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Moby Dick_various Interpretations
Moby Dick_various Interpretations
Ahab and ishmael moby dick
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Moby Dick: Subjective Space
Oh! my God! what is this that shoots through me, and leaves me so deadly calm, yet expectant, ---fixed at the top of a shudder! Future things swim before me, as in empty outlines and skeletons; all the past is somehow grown dim. (Chap. 135: 463)
The sublime moment is the ultimate subsumption of the self. It is frightening in its intrinsic need to consume the experiencer and then emancipate him upon the consummation of the event. Melville composed a story that could have been filled with moments of the sublime and yet it is, frustratingly for the reader, almost entirely absent. However, this is not an indication of any fault in the text. Rather, it is the consequence of a meticulously planned physical and psychological space which is mapped out in the relationships the characters enjoy with one another. Ishmael, Ahab and Starbuck represent three characters whose actions and positions in the narrative determine their capabilities to encounter and experience the sublime.
It is with "the poor devil of a Sub-Sub" that Ishmael's voice first makes itself heard. The Sub-Sub who has "gone through the long Vaticans and street-stalls" (Extracts: 2) to find mundane but diverse images of whales is toasted as one who will soon expel the archangel triumvirate "Gabriel, Michael, and Raphael" in heaven but will be forgotten here on Earth. The Sub-Sub (who is of course forgotten for the rest of the novel) plots the course for the entire narrative. What can at first be regarded as a hodge-podge of space-filling references becomes Ishmael's guarantor of success in the role of narrator. For if we are to take on Ishmael as our guide to the Sperm Whale world, then we need to be confident in his abilities. The jumb...
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...ublime when it comes, he too is barred from the sublime by the mere fact that there is no "space" in which he can be subsumed by it. Ishmael and Ahab are too much involved in their own subjective status to allow themselves to be overcome. Ishmael may allow another voice to take over but he is still in control of the narrative, as was made clear in the beginning with the Sub-Sub. Ahab cant let anything overcome him, as is seen in the symbolic circumstances of his death. The sublime is not an experience in which one can engage one self automatically. The actor has to be in the right state and in the right environment. Melville ingeniously created a situation where nobody could be brought to the sublime moment. At the end of the novel, as the Pequod is sinking, so is the reader's hopes for a resolution to the climactic tensions which enveloped the narrative all along.
In Melville's Moby-Dick, or The Whale, Ahab calls himself "madness maddened" and across the oceans he unleashes his madness in an unerring quest to wreak his hate upon the white whale, that agent or principal of the "inscrutable malignancy" lurking behind the phenomenal world. Milder asserts that by making Ahab mad, Melville found the means to present an apocalyptic act of a hero, free of the constraints of realism, that might express the disillusionment of the cultural moment that had witnessed the end of religion, the frustration of the Romantic quest, and the end of the possibility for spiritual meaning in the universe. Thus, Ahab is rendered believable. But by making Ahab mad, he risked rendering him irrelevant. For Ahab to remain important for the reader, he must not be reduced to mere madness. Once he speaks only for the aberrant, one need no longer grapple with him, need not account for Ahab. We dismiss Calibans, Pucks, even Iagos, but we cannot easily dismiss Lear and McBeth and Hamlet or Ahab. The madman and the possessed can be exiled from our affinities as wholly "other," such that one inscribes their behavior in a circle of experience separate from our own, for unless by some event beyond our control we ourselves become monsters or madmen, the madman's reality remains sufficiently and safely different from our own. To attempt to account for Ahab, one must acknowledge his reality as a possible reality and admit the potential for the Ahabian in one's own possible reality.
As I read the assigned chapters, the most compelling and vivid section for me occurred when Ishmael expresses his admiration and reverence for whale hunting. From my understanding of his character up until his exposition of whale hunting. Ishmael is an observant and cynical type of straight shooting man. Besides his brief revelation of him going to the sea to relieve emotional distress, I wasn’t under the impression of any other strong feelings of attachment Ishmael may have had. However, Chapter 24 gives an in-depth look at his reverence of whale hunting as he addresses those who may doubt the importance of whale hunting and thereby shun the activity. Not only does Ishmael justify his life’s passion as being adored with, “...all the tapers,
Once Father Mapple speaks about Jonah and the whale, it becomes clear that Herman Melville's 1851 novel has a connection to the Bible and Christianity. Melville fills Moby Dick with several biblical allusions, and the novel's main characters are linked symbolically to figures in the Bible. Melville alludes to the Bible in Moby Dick to mock Christianity. He uses his primary characters of Ishmael, Ahab, and Moby Dick to make God seem like a judgmental being who has no pity on sinners unless they obey him. He also portrays faithful Christians as outsiders who
Melville didn’t name the chapter in the novel, Moby-Dick, randomly. It is evident in this chapter that his syntax, diction, and the vivid descriptions truly depict a symphony. A symphony is a piece of music created for an orchestra and typically has four parts, or movements: Allegro, Andante, Adagio, and Presto. This chapter’s organization can be compared with the parts of a symphony, hence the reasoning behind Melville’s title: The Symphony.
...hin and outside the artifacts it embeds can travel across the language barrier. The cenotaphs Ishmael stumbles upon are in a way like Flemish tapestries. Real-objects are aesthetical objects but also truth-claims, bound up with the language that constitutes them. A commemoration plaque in any language would still honor the memory of “Captain Ezekiel Hardy” and remain an aesthetical object in a novel – but would it remain a truth-claim in a self-conscious novel? On the other hand, Ishmael’s cenotaphs are not real-objects; they are unreliable representations. The purpose and function of such objects, it seems, lies less in their “realness” and more in their inherent ability to poke and probe the dialectic they embody. Perhaps they are in fact more like double-sided tapestries, scrutinizing with their interlaced threads both sides, both as real as they are fictional.
Challenging Writing as a Male Tradition in Naslund's Novel, Ahab's Wife and Melville's Moby Dick
When Captain Ahab stabbed at Moby Dick with the harpoon, he was symbolizing the power that obsession has when a person lets it take over one's mind. Ahab had no chance of killing Moby Dick, yet he engaged in his suicide plan to stab at the whale. This lesson not to let obsession take over your mind is similar to Javert's obsession with justice and imprisoning Valjean in Les Miserables. It shows that a passion with a personal vendetta will ultimately destroy a person, whether it destroys the person physically or mentally.
Among the numerous themes and ideas that author Herman Melville expresses in Moby Dick, one of the less examined is the superiority of the primitive man to the modern man. As an undertone running through the entire book, one can see in Moby Dick the same admiration of the "noble savage" that is so prevalent in Melville's earlier tales of the simple and idyllic life of the cannibals, even though the focus has been shifted to the dangers of seeing things from only one point of view and to the struggle between good and evil.
The seventh section of Moby Dick should be categorized as emphasizing, meaning to point out because of importance.
Tuberculosis, a sometimes crippling and deadly disease, is on the rise and is revisiting both the developed and developing world. The global epidemic is growing and becoming more dangerous. The breakdown in health services, the spread of HIV/AIDS and the emergence of multi drug-resistant TB are contributing to the worsening impact of this disease. Overall, one-third of the world's population is currently infected with the TB bacillus.
In Moby Dick by Herman Melville, Ishmael undergoes drastic changes in his personality and in the way he views life. Ishmael learns to accept people who are different and learns how to get along with people he never would of on land because of the way they look. On land, the world's affairs are important but by taking a voyage on the Pequod, Ishmael learns to block out the importance of these affairs and free himself from the restraints put on him by society on land. Ishmael has founds a place more beautiful and more peaceful than anywhere on land by journeying out on the ocean. The changes Ishmael went through from land to sea were beneficial to him.
Degregori, Thomas R. “The Sistine Chapel ceiling: Is restoration a good idea?” ProQuest Newsstand. 30 Nov. 1986 Houston Chronicle Publishing Company Division. 31 May 2012 http://search.proquest.com.proxy.itt-tech.edu/docview/295271493?accountid=27655
Tuberculosis was a really common disease. With the help of antibiotics, which was developed in the 1950’s, tuberculosis has taken on new forms of multidrug-resistant tuberculosis and extensively drug-resistant tuberculosis. This has caused a major crisis in some countries around the world.
These images display the awe that Ishmael has for the whale both on an industrial level due to its ability to produce vast amounts of oil, but also because it is a mystifying creature. This thought process again is linked to Ishmael’s logical yet curious
Ishmael is a pleasing character, who plays the role of the main character as well as narrator. He is a common man who has a love for the sea, and goes to it to clear his mind whenever he feels down or feels that it is “a damp, drizzly November” in his soul. As for his physical appearance, he doesn’t really specify. However, one might assume that he is a middle-aged man and probably holds the characteristics of the “stereotypical seaman”. But, what the character lacks in physical description, he makes up for with a full personality that his described extensively throughout the book. Ishmael is a man who seeks what is best described as “inner peace”. He is very content with himself when on the water, and has a great love for being a seaman. He joins the crew of the Pequod to satisfy his longing to be back on the ocean, but as it turns out, the particular voyage he is to set out on is not what he had suspected. For this ship would be commanded by a half-crazed captain in a desperate search for a viscous white whale. Over all, Ishmael is definitely the most civilized and wise man in the story.