Moby Dick. | Herman Melville, Doris Eisenburger, Dirk Walbrecker | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch. Thalia: Infos zu Autor, Inhalt und Bewertungen ❤ Jetzt»Moby-Dick«nach Hause oder Ihre Filiale vor Ort bestellen! Mit «Moby-Dick» hat Herman Melville ein ebenso emblematisches wie revolutionäres Werk geschaffen. Naturgewalt prallt auf menschliche.
Moby Digg Literaturklassiker
Moby-Dick; oder: Der Wal ist ein in London und New York erschienener Roman des amerikanischen Schriftstellers Herman Melville. Moby-Dick; oder: Der Wal (englisch Moby-Dick; or, The Whale) ist ein in London und New York erschienener Roman des amerikanischen Schriftstellers. Moby Dick ist ein nach dem gleichnamigen Roman von Herman Melville im Jahr entstandener und uraufgeführter US-amerikanischer Film des. Moby Dick: Roman | Melville, Herman, Güttinger, Fritz | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Moby Dick. | Herman Melville, Doris Eisenburger, Dirk Walbrecker | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch. Thalia: Infos zu Autor, Inhalt und Bewertungen ❤ Jetzt»Moby-Dick«nach Hause oder Ihre Filiale vor Ort bestellen! Moby Dick ist wahrlich keine leichte Lektüre, aber zweifellos eines der vielschichtigsten Beispiele des so genannten "symbolischen Realismus" - und daneben.
Moby Dick: Roman | Melville, Herman, Güttinger, Fritz | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Kapitän Ahab will nicht irgendeinen Wal fangen, sondern den weißen Wal, den alle Seeleute Moby Dick nennen. Denn der hat Ahab bei einer früheren. Thalia: Infos zu Autor, Inhalt und Bewertungen ❤ Jetzt»Moby-Dick«nach Hause oder Ihre Filiale vor Ort bestellen! Sein Vater ist im Textilimportgeschäft tätig; macht er Bankrott und Edtv. Beziehungsweise Moby Dick. Und der englische Schriftsteller D. Meine markierten Quantico Staffel 3. Melville lieferte das Manuskript mit exakt einem Jahr Verspätung bei seinem Verleger ab. Ihr Kommentar:. In der Tat markiert bereits der Buchtitel einen literarhistorischen Wendepunkt.
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Crazy Credits. Alternate Versions. Rate This. The sole survivor of a lost whaling ship relates the tale of his captain's self-destructive obsession to hunt the white whale, Moby Dick.
Director: John Huston. Writers: Ray Bradbury screenplay , John Huston screenplay. Available on Amazon.
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Worst kind of deaths that can occur in water! Release the 4K Kracken! Edit Cast Cast overview, first billed only: Gregory Peck Captain Ahab Richard Basehart Ishmael Leo Genn Starbuck James Robertson Justice Boomer Harry Andrews Stubb Bernard Miles The Manxman Noel Purcell Ship's Carpenter Edric Connor Daggoo Mervyn Johns Peleg Joseph Tomelty Peter Coffin Francis De Wolff Gardiner Philip Stainton Bildad Royal Dano Flask Friedrich von Ledebur Taglines: Call me Ishmael.
With the landless gull, that at sunset folds her wings and is rocked to sleep between billows; so at nightfall, the Nantucketer, out of sight of land, furls his sails, and lays him to his rest, while under his very pillow rush herds of walruses and whales.
Bezanson calls this chapter a comical "prose poem" that blends "high and low with a relaxed assurance".
Similar passages include the "marvelous hymn to spiritual democracy" in the middle of "Knights and Squires". The elaborate use of the Homeric simile may not have been learned from Homer himself, yet Matthiessen finds the writing "more consistently alive" on the Homeric than on the Shakespearean level, especially during the final chase the "controlled accumulation" of such similes emphasizes Ahab's hubris through a succession of land-images, for instance: "The ship tore on; leaving such a furrow in the sea as when a cannon-ball, missent, becomes a ploughshare and turns up the level field" "The Chase — Second Day," Ch.
For as the one ship that held them all; though it was put together of all contrasting things—oak, and maple, and pine wood; iron, and pitch, and hemp—yet all these ran into each other in the one concrete hull, which shot on its way, both balanced and directed by the long central keel; even so, all the individualities of the crew, this man's valor, that man's fear; guilt and guiltiness, all varieties were welded into oneness, and were all directed to that fatal goal which Ahab their one lord and keel did point to.
The final phrase fuses the two halves of the comparison; the men become identical with the ship, which follows Ahab's direction. The concentration only gives way to more imagery, with the "mastheads, like the tops of tall palms, were outspreadingly tufted with arms and legs".
All these images contribute their "startling energy" to the advance of the narrative. When the boats are lowered, the imagery serves to dwarf everything but Ahab's will in the presence of Moby Dick.
Matthiessen in declared that Melville's "possession by Shakespeare went far beyond all other influences" in that it made Melville discover his own full strength "through the challenge of the most abundant imagination in history".
The creation of Ahab, Melville biographer Leon Howard discovered, followed an observation by Coleridge in his lecture on Hamlet : "one of Shakespeare's modes of creating characters is to conceive any one intellectual or moral faculty in morbid excess, and then to place himself.
Ahab seemed to have "what seems a half-wilful over-ruling morbidness at the bottom of his nature", and "all men tragically great", Melville added, "are made so through a certain morbidness ; "all mortal greatness is but disease ".
In addition to this, in Howard's view, the self-references of Ishmael as a "tragic dramatist", and his defense of his choice of a hero who lacked "all outward majestical trappings" is evidence that Melville "consciously thought of his protagonist as a tragic hero of the sort found in Hamlet and King Lear ".
Matthiessen demonstrates the extent to which Melville was in full possession of his powers in the description of Ahab, which ends in language "that suggests Shakespeare's but is not an imitation of it: 'Oh, Ahab!
Lawrence put it, convey something "almost superhuman or inhuman, bigger than life". Matthiessen finds debts to Shakespeare, whether hard or easy to recognize, on almost every page.
He points out that the phrase "mere sounds, full of Leviathanism, but signifying nothing" at the end of "Cetology" Ch. That thing unsays itself.
There are men From whom warm words are small indignity. I mean not to incense thee. Let it go. The pagan leopards—the unrecking and Unworshipping things, that live; and seek and give.
No reason for the torrid life they feel! In addition to this sense of rhythm, Matthiessen shows that Melville "now mastered Shakespeare's mature secret of how to make language itself dramatic".
Moby-Dick draws on Melville's experience on the whaler Acushnet , but is not autobiographical. On December 30, , Melville signed on as a green hand for the maiden voyage of the Acushnet , planned to last for 52 months.
Its owner, Melvin O. Bradford, like Bildad, was a Quaker : on several instances when he signed documents, he erased the word "swear" and replaced it with "affirm".
But the shareholders of the Acushnet were relatively wealthy, whereas the owners of the Pequod included poor widows and orphaned children.
Melville attended a service there shortly before he shipped out on the Acushnet , and he heard a sermon by Reverend Enoch Mudge , who is at least in part the inspiration for Father Mapple.
Even the topic of Jonah and the Whale may be authentic, for Mudge contributed sermons on Jonah to Sailor's Magazine . The crew was not as heterogenous or exotic as the crew of the Pequod.
Five were foreigners, four of them Portuguese, and the others were American either at birth or naturalized.
Three black men were in the crew, two seamen and the cook. Fleece, the black cook of the Pequod , was probably modeled on this Philadelphia-born William Maiden.
Starbuck was discharged at Tahiti under mysterious circumstances. Ahab seems to have had no model, though his death may have been based on an actual event.
Melville was aboard The Star in May with two sailors from the Nantucket who could have told him that they had seen their second mate "taken out of a whaleboat by a foul line and drowned".
In addition to his own experience on the whaling ship Acushnet , two actual events served as the genesis for Melville's tale. The other event was the alleged killing in the late s of the albino sperm whale Mocha Dick , in the waters off the Chilean island of Mocha.
Mocha Dick was rumored to have 20 or so harpoons in his back from other whalers, and appeared to attack ships with premeditated ferocity.
One of his battles with a whaler served as subject for an article by explorer Jeremiah N. This renowned monster, who had come off victorious in a hundred fights with his pursuers, was an old bull whale, of prodigious size and strength.
From the effect of age, or more probably from a freak of nature Significantly, Reynolds writes a first-person narration that serves as a frame for the story of a whaling captain he meets.
The captain resembles Ahab and suggests a similar symbolism and single-minded motivation in hunting this whale, in that when his crew first encounters Mocha Dick and cowers from him, the captain rallies them:.
As he drew near, with his long curved back looming occasionally above the surface of the billows, we perceived that it was white as the surf around him; and the men stared aghast at each other, as they uttered, in a suppressed tone, the terrible name of MOCHA DICK!
Mocha Dick had over encounters with whalers in the decades between and the s. He was described as being gigantic and covered in barnacles.
Although he was the most famous, Mocha Dick was not the only white whale in the sea, nor the only whale to attack hunters.
Melville remarked, "Ye Gods! What a commentator is this Ann Alexander whale. I wonder if my evil art has raised this monster. While Melville had already drawn on his different sailing experiences in his previous novels, such as Mardi , he had never focused specifically on whaling.
The 18 months he spent as an ordinary seaman aboard the whaler Acushnet in —42, and one incident in particular, now served as inspiration.
During a mid-ocean "gam" rendezvous at sea between ships , he met Chase's son William, who lent him his father's book. Melville later wrote:. I questioned him concerning his father's adventure; This was the first printed account of it I had ever seen.
The reading of this wondrous story on the landless sea, and so close to the very latitude of the shipwreck, had a surprising effect upon me.
The book was out of print, and rare. Melville let his interest in the book be known to his father-in-law, Lemuel Shaw , whose friend in Nantucket procured an imperfect but clean copy which Shaw gave to Melville in April Melville read this copy avidly, made copious notes in it, and had it bound, keeping it in his library for the rest of his life.
Moby-Dick contains large sections—most of them narrated by Ishmael—that seemingly have nothing to do with the plot, but describe aspects of the whaling business.
Hart ,  which is credited with influencing elements of Melville's work, most accounts of whaling tended to be sensational tales of bloody mutiny, and Melville believed that no book up to that time had portrayed the whaling industry in as fascinating or immediate a way as he had experienced it.
Melville found the bulk of his data on whales and whaling in five books, the most important of which was by the English ship's surgeon Thomas Beale, Natural History of the Sperm Whale , a book of reputed authority which Melville bought on July 10, Vincent, the general influence of this source is to supply the arrangement of whaling data in chapter groupings.
The third book was the one Melville reviewed for the Literary World in , J. Ross Browne's Etchings of a Whaling Cruise , which may have given Melville the first thought for a whaling book, and in any case contains passages embarrassingly similar to passages in Moby-Dick.
Cheever's The Whale and His Captors , was used for two episodes in Moby-Dick but probably appeared too late in the writing of the novel to be of much more use.
Although the book became the standard whaling reference soon after publication, Melville satirized and parodied it on several occasions—for instance in the description of narwhales in the chapter "Cetology", where he called Scoresby "Charley Coffin" and gave his account "a humorous twist of fact": "Scoresby will help out Melville several times, and on each occasion Melville will satirize him under a pseudonym.
Scholars have concluded that Melville composed Moby-Dick in two or even three stages. Yet I mean to give the truth of the thing, spite of this.
Bezanson objects that the letter contains too many ambiguities to assume "that Dana's 'suggestion' would obviously be that Melville do for whaling what he had done for life on a man-of-war in White-Jacket ".
The most positive statements are that it will be a strange sort of a book and that Melville means to give the truth of the thing, but what thing exactly is not clear.
Melville may have found the plot before writing or developed it after the writing process was underway. Considering his elaborate use of sources, "it is safe to say" that they helped him shape the narrative, its plot included.
Ishmael, in the early chapters, is simply the narrator, just as the narrators in Melville's earlier sea adventures had been, but in later chapters becomes a mystical stage manager who is central to the tragedy.
Less than two months after mentioning the project to Dana, Melville reported in a letter of June 27 to Richard Bentley, his English publisher:.
My Dear Sir, — In the latter part of the coming autumn I shall have ready a new work; and I write you now to propose its publication in England.
Nathaniel Hawthorne and his family had moved to a small red farmhouse near Lenox, Massachusetts , at the end of March The most intense work on the book was done during the winter of —, when Melville had changed the noise of New York City for a farm in Pittsfield, Massachusetts.
The move may well have delayed finishing the book. Yet, altogether, write the other way I cannot. So the product is a final hash, and all my books are botches.
This is the stubborn Melville who stood by Mardi and talked about his other, more commercial books with contempt.
The letter also reveals how Melville experienced his development from his 25th year: "Three weeks have scarcely passed, at any time between then and now, that I have not unfolded within myself.
But I feel that I am now come to the inmost leaf of the bulb, and that shortly the flower must fall to the mould. Buell finds the evidence that Melville changed his ambitions during writing "on the whole convincing", since the impact of Shakespeare and Hawthorne was "surely monumental",  but others challenge the theories of the composition in three ways.
The first raises objections on the use of evidence and the evidence itself. Bryant finds "little concrete evidence, and nothing at all conclusive, to show that Melville radically altered the structure or conception of the book".
Bryant and Springer object to the conclusion that Hawthorne inspired Melville to write Ahab's tragic obsession into the book; Melville already had experienced other encounters which could just as well have triggered his imagination, such as the Bible's Jonah and Job, Milton's Satan, Shakespeare's King Lear, Byron's heroes.
His language is already "richly steeped in 17th-century mannerisms", characteristics of Moby-Dick. A third type calls upon the literary nature of passages used as evidence.
According to Milder, the cetological chapters cannot be leftovers from an earlier stage of composition and any theory that they are "will eventually founder on the stubborn meaningfulness of these chapters", because no scholar adhering to the theory has yet explained how these chapters "can bear intimate thematic relation to a symbolic story not yet conceived".
Buell finds that theories based on a combination of selected passages from letters and what are perceived as "loose ends" in the book not only "tend to dissolve into guesswork", but he also suggests that these so-called loose ends may be intended by the author: repeatedly the book mentions "the necessary unfinishedness of immense endeavors".
Melville first proposed the British publication in a June 27, letter to Richard Bentley , London publisher of his earlier works. Textual scholar G.
Thomas Tanselle explains that for these earlier books, American proof sheets had been sent to the British publisher and that publication in the United States had been held off until the work had been set in type and published in England.
This procedure was intended to provide the best though still uncertain claim for the UK copyright of an American work.
The final stages of composition overlapped with the early stages of publication. In June , Melville wrote to Hawthorne that he was in New York to "work and slave on my 'Whale' while it is driving through the press".
Three weeks later, the typesetting was almost done, as he announced to Bentley on July "I am now passing thro' the press, the closing sheets of my new work".
Since earlier chapters were already plated when he was revising the later ones, Melville must have "felt restricted in the kinds of revisions that were feasible".
On July 20, Melville accepted, after which Bentley drew up a contract on August For over a month, these proofs had been in Melville's possession, and because the book would be set anew in London he could devote all his time to correcting and revising them.
He still had no American publisher, so the usual hurry about getting the British publication to precede the American was not present.
He published the book less than four weeks later. The title of a new work by Mr. Melville, in the press of Harper and Brothers, and now publishing in London by Mr.
On October 18, the British edition, The Whale , was published in a printing of only copies,  fewer than Melville's previous books. Their slow sales had convinced Bentley that a smaller number was more realistic.
The London Morning Herald on October 20 printed the earliest known review. On November 19, Washington received the copy to be deposited for copyright purposes.
The first American printing of 2, copies was almost the same as the first of Mardi , but the first printing of Melville's other three Harper books had been a thousand copies more.
The British edition, set by Bentley's printers from the American page proofs with Melville's revisions and corrections, differs from the American edition in over wordings and thousands of punctuation and spelling changes.
Excluding the preliminaries and the one extract, the three volumes of the British edition came to pages  and the single American volume to pages.
This list was probably drawn up by Melville himself: the titles of chapters describing encounters of the Pequod with other ships had—apparently to stress the parallelisms between these chapters—been standardized to "The Pequod meets the For unknown reasons, the "Etymology" and "Extracts" were moved to the end of the third volume.
Melville's involvement with this rearrangement is not clear: if it was Bentley's gesture toward accommodating Melville, as Tanselle suggests,  its selection put an emphasis on the quotation Melville might not have agreed with.
The largest of Melville's revisions is the addition to the British edition of a word footnote in Chapter 87 explaining the word "gally".
The edition also contains six short phrases and some 60 single words lacking in the American edition.
The British publisher hired one or more revisers who were, in the evaluation of scholar Steven Olsen-Smith, responsible for "unauthorized changes ranging from typographical errors and omissions to acts of outright censorship".
These expurgations also meant that any corrections or revisions Melville had marked upon these passages are now lost.
The final difference in the material not already plated is that the "Epilogue", thus Ishmael's miraculous survival, is omitted from the British edition.
Obviously, the epilogue was not an afterthought supplied too late for the edition, for it is referred to in "The Castaway": "in the sequel of the narrative, it will then be seen what like abandonment befell myself.
Since nothing objectionable was in it, most likely it was somehow lost by Bentley's printer when the "Etymology" and "Extracts" were moved.
After the sheets had been sent, Melville changed the title. After expressing his hope that Bentley would receive this change in time, Allan said that "Moby-Dick is a legitimate title for the book, being the name given to a particular whale who if I may so express myself is the hero of the volume".
Changing the title was not a problem for the American edition, since the running heads throughout the book only showed the titles of the chapters, and the title page, which would include the publisher's name, could not be printed until a publisher was found.
When Allan's letter arrived, no sooner than early October, Bentley had already announced The Whale in both the Athenaem and the Spectator of October 4 and The British printing of copies sold fewer than within the first four months.
In , some remaining sheets were bound in a cheaper casing, and in , enough sheets were still left to issue a cheap edition in one volume.
About 1, copies were sold within 11 days, and then sales slowed down to less than the next year. After three years, the first edition was still available, almost copies of which were lost when a fire broke out at the firm in December In , a second printing of copies was issued, in , a third of copies, and finally in , a fourth printing of copies, which sold so slowly that no new printing was ordered.
First, British literary criticism was more sophisticated and developed than in the still-young republic, with British reviewing done by "cadres of brilliant literary people"  who were "experienced critics and trenchant prose stylists",  while the United States had only "a handful of reviewers" capable enough to be called critics, and American editors and reviewers habitually echoed British opinion.
Twenty-one reviews appeared in London, and later one in Dublin. Melville himself never saw these reviews, and Parker calls it a "bitter irony" that the reception overseas was "all he could possibly have hoped for, short of a few conspicuous proclamations that the distance between him and Shakespeare was by no means immeasurable.
One of the earliest reviews, by the extremely conservative critic Henry Chorley  in the highly regarded London Athenaeum , described it as.
The idea of a connected and collected story has obviously visited and abandoned its writer again and again in the course of composition.
The style of his tale is in places disfigured by mad rather than bad English; and its catastrophe is hastily, weakly, and obscurely managed.
Melville cannot do without savages, so he makes half of his dramatis personae wild Indians, Malays, and other untamed humanities", who appeared in "an odd book, professing to be a novel; wantonly eccentric, outrageously bombastic; in places charmingly and vividly descriptive".
Because the English edition omitted the epilogue describing Ishmael's escape, British reviewers read a book with a first-person narrator who apparently did not survive.
Other reviewers accepted the flaws they perceived. John Bull praised the author for making literature out of unlikely and even unattractive matter, and the Morning Post found that delight far outstripped the improbable character of events.
Melville's style was often praised, although some found it excessive or too American. Some sixty reviews appeared in America, the criterion for counting as a review being more than two lines of comment.
The earliest American review, in the Boston Post for November 20, quoted the London Athenaeum ' s scornful review, not realizing that some of the criticism of The Whale did not pertain to Moby-Dick.
This last point, and the authority and influence of British criticism in American reviewing, is clear from the review's opening: "We have read nearly one half of this book, and are satisfied that the London Athenaeum is right in calling it 'an ill-compounded mixture of romance and matter-of-fact'".
The Post deemed the price of one dollar and fifty cents far too much: "'The Whale' is not worth the money asked for it, either as a literary work or as a mass of printed paper".
The reviewer of the December New York Eclectic Magazine had actually read Moby-Dick in full, and was puzzled why the Athenaeum was so scornful of the ending.
The attack on The Whale by the Spectator was reprinted in the December New York International Magazine , which inaugurated the influence of another unfavorable review.
Rounding off what American readers were told about the British reception, in January Harper's Monthly Magazine attempted some damage control, and wrote that the book had "excited a general interest" among the London magazines.
The most influential American review, ranked according to the number of references to it, appeared in the weekly magazine Literary World , which had printed Melville's "Mosses" essay the preceding year.
The author of the unsigned review in two installments, on November 15 and 22, was later identified as publisher Evert Duyckinck. In the second installment, Duyckinck described Moby-Dick as three books rolled into one: he was pleased with the book as far as it was a thorough account of the sperm whale, less so with it as far as the adventures of the Pequod crew were considered, perceiving the characters as unrealistic and expressing inappropriate opinions on religions, and condemned the essayistic rhapsodizing and moralizing with what he thought was little respect of what "must be to the world the most sacred associations of life violated and defaced.
What a book Melville has written! It gives me an idea of much greater power than his preceding ones. It hardly seemed to me that the review of it, in the Literary World, did justice to its best points.
The Transcendental socialist George Ripley published a review in the New York Tribune for November 22, in which he compared the book favorably to Mardi , because the "occasional touches of the subtle mysticism" was not carried on to excess but kept within boundaries by the solid realism of the whaling context.
Melville's friend Nathaniel Parker Willis, reviewing the book in November 29 Home Journal , found it "a very racy, spirited, curious and entertaining book Porter praised the book, and all of Melville's five earlier works, as the writings "of a man who is at once philosopher, painter, and poet".
Many reviewers, Parker observes, had come to the conclusion that Melville was capable of producing enjoyable romances, but they could not see in him the author of great literature.
However, only New York's literary underground showed interest, just enough to keep Melville's name circulating for the next 25 years in the capital of American publishing.
During this time, a few critics were willing to devote time, space, and a modicum of praise to Melville and his works, or at least those that could still be easily obtained or remembered.
Other works, especially the poetry, went largely forgotten. In his idiosyncratic but influential Studies in Classic American Literature , novelist, poet, and short story writer D.
Lawrence celebrated the originality and value of American authors, among them Melville. Perhaps surprisingly, Lawrence saw Moby-Dick as a work of the first order despite his using the expurgated original English edition which also lacked the epilogue.
The Modern Library brought out Moby-Dick in and the Lakeside Press in Chicago commissioned Rockwell Kent to design and illustrate a striking three-volume edition which appeared in Random House then issued a one-volume trade version of Kent's edition, which in they reprinted as a less expensive Modern Library Giant.
The novel has been adapted or represented in art, film, books, cartoons, television, and more than a dozen versions in comic-book format.
American author Ralph Ellison wrote a tribute to the book in the prologue of his novel Invisible Man.
The narrator remembers a moment of truth under the influence of marijuana and evokes a church service: "Brothers and sisters, my text this morning is the 'Blackness of Blackness.
Dylan's description ends with an acknowledgment: "That theme, and all that it implies, would work its way into more than a few of my songs. From Wikipedia, the free encyclopedia.
For other uses, see Moby Dick disambiguation. Dewey Decimal. See also: List of Moby-Dick characters. This section's plot summary may be too long or excessively detailed.
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Main article: Adaptations of Moby-Dick. Together, they constitute about one fifth of the total number of chapters. College Literature. The Oxford Dictionary of Literary Terms 4th ed.
Oxford: Oxford University Press. From Puritanism to Postmodernism. Harmondsworth: Penguin. Melville: a Collection of Critical Essays.
Arvin, Newton ed. Arvin's italics. Howard's italics. Yankee whalers in the South Seas. New York: Harcourt, Brace, , Retrieved on 30 November Quotation on Large Print ed.
Detroit: Thorndike. Library of America blog. October 18, Retrieved October 18, Romances of Adventure. Section 2. Herman Melville.
Van Doren, Carl. The American Novel". Retrieved October 19, Yale University Press. Discussion of Moby-Dick at —, quotation at — Herman Melville works.
Isle of the Cross ca Herman Melville 's Moby-Dick Cetology Fast-Fish and Loose-Fish. Namespaces Article Talk. Views Read View source View history.