, which only darkens as the story progresses. We learn that “he sleeps with clenched hands (202), and that nobody ever saw him kneel (227). Ahab’s unquestioned authority in the boat becomes a recurrent theme, and he represents such a stark contrast with everything that we consider “normal” or “pleasant” in a person. The introduction of Ahab’s objective of chasing the white whale produces uncomfortable feelings in the reader as, “more and more strangely and fiercely glad and approving grew the countenance of the old man at every shout”, and a muffled humming is heard from his “wheels of vitality” (164-165). He is incredibly smart and calculating, not only in the effort that he dedicates to his maddening revenge on Moby Dick, but also in the way that he plans to maintain the will of his crew under his own steady control (211-212).

Ana Luiza Bueno

Moby Dick Journal 2

June 6	28 pages
June 7	28 pages
June 8	28 pages
June 9	28 pages
July 10	28 pages

Melville’s style of writing is extraordinarily complex, making the careful and detailed use of intricate words and phrases with the intention of describing simple situations in the most refined manner. One example is found on page 248, which is entirely reserved to define one word; gam. Melville spends 90% of the page simply stating what thoughts come to mind when he thinks of the word, and only the last four lines are set aside to define it! This can also be found in several other instances in which, found in page 204, the uncomplicated statement that captain Ahab had been going over charts and maps on his free-time had been expanded to a whole chapter. Personally, I would consider this characteristic one that most heavily constitutes Melville’s unique writing style. This is what formulates the challenging aspects of this read but, most importantly, establishes its uniqueness.

In addition to his intricate vocabulary, the use of varying subgenres and writing styles are found along Moby Dick. Incorporated in the novel are narratives, poems, plays, and informative writing. Moby Dick is, above all, a romance, which is what it is known for. The novel is about a passionate and purposeful man who goes on a journey in search of a whale but ends up getting caught in a vengeful chase. Apart from that, Herman Melville writes chapters and chapters focused on solely describing whales and the seas, which proves to be exhausting yet fascinating. Furthermore, several poems, chants, and ballads are uncovered throughout, and demonstrates another talent expressed by Melville. One found in page 175 contains a poem sung by the men aboard the ship during their first night-watch. An unexpected change was found in chapter 40, where the author decided to write a play-like chapter! The chapter was structured with the names of each character and their speech below it. His writing in general gives Melville the freedom to explore several types of writing style while still fitting in the mold of romance, which is remarkable.

Associations, besides serving as practical bridges between the author and the reader in a relatable manner, also provides explanations Melville uses to justify Ishmael’s reflections. I felt this very strongly on page 194. Here, Melville attempts to convince the reader of sharing the same bizarre thought as Ishmael, of regarding the color white as very scary and intimidating. In fact, he claimed that the scariest part of the sperm whale was its whiteness! The author was persistent and set apart one of the longest chapters of the book to build a firm wall of reasoning and facts to support his claim. He presented several examples of thins or people who wore white and what white represents in a few occasions. Using that to support his claim, I believe he convinced several readers that white represents, and thus should really be, something to fear. This is the power that literature has on people and it is truly astounding!

Another literary device adopted throughout the novel is foreshadow. The first section of the book consisted of one branch of foreshadowing, namely, “prophecy”, while the most prominent types of foreshadow used in this second section is Chekov’s gun or flashback. Chekov’s gun, which is a direct form of indication of a future event, is seen in a few parts of the section. It was stated that every ship that encountered a whale lost a least one of its members and I can’t help but relate that to Ishmael’s own voyage (page 212). No detail in a book is included for no reason. In addition, Ishmael recounts a flashback of a time when he a story was told to him about another voyage in which the crew declared mutiny. I believe that there might be some sort of quarrel between the ship mates and Captain Ahab. Apart from these, there are still several other instances in which the author makes the use of foreshadowing. It is a useful way of making the reader think ahead, which captivates them even more.

Ana Luiza Bueno

June 17	25 pages
June 18	25 pages
June 19	25 pages
June 20	25 pages
July 3	25 pages
July 4	2 paragraphs
July 5	2 paragraphs/ submit

Melville gives improbable and conflicting attributes to people and objects to show a break in stereotype. For one, a so-said “monster”, attributed as a horrifying cannibal and savage, was proven to be an exceptional man. The intimidating Queequeg, described in page 21, made Ishmael “so afraid of him” that he was not game enough just then to address him. Nonetheless, this purple monster was nothing less than a kind man who knew no better than to restrict himself to the boundaries of his culture.  “He really did this in not only a civil but a really kind and charitable way” pg. 23. Queequeg , despite sticking to traditions of his despised culture, cultivated decent and correct intentions, different from what others around would expect. In a like manner, the boat Ishmael chooses to adopt for the voyage does not possess the expected characteristics of one set apart for the sole purpose of whaling. Page 72 describes the ship as “old school, rather small if anything; with an old-fashioned  claw-footed look about her.” The Pequod was later found to be property of one of the best acclaimed and successful sailors around. It is to suppose, as Melville hints throughout the book, that his pattern of breaks in stereotype will continue to be found in the novel in a form of, what I consider, a critique.

The theme of whales and seamen is found in a wide range, if not most, of the descriptions regarding Ishmael’s surrounding. Even the sermon cited on page 43 could not help but focus on the subject of whales! Melville decided to include in the novel the only story concerning whales found in the Scriptures, and I refuse to believe it to be coincidence. I assume he does so to remind the reader of where the story is heading as a whole. With an abundance of descriptions, it is difficult to focus on the main point of the book. Melville even dared include on page 69 that the milk tasted of fish! As a very smart and skillful author, Melville makes sure as to not deviate the reader’s attention away, while still maintaining his label of profound and abundant descriptions. Every time sceneries and people are described, the author does so by linking the traits to the sea. I believe this will be a common pattern found throughout the book.

The use of philosophical thoughts, however minor, might be used further on as a minor theme or something to be looked for throughout the journey. I was amazed by the first section of the book and its profound thoughts and philosophies. Melville’s distinguished comprehension of the world cannot go unnoticed. One of the wonders of “Moby Dick” is the profoundness of the story. It is not merely the story or Melville’s wondrous writing, but also the questions and thoughts it puts out. For this matter, I and many others consider this book a masterpiece. Page 77 states, “For all men tragically great are made so through a certain morbidness”. Pages 63 and 64 are used to present the great loyalty Queequeg expresses to his idol and religion as a whole. Melville concludes the chapter by quoting Queequeg, “We cannibals must help these Christians”. Through Ishmael, the author expresses in page 56, “(…) yet see how elastic our stiff prejudices grow when once love comes to bend them.” It is not of my use to explain these claims, but to present and acknowledge them. I hope these “themes” may become clearer the further I get in the book.

Melville’s expressive language accomplishes his ends, which are namely to engrave the scenery and thoughts expressed by Ishmael into the reader’s mind, so as to build a greater sympathy and understanding toward the characters. Page 72 provides a thorough description of the Pequod, as “old school, rather small if anything; with an old-fashioned  claw-footed look about her(…) her masts stood stiffly up like the spines of the three old kings of Cologne. Her ancient decks were worn and wrinkled, (…) but to all these her old antiquities, were added knew and marvelous features ” Comparisons Melville makes, helps discern and understand exactly what each description means. His characterization of people are just as well thought out. Chapter 25 focuses on describing the men in charge of the ship and the author uses broad and detailed depictions of people in order to fixate their shapes and characteristics in the reader’s minds. Small particulars such as “suspended from his ears were two golden hoops” were described. These small details make the novel so much more enjoyable and understandable for readers, through relatable comparisons and vivid descriptions.

This next to last section of Moby Dick was jam-packed with description and characterization, further developing the central themes of the novel. Throughout this section I found myself asking questions such as: How does man relate to nature? How does man relate to his fellow man? In asking these questions, I realized that perhaps I was embarking on the same journey that Melville took in writing his life’s work. In seeking to answer these questions, Melville utilizes a handful of rhetorical devices.

When considering man’s relationship with nature, I noticed an interesting trend in Melville’s description/characterization of the whale. Through a series of rhetorical questions in chapter 81 , Melville suggests that the Leviathan, “with the strength of a thousand thighs in his tail”, is in fact a hunted creature to be pursued by men, suggesting that man and nature are in opposition (“The Pequod Meets the Virgin”, 280). However, Melville later blurs the lines between man and nature by utilizing personification and human comparisons in describing the social dynamics of a school of whales. Melville doesn’t stop there but proceeds to raise the sperm whale to the status of a god when describing a sperm whale skeleton. Melville develops an analogy in which this whale skeleton is the weaver of the loom of the world and man merely its worshipers (“A Bower in the Arsacides”, 348). In this manner, a cycle is completed: man hunts the whale for survival, man and whale are equals with similar challenges, man worships the whale as a provider.            

In addressing man’s relationship with his fellow man, Melville describes a utopian dream and then allows his own characters to tear it down. In chapter 94, Melville describes, through Ishmael, the strange and unique process of squeezing (“A Squeeze of the Hand”). Using repetition, Melville emphasizes the equality and comradery in squeezing, even suggesting the process to be the solution to social injustice. However, Ishmael’s Utopian dream is torn down by the countless flawed characters in Moby Dick. There is the selfish and hypocritical captain Derek (275), the cruel and racist Stubb (320), the monomaniac captain Ahab (338), and the abusive Lord Warden (307). These characters show that the good will and kindness represented in the squeezing is unfortunately unattainable.

The Heidelburgh Tun, Stoicism, Platonianism, and Jeremy Bentham are but a few of the objects, philosophies, and people which Melville’s heavy use of allusion has compelled me to research in reading this third section of Moby Dick. Allusion, amplification, and analogy appear to be the three A’s of Melville’s rhetorical toolbox. However, I realized that much of the mastery of Melville’s writing is lost on me due to the age in which I live – the Information Age. I find it ironic that it is the wealth of information at my fingertips that acts as the limiting factor in my pursuit to understand and appreciate Melville’s writing. The wealth of information available to us in the 21^st century is overwhelming. In exchange for readily available sources of information, man has become a slave to convenience and the pell-mell pace of modern life. In this manner, we no longer prize the acquisition of knowledge and its expression in writing as did Melville’s contemporaries. I have found myself to be impatient and prone to distraction while reading Moby Dick. Therefore, I forced myself to take a step-back, use the tools around me, and learn to appreciate Melville’s writing.

Melville’s use of allusion in this section was bountiful, and as I alluded to earlier (sorry I couldn’t help myself), much of it was lost on me. As such, I wanted to research and reflect on one of Melville’s allusions in this collection of chapters. Melville alludes to Jeremy Bentham, or more specifically, Jeremy’s skeleton (“Of the Monstrous Pictures of Whales”, 211). In the section in which this allusion is made, Melville is explaining the hopelessness of determining the characteristics of a whale from its mere washed up skeleton. I researched Jeremy Bentham and discovered that he is considered the father of Utilitarianism and left express wishes that, upon his death, he was to be dissected and preserved. His body is housed at University of College London. This allusion emphasizes the absurdity of representing the temperament and characteristics of a being based upon its shell or carcass through subtle humor. This allusion can also be seen as a jab at society or the vainness of man.

Another aspect of Melville’s writing which at first bored me was his use of amplification, but as I have continued to read, I have come to appreciate this rhetorical tool as it increases the depth and nuance of concepts and ideas whether abstract or concrete. In fact, whole chapters of Moby Dick can be considered amplification in emphasizing one small point of nuance. Chapters 69, 72, 74 stood out to me as examples of amplification upon a simple idea or point of communication. In chapter 69 Melville uses amplification in describing the disposal of the sperm-whale carcass (“The Funeral”, 241-243). In expounding upon this small event, Melville deals with the relationship between man and nature using personification in describing both whale and feasting sea creatures. Similarly, in chapter 72, Melville describes a monkey rope using amplification, emphasizing the concept of each man’s fate being tied to others (“The Monkey-Rope”, 252).

Amplification and allusion are rhetorical tools which the Information Age has buried in favor of summary and directness. In essence, modern readers of Moby Dick find no time to truly appreciate the knowledge and wisdom behind the plot. To Melville, wisdom, wit, and knowledge were precious treasures that required an investment of time and resource. The modern reader of Moby Dick would strip Melville’s work of all that made it great out of the assumption that knowledge can be gained tomorrow and with a lesser investment of time. Therefore, I congratulate all those who have soldiered on through the minutiae of cetology, monkey ropes, counterpanes, harpoons, various sailing vessels, and other such nautical terms in their quest for knowledge and understanding.

Melville’s recipe for mood in this section of Moby Dick is a simple one: equal parts doom, gloom, and woe. Whether it be a description of captain Ahab’s brow (“Ahab”, 103) or the eerie ravens off the Cape of Good Hope (“The Spirit-Spout”, 187), Melville does not stray from his foreshadowing recipe. Melville also kicks the plot into overdrive (or at least a pace that compared to the previous chapters seems haphazard). Melville dedicates five masterful chapters to the complexity of ship hierarchy and each reveals the crew’s reaction to Ahab’s vendetta, from the first mate all the way down to Ishmael (“Sunset”, “Dusk”, “First Night-Watch”, “Midnight, Forecastle”, “Moby Dick”). In addition to developing the mood and plot, Melville also uses these chapters to introduce several important points and subjects which include cetology, to which a whole chapter is dedicated, and the probability/likelihood of whaling myths (“Cetology”, “The Affidavit”).

            One theme that stood out to me through this section is the idea of fate, or more specifically, each crew member’s view of fate as it pertains to Ahab’s quest for revenge. Captain Ahab, in an eloquent soliloquy, uses several analogies in exploring the weight of his quest upon his soul and arrives at the statement that he desires to be both “prophet and fulfiller one” (“Sunset”, 137). Ahab also compares the path to his fixed purpose (hunting Moby Dick) to iron rails upon which his soul runs a set course (137). However, Ahab’s first mate, Starbuck, having foreseen the dismal end of both captain and crew, refuses to admit that fate is set and vows to change what has already been determined (“Dusk”, 137). Stubb, the second mate, on the other hand, believes that fate is predestined and unchangeable and resolves to face fate with laughter (“First Night-Watch”, 138). All three characters present their inward thoughts via soliloquy. The crew’s perspective on fate is presented in the form of a play, complete with stage directions, and reveals a group of men trapped and tied to Captain Ahab’s fate through servitude (“Midnight, Forecastle”).

            A rhetorical device that features prominently in this section is analogy. An extended or more intricate metaphor, Melville uses analogies in describing the relationship between Captain Ahab and his officers as well as fate. A weary family party, a sultan accompanied by his emirs, and a maned sea-lion surrounded by cubs are just a few of the analogies that stood out to me as Melville described Ahab at dinner with his mates. Melville also presents his view of fate in analogy by comparing it to the weaving of a mat. The various components of weaving a mat become analogous to free will, destiny, and chance. However, this analogy of warp and destiny, shuttle and free will lead me to the following question – can free will and fate coexist? In Moby Dick it seems that the characters are resigned to fate, but perhaps mostly because they are trapped by their duties found in the hierarchy of the Pequod.

Reading through the first twenty-seven chapters of Moby Dick, Herman Melville utilizes rhetorical devices to plant in the mind of the reader ideas that echo the enlightenment ideals of thinkers such as Voltaire (e.g. Ishmael refers to the whole “worshipping world” to which everyone belongs (78)). In these opening chapters, Melville exceeds the necessary word count in communicating his thoughts on American as well as global society. Although he introduces topics such as race and religion, the composition of Moby Dick is far from the direct and absurd satire that Voltaire utilized in addressing similar subjects. In contrast, Melville creates nuance through a combination of rhetorical devices interlaced with passionate and poetic passages that remind me of Shakespeare’s plays or Homer’s epics.

            In addressing race, one passage from Moby Dick stood out to me. In chapter ten “A Bosom Friend”, Ishmael, the narrator, describes how his previous prejudices toward savages (i.e. people from Africa or with darker complexions) dissipate after becoming the bedfellow of a so-called “savage” named Queequeg, leading to an unexpected friendship. The epithets throughout this passage struck me. Phrases such as “splintered heart”, “maddened hand”, “wolfish world”, and “soothing savage” are woven together by Melville into an almost poetic style reminiscent of Shakespeare (49). The result is moving and appeals to the reader’s emotions.

            In addition to race, Melville also addresses the hypocrisy and legalism of Christianity as an institution, while at the same time supporting a tolerant and universal world religion. Again, in chapter ten, Melville uses a combination of hypophora and syllogism as Ishmael presents his reasoning behind joining Queequeg in the worship of the idol Yojo (50). Posing questions such as “what is worship?”, Ishmael then provides the apparent answers to these questions in an inner dialogue. This question-answer cycle continues until Ishmael reaches the final conclusion that, “I must then unite with him in his; ergo, I must turn idolater.” This passage presents Melville’s view that good Christian charity and evangelism can only stem from religious understanding and acceptance. Building upon his ideals of tolerance, Melville goes on to introduce the character of Captain Bildad, a Quaker, who has reduced religious hypocrisy down to a science. Ishmael states that Bildad had come to the “sage and sensible conclusion that a man’s religion is one thing and this practical world quite another (“The Ship”, 67).” Melville utilizes situational irony in depicting Bildad’s hypocrisy, characterizing him as a man who quotes scripture, not for self-betterment, but in an attempt to manipulate others (69).

            Melville’s writing may be complex and archaic, but his subtle critique of the church is one which the modern world continues to support. Hypocritical and bigoted are words still used to describe the modern church. However, these critiques should not drive Christians to reject the church, but instead challenge them to transform it, praying for continued sanctification and Christlikeness. While Melville links Christianity to prejudice and hypocrisy, the character of Father Mapple stands out as a Christian example of humility and understanding.  Melville deems Father Mapple, experienced in the world as a former harpooner and whaler (39), worthy enough to stand and preach from the pulpit. His message of sin and repentance, woe and delight (47) is constructed around the story of Jonah and ends in striking parallelism (“The Sermon”). Father Mapple’s sermon may seem out of place in the context of the first twenty-seven chapters, but in my opinion, it serves as a touchstone, foreshadowing woe to come.

“Part 2” of our reading is interspersed with some of the densest chapters or detours in the book. There are various moments where the author interrupts the plot to give us detours into the narrator’s musings about the story and what he believes is necessary background information to the reader. Ishmael (or Melville as Ish) employs large scale and “small” scale rhetorical tools through these chapters. In chapter 32 “Cetology”, Ishmael uses a rhetorical style called “Division-classification” in which he organizes and categorizes different kinds of whales so that the reader will appreciate how unique and grand the sperm whale is in comparison to other types of whales.  This tool also provides background information that helps us see the purposes of hunting different whales in this time period. You might also apply the rhetorical tool of “definition” as Ishmael defines what a whale is in general before getting into specifics. (Yeah, I know this was hardly the most thrilling chapter.) Chapters 37-39 use the rhetorical style of a script or play and does this as a means to more dramatically capture the visceral reactions to the captain’s obsession with killing the white whale. Chapter 45 “The Affidavit” uses the rhetorical skill of “argumentation” to further a point about how plausible (or believable) it is that big bad whales exist out there, that they are recognizable, and that one could actually hope to stumble across the same whale more than once in the ocean. He addresses objections of someone who hasn’t been much on the sea and compares them with real stories he’s heard at sea. There are several other “large scale” rhetorical tools used through the reading that we will analyze more fully when we get to class.

The small-scale rhetorical tools that I recognized through the reading of chapters 28-51 were the frequent use of analogy. An analogy according to merriam-webster is a comparison (also correspondence) made between two unlikely things ‘based on resemblance to one particular aspect.’ Analogies are like “metaphors” in this respect, but often are more extensive than metaphors and can be used within making an argument. When Ishmael describes life on the mast head, he compares the person on lookout standing on the mast head with the relationship between soul and body. The person on watch is the soul, while the mast head is the body or frail encasement of the soul (Ch. 35, p. 160 Collins). The extended comparison highlights how precarious (or unstable) the situation is for someone who is on the look out for whales.  There are various other analogies used (feel free to explore these in your journal for part 2) including “The Mat Maker” in Chapter 47 where the act of making a mat is compared to the idea of predestination and free-will or Chapter 41’s description of Ahab as a disgraced king. Plenty more analogies abound! (Elsewhere he describes his own book as an unfinished building or first draft and describes the five stowaways as trip-hammers/mechanisms as well as describing Starbuck’s candle on an oar rescue attempt to a person’s despair in life.)   Consider what Ishmael’s goal is in using this analogy. What is he trying to say through them?

Lastly, I love recognizing an abundance of allusions within this section. I recognized a few literary allusions here. The narrator describes a whale as “Mephistophelian” a reference to a devil in the play “Doctor Faustus” by Christopher Marlowe who convinces Faustus to sell his soul to the devil for power and pleasure (Chapter 32 145).  He alludes to Lord Byron’s (an English romantic poet) character “Childe Harold” when Ishmael describes the moody, introspective sailors who like to take to whaling ships (Chapter 35, “The Mast-Head” p. 163).  (Apparently, Childe Harold is a prime example of this reality.)  He also makes a subtle reference to Macbeth by Shakespeare in saying “and can hardly suspect them for mere sounds, full of Leviathanism, but signifying nothing” (Chapter 33, p. 148) which is a riff off of Macbeth’s description of the futility of life as “full of sound and fury, signifying nothing.” He is describing how other people’s classifications/or inclusions of certain kinds of whales don’t really deserve to be part of his description or definition of different whales.  Biblical allusions abound including Lazarus, Solomon, Saul, Cain (consider God’s mark on Cain…). In your journal you could include what Ishmael (/Melville) is communicating through each specific allusion or reference to these characters.