Lesson 12: Pattern Matching
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12.1 Perform simple pattern matching
String Pattern Matching
"sol" not in "absolute"
False
'absolute'.startswith('ab')
True
'absolute'.endswith('lute')
True
'absolute'.find('sol')
2
List Membership Matching
best_moby_dick_quote = "ignorance is the parent of fear"
quote_list = best_moby_dick_quote.split()
quote_list
['ignorance', 'is', 'the', 'parent', 'of', 'fear']
if "fear" in quote_list:
print("Best Moby Dick quote ever!")
Best Moby Dick quote ever!
Dictionary Membership Matching
moby_dict = {
"quote1": "Better to sleep with a sober cannibal than a drunk Christian.",
"quote2": "for there is no folly of the beast of the earth which is not infinitely outdone by the madness of men"
}
for key, value in moby_dict.items():
if "cannibal" in value:
print("Not fine or young, but Roland was a cannibal none the less")
Not fine or young, but Roland was a cannibal none the less
12.2 Use regular expressions
# TDL SDL LN
text = '''Ahab: ahab@pequod.com
Peleg: peleg@pequod.com
Ishmael: ishmael@pequod.com
Herman: herman@acushnet.io
Pollard: pollard@essex.me
'''
Simple matching
import re
re.match("Ahab:", text )
<_sre.SRE_Match object; span=(0, 5), match='Ahab:'>
if re.match("Ahab:", text ):
print("We found Ahab")
We found Ahab
if re.match("Peleg", text):
print("We found Peleg")
else:
print("No Peleg found!")
No Peleg found!
Search
re.search("Peleg", text)
<_sre.SRE_Match object; span=(22, 27), match='Peleg'>
Character sets
re.search("[A-Z][a-z]", text)
<_sre.SRE_Match object; span=(0, 2), match='Ah'>
re.search("[A-Za-z]+", text)
<_sre.SRE_Match object; span=(0, 4), match='Ahab'>
re.search("[A-Za-z]{7}", text)
<_sre.SRE_Match object; span=(46, 53), match='Ishmael'>
re.search("[a-z]+\@[a-z]+\.[a-z]+", text)
<_sre.SRE_Match object; span=(6, 21), match='ahab@pequod.com'>
Character classes
re.search("\w\d\w", "His panic over Y2K was overwhelming.")
<_sre.SRE_Match object; span=(15, 18), match='Y2K'>
re.search("\w+\@\w+\.\w+", text)
<_sre.SRE_Match object; span=(6, 21), match='ahab@pequod.com'>
Groups
m = re.search("(\w+)\@(\w+)\.(\w+)", text)
print(f'''
Group 0 is {m.group(0)}
Group 1 is {m.group(1)}
Group 2 is {m.group(2)}
Group 3 is {m.group(3)}
''')
Group 0 is ahab@pequod.com
Group 1 is ahab
Group 2 is pequod
Group 3 is com
Named groups
m = re.search("(?P<name>\w+)\@(?P<SLD>\w+)\.(?P<TLD>\w+)", text)
print(f'''
Email address: {m.group()}
Name: {m.group("name")}
Secondary level domain: {m.group("SLD")}
Top level Domain: {m.group("TLD")}
''')
Email address: ahab@pequod.com
Name: ahab
Secondary level domain: pequod
Top level Domain: com
Find all
m = re.findall("\w+\@\w+\.\w+", text)
m
['ahab@pequod.com',
'peleg@pequod.com',
'ishmael@pequod.com',
'herman@acushnet.io',
'pollard@essex.me']
re.findall("(?P<name>\w+)\@(?P<SLD>\w+)\.(?P<TLD>\w+)", text)
[('ahab', 'pequod', 'com'),
('peleg', 'pequod', 'com'),
('ishmael', 'pequod', 'com'),
('herman', 'acushnet', 'io'),
('pollard', 'essex', 'me')]
Find iterator
iterator = re.finditer("\w+\@\w+\.\w+", text)
print(f"An {type(iterator)} object is returned by finditer" )
An <class 'callable_iterator'> object is returned by finditer
m = next(iterator)
f"The first match, {m.group()} is processed without processing the rest of the text"
'The first match, ahab@pequod.com is processed without processing the rest of the text'
Iterators with named groups
iterator = re.finditer("(?P<name>\w+)\@(?P<SLD>\w+)\.(?P<TLD>\w+)", text)
for m in iterator:
print(m.groupdict())
{'name': 'ahab', 'SLD': 'pequod', 'TLD': 'com'}
{'name': 'peleg', 'SLD': 'pequod', 'TLD': 'com'}
{'name': 'ishmael', 'SLD': 'pequod', 'TLD': 'com'}
{'name': 'herman', 'SLD': 'acushnet', 'TLD': 'io'}
{'name': 'pollard', 'SLD': 'essex', 'TLD': 'me'}
iterator = re.finditer("(?P<name>\w+)\@(?P<SLD>\w+)\.(?P<TLD>\w+)", text)
for m in iterator:
data = m.groupdict()
print(f"{data['name'].title()} sailed on the {data['SLD'].title()}")
Ahab sailed on the Pequod
Peleg sailed on the Pequod
Ishmael sailed on the Pequod
Herman sailed on the Acushnet
Pollard sailed on the Essex
Substitution
re.sub("\d", "#", "Your secrect pin is 12345")
'Your secrect pin is #####'
Substitution using named groups
new_text = re.sub("(?P<name>\w+)\@(?P<SLD>\w+)\.(?P<TLD>\w+)", "\g<TLD>.\g<SLD>.\g<name>", text)
print(new_text)
Ahab: com.pequod.ahab
Peleg: com.pequod.peleg
Ishmael: com.pequod.ishmael
Herman: io.acushnet.herman
Pollard: me.essex.pollard
Compiling regexes
regex = re.compile("(?P<name>\w+)\@(?P<SLD>\w+)\.(?P<TLD>\w+)")
regex
re.compile(r'(?P<name>\w+)\@(?P<SLD>\w+)\.(?P<TLD>\w+)', re.UNICODE)
regex.search(text)
<_sre.SRE_Match object; span=(6, 21), match='ahab@pequod.com'>
12.3 Learn text processing techniques: Beautiful Soup
Beautifulsoup is a library for parsing html and xml documents.
import urllib.request
with urllib.request.urlopen("https://en.wikipedia.org/wiki/Moby-Dick") as opened_url:
html = opened_url.read().decode("utf8")
html
'<!DOCTYPE html>\n<html class="client-nojs" lang="en" dir="ltr">\n<head>\n<meta charset="UTF-8"/>\n<title>Moby-Dick - Wikipedia</title>\n<script>document.documentElement.className = document.documentElement.className.replace( /(^|\\s)client-nojs(\\s|$)/, "$1client-js$2" );</script>\n<script>(window.RLQ=window.RLQ||[]).push(function(){mw.config.set({"wgCanonicalNamespace":"","wgCanonicalSpecialPageName":false,"wgNamespaceNumber":0,"wgPageName":"Moby-Dick","wgTitle":"Moby-Dick","wgCurRevisionId":882434424,"wgRevisionId":882434424,"wgArticleId":19859,"wgIsArticle":true,"wgIsRedirect":false,"wgAction":"view","wgUserName":null,"wgUserGroups":["*"],"wgCategories":["Webarchive template wayback links","Wikipedia pending changes protected pages","Commons category link is on Wikidata","Articles with Project Gutenberg links","Articles with LibriVox links","Wikipedia articles with BNF identifiers","Wikipedia articles with GND identifiers","Wikipedia articles with LCCN identifiers","Wikipedia 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rel="stylesheet" href="/w/load.php?debug=false&lang=en&modules=ext.3d.styles%7Cext.cite.styles%7Cext.flaggedRevs.basic%7Cext.uls.interlanguage%7Cext.visualEditor.desktopArticleTarget.noscript%7Cext.wikimediaBadges%7Cmediawiki.legacy.commonPrint%2Cshared%7Cmediawiki.skinning.interface%7Cmediawiki.toc.styles%7Cskins.vector.styles%7Cwikibase.client.init&only=styles&skin=vector"/>\n<script async="" src="/w/load.php?debug=false&lang=en&modules=startup&only=scripts&skin=vector"></script>\n<meta name="ResourceLoaderDynamicStyles" content=""/>\n<link rel="stylesheet" href="/w/load.php?debug=false&lang=en&modules=ext.gadget.charinsert-styles&only=styles&skin=vector"/>\n<link rel="stylesheet" href="/w/load.php?debug=false&lang=en&modules=site.styles&only=styles&skin=vector"/>\n<meta name="generator" content="MediaWiki 1.33.0-wmf.16"/>\n<meta name="referrer" content="origin"/>\n<meta name="referrer" content="origin-when-crossorigin"/>\n<meta name="referrer" 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class="mw-parser-output"><div role="note" class="hatnote navigation-not-searchable">For other uses, see <a href="/wiki/Moby-Dick_(disambiguation)" class="mw-redirect mw-disambig" title="Moby-Dick (disambiguation)">Moby-Dick (disambiguation)</a>.</div>\n<p class="mw-empty-elt">\n</p>\n<table class="infobox vcard" style="width:22em"><caption style="font-style:italic;padding-bottom:0.2em;">Moby-Dick; or, The Whale <span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Moby-Dick%3B+or%2C+The+Whale&rft.author=%5B%5BHerman+Melville%5D%5D&rft.date=October+18%2C+1851+%28Britain%29%3Cbr+%2F%3ENovember+14%2C+1851+%28US%29&rft.pub=%3Cdiv+class%3D%22plainlist+%22+%3E%0A%2A+%5B%5BRichard+Bentley+%28publisher%29%7CRichard+Bentley%5D%5D+%28Britain%29%0A%2A+%5B%5BHarper+%26+Brothers%5D%5D+%28US%29%0A%3C%2Fdiv%3E"></span></caption><tbody><tr><td colspan="2" style="text-align:center"><a href="/wiki/File:Moby-Dick_FE_title_page.jpg" class="image"><img alt="Moby-Dick FE title page.jpg" src="//upload.wikimedia.org/wikipedia/commons/thumb/3/36/Moby-Dick_FE_title_page.jpg/220px-Moby-Dick_FE_title_page.jpg" decoding="async" width="220" height="361" class="thumbborder" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/36/Moby-Dick_FE_title_page.jpg/330px-Moby-Dick_FE_title_page.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/36/Moby-Dick_FE_title_page.jpg/440px-Moby-Dick_FE_title_page.jpg 2x" data-file-width="840" data-file-height="1380" /></a><div>Title page, first American edition of <i>Moby-Dick</i></div></td></tr><tr><th scope="row">Author</th><td><a href="/wiki/Herman_Melville" title="Herman Melville">Herman Melville</a></td></tr><tr><th scope="row">Illustrator</th><td>Rockwell Kent <span style="font-size:85%;">(1930 <a href="/wiki/Lakeside_Press" class="mw-redirect" title="Lakeside Press">Lakeside Press</a> ed.)</span></td></tr><tr><th scope="row">Country</th><td>United States</td></tr><tr><th scope="row">Language</th><td>English</td></tr><tr><th scope="row">Genre</th><td><a href="/wiki/Novel" title="Novel">Novel</a>, <a href="/wiki/Adventure_fiction" title="Adventure fiction">adventure fiction</a>, <a href="/wiki/Epic_(genre)" title="Epic (genre)">epic</a>, <a href="/wiki/Nautical_fiction" title="Nautical fiction">sea story</a>, <a href="/wiki/Encyclopedic_novel" title="Encyclopedic novel">encyclopedic novel</a></td></tr><tr><th scope="row">Publisher</th><td><div class="plainlist">\n<ul><li><a href="/wiki/Richard_Bentley_(publisher)" title="Richard Bentley (publisher)">Richard Bentley</a> (Britain)</li>\n<li><a href="/wiki/Harper_%26_Brothers" class="mw-redirect" title="Harper & Brothers">Harper & Brothers</a> (US)</li></ul>\n</div></td></tr><tr><th scope="row"><div style="padding:0.1em 0;line-height:1.2em;">Publication date</div></th><td>October 18, 1851 (Britain)<br />November 14, 1851 (US)</td></tr><tr><th scope="row"><div style="padding:0.1em 0;line-height:1.2em;"><a href="/wiki/Dewey_Decimal_Classification" title="Dewey Decimal Classification">Dewey Decimal</a></div></th><td>813.3</td></tr><tr><th scope="row"><a href="/wiki/Library_of_Congress_Classification" title="Library of Congress Classification"><abbr title="Library of Congress Classification">LC Class</abbr></a></th><td>PZ3.M498 Mo3</td></tr></tbody></table>\n<p><i><b>Moby-Dick; or, The Whale</b></i> is an 1851 novel by American writer <a href="/wiki/Herman_Melville" title="Herman Melville">Herman Melville</a>. The book is sailor <a href="/wiki/Ishmael_(Moby-Dick)" title="Ishmael (Moby-Dick)">Ishmael</a>\'s narrative of the obsessive quest of <a href="/wiki/Captain_Ahab" title="Captain Ahab">Ahab</a>, captain of the <a href="/wiki/Whaler" title="Whaler">whaling ship</a> <i><a href="/wiki/Pequod_(Moby-Dick)" title="Pequod (Moby-Dick)">Pequod</a></i>, for revenge on <a href="/wiki/Moby_Dick_(whale)" title="Moby Dick (whale)">Moby Dick</a>, the white whale that on the ship\'s previous voyage bit off Ahab\'s leg at the knee. A contribution to the literature of the <a href="/wiki/American_Renaissance_(literature)" title="American Renaissance (literature)">American Renaissance</a>, the work\'s genre classifications range from late <a href="/wiki/Romantic_literature_in_English" title="Romantic literature in English">Romantic</a> to early <a href="/wiki/Symbolism_(arts)" title="Symbolism (arts)">Symbolist</a>. <i>Moby-Dick</i> was published to mixed reviews, was a commercial failure, and was out of print at the time of the author\'s death in 1891. Its reputation as a "<a href="/wiki/Great_American_Novel" title="Great American Novel">Great American Novel</a>" was established only in the 20th century, after the centennial of its author\'s birth. <a href="/wiki/William_Faulkner" title="William Faulkner">William Faulkner</a> confessed he wished he had written the book himself,<sup id="cite_ref-1" class="reference"><a href="#cite_note-1">[1]</a></sup> and <a href="/wiki/D._H._Lawrence" title="D. H. Lawrence">D. H. Lawrence</a> called it "one of the strangest and most wonderful books in the world" and "the greatest book of the sea ever written".<sup id="cite_ref-2" class="reference"><a href="#cite_note-2">[2]</a></sup> Its <a href="/wiki/Opening_sentence" title="Opening sentence">opening sentence</a>, "Call me Ishmael", is among world literature\'s most famous.<sup id="cite_ref-Buell_2014,_367_3-0" class="reference"><a href="#cite_note-Buell_2014,_367-3">[3]</a></sup>\n</p><p>Melville began writing <i>Moby-Dick</i> in February 1850, and would eventually take 18 months to write the book, a full year more than he had first anticipated. Writing was interrupted by his making the acquaintance of <a href="/wiki/Nathaniel_Hawthorne" title="Nathaniel Hawthorne">Nathaniel Hawthorne</a> in August 1850, and by the creation of the "<a href="/wiki/Mosses_from_an_Old_Manse" title="Mosses from an Old Manse">Mosses from an Old Manse</a>" essay as a first result of that friendship. The book is dedicated to Hawthorne, "in token of my admiration for his genius".\n</p><p>The basis for the work is Melville\'s 1841 whaling voyage aboard the <i>Acushnet</i>. The novel also draws on whaling literature, and on literary inspirations such as <a href="/wiki/Shakespeare" class="mw-redirect" title="Shakespeare">Shakespeare</a> and <a href="/wiki/The_Bible" class="mw-redirect" title="The Bible">the Bible</a>. The white whale is modeled on the notoriously hard-to-catch albino whale <a href="/wiki/Mocha_Dick" title="Mocha Dick">Mocha Dick</a>, and the book\'s ending is based on the sinking of the whaleship <a href="/wiki/Essex_(whaleship)" title="Essex (whaleship)"><i>Essex</i></a> in 1820. The detailed and realistic descriptions of <a href="/wiki/Whale_hunting" class="mw-redirect" title="Whale hunting">whale hunting</a> and of extracting whale oil, as well as life aboard ship among a culturally diverse crew, are mixed with exploration of <a href="/wiki/Social_class_in_the_United_States" title="Social class in the United States">class</a> and <a href="/wiki/Social_status" title="Social status">social status</a>, good and evil, and the <a href="/wiki/Existence_of_God" title="Existence of God">existence of God</a>. In addition to <a href="/wiki/Narrative" title="Narrative">narrative</a> prose, Melville uses styles and <a href="/wiki/Literary_device" class="mw-redirect" title="Literary device">literary devices</a> ranging from songs, poetry, and catalogs to Shakespearean <a href="/wiki/Stage_direction" class="mw-redirect" title="Stage direction">stage directions</a>, <a href="/wiki/Soliloquy" title="Soliloquy">soliloquies</a>, and <a href="/wiki/Aside" title="Aside">asides</a>.\n</p><p>In October 1851, the chapter "The Town Ho\'s Story" was published in <i><a href="/wiki/Harper%27s_Magazine" title="Harper's Magazine">Harper\'s New Monthly Magazine</a></i>. The same month, the whole book was first published (in three volumes) as <i>The Whale</i> in <a href="/wiki/London" title="London">London</a>, and under its definitive title in a single-volume edition in New York in November. There are hundreds of differences between the two editions, most slight but some important and illuminating. The London publisher, <a href="/wiki/Richard_Bentley_(publisher)" title="Richard Bentley (publisher)">Richard Bentley</a>, censored or changed sensitive passages; Melville made revisions as well, including a last-minute change to the title for the New York edition. The whale, however, appears in the text of both editions as "Moby Dick", without the hyphen.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4">[4]</a></sup> One factor that led British reviewers to scorn the book was that it seemed to be told by a narrator who perished with the ship: the British edition lacked the Epilogue, which recounts Ishmael\'s survival. About 3,200 copies were sold during the author\'s life.\n</p>\n<div id="toc" class="toc"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none" /><div class="toctitle" lang="en" dir="ltr"><h2>Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>\n<ul>\n<li class="toclevel-1 tocsection-1"><a href="#Plot"><span class="tocnumber">1</span> <span class="toctext">Plot</span></a></li>\n<li class="toclevel-1 tocsection-2"><a href="#Structure"><span class="tocnumber">2</span> <span class="toctext">Structure</span></a>\n<ul>\n<li class="toclevel-2 tocsection-3"><a href="#Point_of_view"><span class="tocnumber">2.1</span> <span class="toctext">Point of view</span></a></li>\n<li class="toclevel-2 tocsection-4"><a href="#Chapter_structure"><span class="tocnumber">2.2</span> <span class="toctext">Chapter structure</span></a></li>\n<li class="toclevel-2 tocsection-5"><a href="#Nine_meetings_with_other_ships"><span class="tocnumber">2.3</span> <span class="toctext">Nine meetings with other ships</span></a></li>\n</ul>\n</li>\n<li class="toclevel-1 tocsection-6"><a href="#Themes"><span class="tocnumber">3</span> <span class="toctext">Themes</span></a></li>\n<li class="toclevel-1 tocsection-7"><a href="#Style"><span class="tocnumber">4</span> <span class="toctext">Style</span></a>\n<ul>\n<li class="toclevel-2 tocsection-8"><a href="#Assimilation_of_Shakespeare"><span class="tocnumber">4.1</span> <span class="toctext">Assimilation of Shakespeare</span></a></li>\n</ul>\n</li>\n<li class="toclevel-1 tocsection-9"><a href="#Background"><span class="tocnumber">5</span> <span class="toctext">Background</span></a>\n<ul>\n<li class="toclevel-2 tocsection-10"><a href="#Autobiographical_elements"><span class="tocnumber">5.1</span> <span class="toctext">Autobiographical elements</span></a></li>\n<li class="toclevel-2 tocsection-11"><a href="#Whaling_sources"><span class="tocnumber">5.2</span> <span class="toctext">Whaling sources</span></a></li>\n<li class="toclevel-2 tocsection-12"><a href="#Composition"><span class="tocnumber">5.3</span> <span class="toctext">Composition</span></a></li>\n</ul>\n</li>\n<li class="toclevel-1 tocsection-13"><a href="#Publication_history"><span class="tocnumber">6</span> <span class="toctext">Publication history</span></a>\n<ul>\n<li class="toclevel-2 tocsection-14"><a href="#Melville's_revisions_and_British_editorial_revisions"><span class="tocnumber">6.1</span> <span class="toctext">Melville\'s revisions and British editorial revisions</span></a></li>\n<li class="toclevel-2 tocsection-15"><a href="#British_censorship_and_missing_"Epilogue""><span class="tocnumber">6.2</span> <span class="toctext">British censorship and missing "Epilogue"</span></a></li>\n<li class="toclevel-2 tocsection-16"><a href="#Last-minute_change_of_title"><span class="tocnumber">6.3</span> <span class="toctext">Last-minute change of title</span></a></li>\n<li class="toclevel-2 tocsection-17"><a href="#Sales_and_earnings"><span class="tocnumber">6.4</span> <span class="toctext">Sales and earnings</span></a></li>\n</ul>\n</li>\n<li class="toclevel-1 tocsection-18"><a href="#Reception"><span class="tocnumber">7</span> <span class="toctext">Reception</span></a>\n<ul>\n<li class="toclevel-2 tocsection-19"><a href="#British"><span class="tocnumber">7.1</span> <span class="toctext">British</span></a></li>\n<li class="toclevel-2 tocsection-20"><a href="#American"><span class="tocnumber">7.2</span> <span class="toctext">American</span></a></li>\n</ul>\n</li>\n<li class="toclevel-1 tocsection-21"><a href="#Legacy_and_adaptations"><span class="tocnumber">8</span> <span class="toctext">Legacy and adaptations</span></a></li>\n<li class="toclevel-1 tocsection-22"><a href="#Editions"><span class="tocnumber">9</span> <span class="toctext">Editions</span></a></li>\n<li class="toclevel-1 tocsection-23"><a href="#Footnotes"><span class="tocnumber">10</span> <span class="toctext">Footnotes</span></a></li>\n<li class="toclevel-1 tocsection-24"><a href="#References"><span class="tocnumber">11</span> <span class="toctext">References</span></a></li>\n<li class="toclevel-1 tocsection-25"><a href="#External_links"><span class="tocnumber">12</span> <span class="toctext">External links</span></a></li>\n</ul>\n</div>\n\n<h2><span class="mw-headline" id="Plot">Plot</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=1" title="Edit section: Plot">edit</a><span class="mw-editsection-bracket">]</span></span></h2>\n<div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/List_of_Moby-Dick_characters" title="List of Moby-Dick characters">List of Moby-Dick characters</a></div>\n<p><a href="/wiki/Ishmael_(Moby-Dick)" title="Ishmael (Moby-Dick)">Ishmael</a> travels in December from <a href="/wiki/Manhattan_Island" class="mw-redirect" title="Manhattan Island">Manhattan Island</a> to <a href="/wiki/New_Bedford,_Massachusetts" title="New Bedford, Massachusetts">New Bedford, Massachusetts</a> with plans to sign up for a whaling voyage. The inn where he arrives is overcrowded, so he must share a bed with the tattooed cannibal <a href="/wiki/Polynesia" title="Polynesia">Polynesian</a> <a href="/wiki/Queequeg" title="Queequeg">Queequeg</a>, a harpooneer whose father was king of the fictional island of <a href="/wiki/Rokovoko" title="Rokovoko">Rokovoko</a>. The next morning, Ishmael and Queequeg attend <a href="/wiki/Father_Mapple" title="Father Mapple">Father Mapple</a>\'s sermon on <a href="/wiki/Jonah" title="Jonah">Jonah</a>, then head for <a href="/wiki/Nantucket,_Massachusetts" class="mw-redirect" title="Nantucket, Massachusetts">Nantucket</a>. Ishmael signs up with the Quaker ship-owners <a href="/wiki/Captain_Bildad" class="mw-redirect" title="Captain Bildad">Bildad</a> and <a href="/wiki/Captain_Peleg" class="mw-redirect" title="Captain Peleg">Peleg</a> for a voyage on their whaler <i><a href="/wiki/Pequod_(Moby-Dick)" title="Pequod (Moby-Dick)">Pequod</a></i>. Peleg describes <a href="/wiki/Captain_Ahab" title="Captain Ahab">Captain Ahab</a>: "He\'s a grand, ungodly, god-like man" who nevertheless "has his humanities". They hire Queequeg the following morning. A man named <a href="/wiki/Elijah" title="Elijah">Elijah</a> prophesies a dire fate should Ishmael and Queequeg join Ahab. While provisions are loaded, shadowy figures board the ship. On a cold Christmas Day, the <i>Pequod</i> leaves the harbor.\n</p><p>Ishmael discusses <a href="/wiki/Cetology_of_Moby-Dick" title="Cetology of Moby-Dick">cetology</a> (the zoological classification and natural history of the whale), and describes the crew members. The chief mate is 30-year-old <a href="/wiki/List_of_Moby-Dick_characters#Crewmates" title="List of Moby-Dick characters">Starbuck</a>, a Nantucket <a href="/wiki/Quaker" class="mw-redirect" title="Quaker">Quaker</a> with a realist mentality, whose harpooneer is Queequeg; second mate is <a href="/wiki/List_of_Moby-Dick_characters#Crewmates" title="List of Moby-Dick characters">Stubb</a>, from Cape Cod, happy-go-lucky and cheerful, whose harpooneer is <a href="/wiki/Tashtego" class="mw-redirect" title="Tashtego">Tashtego</a>, a proud, pure-blooded Indian from Gay Head, and the third mate is <a href="/wiki/List_of_Moby-Dick_characters#Crewmates" title="List of Moby-Dick characters">Flask</a>, also from <a href="/wiki/Martha%27s_Vineyard" title="Martha's Vineyard">Martha\'s Vineyard</a>, short, stout, whose harpooneer is <a href="/wiki/List_of_Moby-Dick_characters#Harpooneers" title="List of Moby-Dick characters">Daggoo</a>, a tall African, now a resident of Nantucket.\n</p><p>When Ahab finally appears on the <a href="/wiki/Quarterdeck" title="Quarterdeck">quarterdeck</a>, he announces he is out for revenge on the white whale which took one leg from the knee down and left him with a prosthesis fashioned from a whale\'s jawbone. Ahab will give the first man to sight Moby Dick a <a href="/wiki/Doubloon" title="Doubloon">doubloon</a>, a gold coin, which he nails to the mast. Starbuck objects that he has not come for vengeance but for profit. Ahab\'s purpose exercises a mysterious spell on Ishmael: "Ahab\'s quenchless feud seemed mine". Instead of rounding <a href="/wiki/Cape_Horn" title="Cape Horn">Cape Horn</a>, Ahab heads for the equatorial <a href="/wiki/Pacific_Ocean" title="Pacific Ocean">Pacific Ocean</a> via southern Africa. One afternoon, as Ishmael and Queequeg are weaving a mat — "its warp seemed necessity, his hand free will, and Queequeg\'s sword chance" — <a href="/wiki/Tashtego" class="mw-redirect" title="Tashtego">Tashtego</a> sights a <a href="/wiki/Sperm_whale" title="Sperm whale">sperm whale</a>. Five previously unknown men appear on deck and are revealed to be a special crew selected by Ahab and explain the shadowy figures seen boarding the ship. Their leader, <a href="/wiki/List_of_Moby-Dick_characters#Harpooneers" title="List of Moby-Dick characters">Fedallah</a>, a <a href="/wiki/Parsi" class="mw-redirect" title="Parsi">Parsee</a>, is Ahab\'s harpooneer. The pursuit is unsuccessful.\n</p>\n<div class="thumb tleft"><div class="thumbinner" style="width:172px;"><a href="/wiki/File:Moby_Dick_p510_illustration.jpg" class="image"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Moby_Dick_p510_illustration.jpg/170px-Moby_Dick_p510_illustration.jpg" decoding="async" width="170" height="267" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Moby_Dick_p510_illustration.jpg/255px-Moby_Dick_p510_illustration.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Moby_Dick_p510_illustration.jpg/340px-Moby_Dick_p510_illustration.jpg 2x" data-file-width="620" data-file-height="972" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Moby_Dick_p510_illustration.jpg" class="internal" title="Enlarge"></a></div>Moby Dick</div></div></div>\n<p>Southeast of the <a href="/wiki/Cape_of_Good_Hope" title="Cape of Good Hope">Cape of Good Hope</a>, the <i>Pequod</i> makes the first of nine sea-encounters, or "gams", with other ships: Ahab hails the <i>Goney</i> (Albatross) to ask whether they have seen the White Whale, but the trumpet through which her captain tries to speak falls into the sea before he can answer. Ishmael explains that because of Ahab\'s absorption with Moby Dick, he sails on without the customary "gam", which defines as a "social meeting of two (or more) Whale-ships", in which the two captains remain on one ship and the chief mates on the other. In the second gam off the Cape of Good Hope, with the <i>Town-Ho</i>, a Nantucket whaler, the concealed story of a "judgment of God" is revealed, but only to the crew: a defiant sailor who struck an oppressive officer is flogged, and when that officer led the chase for Moby Dick, he fell from the boat and was killed by the whale.\n</p><p>Ishmael digresses on pictures of whales, brit (microscopic sea creatures on which whales feed), squid and — after four boats lowered in vain because Daggoo mistook a <a href="/wiki/Giant_squid" title="Giant squid">giant squid</a> for the white whale — whale-lines. The next day, in the <a href="/wiki/Indian_Ocean" title="Indian Ocean">Indian Ocean</a>, Stubb kills a sperm whale, and that night Fleece, the <i>Pequod</i><span class="nowrap" style="padding-left:0.1em;">'</span>s black cook, prepares him a rare whale steak. Fleece, at Stubb\'s request, delivers a sermon to the sharks that fight each other to feast on the whale\'s carcass, tied to the ship, saying that their nature is to be voracious, but they must overcome it. The whale is prepared, beheaded, and barrels of oil are tried out. Standing at the head of the whale, Ahab begs it to speak of the depths of the sea. The <i>Pequod</i> next encounters the <i>Jeroboam</i>, which not only lost its chief mate to Moby Dick, but also is now plagued by an epidemic.\n</p><p>The whale carcass still lies in the water. Queequeg mounts it, tied to Ishmael\'s belt by a monkey-rope as if they were <a href="/wiki/Conjoined_twins" title="Conjoined twins">Siamese twins</a>. Stubb and Flask kill a right whale whose head is fastened to a yardarm opposite the sperm whale\'s head. Ishmael compares the two heads in a philosophical way: the right whale is <a href="/wiki/John_Locke" title="John Locke">Lockean</a>, stoic, and the sperm whale as <a href="/wiki/Immanuel_Kant" title="Immanuel Kant">Kantean</a>, <a href="/wiki/Plato" title="Plato">platonic</a>. Tashtego cuts into the head of the sperm whale and retrieves buckets of oil. He falls into the head, and the head falls off the yardarm into the sea. Queequeg dives after him and frees his mate with his sword.\n</p><p>The <i>Pequod</i> next gams with the <i>Jungfrau</i> from Bremen. Both ships sight whales simultaneously, with the <i>Pequod</i> winning the contest. The three harpooneers dart their harpoons, and Flask delivers the mortal strike with a lance. The carcass sinks, and Queequeg barely manages to escape. The <i>Pequod</i><span class="nowrap" style="padding-left:0.1em;">'</span>s next gam is with the French whaler <i>Bouton de Rose</i>, whose crew is ignorant of the <a href="/wiki/Ambergris" title="Ambergris">ambergris</a> in the gut of the diseased whale in their possession. Stubb talks them out of it, but Ahab orders him away. Days later, an encounter with a harpooned whale prompts Pip, a little black cabin-boy from Connecticut, to jump out of his whale boat. The whale must be cut loose, because the line has Pip so entangled in it. Furious, Stubb orders Pip to stay in the whale boat, but Pip later jumps again, and is left alone in the immense sea and has gone insane by the time he is picked up.\n</p><p>Cooled sperm oil congeals and must be squeezed back into liquid state; blubber is boiled in the try-pots on deck; the warm oil is decanted into casks, and then stowed in the ship. After the operation, the decks are scrubbed. The coin hammered to the main mast shows three <a href="/wiki/Andes" title="Andes">Andes</a> summits, one with a flame, one with a tower, and one a crowing cock. Ahab stops to look at the doubloon and interprets the coin as signs of his firmness, volcanic energy, and victory; Starbuck takes the high peaks as evidence of the <a href="/wiki/Trinity" title="Trinity">Trinity</a>; Stubb focuses on the zodiacal arch over the mountains; and Flask sees nothing of any symbolic value at all. The Manxman mutters in front of the mast, and Pip declines the verb "look".\n</p>\n<div class="thumb tright"><div class="thumbinner" style="width:172px;"><a href="/wiki/File:Queequeg.JPG" class="image"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Queequeg.JPG/170px-Queequeg.JPG" decoding="async" width="170" height="281" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Queequeg.JPG/255px-Queequeg.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Queequeg.JPG/340px-Queequeg.JPG 2x" data-file-width="651" data-file-height="1076" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Queequeg.JPG" class="internal" title="Enlarge"></a></div>Queequeg</div></div></div>\n<p>The <i>Pequod</i> next gams with the <i>Samuel Enderby</i> of <a href="/wiki/London" title="London">London</a>, captained by Boomer, a down-to-earth fellow who lost his right arm to Moby Dick. Nevertheless, he carries no ill will toward the whale, which he regards not as malicious, but as awkward. Ahab puts an end to the gam by rushing back to his ship. The narrator now discusses the subjects of (1) whalers supply; (2) a <a href="/wiki/Glen" title="Glen">glen</a> in Tranque in the Arsacides islands full of carved whale bones, fossil whales, whale skeleton measurements; (3) the chance that the magnitude of the whale will diminish and that the leviathan might perish.\n</p><p>Leaving the <i>Samuel Enderby</i>, Ahab wrenches his ivory leg and orders the carpenter to fashion him another. Starbuck informs Ahab of oil leakage in the hold. Reluctantly, Ahab orders the harpooneers to inspect the casks. Queequeg, sweating all day below decks, develops a chill and soon is almost mortally feverish. The carpenter makes a coffin for Queequeg, who fears an ordinary <a href="/wiki/Burial_at_sea" title="Burial at sea">burial at sea</a>. Queequeg tries it for size, with Pip sobbing and beating his tambourine, standing by and calling himself a coward while he praises Queequeg for his gameness. Yet Queequeg suddenly rallies, briefly convalesces, and leaps up, back in good health. Henceforth, he uses his coffin for a spare seachest, which is later caulked and pitched to replace the <i>Pequod</i><span class="nowrap" style="padding-left:0.1em;">'</span>s life buoy.\n</p><p>The <i>Pequod</i> sails northeast toward <a href="/wiki/Formosa" class="mw-redirect" title="Formosa">Formosa</a> and into the Pacific Ocean. Ahab, with one nostril, smells the musk from the <a href="/wiki/Philippines" title="Philippines">Bashee</a> isles, and with the other, the salt of the waters where Moby Dick swims. Ahab goes to Perth, the blacksmith, with a bag of racehorse shoenail stubs to be forged into the shank of a special harpoon, and with his razors for Perth to melt and fashion into a <a href="/wiki/Harpoon" title="Harpoon">harpoon</a> barb. Ahab tempers the barb in blood from Queequeg, Tashtego, and Daggoo.\n</p><p>The <i>Pequod</i> gams next with the <i>Bachelor</i>, a Nantucket ship heading home full of sperm oil. Every now and then, the <i>Pequod</i> lowers for whales with success. On one of those nights in the whaleboat, Fedallah prophesies that neither hearse nor coffin can be Ahab\'s, that before he dies, Ahab must see two hearses — one not made by mortal hands and the other made of American wood — that Fedallah will precede his captain in death, and finally that only hemp can kill Ahab.\n</p><p>As the <i>Pequod</i> approaches the <a href="/wiki/Equator" title="Equator">Equator</a>, Ahab scolds his quadrant for telling him only where he is and not where he will be. He dashes it to the deck. That evening, an impressive <a href="/wiki/Typhoon" title="Typhoon">typhoon</a> attacks the ship. Lightning strikes the mast, setting the doubloon and Ahab\'s harpoon aglow. Ahab delivers a speech on the spirit of fire, seeing the lightning as a portent of Moby Dick. Starbuck sees the lightning as a warning, and feels tempted to shoot the sleeping Ahab with a musket. Next morning, when he finds that the lightning disoriented the compass, Ahab makes a new one out of a lance, a maul, and a sailmaker\'s needle. He orders the <a href="/wiki/Chip_log" title="Chip log">log</a> be heaved, but the weathered line snaps, leaving the ship with no way to fix its location.\n</p><p>The <i>Pequod</i> is now heading southeast toward Moby Dick. A man falls overboard from the mast. The life buoy is thrown, but both sink. Now Queequeg proposes that his superfluous coffin be used as a new life buoy. Starbuck orders the carpenter take care it is lidded and caulked. Next morning, the ship meets in another truncated gam with the <i>Rachel</i>, commanded by Captain Gardiner from Nantucket. The <i>Rachel</i> is seeking survivors from one of her whaleboats which had gone after Moby Dick. Among the missing is Gardiner\'s young son. Ahab refuses to join the search. Twenty-four hours a day, Ahab now stands and walks the deck, while Fedallah shadows him. Suddenly, a sea hawk grabs Ahab\'s slouched hat and flies off with it. Next, the <i>Pequod</i>, in a ninth and final gam, meets the <i>Delight</i>, badly damaged and with five of her crew left dead by Moby Dick. Her captain shouts that the harpoon which can kill the white whale has yet to be forged, but Ahab flourishes his special lance and once more orders the ship forward. Ahab shares a moment of contemplation with Starbuck. Ahab speaks about his wife and child, calls himself a fool for spending 40 years on whaling, and claims he can see his own child in Starbuck\'s eye. Starbuck tries to persuade Ahab to return to Nantucket to meet both their families, but Ahab simply crosses the deck and stands near Fedallah.\n</p><p>On the first day of the chase, Ahab smells the whale, climbs the mast, and sights Moby Dick. He claims the doubloon for himself, and orders all boats to lower except for Starbuck\'s. The whale bites Ahab\'s boat in two, tosses the captain out of it, and scatters the crew. On the second day of the chase, Ahab leaves Starbuck in charge of the <i>Pequod</i>. Moby Dick smashes the three boats that seek him into splinters and tangles their lines. Ahab is rescued, but his ivory leg and Fedallah are lost. Starbuck begs Ahab to desist, but Ahab vows to slay the white whale, even if he would have to dive through the globe itself to get his revenge.\n</p>\n<div class="thumb tleft"><div class="thumbinner" style="width:172px;"><a href="/wiki/File:Moby_Dick_final_chase.jpg" class="image"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Moby_Dick_final_chase.jpg/170px-Moby_Dick_final_chase.jpg" decoding="async" width="170" height="267" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Moby_Dick_final_chase.jpg/255px-Moby_Dick_final_chase.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Moby_Dick_final_chase.jpg/340px-Moby_Dick_final_chase.jpg 2x" data-file-width="585" data-file-height="920" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Moby_Dick_final_chase.jpg" class="internal" title="Enlarge"></a></div>Moby Dick</div></div></div>\n<p>On the third day of the chase, Ahab sights Moby Dick at noon, and sharks appear, as well. Ahab lowers his boat for a final time, leaving Starbuck again on board. Moby Dick breaches and destroys two boats. Fedallah\'s corpse, still entangled in the fouled lines, is lashed to the whale\'s back, so Moby Dick turns out to be the hearse Fedallah prophesied. "Possessed by all the fallen angels", Ahab plants his harpoon in the whale\'s flank. Moby Dick smites the whaleboat, tossing its men into the sea. Only Ishmael is unable to return to the boat. He is left behind in the sea, and so is the only crewman of the <i>Pequod</i> to survive the final encounter. The whale now fatally attacks the <i>Pequod</i>. Ahab then realizes that the destroyed ship is the hearse made of American wood in Fedallah\'s prophesy. The whale returns to Ahab, who stabs at him again. As he does so, the line gets tangled, and Ahab bends over to free it. In doing so the line loops around Ahab\'s neck, and as the stricken whale swims away, the captain is drawn with him out of sight. Queequeg\'s coffin comes to the surface, the only thing to escape the vortex when <i>Pequod</i> sank. For an entire day, Ishmael floats on it, until the <i>Rachel</i>, still looking for its lost seamen, rescues him.\n</p>\n<h2><span class="mw-headline" id="Structure">Structure</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=2" title="Edit section: Structure">edit</a><span class="mw-editsection-bracket">]</span></span></h2>\n<h3><span class="mw-headline" id="Point_of_view">Point of view</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=3" title="Edit section: Point of view">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<p>Ishmael is the narrator, shaping his story with use of many different genres including sermons, stage plays, soliloquies, and emblematical readings.<sup id="cite_ref-Bezanson_1953,_644_5-0" class="reference"><a href="#cite_note-Bezanson_1953,_644-5">[5]</a></sup> Repeatedly, Ishmael refers to his writing of the book: "But how can I hope to explain myself here; and yet, in some dim, random way, explain myself I must, else all these chapters might be naught."<sup id="cite_ref-6" class="reference"><a href="#cite_note-6">[6]</a></sup> Scholar John Bryant calls him the novel\'s "central consciousness and narrative voice."<sup id="cite_ref-7" class="reference"><a href="#cite_note-7">[7]</a></sup> Bezanson first distinguishes Ishmael as narrator from Ishmael as character, whom he calls "forecastle Ishmael", and who is the younger Ishmael of some years ago. Narrator Ishmael, then, is "merely young Ishmael grown older."<sup id="cite_ref-Bezanson_1953,_644_5-1" class="reference"><a href="#cite_note-Bezanson_1953,_644-5">[5]</a></sup> A second distinction avoids confusion of either of both Ishmaels with the author Herman Melville. Bezanson warns readers to "resist any one-to-one equation of Melville and Ishmael."<sup id="cite_ref-8" class="reference"><a href="#cite_note-8">[8]</a></sup>\n</p>\n<h3><span class="mw-headline" id="Chapter_structure">Chapter structure</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=4" title="Edit section: Chapter structure">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<p>According to critic Walter Bezanson, the chapter structure can be divided into "chapter sequences", "chapter clusters", and "balancing chapters". The simplest sequences are of narrative progression, then sequences of theme such as the three chapters on whale painting, and sequences of structural similarity, such as the five dramatic chapters beginning with "The Quarter-Deck" or the four chapters beginning with "The Candles". Chapter clusters are the chapters on the significance of the colour white, and those on the meaning of fire. Balancing chapters are chapters of opposites, such as "Loomings" versus the "Epilogue," or similars, such as "The Quarter-Deck" and "The Candles".<sup id="cite_ref-9" class="reference"><a href="#cite_note-9">[9]</a></sup>\n</p><p>Scholar <a href="/wiki/Lawrence_Buell" title="Lawrence Buell">Lawrence Buell</a> describes the arrangement of the non-narrative chapters as structured around three patterns: first, the nine meetings of the <i>Pequod</i> with ships that have encountered Moby Dick. Each has been more and more severely damaged, foreshadowing the <i>Pequod</i><span class="nowrap" style="padding-left:0.1em;">'</span>s own fate. Second, the increasingly impressive encounters with whales. In the early encounters, the whaleboats hardly make contact; later there are false alarms and routine chases; finally, the massive assembling of whales at the edges of the China Sea in "The Grand Armada". A typhoon near Japan sets the stage for Ahab\'s confrontation with Moby Dick. The third pattern is the cetological documentation, so lavish that it can be divided into two subpatterns. These chapters start with the ancient history of whaling and a bibliographical classification of whales, getting closer with second-hand stories of the evil of whales in general and of Moby Dick in particular, a chronologically ordered commentary on pictures of whales. The climax to this section is chapter 57, "Of whales in paint etc.", which begins with the humble (a beggar in London) and ends with the sublime (the constellation Cetus). The next chapter ("Brit"), thus the other half of this pattern, begins with the book\'s first description of live whales, and next the anatomy of the sperm whale is studied, more or less from front to rear and from outer to inner parts, all the way down to the skeleton. Two concluding chapters set forth the whale\'s evolution as a species and claim its eternal nature.<sup id="cite_ref-Buell_2014,_367_3-1" class="reference"><a href="#cite_note-Buell_2014,_367-3">[3]</a></sup>\n</p><p>Some "ten or more" of the chapters on whale killings, beginning at two-fifths of the book, are developed enough to be called "events". As Bezanson writes, "in each case a killing provokes either a chapter sequence or a chapter cluster of cetological lore growing out of the circumstance of the particular killing," thus these killings are "structural occasions for ordering the whaling essays and sermons".<sup id="cite_ref-Bezanson_1953,_654_10-0" class="reference"><a href="#cite_note-Bezanson_1953,_654-10">[10]</a></sup>\n</p><p>Buell observes that the "narrative architecture" is an "idiosyncratic variant of the bipolar observer/hero narrative", that is, the novel is structured around the two main characters, Ahab and Ishmael, who are intertwined and contrasted with each other, with Ishmael the observer and narrator.<sup id="cite_ref-Buell_2014,_365_11-0" class="reference"><a href="#cite_note-Buell_2014,_365-11">[11]</a></sup> As the story of Ishmael, remarks Robert Milder, it is a "narrative of education".<sup id="cite_ref-12" class="reference"><a href="#cite_note-12">[12]</a></sup>\n</p><p>Bryant and Springer find that the book is structured around the two consciousnesses of Ahab and Ishmael, with Ahab as a force of linearity and Ishmael a force of digression.<sup id="cite_ref-Bryant_and_Springer_2007,_xvi_13-0" class="reference"><a href="#cite_note-Bryant_and_Springer_2007,_xvi-13">[13]</a></sup> While both have an angry sense of being orphaned, they try to come to terms with this hole in their beings in different ways: Ahab with violence, Ishmael with meditation. And while the plot in <i>Moby-Dick</i> may be driven by Ahab\'s anger, Ishmael\'s desire to get a hold of the "ungraspable" accounts for the novel\'s lyricism.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14">[14]</a></sup> Buell sees a double quest in the book: Ahab\'s is to hunt Moby Dick, Ishmael\'s is "to understand what to make of both whale and hunt".<sup id="cite_ref-Buell_2014,_365_11-1" class="reference"><a href="#cite_note-Buell_2014,_365-11">[11]</a></sup>\n</p><p>One of the most distinctive features of the book is the variety of genres. Bezanson mentions sermons, dreams, travel account, autobiography, Elizabethan plays, and epic poetry.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15">[15]</a></sup> He calls Ishmael\'s explanatory footnotes to establish the documentary genre "a Nabokovian touch".<sup id="cite_ref-16" class="reference"><a href="#cite_note-16">[16]</a></sup>\n</p>\n<h3><span class="mw-headline" id="Nine_meetings_with_other_ships">Nine meetings with other ships</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=5" title="Edit section: Nine meetings with other ships">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<p>A significant structural device is the series of nine meetings (gams) between the <i>Pequod</i> and other ships. These meetings are important in three ways. First, their placement in the narrative. The initial two meetings and the last two are both close to each other. The central group of five gams are separated by about 12 chapters, more or less. This pattern provides a structural element, remarks Bezanson, as if the encounters were "bones to the book\'s flesh". Second, Ahab\'s developing responses to the meetings plot the "rising curve of his passion" and of his monomania. Third, in contrast to Ahab, Ishmael interprets the significance of each ship individually: "each ship is a scroll which the narrator unrolls and reads."<sup id="cite_ref-Bezanson_1953,_654_10-1" class="reference"><a href="#cite_note-Bezanson_1953,_654-10">[10]</a></sup> Bezanson sees no single way to account for the meaning of all of these ships. Instead, they may be interpreted as "a group of metaphysical parables, a series of biblical analogues, a masque of the situation confronting man, a pageant of the humors within men, a parade of the nations, and so forth, as well as concrete and symbolic ways of thinking about the White Whale".<sup id="cite_ref-17" class="reference"><a href="#cite_note-17">[17]</a></sup>\n</p><p>Scholar Nathalia Wright sees the meetings and the significance of the vessels along other lines. She singles out the four vessels which have already encountered Moby Dick. The first, the <i>Jeroboam</i>, is named after the predecessor of the biblical King Ahab. Her "prophetic" fate is "a message of warning to all who follow, articulated by Gabriel and vindicated by the <i>Samuel Enderby</i>, the <i>Rachel</i>, the <i>Delight</i>, and at last the <i>Pequod</i>". None of the other ships has been completely destroyed because none of their captains shared Ahab\'s monomania; the fate of the <i>Jeroboam</i> reinforces the structural parallel between Ahab and his biblical namesake: "Ahab did more to provoke the Lord God of Israel to anger than all the kings of Israel that were before him" (<a href="/wiki/Books_of_Kings" title="Books of Kings">I Kings</a> 16:33).<sup id="cite_ref-18" class="reference"><a href="#cite_note-18">[18]</a></sup>\n</p>\n<h2><span class="mw-headline" id="Themes">Themes</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=6" title="Edit section: Themes">edit</a><span class="mw-editsection-bracket">]</span></span></h2>\n<p>An early enthusiast for the Melville Revival, British author <a href="/wiki/E._M._Forster" title="E. M. Forster">E. M. Forster</a>, remarked in 1927: "<i>Moby-Dick</i> is full of meanings: its meaning is a different problem."<sup id="cite_ref-19" class="reference"><a href="#cite_note-19">[19]</a></sup> Yet he saw as "the essential" in the book "its prophetic song", which flows "like an undercurrent" beneath the surface action and morality.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20">[20]</a></sup>\n</p><p>Biographer Laurie Robertson-Lorant sees epistemology as the book\'s theme. Ishmael\'s taxonomy of whales merely demonstrates "the limitations of scientific knowledge and the impossibility of achieving certainty". She also contrasts Ishmael and Ahab\'s attitudes toward life, with Ishmael\'s open-minded and meditative, "polypositional stance" as antithetical to Ahab\'s monomania, adhering to dogmatic rigidity.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21">[21]</a></sup>\n</p><p>Melville biographer Delbanco cites race as an example of this search for truth beneath surface differences. All races are represented among the crew members of the <i>Pequod</i>. Although Ishmael initially is afraid of Queequeg as a tattooed cannibal, he soon decides, "Better sleep with a sober cannibal than a drunken Christian."<sup id="cite_ref-22" class="reference"><a href="#cite_note-22">[22]</a></sup> While it may be rare for a mid-19th century American book to feature black characters in a nonslavery context, slavery is frequently mentioned. The theme of race is primarily carried by Pip, the diminutive black cabin boy.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23">[23]</a></sup> When Pip has almost drowned, Ahab, genuinely touched by Pip\'s suffering, questions him gently, Pip "can only parrot the language of an advertisement for the return of a fugitive slave: \'Pip! Reward for Pip!\'".<sup id="cite_ref-24" class="reference"><a href="#cite_note-24">[24]</a></sup>\n</p><p>Editors Bryant and Springer suggest perception is a central theme, the difficulty of seeing and understanding, which makes deep reality hard to discover and truth hard to pin down. Ahab explains that, like all things, the evil whale wears a disguise: "All visible objects, man, are but pasteboard masks" — and Ahab is determined to "strike through the mask! How can the prisoner reach outside, except by thrusting through the wall? To me, the white whale is that wall" (Ch. 36, "The Quarter-Deck"). This theme pervades the novel, perhaps never so emphatically as in "The Doubloon" (Ch. 99), where each crewmember perceives the coin in a way shaped by his own personality. Later, the American edition has Ahab "discover no sign" (Ch. 133) of the whale when he is staring into the deep. In fact, Moby Dick is then swimming up at him. In the British edition, Melville changed the word "discover" to "perceive", and with good reason, for "discovery" means finding what is already there, but "perceiving", or better still, perception, is "a matter of shaping what exists by the way in which we see it".<sup id="cite_ref-Bryant_and_Springer_2007,_xxii_25-0" class="reference"><a href="#cite_note-Bryant_and_Springer_2007,_xxii-25">[25]</a></sup> The point is not that Ahab would discover the whale as an object, but that he would perceive it as a symbol of his making.<sup id="cite_ref-Bryant_and_Springer_2007,_xxii_25-1" class="reference"><a href="#cite_note-Bryant_and_Springer_2007,_xxii-25">[25]</a></sup>\n</p><p>Yet Melville does not offer easy solutions. Ishmael and Queequeg\'s sensual friendship initiates a kind of racial harmony that is shattered when the crew\'s dancing erupts into racial conflict in "Midnight, Forecastle" (Ch. 40).<sup id="cite_ref-Bryant_and_Springer_2007,_xvi_13-1" class="reference"><a href="#cite_note-Bryant_and_Springer_2007,_xvi-13">[13]</a></sup> Fifty chapters later, Pip suffers mental disintegration after he is reminded that as a slave he would be worth less money than a whale. Commodified and brutalized, "Pip becomes the ship\'s conscience".<sup id="cite_ref-26" class="reference"><a href="#cite_note-26">[26]</a></sup> His views of property are another example of wrestling with moral choice. In Chapter 89, Ishmael expounds the concept of the fast-fish and the loose-fish, which gives right of ownership to those who take possession of an abandoned fish or ship, and observes that the British Empire took possession of American Indian lands in colonial times in just the way that whalers take possession of an unclaimed whale.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27">[27]</a></sup>\n</p><p>The novel has also been read as being critical of the contemporary literary and philosophical movement <a href="/wiki/Transcendentalism" title="Transcendentalism">Transcendentalism</a>, attacking the thought of leading Transcendentalist<sup id="cite_ref-Baldick_28-0" class="reference"><a href="#cite_note-Baldick-28">[28]</a></sup> <a href="/wiki/Ralph_Waldo_Emerson" title="Ralph Waldo Emerson">Ralph Waldo Emerson</a> in particular.<sup id="cite_ref-Ruland_and_Bradbury_29-0" class="reference"><a href="#cite_note-Ruland_and_Bradbury-29">[29]</a></sup> The life and death of Ahab has been read as an attack on Emerson\'s philosophy of <a href="/wiki/Self-Reliance" title="Self-Reliance">self reliance</a>, for one, in its destructive potential and potential justification for egoism. Richard Chase writes that for Melville, \'Death–spiritual, emotional, physical–is the price of self-reliance when it is pushed to the point of solipsism, where the world has no existence apart from the all-sufficient self.\'<sup id="cite_ref-R._Chase_30-0" class="reference"><a href="#cite_note-R._Chase-30">[30]</a></sup> In that regard, Chase sees Melville\'s art as antithetical to that of Emerson\'s thought, in that Melville \'[points] up the dangers of an exaggerated self-regard, rather than, as ... Emerson loved to do, [suggested] the vital possibilities of the self.\'<sup id="cite_ref-R._Chase_30-1" class="reference"><a href="#cite_note-R._Chase-30">[30]</a></sup> Newton Arvin further suggests that self-reliance was, for Melville, really the \'[masquerade in kingly weeds of] a wild egoism, anarchic, irresponsible, and destructive.\'<sup id="cite_ref-Moby-Dick_(Bantam)_31-0" class="reference"><a href="#cite_note-Moby-Dick_(Bantam)-31">[31]</a></sup>\n</p>\n<h2><span class="mw-headline" id="Style">Style</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=7" title="Edit section: Style">edit</a><span class="mw-editsection-bracket">]</span></span></h2>\n<p>An incomplete inventory of the language of <i>Moby-Dick</i> by editors Bryant and Springer includes "nautical, biblical, Homeric, Shakespearean, Miltonic, cetological" influences, and his style is "alliterative, fanciful, colloquial, archaic, and unceasingly allusive": Melville tests and exhausts the possibilities of grammar, quotes from a range of well-known or obscure sources, and swings from calm prose to high rhetoric, technical exposition, seaman\'s slang, mystic speculation, or wild prophetic archaism.<sup id="cite_ref-Bryant_and_Springer_2007,_xv_32-0" class="reference"><a href="#cite_note-Bryant_and_Springer_2007,_xv-32">[32]</a></sup>\n</p><p>Many words that make up the vocabulary of <i>Moby-Dick</i> are Melville\'s own coinages, critic <a href="/wiki/Newton_Arvin" title="Newton Arvin">Newton Arvin</a> recognizes, as if the English vocabulary were too limited for the complex things Melville had to express. Perhaps the most striking example is the use of verbal nouns, mostly plural, such as <i>allurings</i>, <i>coincidings</i>, and <i>leewardings</i>. Equally abundant are unfamiliar adjectives and adverbs, including participial adjectives such as <i>officered</i>, <i>omnitooled</i>, and <i>uncatastrophied</i>; participial adverbs such as <i>intermixingly</i>, <i>postponedly</i>, and <i>uninterpenetratingly</i>; rarities such as the adjectives <i>unsmoothable</i>, <i>spermy</i>, and <i>leviathanic</i>, and adverbs such as <i>sultanically</i>, <i>Spanishly</i>, and <i>Venetianly</i>; and adjectival compounds ranging from odd to magnificent, such as "the <i>message-carrying</i> air", "the <i>circus-running</i> sun", and "<i>teeth-tiered</i> sharks".<sup id="cite_ref-33" class="reference"><a href="#cite_note-33">[33]</a></sup> It is rarer for Melville to create his own verbs from nouns, but he does this with what Arvin calls "irresistible effect", such as in "who didst <i>thunder</i> him higher than a throne", and "my fingers ... began ... to <i>serpentine</i> and <i>spiralize</i>".<sup id="cite_ref-34" class="reference"><a href="#cite_note-34">[34]</a></sup> For Arvin, the essence of the writing style of <i>Moby-Dick</i> lies in\n</p>\n<dl><dd>the manner in which the parts of speech are \'intermixingly\' assorted in Melville\'s style--so that the distinction between verbs and nouns, substantives and modifiers, becomes a half unreal one--this is the prime characteristic of his language. No feature of it could express more tellingly the awareness that lies below and behind <i>Moby-Dick</i>--the awareness that action and condition, movement and stasis, object and idea, are but surface aspects of one underlying reality.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35">[35]</a></sup></dd></dl>\n<p>Arvin\'s categories have been slightly expanded by later critics, most notably Warner Berthoff. The superabundant vocabulary of the work can be broken down into strategies used individually and in combination. First, the original modification of words as "Leviathanism"<sup id="cite_ref-Lee_2006,_395_36-0" class="reference"><a href="#cite_note-Lee_2006,_395-36">[36]</a></sup> and the exaggerated repetition of modified words, as in the series "pitiable", "pity", "pitied" and "piteous" (Ch. 81, "The Pequod Meets the Virgin").<sup id="cite_ref-Berthoff_1962,_164_37-0" class="reference"><a href="#cite_note-Berthoff_1962,_164-37">[37]</a></sup> Second, the use of existing words in new ways, as when the whale "heaps" and "tasks".<sup id="cite_ref-Lee_2006,_395_36-1" class="reference"><a href="#cite_note-Lee_2006,_395-36">[36]</a></sup> Third, words lifted from specialized fields, as "fossiliferous".<sup id="cite_ref-Lee_2006,_395_36-2" class="reference"><a href="#cite_note-Lee_2006,_395-36">[36]</a></sup> Fourth, the use of unusual adjective-noun combinations, as in "concentrating brow" and "immaculate manliness" (Ch. 26, "Knights and Squires").<sup id="cite_ref-38" class="reference"><a href="#cite_note-38">[38]</a></sup> Fifth, using the participial modifier to emphasize and to reinforce the already established expectations of the reader, as the words "preluding" and "foreshadowing" ("so still and subdued and yet somehow preluding was all the scene ..."; "In this foreshadowing interval ...").<sup id="cite_ref-Berthoff_1962,_164_37-1" class="reference"><a href="#cite_note-Berthoff_1962,_164-37">[37]</a></sup>\n</p><p>Characteristic stylistic elements of another kind are the echoes and overtones.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39">[39]</a></sup> Responsible for this are both Melville\'s imitation of certain distinct styles and his habitual use of sources to shape his own work. His three most important sources, in order, are the Bible, Shakespeare, and Milton.<sup id="cite_ref-40" class="reference"><a href="#cite_note-40">[40]</a></sup>\n</p><p>Another notable stylistic element are the several levels of rhetoric, the simplest of which is "a relatively straightforward <i>expository</i> style" that is evident of many passages in the cetological chapters, though they are "rarely sustained, and serve chiefly as transitions" between more sophisticated levels. One of these is the "<i>poetic</i>" level of rhetoric, which Bezanson sees "well exemplified" in Ahab\'s quarter-deck soliloquy, to the point that it can be set as <a href="/wiki/Blank_verse" title="Blank verse">blank verse</a>.<sup id="cite_ref-41" class="reference"><a href="#cite_note-41">[41]</a></sup> Set over a metrical patern, the rhythms are "evenly controlled—too evenly perhaps for prose," Bezanson suggests.<sup id="cite_ref-42" class="reference"><a href="#cite_note-42">[42]</a></sup> A third level of rhetoric is the <i>idiomatic</i>, and just as the poetic it hardly is present in pure form. Examples of this are "the consistently excellent idiom" of Stubb, such as in the way he encourages the rowing crew in a rhythm of speech that suggests "the beat of the oars takes the place of the metronomic meter". The fourth and final level of rhetoric is the <i>composite</i>, "a magnificent blending" of the first three and possible other elements:\n</p>\n<blockquote><p>The Nantucketer, he alone resides and riots on the sea; he alone, in Bible language, goes down to it in ships; to and fro ploughing it as his own special plantation. <i>There</i> is his home; <i>there</i> lies his buisiness, which a Noah\'s flood would not interrupt, though it overwhelmed all the millions in China. He lives on the sea, as prairie cocks in the prairie; he hides among the waves, he climbs them as chamois hunters climb the Alps. For years he knows not the land; so that when he comes to it at last, it smells like another world, more strangely than the moon would to an Earthsman. 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.<br />\n("Nantucket," Ch. 14).</p></blockquote>\n<p>This passage, from a chapter that Bezanson calls a comical "prose poem", blends "high and low with a relaxed assurance". Similar great passages include the "marvelous hymn to spiritual democracy" that can be found in the middle of "Knights and Squires".<sup id="cite_ref-43" class="reference"><a href="#cite_note-43">[43]</a></sup>\n</p><p>The elaborate use of the <a href="/wiki/Homeric_simile" title="Homeric simile">Homeric simile</a> 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 <a href="/wiki/Hubris" title="Hubris">hubris</a> 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. 134).<sup id="cite_ref-Matthiessen_1941,_461_44-0" class="reference"><a href="#cite_note-Matthiessen_1941,_461-44">[44]</a></sup> One paragraph-long simile describes how the 30 men of the crew became a single unit:\n</p>\n<blockquote><p>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.<br />\n("The Chase – Second Day," Ch. 134).</p></blockquote>\n<p>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.<sup id="cite_ref-Matthiessen_1941,_461_44-1" class="reference"><a href="#cite_note-Matthiessen_1941,_461-44">[44]</a></sup> These similes, with their astonishing "imaginative abundance," are not only invaluable in creating the dramatic movement, Matthiessen observes: "They are no less notable for breadth; and the more sustained among them, for an heroic dignity."<sup id="cite_ref-45" class="reference"><a href="#cite_note-45">[45]</a></sup>\n</p>\n<h3><span class="mw-headline" id="Assimilation_of_Shakespeare">Assimilation of Shakespeare</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=8" title="Edit section: Assimilation of Shakespeare">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<p>The influence of Shakespeare on the book has been analyzed by <a href="/wiki/F.O._Matthiessen" class="mw-redirect" title="F.O. Matthiessen">F.O. Matthiessen</a> in his 1941 study of the American Renaissance with such results that almost a half century later Bezanson still considered him "the richest critic on these matters."<sup id="cite_ref-46" class="reference"><a href="#cite_note-46">[46]</a></sup> According to Matthiesen, then, Melville\'s "possession by Shakespeare went far beyond all other influences"<sup id="cite_ref-Matthiessen_1941,_424_47-0" class="reference"><a href="#cite_note-Matthiessen_1941,_424-47">[47]</a></sup> in that it made Melville discover his own full strength "through the challenge of the most abundant imagination in history".<sup id="cite_ref-Matthiessen_1941,_424_47-1" class="reference"><a href="#cite_note-Matthiessen_1941,_424-47">[47]</a></sup> Especially the influence of <i><a href="/wiki/King_Lear" title="King Lear">King Lear</a></i> and <i><a href="/wiki/Macbeth" title="Macbeth">Macbeth</a></i> has attracted scholarly attention.<sup id="cite_ref-48" class="reference"><a href="#cite_note-48">[48]</a></sup> On almost every page debts to Shakespeare can be discovered, whether hard or easy to recognize. Matthiessen points out that the "mere sounds, full of Leviathanism, but signifying nothing" at the end of "Cetology" (Ch.32) echo the famous phrase in <i>Macbeth</i>: "Told by an idiot, full of sound and fury, Signifying nothing."<sup id="cite_ref-Matthiessen_1941,_424_47-2" class="reference"><a href="#cite_note-Matthiessen_1941,_424-47">[47]</a></sup> As Matthiessen demonstrates, Ahab\'s first extended speech to the crew, in the "Quarter-Deck" (Ch.36), is "virtually blank verse, and can be printed as such":<sup id="cite_ref-Matthiessen_1941,_424_47-3" class="reference"><a href="#cite_note-Matthiessen_1941,_424-47">[47]</a></sup>\n</p>\n<blockquote><p>But look ye, Starbuck, what is said in heat,<br />\n</p><p>That thing unsays itself. There are men<br />\nFrom whom warm words are small indignity.<br />\nI mean not to incense thee. Let it go.<br />\nLook! see yonder Turkish cheeks of spotted tawn--<br />\nLiving, breathing pictures painted by the sun.<br />\nThe pagan leopards—the unrecking and<br />\nUnworshipping things, that live; and seek and give<br />\n</p><p>\nNo reason for the torrid life they feel!<sup id="cite_ref-49" class="reference"><a href="#cite_note-49">[49]</a></sup></p></blockquote>\n<p>Most importantly, through Shakespeare, Melville infused <i>Moby-Dick</i> with a power of expression he had not previously possessed.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50">[50]</a></sup> Reading Shakespeare, Matthiessen observes, had been "a catalytic agent" for Melville, one that transformed his writing "from limited reporting to the expression of profound natural forces".<sup id="cite_ref-51" class="reference"><a href="#cite_note-51">[51]</a></sup> The extent to which Melville was in full possession of his powers is demonstrated by Matthiessen through the description of Ahab, which ends in language "that suggests Shakespeare\'s but is not an imitation of it: \'Oh, Ahab! what shall be grand in thee, it must needs be plucked from the skies and dived for in the deep, and featured in the unbodied air!\' The imaginative richness of the final phrase seems particularly Shakespearean, "but its two key words appear only once each in the plays ... and to neither of these usages is Melville indebted for his fresh combination."<sup id="cite_ref-52" class="reference"><a href="#cite_note-52">[52]</a></sup> Melville\'s assimilation of Shakespeare, Matthiessen concludes, gave <i>Moby-Dick</i> "a kind of diction that depended upon no source",<sup id="cite_ref-53" class="reference"><a href="#cite_note-53">[53]</a></sup> and that could, as D.H. Lawrence put it, convey something "almost superhuman or inhuman, bigger than life".<sup id="cite_ref-54" class="reference"><a href="#cite_note-54">[54]</a></sup> The prose is not based on anybody else\'s verse but on "a sense of speech rhythm".<sup id="cite_ref-Matthiessen_1941,_430_55-0" class="reference"><a href="#cite_note-Matthiessen_1941,_430-55">[55]</a></sup>\n</p><p>In addition to this sense of rhythm, Melville acquired verbal resources which for Matthiessen showed that he "now mastered Shakespeare\'s mature secret of how to make language itself dramatic".<sup id="cite_ref-Matthiessen_1941,_430_55-1" class="reference"><a href="#cite_note-Matthiessen_1941,_430-55">[55]</a></sup> He had learned three essential things, Matthiessen sums up:\n</p>\n<ul><li>To rely on verbs of action, "which lend their dynamic pressure to both movement and meaning."<sup id="cite_ref-Matthiessen_1941,_430_55-2" class="reference"><a href="#cite_note-Matthiessen_1941,_430-55">[55]</a></sup> The effective tension caused by the contrast of "thou launchest navies of full-freighted worlds" and "there\'s that in here that still remains indifferent" in "The Candles" (Ch. 119) makes the last clause lead to a "compulsion to strike the breast", which suggests "how thoroughly the drama has come to inhere in the words;"<sup id="cite_ref-56" class="reference"><a href="#cite_note-56">[56]</a></sup></li>\n<li>The Shakespearean energy of verbal compounds was not lost on him ("full-freighted");</li>\n<li>And, finally, Melville learned how to handle "the quickened sense of life that comes from making one part of speech act as another – for example, \'earthquake\' as an adjective, or the coining of \'placeless\', an adjective from a noun."<sup id="cite_ref-57" class="reference"><a href="#cite_note-57">[57]</a></sup></li></ul>\n<p>The creation of Ahab, Melville biographer Leon Howard discovered, followed an observation by Coleridge in his lecture on <i>Hamlet</i>: "one of Shakespeare\'s modes of creating characters is to conceive any one intellectual or moral faculty in <i>morbid</i> excess, and then to place himself. ... thus <i>mutilated</i> or <i>diseased</i>, under given circumstances".<sup id="cite_ref-58" class="reference"><a href="#cite_note-58">[58]</a></sup> Coleridge\'s vocabulary is echoed in some phrases that describe Ahab. Ahab seemed to have "what seems a half-wilful <i>over-ruling morbidness</i> at the bottom of his nature", and "all men tragically great", Melville added, "are made so through a certain <i>morbidness</i>; "all mortal greatness is but <i>disease</i>". 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 <i>Hamlet</i> and <i>King Lear</i>".<sup id="cite_ref-59" class="reference"><a href="#cite_note-59">[59]</a></sup>\n</p>\n<h2><span class="mw-headline" id="Background">Background</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=9" title="Edit section: Background">edit</a><span class="mw-editsection-bracket">]</span></span></h2>\n<h3><span class="mw-headline" id="Autobiographical_elements">Autobiographical elements</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=10" title="Edit section: Autobiographical elements">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<p><i>Moby-Dick</i> is based on Melville\'s experience on the whaler <i>Acushnet</i>, however even the book\'s most factual accounts of whaling are not straight autobiography. On December 30, 1840, he signed on as a green hand for the maiden voyage of the <i>Acushnet</i>, planned to last for 52 months. Its owner, Melvin O. Bradford, resembled Bildad, who signed on Ishmael, in that he was a <a href="/wiki/Quakers" title="Quakers">Quaker</a>: on several instances when he signed documents, he erased the word "swear" and replaced it with "affirm". But the shareholders of the <i>Acushnet</i> were relatively wealthy, whereas the owners of the <i>Pequod</i> included poor widows and orphaned children.<sup id="cite_ref-60" class="reference"><a href="#cite_note-60">[60]</a></sup> Its captain was Valentine Pease, Jr., who was 43 years old at the start of the voyage.<sup id="cite_ref-61" class="reference"><a href="#cite_note-61">[61]</a></sup> Although 26 men signed up as crew members, two did not show up for the ship\'s departure and were replaced by one new crew member. The crew was not as heterogenous or exotic as the crew of the <i>Pequod</i>. Five of the crew 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 cook of the <i>Pequod</i>, was also black, so probably modeled on this Philadelphia-born William Maiden, who was 38 years old when he signed for the <i>Acushnet</i>.<sup id="cite_ref-62" class="reference"><a href="#cite_note-62">[62]</a></sup>\n</p><p>Only 11 of the 26 original crew members completed the voyage. The others either deserted or were regularly discharged.<sup id="cite_ref-63" class="reference"><a href="#cite_note-63">[63]</a></sup> The <a href="/wiki/Chief_Mate" class="mw-redirect" title="Chief Mate">First Officer</a>, Frederic Raymond, left the ship after a "fight" with the captain.<sup id="cite_ref-64" class="reference"><a href="#cite_note-64">[64]</a></sup> A <a href="/wiki/First_mate" class="mw-redirect" title="First mate">first mate</a>, actually called Edward C. Starbuck, was on an earlier voyage with Captain Pease, in the early 1830s, and was discharged at <a href="/wiki/Tahiti" title="Tahiti">Tahiti</a> under mysterious circumstances.<sup id="cite_ref-65" class="reference"><a href="#cite_note-65">[65]</a></sup> The <a href="/wiki/Second_mate" title="Second mate">second mate</a> on the <i>Acushnet</i> was John Hall, English-born but a naturalized American.<sup id="cite_ref-66" class="reference"><a href="#cite_note-66">[66]</a></sup> He is identified as Stubb in an annotation in the book\'s copy of crew member Henry Hubbard, who, like Melville, had joined the voyage as a green hand. Hubbard also identified the model for Pip: John Backus, a little black man added to the crew during the voyage.<sup id="cite_ref-67" class="reference"><a href="#cite_note-67">[67]</a></sup> Hubbard\'s annotation appears in the chapter "The Castaway" and reveals that Pip\'s falling into the water was authentic; Hubbard was with him in the same boat when the incident occurred.<sup id="cite_ref-68" class="reference"><a href="#cite_note-68">[68]</a></sup>\n</p><p>Ahab seems to have had no model in real life, though his death may have been based on an actual event. On May 18, 1843, Melville was aboard <i>The Star</i>, which sailed for <a href="/wiki/Honolulu" title="Honolulu">Honolulu</a>. Aboard were two sailors from the <i>Nantucket</i> who could have told him that they had seen their second mate "taken out of a whaleboat by a foul line and drowned".<sup id="cite_ref-69" class="reference"><a href="#cite_note-69">[69]</a></sup> The model for the Whaleman\'s Chapel of chapter 7 is the <a href="/wiki/Seamen%27s_Bethel" title="Seamen's Bethel">Seamen\'s Bethel</a> on Johnny Cake Hill. Melville attended a service there shortly before he shipped out on the <i>Acushnet</i>, and he heard a sermon by the chaplain, 63-year-old Reverend <a href="/wiki/Enoch_Mudge" title="Enoch Mudge">Enoch Mudge</a>, who is at least in part the model for Father Mapple. Even the topic of <a href="/wiki/Jonah_and_the_Whale" class="mw-redirect" title="Jonah and the Whale">Jonah and the Whale</a> may be authentic, for Mudge was a contributor to <i>Sailor\'s Magazine</i>, which printed in December 1840 the ninth of a series of sermons on Jonah.<sup id="cite_ref-70" class="reference"><a href="#cite_note-70">[70]</a></sup>\n</p>\n<h3><span class="mw-headline" id="Whaling_sources">Whaling sources</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=11" title="Edit section: Whaling sources">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<div class="thumb tright"><div class="thumbinner" style="width:222px;"><a href="/wiki/File:Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg" class="image"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg/220px-Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg" decoding="async" width="220" height="359" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg/330px-Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/95/Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg/440px-Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg 2x" data-file-width="1041" data-file-height="1697" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg" class="internal" title="Enlarge"></a></div>Melville\'s copy of <i>Natural History of the Sperm Whale</i>, 1839</div></div></div>\n<p>In addition to his own experience on the whaling ship <i>Acushnet</i>, two actual events served as the genesis for Melville\'s tale. One was the sinking of the Nantucket ship <i><a href="/wiki/Essex_(1799_whaleship)" class="mw-redirect" title="Essex (1799 whaleship)">Essex</a></i> in 1820, after a sperm whale rammed her 2,000 miles (3,200 km) from the western coast of South America. First mate <a href="/wiki/Owen_Chase" title="Owen Chase">Owen Chase</a>, one of eight survivors, recorded the events in his 1821 <i>Narrative of the Most Extraordinary and Distressing Shipwreck of the Whale-Ship Essex</i>.<sup id="cite_ref-FOOTNOTEPhilbrick2000xii-_xv_71-0" class="reference"><a href="#cite_note-FOOTNOTEPhilbrick2000xii-_xv-71">[71]</a></sup>\n</p><p>\nThe other event was the alleged killing in the late 1830s of the albino sperm whale <a href="/wiki/Mocha_Dick" title="Mocha Dick">Mocha Dick</a>, in the waters off the Chilean island of <a href="/wiki/Mocha_(island)" class="mw-redirect" title="Mocha (island)">Mocha</a>. 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 <a href="/wiki/Jeremiah_N._Reynolds" title="Jeremiah N. Reynolds">Jeremiah N. Reynolds</a> in the May 1839 issue of <i><a href="/wiki/The_Knickerbocker" title="The Knickerbocker">The Knickerbocker</a> or New-York Monthly Magazine</i>.<sup id="cite_ref-Reynolds,_J.N_72-0" class="reference"><a href="#cite_note-Reynolds,_J.N-72">[72]</a></sup> Melville was familiar with the article, which described: <style data-mw-deduplicate="TemplateStyles:r856303468">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}</style></p><blockquote class="templatequote"><p> 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 ... a singular consequence had resulted — <i>he was white as wool!</i><sup id="cite_ref-Reynolds,_J.N_72-1" class="reference"><a href="#cite_note-Reynolds,_J.N-72">[72]</a></sup>\n</p></blockquote><p> Significantly, Reynolds writes a <a href="/wiki/First-person_narrative" title="First-person narrative">first-person narration</a> that serves as a <a href="/wiki/Frame_story" title="Frame story">frame</a> 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: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r856303468"/></p><blockquote class="templatequote"><p>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!\n</p><p>"Mocha Dick or the d----l [devil]\', said I, \'this boat never sheers off from any thing that wears the shape of a whale."<sup id="cite_ref-Reynolds,_J.N_72-2" class="reference"><a href="#cite_note-Reynolds,_J.N-72">[72]</a></sup>\n</p>\n</blockquote>\n<p>Mocha Dick had over 100 encounters with whalers in the decades between 1810 and the 1830s. 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.<sup id="cite_ref-73" class="reference"><a href="#cite_note-73">[73]</a></sup>\n</p><p>While an accidental collision with a sperm whale at night accounted for sinking of the <i>Union</i> in 1807,<sup id="cite_ref-74" class="reference"><a href="#cite_note-74">[74]</a></sup> it was not until August 1851 that the whaler <i><a href="/wiki/Ann_Alexander_(ship)" title="Ann Alexander (ship)">Ann Alexander</a></i>, while hunting in the Pacific off the <a href="/wiki/Gal%C3%A1pagos_Islands" title="Galápagos Islands">Galápagos Islands</a>, became the second vessel since the <i>Essex</i> to be attacked, holed, and sunk by a whale. Melville remarked, "Ye Gods! What a commentator is this <i>Ann Alexander</i> whale. What he has to say is short & pithy & very much to the point. I wonder if my evil art has raised this monster."<sup id="cite_ref-75" class="reference"><a href="#cite_note-75">[75]</a></sup>\n</p><p>\nWhile Melville had already drawn on his different sailing experiences in his previous novels, such as <i><a href="/wiki/Mardi" title="Mardi">Mardi</a></i>, he had never focused specifically on whaling. The 18 months he spent as an ordinary seaman aboard the whaler <i>Acushnet</i> in 1841–42, 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: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r856303468"/></p><blockquote class="templatequote"><p>I questioned him concerning his father\'s adventure; ... he went to his chest & handed me a complete copy ... of the Narrative [of the <i>Essex</i> catastrophe]. 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.<sup id="cite_ref-76" class="reference"><a href="#cite_note-76">[76]</a></sup>\n</p></blockquote>\n<p>The book was out of print, and rare. Melville let his interest in the book be known to his father-in-law, <a href="/wiki/Lemuel_Shaw" title="Lemuel Shaw">Lemuel Shaw</a>, whose friend in Nantucket procured an imperfect but clean copy which Shaw gave to Melville in April 1851. 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. <sup id="cite_ref-FOOTNOTEMelville1988[httpsbooksgooglecombooksidjnNBh61lpjUCprintsecfrontcoverhlnlvonepageqOwen20Chaseffalse_971-77]_77-0" class="reference"><a href="#cite_note-FOOTNOTEMelville1988[httpsbooksgooglecombooksidjnNBh61lpjUCprintsecfrontcoverhlnlvonepageqOwen20Chaseffalse_971-77]-77">[77]</a></sup>\n</p>\n<div class="thumb tright"><div class="thumbinner" style="width:222px;"><a href="/wiki/File:Herman_Melville.jpg" class="image"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Herman_Melville.jpg/220px-Herman_Melville.jpg" decoding="async" width="220" height="289" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Herman_Melville.jpg/330px-Herman_Melville.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Herman_Melville.jpg/440px-Herman_Melville.jpg 2x" data-file-width="3520" data-file-height="4618" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Herman_Melville.jpg" class="internal" title="Enlarge"></a></div>Herman Melville</div></div></div>\n<p><i>Moby-Dick</i> 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. Although a successful earlier novel about Nantucket whalers had been written, <i>Miriam Coffin or The Whale-Fisherman</i> (1835) by <a href="/wiki/Joseph_C._Hart" title="Joseph C. Hart">Joseph C. Hart</a>,<sup id="cite_ref-78" class="reference"><a href="#cite_note-78">[78]</a></sup> 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.\n</p><p>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, <i>Natural History of the Sperm Whale</i> (1839), a book of reputed authority which Melville bought on July 10, 1850.<sup id="cite_ref-79" class="reference"><a href="#cite_note-79">[79]</a></sup> "In scale and complexity," scholar Steven Olsen-Smith writes, "the significance of [this source] to the composition of <i>Moby-Dick</i> surpasses that of any other source book from which Melville is known to have drawn."<sup id="cite_ref-80" class="reference"><a href="#cite_note-80">[80]</a></sup> According to scholar Howard P. Vincent, the general influence of this source is to supply the arrangement of whaling data in chapter groupings.<sup id="cite_ref-81" class="reference"><a href="#cite_note-81">[81]</a></sup> Melville followed Beale\'s grouping closely, yet adapted it to what art demanded, and he changed the original\'s prosaic phrases into graphic figures of speech.<sup id="cite_ref-Vincent_1949,_130_82-0" class="reference"><a href="#cite_note-Vincent_1949,_130-82">[82]</a></sup> The second most important whaling book is Frederick Debell Bennett, <i>A Whaling Voyage Round the Globe, from the Year 1833 to 1836</i> (1840), from which Melville also took the chapter organization, but in a lesser degree than he learned from Beale.<sup id="cite_ref-Vincent_1949,_130_82-1" class="reference"><a href="#cite_note-Vincent_1949,_130-82">[82]</a></sup>\n</p><p>The third book was the one Melville reviewed for the <i>Literary World</i> in 1847, J. Ross Browne\'s <i>Etchings of a Whaling Cruise</i> (1846), which may have given Melville the first thought for a whaling book, and in any case contains passages embarrassingly similar to passages in <i>Moby-Dick</i>.<sup id="cite_ref-Vincent_1949,_131_83-0" class="reference"><a href="#cite_note-Vincent_1949,_131-83">[83]</a></sup> The fourth book, Reverend Henry T. Cheever\'s <i>The Whale and His Captors</i> (1850), was used for two episodes in <i>Moby-Dick</i> but probably appeared too late in the writing of the novel to be of much more use.<sup id="cite_ref-Vincent_1949,_131_83-1" class="reference"><a href="#cite_note-Vincent_1949,_131-83">[83]</a></sup> Melville did plunder a fifth book, <a href="/wiki/William_Scoresby" title="William Scoresby">William Scoresby</a>, Jr., <i>An Account of the Arctic Regions with a History and Description of the Northern Whale Fishery</i> (1820), though—unlike the other four books—its subject is the <a href="/wiki/Greenland_whale" class="mw-redirect" title="Greenland whale">Greenland whale</a> rather than the sperm whale. 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." Vincent suggests several reasons for Melville\'s attitude towards Scoresby, including his dryness and abundance of irrelevant data, but the major reason seems to have been that the Greenland whale was the sperm whale\'s closest competitor for the public\'s attention, so Melville felt obliged to dismiss anything dealing with it.<sup id="cite_ref-84" class="reference"><a href="#cite_note-84">[84]</a></sup>\n</p>\n<h3><span class="mw-headline" id="Composition">Composition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=12" title="Edit section: Composition">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<p>The earliest surviving mention of the composition of what became <i>Moby-Dick</i><sup id="cite_ref-Bezanson_85-0" class="reference"><a href="#cite_note-Bezanson-85">[85]</a></sup><sup id="cite_ref-86" class="reference"><a href="#cite_note-86">[86]</a></sup> is the final paragraph of the letter Melville wrote to <a href="/wiki/Richard_Henry_Dana,_Jr." class="mw-redirect" title="Richard Henry Dana, Jr.">Richard Henry Dana, Jr.</a> on May 1, 1850:\n</p>\n<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r856303468"/><blockquote class="templatequote"><p>About the "whaling voyage" — I am half way in the work, & am very glad that your suggestion so jumps with mine. It will be a strange sort of book, tho\', I fear; blubber is blubber you know; tho\' you may get oil out of it, the poetry runs as hard as sap from a frozen maple tree; — & to cook the thing up, one must needs throw in a little fancy, which from the nature of the thing, must be ungainly as the gambols of the whales themselves. Yet I mean to give the truth of the thing, spite of this.<sup id="cite_ref-87" class="reference"><a href="#cite_note-87">[87]</a></sup>\n</p></blockquote>\n<p>Some scholars have concluded that Melville composed <i>Moby-Dick</i> in two or even three stages. Reasoning from a series of inconsistencies and structural developments in the final version, they hypothesize that the work he mentioned to Dana was, in the words of <a href="/wiki/Lawrence_Buell" title="Lawrence Buell">Lawrence Buell</a>, a "relatively straightforward" whaling adventure, but that reading Shakespeare and his encounters with Hawthorne inspired him to rewrite it as "an epic of cosmic encyclopedic proportions".<sup id="cite_ref-Buell_2014,_364_88-0" class="reference"><a href="#cite_note-Buell_2014,_364-88">[88]</a></sup> 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 <i>White-Jacket</i>".<sup id="cite_ref-Bezanson_85-1" class="reference"><a href="#cite_note-Bezanson-85">[85]</a></sup> In addition, Dana had experienced how incomparable Melville was in dramatic story telling when he met him in Boston, so perhaps "his \'suggestion\' was that Melville do a book that captured that gift".<sup id="cite_ref-Bezanson_85-2" class="reference"><a href="#cite_note-Bezanson-85">[85]</a></sup> And the long sentence in the middle of the above quotation simply acknowledges that Melville is struggling with the problem, not of choosing between fact and fancy but of how to interrelate them. 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.<sup id="cite_ref-Bezanson_85-3" class="reference"><a href="#cite_note-Bezanson-85">[85]</a></sup>\n</p><p>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.<sup id="cite_ref-89" class="reference"><a href="#cite_note-89">[89]</a></sup> Scholars John Bryant and Haskell Springer cite the development of the character Ishmael as another factor which prolonged Melville\'s process of composition and which can be deduced from the structure of the final version of the book. 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.<sup id="cite_ref-Bryant_and_Springer_2007,_xi_90-0" class="reference"><a href="#cite_note-Bryant_and_Springer_2007,_xi-90">[90]</a></sup>\n</p><p>Less than two months after mentioning the project to Dana, Melville reported in a letter of June 27 to Richard Bentley, his English publisher:\n</p>\n<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r856303468"/><blockquote class="templatequote"><p>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. The book is a romance of adventure, founded upon certain wild legends in the Southern Sperm Whale Fisheries, and illustrated by the author\'s own personal experience, of two years & more, as a harpooneer.<sup id="cite_ref-91" class="reference"><a href="#cite_note-91">[91]</a></sup>\n</p></blockquote>\n<p>Nathaniel Hawthorne and his family had moved to a small red farmhouse near <a href="/wiki/Lenox,_Massachusetts" title="Lenox, Massachusetts">Lenox, Massachusetts</a>, at the end of March 1850.<sup id="cite_ref-92" class="reference"><a href="#cite_note-92">[92]</a></sup> He became friends with <a href="/wiki/Oliver_Wendell_Holmes_Sr." title="Oliver Wendell Holmes Sr.">Oliver Wendell Holmes Sr.</a> and Melville beginning on August 5, 1850, when the authors met at a picnic hosted by a mutual friend.<sup id="cite_ref-93" class="reference"><a href="#cite_note-93">[93]</a></sup> Melville wrote an unsigned review of Hawthorne\'s short story collection <i><a href="/wiki/Mosses_from_an_Old_Manse" title="Mosses from an Old Manse">Mosses from an Old Manse</a></i> titled "<a href="/wiki/Hawthorne_and_His_Mosses" title="Hawthorne and His Mosses">Hawthorne and His Mosses</a>", which appeared in <i><a href="/wiki/The_Literary_World_(magazine)" title="The Literary World (magazine)">The Literary World</a></i> on August 17 and 24.<sup id="cite_ref-94" class="reference"><a href="#cite_note-94">[94]</a></sup> Bezanson finds the essay "so deeply related to Melville\'s imaginative and intellectual world while writing <i>Moby-Dick</i>" that it could be regarded as a virtual preface and should be "everybody\'s prime piece of contextual reading".<sup id="cite_ref-Bezanson_85-4" class="reference"><a href="#cite_note-Bezanson-85">[85]</a></sup> In the essay, Melville compares Hawthorne to Shakespeare and Dante, and his "self-projection" is evident in the repeats of the word "genius", the more than two dozen references to Shakespeare, and in the insistence that Shakespeare\'s "unapproachability" is nonsense for an American.<sup id="cite_ref-Bezanson_85-5" class="reference"><a href="#cite_note-Bezanson-85">[85]</a></sup>\n</p>\n<div class="thumb tright"><div class="thumbinner" style="width:222px;"><a href="/wiki/File:Arrowhead_farmhouse_Herman_Melville.jpg" class="image"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Arrowhead_farmhouse_Herman_Melville.jpg/220px-Arrowhead_farmhouse_Herman_Melville.jpg" decoding="async" width="220" height="169" class="thumbimage" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Arrowhead_farmhouse_Herman_Melville.jpg/330px-Arrowhead_farmhouse_Herman_Melville.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Arrowhead_farmhouse_Herman_Melville.jpg/440px-Arrowhead_farmhouse_Herman_Melville.jpg 2x" data-file-width="936" data-file-height="720" /></a> <div class="thumbcaption"><div class="magnify"><a href="/wiki/File:Arrowhead_farmhouse_Herman_Melville.jpg" class="internal" title="Enlarge"></a></div><a href="/wiki/Arrowhead_(Herman_Melville_House)" title="Arrowhead (Herman Melville House)">Arrowhead</a>, the house in <a href="/wiki/Pittsfield,_Massachusetts" title="Pittsfield, Massachusetts">Pittsfield, Massachusetts</a> in which Melville worked on <i>Moby-Dick</i>.</div></div></div>\n<p>The most intense work on the book was done during the winter of 1850–1851, 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.<sup id="cite_ref-95" class="reference"><a href="#cite_note-95">[95]</a></sup> During these months, he wrote several excited letters to Hawthorne, including one of June 1851 in which he summarizes his career: "What I feel most moved to write, that is banned, — it will not pay. Yet, altogether, write the <i>other</i> way I cannot. So the product is a final hash, and all my books are botches."<sup id="cite_ref-96" class="reference"><a href="#cite_note-96">[96]</a></sup> This is the stubborn Melville who stood by <i><a href="/wiki/Mardi" title="Mardi">Mardi</a></i> 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."<sup id="cite_ref-97" class="reference"><a href="#cite_note-97">[97]</a></sup> One other theory holds that getting to know Hawthorne first inspired him to write Ahab\'s tragic obsession into the book, but Bryant and Springer object that 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.<sup id="cite_ref-Bryant_and_Springer_2007,_xi_90-1" class="reference"><a href="#cite_note-Bryant_and_Springer_2007,_xi-90">[90]</a></sup>\n</p><p>Theories of the composition of the book have been harpooned in three ways, first by raising objections against the use of evidence and the evidence itself. Scholar Robert Milder sees "insufficient evidence and doubtful methodology" at work.<sup id="cite_ref-98" class="reference"><a href="#cite_note-98">[98]</a></sup> John Bryant finds "little concrete evidence, and nothing at all conclusive, to show that Melville radically altered the structure or conception of the book".<sup id="cite_ref-99" class="reference"><a href="#cite_note-99">[99]</a></sup> A second type of objection is based upon Melville\'s intellectual development. Bezanson is not convinced that before he met Hawthorne, "Melville was <i>not</i> ready for the kind of book <i>Moby-Dick</i> became",<sup id="cite_ref-Bezanson_85-6" class="reference"><a href="#cite_note-Bezanson-85">[85]</a></sup> because in his letters from the time Melville denounces his last two "straight narratives, <i><a href="/wiki/Redburn" title="Redburn">Redburn</a></i> and <i><a href="/wiki/White-Jacket" title="White-Jacket">White-Jacket</a></i>, as two books written just for the money, and he firmly stood by <i>Mardi</i> as the kind of book he believed in. His language is already "richly steeped in 17th-century mannerisms", characteristics of <i>Moby-Dick</i>. 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".<sup id="cite_ref-100" class="reference"><a href="#cite_note-100">[100]</a></sup> 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". Despite all this, Buell finds the evidence that Melville changed his ambitions during writing "on the whole convincing".<sup id="cite_ref-Buell_2014,_364_88-1" class="reference"><a href="#cite_note-Buell_2014,_364-88">[88]</a></sup>\n</p>\n<h2><span class="mw-headline" id="Publication_history">Publication history</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=13" title="Edit section: Publication history">edit</a><span class="mw-editsection-bracket">]</span></span></h2>\n<p>Melville first proposed the English publication in a 27 June 1850 letter to <a href="/wiki/Richard_Bentley_(publisher)" title="Richard Bentley (publisher)">Richard Bentley</a>, London publisher of his earlier works. Textual scholar <a href="/wiki/G._Thomas_Tanselle" title="G. Thomas Tanselle">G. Thomas Tanselle</a> explains that for these earlier books, American proof sheets had been sent to the English 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 English copyright of an American work.<sup id="cite_ref-101" class="reference"><a href="#cite_note-101">[101]</a></sup> In the case of <i>Moby-Dick</i>, Melville had taken almost a year longer than promised, and could not rely on Harpers to prepare the proofs as they had done for the earlier books. Indeed, Harpers had denied him an advance, and since he was already in debt to them for almost $700, he was forced to borrow money and to arrange for the typesetting and plating himself.<sup id="cite_ref-102" class="reference"><a href="#cite_note-102">[102]</a></sup> John Bryant suggests that he did so "to reduce the number of hands playing with his text".<sup id="cite_ref-103" class="reference"><a href="#cite_note-103">[103]</a></sup>\n</p><p>The final stages of composition overlapped with the early stages of publication. In June 1851, Melville wrote to Hawthorne that he was in New York to "work and slave on my \'Whale\' while it is driving through the press".<sup id="cite_ref-Cited_in_Tanselle_(1988),_663_104-0" class="reference"><a href="#cite_note-Cited_in_Tanselle_(1988),_663-104">[104]</a></sup> By the end of the month, "wearied with the long delay of printers", Melville came back to finish work on the book in Pittsfield. Three weeks later, the typesetting was almost done, as he announced to Bentley on 20 July: "I am now passing thro\' the press, the closing sheets of my new work".<sup id="cite_ref-Cited_in_Tanselle_(1988),_663_104-1" class="reference"><a href="#cite_note-Cited_in_Tanselle_(1988),_663-104">[104]</a></sup> While Melville was simultaneously writing and proofreading what had been set, the corrected proof would be plated, that is, the type fixed in final form. 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".<sup id="cite_ref-105" class="reference"><a href="#cite_note-105">[105]</a></sup>\n</p><p>On 3 July 1851, Bentley offered Melville ₤150 and "half profits", that is, half the profits that remained after the expenses of production and advertising. On 20 July, Melville accepted, after which Bentley drew up a contract on 13 August.<sup id="cite_ref-106" class="reference"><a href="#cite_note-106">[106]</a></sup> Melville signed and returned the contract in early September, and then went to New York with the proof sheets, made from the finished plates, which he sent to London by his brother Allan on 10 September. For over a month, these proofs had been in Melville\'s possession, and because the book would be set anew in England, he could devote all his time to correcting and revising them. He still had no American publisher, so the usual hurry about getting the English publication to precede the American was not present.<sup id="cite_ref-Tanselle_1988,_667_107-0" class="reference"><a href="#cite_note-Tanselle_1988,_667-107">[107]</a></sup> Only on 12 September was the Harper publishing contract signed.<sup id="cite_ref-108" class="reference"><a href="#cite_note-108">[108]</a></sup> Bentley received the proof sheets with Melville\'s corrections and revisions marked on them on September 24. He published the book less than four weeks later.\n</p><p>In the October 1851 issue of <i><a href="/wiki/Harper%27s_Magazine" title="Harper's Magazine">Harper\'s New Monthly Magazine</a></i> "The Town Ho\'s Story" was published, with a footnote reading: "From \'The Whale\'. The title of a new work by Mr. Melville, in the press of Harper and Brothers, and now publishing in London by Mr. Bentley."<sup id="cite_ref-109" class="reference"><a href="#cite_note-109">[109]</a></sup>\n</p><p>On 18 October, the English edition, <i>The Whale</i>, was published in a printing of only 500 copies, fewer than Melville\'s previous books. Their slow sales had convinced Bentley that a smaller number was more realistic. The London <i>Morning Herald</i> on October 20 printed the earliest known review.<sup id="cite_ref-110" class="reference"><a href="#cite_note-110">[110]</a></sup> On 14 November, the American edition, <i>Moby-Dick</i>, was published and the same day reviewed in both the Albany <i>Argus</i> and the <i>Morning Courier and New-York Enquirer</i>. On 19 November, Washington received the copy to be deposited for copyright purposes. The first American printing of 2,915 copies was almost the same as the first of <i>Mardi</i>, but the first printing of Melville\'s other three Harper books had been a thousand copies more.<sup id="cite_ref-111" class="reference"><a href="#cite_note-111">[111]</a></sup>\n</p>\n<h3><span id="Melville.27s_revisions_and_British_editorial_revisions"></span><span class="mw-headline" id="Melville\'s_revisions_and_British_editorial_revisions">Melville\'s revisions and British editorial revisions</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=14" title="Edit section: Melville's revisions and British editorial revisions">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<p>The English edition, set by Bentley\'s printers from the American page proofs with Melville\'s revisions and corrections, differs from the American edition in over 700 wordings and thousands of punctuation and spelling changes.<sup id="cite_ref-Tanselle_1988,_667_107-1" class="reference"><a href="#cite_note-Tanselle_1988,_667-107">[107]</a></sup>\n</p><p>Excluding the preliminaries and the one extract, the three volumes of the English edition came to 927 pages<sup id="cite_ref-112" class="reference"><a href="#cite_note-112">[112]</a></sup> and the single American volume to 635 pages.<sup id="cite_ref-Tanselle_1988,_687_113-0" class="reference"><a href="#cite_note-Tanselle_1988,_687-113">[113]</a></sup> Accordingly, the dedication to Hawthorne in the American edition — "this book is inscribed to"— became "these volumes are inscribed to" in the English.<sup id="cite_ref-114" class="reference"><a href="#cite_note-114">[114]</a></sup> The table of contents in the English edition generally follows the actual chapter titles in the American edition, but 19 titles in the American table of contents differ from the titles above the chapters themselves. This list was probably drawn up by Melville himself: the titles of chapters describing encounters of the <i>Pequod</i> with other ships had—apparently to stress the parallelisms between these chapters—been standardized to "The Pequod meets the ...," with the exception of the already published \'The Town-Ho\'s Story\'.<sup id="cite_ref-115" class="reference"><a href="#cite_note-115">[115]</a></sup> For unknown reasons, the "Etymology" and "Extracts" were moved to the end of the third volume.<sup id="cite_ref-Tanselle_1988,_678_116-0" class="reference"><a href="#cite_note-Tanselle_1988,_678-116">[116]</a></sup> An epigraph from <i>Paradise Lost</i>, taken from the second of the two quotations from that work in the American edition, appears on the title page of each of the three English volumes. Melville\'s involvement with this rearrangement is not clear: if it was Bentley\'s gesture toward accommodating Melville, as Tanselle suggests,<sup id="cite_ref-Tanselle_1988,_678_116-1" class="reference"><a href="#cite_note-Tanselle_1988,_678-116">[116]</a></sup> its selection put an emphasis on the quotation Melville may not have agreed with.\n</p><p>The largest of Melville\'s revisions is the addition to the English edition of a 139-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.<sup id="cite_ref-117" class="reference"><a href="#cite_note-117">[117]</a></sup> In addition, about 35 changes produce genuine improvements, as opposed to mere corrections: "Melville may not have made every one of the changes in this category, but it seems certain that he was responsible for the great majority of them."<sup id="cite_ref-118" class="reference"><a href="#cite_note-118">[118]</a></sup>\n</p>\n<h3><span id="British_censorship_and_missing_.22Epilogue.22"></span><span class="mw-headline" id="British_censorship_and_missing_"Epilogue"">British censorship and missing "Epilogue"</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=15" title="Edit section: British censorship and missing "Epilogue"">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<p>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".<sup id="cite_ref-119" class="reference"><a href="#cite_note-119">[119]</a></sup> According to biographer Robertson-Lorant, the result was that the English edition was "badly mutilated".<sup id="cite_ref-Robertson-Lorant_1996,_277_120-0" class="reference"><a href="#cite_note-Robertson-Lorant_1996,_277-120">[120]</a></sup> The expurgations fall into four categories, ranked according to the apparent priorities of the censor:\n</p>\n<ol><li>Sacrilegious passages, more than 1200 words: Attributing human failures to God was grounds for excision or revision, as was comparing human shortcomings to divine ones. For example, in chapter 28, "Ahab", Ahab stands with "a crucifixion" in his face" was revised to "an apparently eternal anguish";<sup id="cite_ref-121" class="reference"><a href="#cite_note-121">[121]</a></sup></li>\n<li>Sexual matters, including the sex life of whales and even Ishmael\'s worried anticipation of the nature of Queequeg\'s underwear, as well as allusions to fornication or harlots, and "our hearts\' honeymoon" (in relation to Ishmael and Queequeg)<sup id="cite_ref-122" class="reference"><a href="#cite_note-122">[122]</a></sup> Chapter 95, however, "The Cassock", referring to the whale\'s genital organ, was untouched, perhaps because of Melville\'s indirect language.</li>\n<li>Remarks "belittling royalty or implying a criticism of the British": This meant the exclusion of the complete chapter 25, a "Postscript" on the use of sperm oil at coronations;<sup id="cite_ref-123" class="reference"><a href="#cite_note-123">[123]</a></sup></li>\n<li>Perceived grammatical or stylistic anomalies were treated with "a highly conservative interpretation of rules of \'correctness\'".<sup id="cite_ref-124" class="reference"><a href="#cite_note-124">[124]</a></sup></li></ol>\n<p>These expurgations also meant that any corrections or revisions Melville may have marked upon these passages are now lost.\n</p><p>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 English 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."<sup id="cite_ref-125" class="reference"><a href="#cite_note-125">[125]</a></sup> Why the "Epilogue" is missing is unknown. Since nothing objectionable was in it, most likely it was somehow lost by Bentley\'s printer when the "Etymology" and "Extracts" were moved.<sup id="cite_ref-126" class="reference"><a href="#cite_note-126">[126]</a></sup>\n</p>\n<h3><span class="mw-headline" id="Last-minute_change_of_title">Last-minute change of title</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=16" title="Edit section: Last-minute change of title">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<p>After the sheets had been sent, Melville changed the title. Probably late in September, Allan sent Bentley two pages of proof with a letter of which only a draft survives which informed him that Melville "has determined upon a new title & dedication—Enclosed you have proof of both—It is thought here that the new title will be a better <i>selling</i> 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".<sup id="cite_ref-Cited_in_Tanselle_(1988),_671_127-0" class="reference"><a href="#cite_note-Cited_in_Tanselle_(1988),_671-127">[127]</a></sup> Biographer Hershel Parker suggests that the reason for the change was that Harper\'s had two years earlier published a book with a similar title, <i>The Whale and His Captors</i>.<sup id="cite_ref-128" class="reference"><a href="#cite_note-128">[128]</a></sup>\n</p><p>Changing the title was not a problem for the American edition, since the <a href="/wiki/Running_head" class="mw-redirect" title="Running head">running heads</a> 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. In October <i>Harper\'s New Monthly Magazine</i> printed chapter 54, "The Town-Ho\'s Story", with a footnote saying: "From <i>The Whale.</i> The title of a new work by Mr. Melville".<sup id="cite_ref-Cited_in_Tanselle_(1988),_671_127-1" class="reference"><a href="#cite_note-Cited_in_Tanselle_(1988),_671-127">[127]</a></sup> The one surviving leaf of proof, "a \'trial\' page bearing the title \'The Whale\' and the Harper imprint,"<sup id="cite_ref-Cited_in_Tanselle_(1988),_672_129-0" class="reference"><a href="#cite_note-Cited_in_Tanselle_(1988),_672-129">[129]</a></sup> shows that at this point, after the publisher had been found, the original title still stood. When Allan\'s letter arrived, no sooner than early October, Bentley had already announced <i>The Whale</i> in both the <i>Athenaem</i> and the <i>Spectator</i> of 4 and 11 October.<sup id="cite_ref-130" class="reference"><a href="#cite_note-130">[130]</a></sup> Probably to accommodate Melville, Bentley inserted a <a href="/wiki/Half_title" class="mw-redirect" title="Half title">half-title page</a> in the first volume only, which reads "The Whale; or, Moby Dick".<sup id="cite_ref-Cited_in_Tanselle_(1988),_672_129-1" class="reference"><a href="#cite_note-Cited_in_Tanselle_(1988),_672-129">[129]</a></sup>\n</p>\n<h3><span class="mw-headline" id="Sales_and_earnings">Sales and earnings</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=17" title="Edit section: Sales and earnings">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<p>The British printing of 500 copies sold fewer than 300 within the first four months. In 1852, some remaining sheets were bound in a cheaper casing, and in 1853, enough sheets were still left to issue a cheap edition in one volume. Bentley recovered only half on the ₤150 he advanced Melville, whose share from actual sales would have been just ₤38, and he did not print a new edition.<sup id="cite_ref-Tanselle_1988,_688_131-0" class="reference"><a href="#cite_note-Tanselle_1988,_688-131">[131]</a></sup> Harper\'s first printing was 2,915 copies, including the standard 125 review copies. The selling price was $1.50, about a fifth of the price of the British three-volume edition.<sup id="cite_ref-Tanselle_1988,_687_113-1" class="reference"><a href="#cite_note-Tanselle_1988,_687-113">[113]</a></sup> About 1,500 copies were sold within 11 days, and then sales slowed down to less than 300 the next year. After three years, the first edition was still available, almost 300 copies of which were lost when a fire broke out at the firm in December 1853. In 1855, a second printing of 250 copies was issued, in 1863, a third of 253 copies, and finally in 1871, a fourth printing of 277 copies, which sold so slowly that no new printing was ordered.<sup id="cite_ref-Tanselle_1988,_688_131-1" class="reference"><a href="#cite_note-Tanselle_1988,_688-131">[131]</a></sup> <i>Moby-Dick</i> was out of print during the last four years of Melville\'s life, having sold 2,300 in its first year and a half and on average 27 copies a year for the next 34 years, totaling 3,215 copies.\n</p><p>Melville\'s earnings from the book add up to $1,260: the ₤150 advance from Bentley was equivalent to $703, and the American printings earned him $556, which was $100 less than he earned from any of his five previous books.<sup id="cite_ref-Tanselle_1988,_689_132-0" class="reference"><a href="#cite_note-Tanselle_1988,_689-132">[132]</a></sup> Melville\'s widow received another $81 when the United States Book Company issued the book and sold almost 1,800 copies between 1892 and 1898.<sup id="cite_ref-Tanselle_1988,_689_132-1" class="reference"><a href="#cite_note-Tanselle_1988,_689-132">[132]</a></sup>\n</p>\n<h2><span class="mw-headline" id="Reception">Reception</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=18" title="Edit section: Reception">edit</a><span class="mw-editsection-bracket">]</span></span></h2>\n<p>The reception of <i>The Whale</i> in Britain and of <i>Moby-Dick</i> in the United States differed in two ways, according to Parker. 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"<sup id="cite_ref-Parker_2002,_17_133-0" class="reference"><a href="#cite_note-Parker_2002,_17-133">[133]</a></sup> who were "experienced critics and trenchant prose stylists",<sup id="cite_ref-Parker_1988,_700_134-0" class="reference"><a href="#cite_note-Parker_1988,_700-134">[134]</a></sup> 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.<sup id="cite_ref-Parker_2002,_17_133-1" class="reference"><a href="#cite_note-Parker_2002,_17-133">[133]</a></sup> American reviewing was mostly delegated to "newspaper staffers" or else by "amateur contributors more noted for religious piety than critical acumen."<sup id="cite_ref-Parker_1988,_700_134-1" class="reference"><a href="#cite_note-Parker_1988,_700-134">[134]</a></sup> Second, the differences between the two editions caused "two distinct critical receptions."<sup id="cite_ref-135" class="reference"><a href="#cite_note-135">[135]</a></sup>\n</p>\n<h3><span class="mw-headline" id="British">British</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=19" title="Edit section: British">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<p>Twenty-one reviews appeared in London, and later one in Dublin.<sup id="cite_ref-Parker_1988,_700_134-2" class="reference"><a href="#cite_note-Parker_1988,_700-134">[134]</a></sup> The British reviewers, according to Parker, mostly regarded <i>The Whale</i> as "a phenomenal literary work, a philosophical, metaphysical, and poetic romance".<sup id="cite_ref-Parker_1988,_702_136-0" class="reference"><a href="#cite_note-Parker_1988,_702-136">[136]</a></sup> The <i>Morning Advertiser</i> for October 24 was in awe of Melville\'s learning, of his "dramatic ability for producing a prose poem", and of the whale adventures which were "powerful in their cumulated horrors."<sup id="cite_ref-137" class="reference"><a href="#cite_note-137">[137]</a></sup> To its surprise, <i>John Bull</i> found "philosophy in whales" and "poetry in blubber", and concluded that few books that claimed to be either philosophical or literary works "contain as much true philosophy and as much genuine poetry as the tale of the <i>Pequod\'</i>s whaling expedition", making it a work "far beyond the level of an ordinary work of fiction".<sup id="cite_ref-Parker_1988,_702-03_138-0" class="reference"><a href="#cite_note-Parker_1988,_702-03-138">[138]</a></sup> The <i>Morning Post</i> found it "one of the cleverest, wittiest, and most amusing of modern books", and predicted that it was a book "which will do great things for the literary reputation of its author".<sup id="cite_ref-Parker_1988,_702-03_138-1" class="reference"><a href="#cite_note-Parker_1988,_702-03-138">[138]</a></sup>\n</p><p>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."<sup id="cite_ref-139" class="reference"><a href="#cite_note-139">[139]</a></sup>\n</p><p>\nOne of the earliest reviews, by the extremely conservative critic Henry Chorley<sup id="cite_ref-Robertson-Lorant_1996,_277_120-1" class="reference"><a href="#cite_note-Robertson-Lorant_1996,_277-120">[120]</a></sup> in the highly regarded London <i><a href="/wiki/Athenaeum_(British_magazine)" class="mw-redirect" title="Athenaeum (British magazine)">Athenaeum</a></i>, described it as <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r856303468"/></p><blockquote class="templatequote"><p>[A]n ill-compounded mixture of romance and matter-of-fact. 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.\n</p></blockquote>\n<p>According to the London <i>Literary Gazette and Journal of Science and Art</i> for December 6, 1851, "Mr. Melville cannot do without savages, so he makes half of his <i>dramatis personae</i> 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".<sup id="cite_ref-Robertson-Lorant_1996_140-0" class="reference"><a href="#cite_note-Robertson-Lorant_1996-140">[140]</a></sup> Most critics regretted the extravagant digressions because they distracted from an otherwise interesting and even exciting narrative, but even critics who did not like the book as a whole recognized the genius evident in Melville\'s originality of imagination and expression.<sup id="cite_ref-141" class="reference"><a href="#cite_note-141">[141]</a></sup>\n</p><p>One problem was that since the English edition omitted the epilogue, British reviewers read a book with a first-person narrator who apparently did not survive to tell the tale.<sup id="cite_ref-Parker_1988,_702_136-1" class="reference"><a href="#cite_note-Parker_1988,_702-136">[136]</a></sup> The reviewer of the <i>Literary Gazette</i> asked how Ishmael, "who appears to have been drowned with the rest, communicated his notes to Mr. Bentley".<sup id="cite_ref-Robertson-Lorant_1996_140-1" class="reference"><a href="#cite_note-Robertson-Lorant_1996-140">[140]</a></sup> The reviewer in the <i>Spectator</i> objected that "nothing should be introduced into a novel which it is physically impossible for the writer to have known: thus, he must not describe the conversation of miners in a pit if they <i>all</i> perish."<sup id="cite_ref-Cited_in_Parker_(1988),_708_142-0" class="reference"><a href="#cite_note-Cited_in_Parker_(1988),_708-142">[142]</a></sup> The <i>Dublin University Magazine</i> asked "how does it happen that the author is alive to tell the story?" and the <i>Literary Gazette</i> declared that how the writer, "who appears to have been drowned with the rest, communicated his notes for publication to Mr. Bentley is not explained".<sup id="cite_ref-Cited_in_Parker_(1988),_708_142-1" class="reference"><a href="#cite_note-Cited_in_Parker_(1988),_708-142">[142]</a></sup> A few other reviewers, who did not comment upon the apparent impossibility of Ishmael telling the story, pointed out violations of narrative conventions in other passages.\n</p><p>Other reviewers were fascinated enough with the book to accept its perceived flaws. <i>John Bull</i> praised the author for making literature out of unlikely and even unattractive matter, and the <i>Morning Post</i> found that delight far oustripped the improbable character of events.<sup id="cite_ref-143" class="reference"><a href="#cite_note-143">[143]</a></sup> Though some reviewers viewed the characters, especially Ahab, as exaggerated, many understood it took an extraordinary character to undertake the battle with the white whale. Melville\'s style was usually praised regardless of the reviewer\'s judgment of the book, but some perceived the same tendency to over-doing here, and some found his style too American.<sup id="cite_ref-144" class="reference"><a href="#cite_note-144">[144]</a></sup>\n</p>\n<h3><span class="mw-headline" id="American">American</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=20" title="Edit section: American">edit</a><span class="mw-editsection-bracket">]</span></span></h3>\n<p>Some sixty reviews appeared in America, the criterion for counting as a review being more than two lines of comment.<sup id="cite_ref-145" class="reference"><a href="#cite_note-145">[145]</a></sup> Only a couple of reviewers expressed themselves early enough not to be influenced by news of the British reception.<sup id="cite_ref-Parker_2002,_17_133-2" class="reference"><a href="#cite_note-Parker_2002,_17-133">[133]</a></sup> Though <i>Moby-Dick</i> did contain the <i>Epilogue</i> and so accounted for Ishmael\'s survival, the British reviews influenced the American reception. The earliest American review, in the Boston <i>Post</i> for November 20, quoted the London <i>Athenaeum</i><span class="nowrap" style="padding-left:0.1em;">'</span>s scornful review, not realizing that some of the criticism of <i>The Whale</i> did not pertain to <i>Moby-Dick</i>. 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\'".<sup id="cite_ref-146" class="reference"><a href="#cite_note-146">[146]</a></sup> Though the <i>Post</i> quoted the greater portion of the review, it omitted the condensed extract of Melville\'s prose the <i>Athenaeum</i> had included to give readers an example of it. The <i>Post</i> 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".<sup id="cite_ref-147" class="reference"><a href="#cite_note-147">[147]</a></sup>\n</p><p>The New York <i>North American Miscellany</i> for December summarized the verdict in the <i>Athenaeum</i>. The reviewer of the December New York <i>Eclectic Magazine</i> had actually read <i>Moby-Dick</i> in full, and was puzzled why the <i>Athenaeum</i> was so scornful of the ending. The attack on <i>The Whale</i> by the <i>Spectator</i> was reprinted in the December New York <i>International Magazine</i>, which inaugurated the influence of another unfavorable review. Rounding off what American readers were told about the British reception, in January <i>Harper\'s Monthly Magazine</i> attempted some damage control, and wrote that the book had "excited a general interest" among the London magazines.<sup id="cite_ref-148" class="reference"><a href="#cite_note-148">[148]</a></sup>\n</p><p>The most influential American review, ranked according to the number of references to it, appeared in the weekly magazine <i>Literary World</i>, which had printed Melville\'s "Mosses" essay the preceding year. The author of the unsigned review in two installments, on 15 and 22 November, was later identified as publisher <a href="/w/index.php?title=Evert_Duyckinck&action=edit&redlink=1" class="new" title="Evert Duyckinck (page does not exist)">Evert Duyckinck</a>.<sup id="cite_ref-149" class="reference"><a href="#cite_note-149">[149]</a></sup> The first half of the first installment was devoted to an event of remarkable coincidence: early in the month, between the publishing of the British and the American edition, a whale had sunk the New Bedford whaler <i>Ann Alexander</i> near Chile.<sup id="cite_ref-150" class="reference"><a href="#cite_note-150">[150]</a></sup> In the second installment, Duyckinck described <i>Moby-Dick</i> 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 <i>Pequod</i> 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."<sup id="cite_ref-151" class="reference"><a href="#cite_note-151">[151]</a></sup> The review prompted Hawthorne to take the "unusually aggressive step of reproving Duyckinck" by criticizing the review in a letter to Duyckinck of December 1:<sup id="cite_ref-152" class="reference"><a href="#cite_note-152">[152]</a></sup>\n</p>\n<blockquote><p>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.<sup id="cite_ref-153" class="reference"><a href="#cite_note-153">[153]</a></sup></p></blockquote>\n<p>The Transendental socialist <a href="/wiki/George_Ripley_(transcendentalist)" title="George Ripley (transcendentalist)">George Ripley</a> published a review in the New York <i>Tribune</i> for 22 November, in which he compared the book favorably to <i>Mardi</i>, 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.<sup id="cite_ref-154" class="reference"><a href="#cite_note-154">[154]</a></sup> Ripley was almost surely also the author of the review in <i>Harper\'s</i> for December, which saw in Ahab\'s quest the "slight framework" for something else: "Beneath the whole story, the subtle, imaginative reader may perhaps find a pregnant allegory, intended to illustrate the mystery of human life."<sup id="cite_ref-Quoted_in_Parker_2002,_27_155-0" class="reference"><a href="#cite_note-Quoted_in_Parker_2002,_27-155">[155]</a></sup> Among the handful of other favorable reviews was one in the <i>Albion</i> on 22 November which saw the book as a blend of truth and satire.<sup id="cite_ref-156" class="reference"><a href="#cite_note-156">[156]</a></sup> Melville\'s friend Nathaniel Parker Willis, reviewing the book in the 29 November <i>Home Journal</i>, found it "a very racy, spirited, curious and entertaining book ... it enlists the curiosity, excites the sympathies, and often charms the fancy".<sup id="cite_ref-Quoted_in_Parker_2002,_27_155-1" class="reference"><a href="#cite_note-Quoted_in_Parker_2002,_27-155">[155]</a></sup> In the 6 December <i>Spirit of the Times</i>, editor William T. 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".<sup id="cite_ref-Quoted_in_Parker_2002,_27_155-2" class="reference"><a href="#cite_note-Quoted_in_Parker_2002,_27-155">[155]</a></sup> Some other, shorter reviews mixed their praise with genuine reservations about the "irreverence and profane jesting", as the New Haven <i>Daily Palladium</i> for 17 November phrased it. 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.<sup id="cite_ref-157" class="reference"><a href="#cite_note-157">[157]</a></sup>\n</p>\n<h2><span class="mw-headline" id="Legacy_and_adaptations">Legacy and adaptations</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=21" title="Edit section: Legacy and adaptations">edit</a><span class="mw-editsection-bracket">]</span></span></h2>\n<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Adaptations_of_Moby-Dick" title="Adaptations of Moby-Dick">Adaptations of Moby-Dick</a></div>\n<p>Within a year after Melville\'s death, <i>Moby-Dick</i>, along with <i>Typee</i>, <i>Omoo</i>, and <i>Mardi</i>, was reprinted by <a href="/wiki/Harper_and_Row" class="mw-redirect" title="Harper and Row">Harper & Brothers</a>, giving it a chance to be rediscovered. However, only New York\'s literary underground seemed to take much 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 fairly easily obtained or remembered. Other works, especially the poetry, went largely forgotten.<sup id="cite_ref-bartleby1_158-0" class="reference"><a href="#cite_note-bartleby1-158">[158]</a></sup>\n</p><p>In 1917, <a href="/wiki/American_literature" title="American literature">American author</a> <a href="/wiki/Carl_Van_Doren" title="Carl Van Doren">Carl Van Doren</a> became the first of this period to proselytize about Melville\'s value. His 1921 study, <i>The American Novel</i>, called <i>Moby-Dick</i> a pinnacle of American Romanticism.<sup id="cite_ref-bartleby1_158-1" class="reference"><a href="#cite_note-bartleby1-158">[158]</a></sup>\n</p><p>In his 1923 idiosyncratic but influential <i><a href="/wiki/Studies_in_Classic_American_Literature" title="Studies in Classic American Literature">Studies in Classic American Literature</a></i>, novelist, poet, and short story writer <a href="/wiki/D._H._Lawrence" title="D. H. Lawrence">D. H. Lawrence</a> celebrated the originality and value of American authors, among them Melville. Perhaps surprisingly, Lawrence saw <i>Moby-Dick</i> as a work of the first order despite his using the expurgated original English edition which also lacked the epilogue.<sup id="cite_ref-bartleby1_158-2" class="reference"><a href="#cite_note-bartleby1-158">[158]</a></sup>\n</p><p>The <a href="/wiki/Modern_Library" title="Modern Library">Modern Library</a> brought out <i>Moby-Dick</i> in 1926 and the <a href="/wiki/Lakeside_Press" class="mw-redirect" title="Lakeside Press">Lakeside Press</a> in Chicago commissioned <a href="/wiki/Rockwell_Kent#Biography" title="Rockwell Kent">Rockwell Kent</a> to design and illustrate a striking three-volume edition which appeared in 1930. <a href="/wiki/Random_House" title="Random House">Random House</a> then issued a one-volume trade version of Kent\'s edition, which in 1943 they reprinted as a less expensive Modern Library Giant.<sup id="cite_ref-159" class="reference"><a href="#cite_note-159">[159]</a></sup>\n</p><p>The novel has been adapted or represented in art, film, books, cartoons, television, and more than a dozen versions in comic-book format. The first adaptation was the <a href="/wiki/1926_in_film" title="1926 in film">1926</a> <a href="/wiki/Silent_movie" class="mw-redirect" title="Silent movie">silent movie</a> <i><a href="/wiki/The_Sea_Beast" title="The Sea Beast">The Sea Beast</a></i>, starring <a href="/wiki/John_Barrymore" title="John Barrymore">John Barrymore</a>,<sup id="cite_ref-160" class="reference"><a href="#cite_note-160">[160]</a></sup> in which Ahab kills the whale and returns to marry his fiancée.<sup id="cite_ref-Springer_2007_161-0" class="reference"><a href="#cite_note-Springer_2007-161">[161]</a></sup> The most famous adaptation was the <a href="/wiki/John_Huston" title="John Huston">John Huston</a> <a href="/wiki/Moby_Dick_(1956_film)" title="Moby Dick (1956 film)">1956 film</a> produced from a screenplay by author <a href="/wiki/Ray_Bradbury" title="Ray Bradbury">Ray Bradbury</a>.<sup id="cite_ref-162" class="reference"><a href="#cite_note-162">[162]</a></sup> The long list of adaptations, as Bryant and Springer put it, demonstrates that "the iconic image of an angry embittered American slaying a mythic beast seemed to capture the popular imagination", showing how "different readers in different periods of popular culture have rewritten <i>Moby-Dick</i>" to make it a "true cultural icon".<sup id="cite_ref-Springer_2007_161-1" class="reference"><a href="#cite_note-Springer_2007-161">[161]</a></sup> American artist <a href="/wiki/David_Klamen" title="David Klamen">David Klamen</a> has cited the novel as an important influence on his dark, slow-to-disclose paintings, noting a passage in the book in which a mysterious, undecipherable painting in a bar is gradually revealed to depict a whale.<sup id="cite_ref-Schultz_163-0" class="reference"><a href="#cite_note-Schultz-163">[163]</a></sup>\n</p><p>American author <a href="/wiki/Ralph_Ellison" title="Ralph Ellison">Ralph Ellison</a> wrote a tribute to the book in the prologue of his 1952 novel <i><a href="/wiki/Invisible_Man" title="Invisible Man">Invisible Man</a></i>, where the narrator remembers a moment of truth under the influence of marijuana, and evocates a church service: "Brothers and sisters, my text this morning is the \'Blackness of Blackness.\' And the congregation answers: \'That blackness is most black, brother, most black ... \'" This scene, Ellison biographer <a href="/wiki/Arnold_Rampersad" title="Arnold Rampersad">Arnold Rampersad</a> observes, "reprises a moment in the second chapter of <i>Moby-Dick</i>", where Ishmael wanders around New Bedford looking for a place to spend the night, and momentarily joins a congregation: "It was a negro church; and the preacher\'s text was about the blackness of darkness, and the weeping and wailing and teeth-gnashing there." According to Rampersad, it was Melville who "empowered Ellison to insist on a place in the American literary tradition" by his example of "representing the complexity of race and racism so acutely and generously in his text".<sup id="cite_ref-164" class="reference"><a href="#cite_note-164">[164]</a></sup> Rampersaf also believes Ellison\'s choice of a first-person narrator was inspired above all by <i>Moby-Dick</i>, and the novel even has a similar opening sentence with the narrator introducing himself ("I am an invisible man").<sup id="cite_ref-165" class="reference"><a href="#cite_note-165">[165]</a></sup> The oration by Ellison\'s blind preacher Barbee resembles Father Mapple\'s sermon in that both prepare the reader for what is to come.<sup id="cite_ref-166" class="reference"><a href="#cite_note-166">[166]</a></sup>\n</p><p>American songwriter <a href="/wiki/Bob_Dylan" title="Bob Dylan">Bob Dylan</a> elaborated on the book in his Nobel Prize Acceptance Speech of 2017, citing the book as one of the three books that influenced him most. Dylan\'s description of the book ends with an acknowledgment: "That theme, and all that it implies, would work its way into more than a few of my songs."<sup id="cite_ref-167" class="reference"><a href="#cite_note-167">[167]</a></sup>\n</p>\n<h2><span class="mw-headline" id="Editions">Editions</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=22" title="Edit section: Editions">edit</a><span class="mw-editsection-bracket">]</span></span></h2>\n<ul><li>Melville, H. <i>The Whale</i>. London: Richard Bentley, 1851 3 vols. (viii, 312; iv, 303; iv, 328 pp.) Published October 18, 1851.</li>\n<li>Melville, H., <i><a rel="nofollow" class="external text" href="https://babel.hathitrust.org/cgi/pt?id=dul1.ark:/13960/t3kw6ns1s;view=1up;seq=9">Moby-Dick</a></i><a rel="nofollow" class="external text" href="https://babel.hathitrust.org/cgi/pt?id=dul1.ark:/13960/t3kw6ns1s;view=1up;seq=9">; or, <i>The Whale</i></a>. New York: Harper and Brothers, 1851. xxiii, 635 pages. Published probably on November 14, 1851.</li>\n<li>Melville, H., <a rel="nofollow" class="external text" href="http://babel.hathitrust.org/cgi/pt?id=mdp.39015046801760;view=1up;seq=20"><i>Moby-Dick; or, The Whale</i>.</a> Edited by Luther S. Mansfield and Howard P. Vincent. New York: Hendricks House, 1952. Includes a 25-page Introduction and over 250 pages of Explanatory Notes with an Index.</li>\n<li>Melville, H., <i>Moby-Dick; or, The Whale</i>: An Authoritative Text, Reviews and Letters by Melville, Analogues and Sources, Criticism. A Norton Critical Edition. Edited by Harrison Hayford and Hershel Parker. New York: W.W. Norton, 1967. <style data-mw-deduplicate="TemplateStyles:r879151008">.mw-parser-output cite.citation{font-style:inherit}.mw-parser-output .citation q{quotes:"\\"""\\"""\'""\'"}.mw-parser-output .citation .cs1-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/6/65/Lock-green.svg/9px-Lock-green.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Lock-gray-alt-2.svg/9px-Lock-gray-alt-2.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .citation .cs1-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Lock-red-alt-2.svg/9px-Lock-red-alt-2.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration{color:#555}.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration span{border-bottom:1px dotted;cursor:help}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/12px-Wikisource-logo.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output code.cs1-code{color:inherit;background:inherit;border:inherit;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;font-size:100%}.mw-parser-output .cs1-visible-error{font-size:100%}.mw-parser-output .cs1-maint{display:none;color:#33aa33;margin-left:0.3em}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration,.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-right{padding-right:0.2em}</style><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/039309670X" title="Special:BookSources/039309670X">039309670X</a></li>\n<li>Melville, H. <i>Moby-Dick, or The Whale.</i> Northwestern-Newberry Edition of the Writings of Herman Melville 6. Evanston, Ill.: Northwestern U. Press, 1988. A <a href="/wiki/Textual_criticism" title="Textual criticism">critical text</a> with appendices on the history and reception of the book. The text is in the public domain.</li>\n<li>Parker, Hershel, and Harrison Hayford (eds). (2001). Herman Melville, <i>Moby-Dick</i>. A Norton Critical Edition. Second Edition, New York and London: W.W. Norton & Company. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780393972832" title="Special:BookSources/9780393972832">9780393972832</a></li>\n<li><a rel="nofollow" class="external text" href="http://www.pearsonhighered.com/educator/product/Moby-Dick-A-Longman-Critical-Edition/9780321228000.page"><i>Moby-Dick: A Longman Critical Edition</i></a>, Edited by John Bryant and Haskell Springer. New York: Longman, 2007 and 2009. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/978-0-321-22800-0" title="Special:BookSources/978-0-321-22800-0">978-0-321-22800-0</a></li></ul>\n<h2><span class="mw-headline" id="Footnotes">Footnotes</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=23" title="Edit section: Footnotes">edit</a><span class="mw-editsection-bracket">]</span></span></h2>\n<div class="reflist columns references-column-width" style="-moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;">\n<ol class="references">\n<li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Faulkner (1927)</span>\n</li>\n<li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Lawrence (1923), 168</span>\n</li>\n<li id="cite_note-Buell_2014,_367-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-Buell_2014,_367_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Buell_2014,_367_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Buell (2014), 367</span>\n</li>\n<li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Tanselle (1988) "Editorial Appendix," 810–12</span>\n</li>\n<li id="cite_note-Bezanson_1953,_644-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bezanson_1953,_644_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bezanson_1953,_644_5-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bezanson (1953), 644</span>\n</li>\n<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Quoted in Bezanson (1953), 645</span>\n</li>\n<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Bryant (1998), 67–8</span>\n</li>\n<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Bezanson (1953), 647</span>\n</li>\n<li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Bezanson (1953), 653</span>\n</li>\n<li id="cite_note-Bezanson_1953,_654-10"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bezanson_1953,_654_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bezanson_1953,_654_10-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bezanson (1953), 654</span>\n</li>\n<li id="cite_note-Buell_2014,_365-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-Buell_2014,_365_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Buell_2014,_365_11-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Buell (2014), 365</span>\n</li>\n<li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Milder (1988), 434</span>\n</li>\n<li id="cite_note-Bryant_and_Springer_2007,_xvi-13"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bryant_and_Springer_2007,_xvi_13-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bryant_and_Springer_2007,_xvi_13-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bryant and Springer (2007), xvi</span>\n</li>\n<li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Bryant and Springer (2007), x</span>\n</li>\n<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Bezanson (1986), 188</span>\n</li>\n<li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Bezanson (1986), 195</span>\n</li>\n<li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Bezanson (1953), 655, italics Bezanson\'s</span>\n</li>\n<li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Wright (1949), 66–67</span>\n</li>\n<li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Forster (1927), 143–144</span>\n</li>\n<li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">Forster (1927), 142</span>\n</li>\n<li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">Robertson-Lorant (1996), 279-80</span>\n</li>\n<li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">Ch.3, "The Spouter Inn".</span>\n</li>\n<li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">Delbanco (2005), 159</span>\n</li>\n<li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">Delbanco (2005), 161</span>\n</li>\n<li id="cite_note-Bryant_and_Springer_2007,_xxii-25"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bryant_and_Springer_2007,_xxii_25-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bryant_and_Springer_2007,_xxii_25-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bryant and Springer (2007), xxii</span>\n</li>\n<li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">Bryant and Springer (2007), xvii</span>\n</li>\n<li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text"><cite class="citation journal">Lamb, Robert Paul (2005). <a rel="nofollow" class="external text" href="http://muse.jhu.edu/journals/college_literature/v032/32.1lamb.html">"Fast-Fish and Loose-Fish: Teaching Melville\'s Moby-Dick in the College Classroom"</a>. <i>College Literature</i>. <b>32</b> (1): 42–62. <a href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</a>:<a rel="nofollow" class="external text" href="//doi.org/10.1353%2Flit.2005.0011">10.1353/lit.2005.0011</a><span class="reference-accessdate">. Retrieved <span class="nowrap">13 December</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=College+Literature&rft.atitle=Fast-Fish+and+Loose-Fish%3A+Teaching+Melville%27s+Moby-Dick+in+the+College+Classroom&rft.volume=32&rft.issue=1&rft.pages=42-62&rft.date=2005&rft_id=info%3Adoi%2F10.1353%2Flit.2005.0011&rft.aulast=Lamb&rft.aufirst=Robert+Paul&rft_id=http%3A%2F%2Fmuse.jhu.edu%2Fjournals%2Fcollege_literature%2Fv032%2F32.1lamb.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick" class="Z3988"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/></span>\n</li>\n<li id="cite_note-Baldick-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-Baldick_28-0">^</a></b></span> <span class="reference-text"><cite class="citation book">Baldick, Chris (2015). <i>The Oxford Dictionary of Literary Terms</i> (4th ed.). Oxford: Oxford University Press. p. 363. <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780198715443" title="Special:BookSources/9780198715443">9780198715443</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Oxford+Dictionary+of+Literary+Terms&rft.place=Oxford&rft.pages=363&rft.edition=4th&rft.pub=Oxford+University+Press&rft.date=2015&rft.isbn=9780198715443&rft.aulast=Baldick&rft.aufirst=Chris&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick" class="Z3988"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/></span>\n</li>\n<li id="cite_note-Ruland_and_Bradbury-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-Ruland_and_Bradbury_29-0">^</a></b></span> <span class="reference-text"><cite class="citation book">Ruland, Richard; Bradbury, Malcolm (1990). <i>From Puritanism to Postmodernism</i>. Harmondsworth: Penguin. pp. 159–161. <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0140144358" title="Special:BookSources/0140144358">0140144358</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=From+Puritanism+to+Postmodernism&rft.place=Harmondsworth&rft.pages=159-161&rft.pub=Penguin&rft.date=1990&rft.isbn=0140144358&rft.aulast=Ruland&rft.aufirst=Richard&rft.au=Bradbury%2C+Malcolm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick" class="Z3988"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/></span>\n</li>\n<li id="cite_note-R._Chase-30"><span class="mw-cite-backlink">^ <a href="#cite_ref-R._Chase_30-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-R._Chase_30-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite class="citation book">Chase, Richard Volney, ed. (1962). "Melville and Moby-Dick". <i>Melville: a Collection of Critical Essays</i>. Spectrum. pp. 56–61.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Melville+and+Moby-Dick&rft.btitle=Melville%3A+a+Collection+of+Critical+Essays&rft.pages=56-61&rft.pub=Spectrum&rft.date=1962&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick" class="Z3988"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/></span>\n</li>\n<li id="cite_note-Moby-Dick_(Bantam)-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-Moby-Dick_(Bantam)_31-0">^</a></b></span> <span class="reference-text"><cite class="citation book">Melville, Herman (1981). Arvin, Newton, ed. <i>Moby-Dick</i>. Bantam. pp. 549–558. <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0553213113" title="Special:BookSources/0553213113">0553213113</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Moby-Dick&rft.pages=549-558&rft.pub=Bantam&rft.date=1981&rft.isbn=0553213113&rft.aulast=Melville&rft.aufirst=Herman&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick" class="Z3988"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/></span>\n</li>\n<li id="cite_note-Bryant_and_Springer_2007,_xv-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-Bryant_and_Springer_2007,_xv_32-0">^</a></b></span> <span class="reference-text">Bryant and Springer (2007), xv</span>\n</li>\n<li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">Arvin (1950), 204-205. Arvin\'s italics.</span>\n</li>\n<li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Arvin (1950), 206. Arvin\'s italics.</span>\n</li>\n<li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">Arvin (1950), 206</span>\n</li>\n<li id="cite_note-Lee_2006,_395-36"><span class="mw-cite-backlink">^ <a href="#cite_ref-Lee_2006,_395_36-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Lee_2006,_395_36-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Lee_2006,_395_36-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Lee (2006), 395</span>\n</li>\n<li id="cite_note-Berthoff_1962,_164-37"><span class="mw-cite-backlink">^ <a href="#cite_ref-Berthoff_1962,_164_37-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Berthoff_1962,_164_37-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Berthoff (1962), 164</span>\n</li>\n<li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">Berthoff (1962), 163</span>\n</li>\n<li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text">Wright (1940), 196 n. 59</span>\n</li>\n<li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">Bercaw (1987), 10</span>\n</li>\n<li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text">Bezanson (1953), 648, italics Bezanson\'s</span>\n</li>\n<li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">Bezanson (1953), 648–49, italics Bezanson\'s</span>\n</li>\n<li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">Bezanson (1953), 649</span>\n</li>\n<li id="cite_note-Matthiessen_1941,_461-44"><span class="mw-cite-backlink">^ <a href="#cite_ref-Matthiessen_1941,_461_44-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Matthiessen_1941,_461_44-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Matthiessen (1941), 461</span>\n</li>\n<li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">Matthiessen (1941), 462–63</span>\n</li>\n<li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text">Bezanson (1986), 198</span>\n</li>\n<li id="cite_note-Matthiessen_1941,_424-47"><span class="mw-cite-backlink">^ <a href="#cite_ref-Matthiessen_1941,_424_47-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Matthiessen_1941,_424_47-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Matthiessen_1941,_424_47-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Matthiessen_1941,_424_47-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text">Matthiessen (1941), 424</span>\n</li>\n<li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text">Grey (2006), 253</span>\n</li>\n<li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text">Matthiessen (1941), 426</span>\n</li>\n<li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text">Matthiessen (1941). 425</span>\n</li>\n<li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text">Matthiessen (1941), 428</span>\n</li>\n<li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text">Matthiessen (1941), 428–429</span>\n</li>\n<li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text">Matthiessen (1941), 429</span>\n</li>\n<li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text">Quoted in Matthiessen (1941), 429</span>\n</li>\n<li id="cite_note-Matthiessen_1941,_430-55"><span class="mw-cite-backlink">^ <a href="#cite_ref-Matthiessen_1941,_430_55-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Matthiessen_1941,_430_55-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Matthiessen_1941,_430_55-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Matthiessen (1941), 430</span>\n</li>\n<li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text">Matthiessen (1941), 430–31</span>\n</li>\n<li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text">Matthiessen (1941), 431</span>\n</li>\n<li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text">Quoted in Howard (1940), 232. Howard\'s italics.</span>\n</li>\n<li id="cite_note-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-59">^</a></b></span> <span class="reference-text">Howard (1940), 232. Howard\'s italics.</span>\n</li>\n<li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text">Heflin (2004), 16</span>\n</li>\n<li id="cite_note-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-61">^</a></b></span> <span class="reference-text">Heflin (2004), 18</span>\n</li>\n<li id="cite_note-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-62">^</a></b></span> <span class="reference-text">Heflin (2004), 26-7</span>\n</li>\n<li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text">Heflin (2004), 29</span>\n</li>\n<li id="cite_note-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-64">^</a></b></span> <span class="reference-text">Heflin (2004), 28</span>\n</li>\n<li id="cite_note-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-65">^</a></b></span> <span class="reference-text">Heflin (2004), 19</span>\n</li>\n<li id="cite_note-66"><span class="mw-cite-backlink"><b><a href="#cite_ref-66">^</a></b></span> <span class="reference-text">Heflin (2004), 26</span>\n</li>\n<li id="cite_note-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-67">^</a></b></span> <span class="reference-text">Heflin (2004), 252 note 26</span>\n</li>\n<li id="cite_note-68"><span class="mw-cite-backlink"><b><a href="#cite_ref-68">^</a></b></span> <span class="reference-text">Tanselle (1988), 1012</span>\n</li>\n<li id="cite_note-69"><span class="mw-cite-backlink"><b><a href="#cite_ref-69">^</a></b></span> <span class="reference-text">Heflin (2004), 189</span>\n</li>\n<li id="cite_note-70"><span class="mw-cite-backlink"><b><a href="#cite_ref-70">^</a></b></span> <span class="reference-text">Heflin (2004), 41</span>\n</li>\n<li id="cite_note-FOOTNOTEPhilbrick2000xii-_xv-71"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPhilbrick2000xii-_xv_71-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPhilbrick2000">Philbrick (2000)</a>, p. xii- xv.</span>\n</li>\n<li id="cite_note-Reynolds,_J.N-72"><span class="mw-cite-backlink">^ <a href="#cite_ref-Reynolds,_J.N_72-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Reynolds,_J.N_72-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Reynolds,_J.N_72-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Reynolds, J.N., "Mocha Dick: or the White Whale of the Pacific: A Leaf from a Manuscript Journal", <i>The Knickerbocker, or New-York Monthly Magazine</i>. 13.5, May 1839, pp. 377–392.</span>\n</li>\n<li id="cite_note-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-73">^</a></b></span> <span class="reference-text"><cite class="citation book">Whipple, Addison Beecher Colvin (1954). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=v4sGAQAAIAAJ&q=Yankee+Whalers+in+the+South+Seas&dq=Yankee+Whalers+in+the+South+Seas"><i>Yankee whalers in the South Seas</i></a>. Doubleday. <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-8048-1057-5" title="Special:BookSources/0-8048-1057-5">0-8048-1057-5</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Yankee+whalers+in+the+South+Seas&rft.pub=Doubleday&rft.date=1954&rft.isbn=0-8048-1057-5&rft.aulast=Whipple&rft.aufirst=Addison+Beecher+Colvin&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dv4sGAQAAIAAJ%26q%3DYankee%2BWhalers%2Bin%2Bthe%2BSouth%2BSeas%26dq%3DYankee%2BWhalers%2Bin%2Bthe%2BSouth%2BSeas&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick" class="Z3988"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/>, 66–79</span>\n</li>\n<li id="cite_note-74"><span class="mw-cite-backlink"><b><a href="#cite_ref-74">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=DMwEAAAAQAAJ&lpg=PA115&ots=wLKjJyW1K_&dq=the%20ship%20union%2C%20of%20Nantucket%20September%2C%201807%20Edmund%20Gardner&pg=PA115#v=onepage&q=the%20ship%20union,%20of%20Nantucket%20September,%201807%20Edmund%20Gardner&f=false">Report of the Commissioner By United States Commission of Fish and Fisheries, p115</a></span>\n</li>\n<li id="cite_note-75"><span class="mw-cite-backlink"><b><a href="#cite_ref-75">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.melville.org/hmquotes.htm">Melville\'s Reflections, a page from The Life and Works of Herman Melville</a></span>\n</li>\n<li id="cite_note-76"><span class="mw-cite-backlink"><b><a href="#cite_ref-76">^</a></b></span> <span class="reference-text">Leyda, Jay. <i>The Melville Log: A Documentary Life of Herman Melville, 1819–1891</i>. New York: Harcourt, Brace, 1951, 119.</span>\n</li>\n<li id="cite_note-FOOTNOTEMelville1988[httpsbooksgooglecombooksidjnNBh61lpjUCprintsecfrontcoverhlnlvonepageqOwen20Chaseffalse_971-77]-77"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMelville1988[httpsbooksgooglecombooksidjnNBh61lpjUCprintsecfrontcoverhlnlvonepageqOwen20Chaseffalse_971-77]_77-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMelville1988">Melville (1988)</a>, p. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=jnNBh61lpjUC&printsec=frontcover&hl=nl#v=onepage&q=Owen%20Chase&f=false">971-77</a>.</span>\n</li>\n<li id="cite_note-78"><span class="mw-cite-backlink"><b><a href="#cite_ref-78">^</a></b></span> <span class="reference-text">Mary K. Bercaw, "A Fine, Boisterous Something": Nantucket in Moby-Dick, <i>Historic Nantucket</i>, Vol. 39, No. 3 (Fall 1991); Philip Armstrong, <i>What animals mean in the fiction of modernity</i>, Routledge, 2008, p.132</span>\n</li>\n<li id="cite_note-79"><span class="mw-cite-backlink"><b><a href="#cite_ref-79">^</a></b></span> <span class="reference-text">Vincent (1949), 128</span>\n</li>\n<li id="cite_note-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-80">^</a></b></span> <span class="reference-text">Steven Olsen-Smith (2010), <a rel="nofollow" class="external text" href="http://melvillesmarginalia.org/introductions.php?id=52">"Introduction to Melville\'s Marginalia in Thomas Beale\'s <i>The Natural History of the Sperm Whale</i>." <i>Melville\'s Marginalia Online</i>. Retrieved on 30 November 2016.</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20141215023652/http://melvillesmarginalia.org/introductions.php?id=52">Archived</a> 15 December 2014 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></span>\n</li>\n<li id="cite_note-81"><span class="mw-cite-backlink"><b><a href="#cite_ref-81">^</a></b></span> <span class="reference-text">Vincent (1949), 129</span>\n</li>\n<li id="cite_note-Vincent_1949,_130-82"><span class="mw-cite-backlink">^ <a href="#cite_ref-Vincent_1949,_130_82-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Vincent_1949,_130_82-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Vincent (1949), 130</span>\n</li>\n<li id="cite_note-Vincent_1949,_131-83"><span class="mw-cite-backlink">^ <a href="#cite_ref-Vincent_1949,_131_83-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Vincent_1949,_131_83-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Vincent (1949), 131</span>\n</li>\n<li id="cite_note-84"><span class="mw-cite-backlink"><b><a href="#cite_ref-84">^</a></b></span> <span class="reference-text">Vincent (1949), 132–34. Quotation on 134.</span>\n</li>\n<li id="cite_note-Bezanson-85"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bezanson_85-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bezanson_85-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Bezanson_85-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Bezanson_85-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Bezanson_85-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Bezanson_85-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Bezanson_85-6"><sup><i><b>g</b></i></sup></a></span> <span class="reference-text">Walter E. Bezanson, "<i>Moby-Dick</i>: Document, Drama, Dream," in John Bryant (ed.), <i>A Companion to Melville Studies</i>, Greenwoord Press, 1986, 176–180.</span>\n</li>\n<li id="cite_note-86"><span class="mw-cite-backlink"><b><a href="#cite_ref-86">^</a></b></span> <span class="reference-text">Melville (1993), 160</span>\n</li>\n<li id="cite_note-87"><span class="mw-cite-backlink"><b><a href="#cite_ref-87">^</a></b></span> <span class="reference-text">Melville (1993), 162</span>\n</li>\n<li id="cite_note-Buell_2014,_364-88"><span class="mw-cite-backlink">^ <a href="#cite_ref-Buell_2014,_364_88-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Buell_2014,_364_88-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Buell (2014), 364</span>\n</li>\n<li id="cite_note-89"><span class="mw-cite-backlink"><b><a href="#cite_ref-89">^</a></b></span> <span class="reference-text">Bryant and Springer (2007), ix</span>\n</li>\n<li id="cite_note-Bryant_and_Springer_2007,_xi-90"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bryant_and_Springer_2007,_xi_90-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bryant_and_Springer_2007,_xi_90-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bryant and Springer (2007), xi</span>\n</li>\n<li id="cite_note-91"><span class="mw-cite-backlink"><b><a href="#cite_ref-91">^</a></b></span> <span class="reference-text">Melville (1993), 163</span>\n</li>\n<li id="cite_note-92"><span class="mw-cite-backlink"><b><a href="#cite_ref-92">^</a></b></span> <span class="reference-text">Miller (1991), 274</span>\n</li>\n<li id="cite_note-93"><span class="mw-cite-backlink"><b><a href="#cite_ref-93">^</a></b></span> <span class="reference-text">Cheever, Susan. (2006). <i>American Bloomsbury: Louisa May Alcott, Ralph Waldo Emerson, Margaret Fuller, Nathaniel Hawthorne, and Henry David Thoreau: Their Lives, Their Loves, Their Work</i>. Large Print ed. Detroit: Thorndike. 174. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-7862-9521-X" title="Special:BookSources/0-7862-9521-X">0-7862-9521-X</a>.</span>\n</li>\n<li id="cite_note-94"><span class="mw-cite-backlink"><b><a href="#cite_ref-94">^</a></b></span> <span class="reference-text">Miller (1991), 312</span>\n</li>\n<li id="cite_note-95"><span class="mw-cite-backlink"><b><a href="#cite_ref-95">^</a></b></span> <span class="reference-text">Springer and Bryant (2007), xi</span>\n</li>\n<li id="cite_note-96"><span class="mw-cite-backlink"><b><a href="#cite_ref-96">^</a></b></span> <span class="reference-text">Melville (1993), 191</span>\n</li>\n<li id="cite_note-97"><span class="mw-cite-backlink"><b><a href="#cite_ref-97">^</a></b></span> <span class="reference-text">Melville (1993), 193</span>\n</li>\n<li id="cite_note-98"><span class="mw-cite-backlink"><b><a href="#cite_ref-98">^</a></b></span> <span class="reference-text">Milder (1977), 215</span>\n</li>\n<li id="cite_note-99"><span class="mw-cite-backlink"><b><a href="#cite_ref-99">^</a></b></span> <span class="reference-text">Bryant (1998), 67</span>\n</li>\n<li id="cite_note-100"><span class="mw-cite-backlink"><b><a href="#cite_ref-100">^</a></b></span> <span class="reference-text">Milder (1977), 208</span>\n</li>\n<li id="cite_note-101"><span class="mw-cite-backlink"><b><a href="#cite_ref-101">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=jnNBh61lpjUC&printsec=frontcover&hl=nl#v=onepage&q&f=false">Tanselle (1988), 660</a></span>\n</li>\n<li id="cite_note-102"><span class="mw-cite-backlink"><b><a href="#cite_ref-102">^</a></b></span> <span class="reference-text">Cited by Tanselle (1988), 660–661</span>\n</li>\n<li id="cite_note-103"><span class="mw-cite-backlink"><b><a href="#cite_ref-103">^</a></b></span> <span class="reference-text">Bryant (2006), 560</span>\n</li>\n<li id="cite_note-Cited_in_Tanselle_(1988),_663-104"><span class="mw-cite-backlink">^ <a href="#cite_ref-Cited_in_Tanselle_(1988),_663_104-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cited_in_Tanselle_(1988),_663_104-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Cited in Tanselle (1988), 663.</span>\n</li>\n<li id="cite_note-105"><span class="mw-cite-backlink"><b><a href="#cite_ref-105">^</a></b></span> <span class="reference-text">Tanselle (1988), 663</span>\n</li>\n<li id="cite_note-106"><span class="mw-cite-backlink"><b><a href="#cite_ref-106">^</a></b></span> <span class="reference-text">Tanselle (1988), 665.</span>\n</li>\n<li id="cite_note-Tanselle_1988,_667-107"><span class="mw-cite-backlink">^ <a href="#cite_ref-Tanselle_1988,_667_107-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Tanselle_1988,_667_107-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tanselle (1988), 667</span>\n</li>\n<li id="cite_note-108"><span class="mw-cite-backlink"><b><a href="#cite_ref-108">^</a></b></span> <span class="reference-text">Tanselle (1988), 661</span>\n</li>\n<li id="cite_note-109"><span class="mw-cite-backlink"><b><a href="#cite_ref-109">^</a></b></span> <span class="reference-text">Quoted in Tanselle (1988), 671</span>\n</li>\n<li id="cite_note-110"><span class="mw-cite-backlink"><b><a href="#cite_ref-110">^</a></b></span> <span class="reference-text">Tanselle (1988), 683–84</span>\n</li>\n<li id="cite_note-111"><span class="mw-cite-backlink"><b><a href="#cite_ref-111">^</a></b></span> <span class="reference-text">Tanselle (1988), 686–87</span>\n</li>\n<li id="cite_note-112"><span class="mw-cite-backlink"><b><a href="#cite_ref-112">^</a></b></span> <span class="reference-text">Tanselle (1988), 685</span>\n</li>\n<li id="cite_note-Tanselle_1988,_687-113"><span class="mw-cite-backlink">^ <a href="#cite_ref-Tanselle_1988,_687_113-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Tanselle_1988,_687_113-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tanselle (1988), 687</span>\n</li>\n<li id="cite_note-114"><span class="mw-cite-backlink"><b><a href="#cite_ref-114">^</a></b></span> <span class="reference-text">Cited in Tanselle (1988), 673</span>\n</li>\n<li id="cite_note-115"><span class="mw-cite-backlink"><b><a href="#cite_ref-115">^</a></b></span> <span class="reference-text">Tanselle (1988), 675–76</span>\n</li>\n<li id="cite_note-Tanselle_1988,_678-116"><span class="mw-cite-backlink">^ <a href="#cite_ref-Tanselle_1988,_678_116-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Tanselle_1988,_678_116-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tanselle (1988), 678</span>\n</li>\n<li id="cite_note-117"><span class="mw-cite-backlink"><b><a href="#cite_ref-117">^</a></b></span> <span class="reference-text">Tanselle (1988), 772</span>\n</li>\n<li id="cite_note-118"><span class="mw-cite-backlink"><b><a href="#cite_ref-118">^</a></b></span> <span class="reference-text">Tanselle (1988), 789</span>\n</li>\n<li id="cite_note-119"><span class="mw-cite-backlink"><b><a href="#cite_ref-119">^</a></b></span> <span class="reference-text">Olsen-Smith (2008), 97</span>\n</li>\n<li id="cite_note-Robertson-Lorant_1996,_277-120"><span class="mw-cite-backlink">^ <a href="#cite_ref-Robertson-Lorant_1996,_277_120-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Robertson-Lorant_1996,_277_120-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Robertson-Lorant (1996), 277</span>\n</li>\n<li id="cite_note-121"><span class="mw-cite-backlink"><b><a href="#cite_ref-121">^</a></b></span> <span class="reference-text">Cited in Tanselle (1988), 681 (citation), 784</span>\n</li>\n<li id="cite_note-122"><span class="mw-cite-backlink"><b><a href="#cite_ref-122">^</a></b></span> <span class="reference-text">Tanselle (1988), 682, 784–85</span>\n</li>\n<li id="cite_note-123"><span class="mw-cite-backlink"><b><a href="#cite_ref-123">^</a></b></span> <span class="reference-text">Tanselle (1988), 682, 785</span>\n</li>\n<li id="cite_note-124"><span class="mw-cite-backlink"><b><a href="#cite_ref-124">^</a></b></span> <span class="reference-text">Tanselle (1988), 682, 785–87</span>\n</li>\n<li id="cite_note-125"><span class="mw-cite-backlink"><b><a href="#cite_ref-125">^</a></b></span> <span class="reference-text">Cited in Tanselle (1988), 679</span>\n</li>\n<li id="cite_note-126"><span class="mw-cite-backlink"><b><a href="#cite_ref-126">^</a></b></span> <span class="reference-text">Tanselle (1988), 678–79</span>\n</li>\n<li id="cite_note-Cited_in_Tanselle_(1988),_671-127"><span class="mw-cite-backlink">^ <a href="#cite_ref-Cited_in_Tanselle_(1988),_671_127-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cited_in_Tanselle_(1988),_671_127-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Cited in Tanselle (1988), 671</span>\n</li>\n<li id="cite_note-128"><span class="mw-cite-backlink"><b><a href="#cite_ref-128">^</a></b></span> <span class="reference-text">Parker (1996), 863</span>\n</li>\n<li id="cite_note-Cited_in_Tanselle_(1988),_672-129"><span class="mw-cite-backlink">^ <a href="#cite_ref-Cited_in_Tanselle_(1988),_672_129-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cited_in_Tanselle_(1988),_672_129-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Cited in Tanselle (1988), 672</span>\n</li>\n<li id="cite_note-130"><span class="mw-cite-backlink"><b><a href="#cite_ref-130">^</a></b></span> <span class="reference-text">Tanselle (1988), 673</span>\n</li>\n<li id="cite_note-Tanselle_1988,_688-131"><span class="mw-cite-backlink">^ <a href="#cite_ref-Tanselle_1988,_688_131-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Tanselle_1988,_688_131-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tanselle (1988), 688</span>\n</li>\n<li id="cite_note-Tanselle_1988,_689-132"><span class="mw-cite-backlink">^ <a href="#cite_ref-Tanselle_1988,_689_132-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Tanselle_1988,_689_132-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tanselle (1988), 689</span>\n</li>\n<li id="cite_note-Parker_2002,_17-133"><span class="mw-cite-backlink">^ <a href="#cite_ref-Parker_2002,_17_133-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Parker_2002,_17_133-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Parker_2002,_17_133-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Parker (2002), 17</span>\n</li>\n<li id="cite_note-Parker_1988,_700-134"><span class="mw-cite-backlink">^ <a href="#cite_ref-Parker_1988,_700_134-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Parker_1988,_700_134-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Parker_1988,_700_134-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Parker (1988), 700</span>\n</li>\n<li id="cite_note-135"><span class="mw-cite-backlink"><b><a href="#cite_ref-135">^</a></b></span> <span class="reference-text">Parker (1988), 701</span>\n</li>\n<li id="cite_note-Parker_1988,_702-136"><span class="mw-cite-backlink">^ <a href="#cite_ref-Parker_1988,_702_136-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Parker_1988,_702_136-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Parker (1988), 702</span>\n</li>\n<li id="cite_note-137"><span class="mw-cite-backlink"><b><a href="#cite_ref-137">^</a></b></span> <span class="reference-text">Quoted in Parker (1988), 702</span>\n</li>\n<li id="cite_note-Parker_1988,_702-03-138"><span class="mw-cite-backlink">^ <a href="#cite_ref-Parker_1988,_702-03_138-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Parker_1988,_702-03_138-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Parker (1988), 702–03</span>\n</li>\n<li id="cite_note-139"><span class="mw-cite-backlink"><b><a href="#cite_ref-139">^</a></b></span> <span class="reference-text">Parker (1988), 703</span>\n</li>\n<li id="cite_note-Robertson-Lorant_1996-140"><span class="mw-cite-backlink">^ <a href="#cite_ref-Robertson-Lorant_1996_140-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Robertson-Lorant_1996_140-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Robertson-Lorant (1996), 646 note 7</span>\n</li>\n<li id="cite_note-141"><span class="mw-cite-backlink"><b><a href="#cite_ref-141">^</a></b></span> <span class="reference-text">Branch (1974), 27</span>\n</li>\n<li id="cite_note-Cited_in_Parker_(1988),_708-142"><span class="mw-cite-backlink">^ <a href="#cite_ref-Cited_in_Parker_(1988),_708_142-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cited_in_Parker_(1988),_708_142-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Cited in Parker (1988), 708</span>\n</li>\n<li id="cite_note-143"><span class="mw-cite-backlink"><b><a href="#cite_ref-143">^</a></b></span> <span class="reference-text">Parker (1988), 709</span>\n</li>\n<li id="cite_note-144"><span class="mw-cite-backlink"><b><a href="#cite_ref-144">^</a></b></span> <span class="reference-text">Branch (1974), 28</span>\n</li>\n<li id="cite_note-145"><span class="mw-cite-backlink"><b><a href="#cite_ref-145">^</a></b></span> <span class="reference-text">Parker (1988), 712</span>\n</li>\n<li id="cite_note-146"><span class="mw-cite-backlink"><b><a href="#cite_ref-146">^</a></b></span> <span class="reference-text">Quoted in Parker (2002), 18</span>\n</li>\n<li id="cite_note-147"><span class="mw-cite-backlink"><b><a href="#cite_ref-147">^</a></b></span> <span class="reference-text">Quoted in Parker (2002), 20</span>\n</li>\n<li id="cite_note-148"><span class="mw-cite-backlink"><b><a href="#cite_ref-148">^</a></b></span> <span class="reference-text">Parker (1988), 712–723. Quotation on 713.</span>\n</li>\n<li id="cite_note-149"><span class="mw-cite-backlink"><b><a href="#cite_ref-149">^</a></b></span> <span class="reference-text">Parker (2002), 22</span>\n</li>\n<li id="cite_note-150"><span class="mw-cite-backlink"><b><a href="#cite_ref-150">^</a></b></span> <span class="reference-text">Parker (2002), 23</span>\n</li>\n<li id="cite_note-151"><span class="mw-cite-backlink"><b><a href="#cite_ref-151">^</a></b></span> <span class="reference-text">Quoted, and summarized, in Parker (1988), 721–722</span>\n</li>\n<li id="cite_note-152"><span class="mw-cite-backlink"><b><a href="#cite_ref-152">^</a></b></span> <span class="reference-text">Parker (2002), 25</span>\n</li>\n<li id="cite_note-153"><span class="mw-cite-backlink"><b><a href="#cite_ref-153">^</a></b></span> <span class="reference-text">Quoted in Parker (1988), 691–92</span>\n</li>\n<li id="cite_note-154"><span class="mw-cite-backlink"><b><a href="#cite_ref-154">^</a></b></span> <span class="reference-text">Quoted in Parker (2002), 26</span>\n</li>\n<li id="cite_note-Quoted_in_Parker_2002,_27-155"><span class="mw-cite-backlink">^ <a href="#cite_ref-Quoted_in_Parker_2002,_27_155-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Quoted_in_Parker_2002,_27_155-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Quoted_in_Parker_2002,_27_155-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Quoted in Parker (2002), 27</span>\n</li>\n<li id="cite_note-156"><span class="mw-cite-backlink"><b><a href="#cite_ref-156">^</a></b></span> <span class="reference-text">Parker (2002), 26</span>\n</li>\n<li id="cite_note-157"><span class="mw-cite-backlink"><b><a href="#cite_ref-157">^</a></b></span> <span class="reference-text">Parker (2002), 30</span>\n</li>\n<li id="cite_note-bartleby1-158"><span class="mw-cite-backlink">^ <a href="#cite_ref-bartleby1_158-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-bartleby1_158-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-bartleby1_158-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><cite class="citation web"><a rel="nofollow" class="external text" href="http://www.bartleby.com/187/5.html">"Chapter 3. Romances of Adventure. Section 2. Herman Melville. Van Doren, Carl. 1921. The American Novel"</a>. Bartleby.com<span class="reference-accessdate">. Retrieved <span class="nowrap">2008-10-19</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Chapter+3.+Romances+of+Adventure.+Section+2.+Herman+Melville.+Van+Doren%2C+Carl.+1921.+The+American+Novel&rft.pub=Bartleby.com&rft_id=http%3A%2F%2Fwww.bartleby.com%2F187%2F5.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick" class="Z3988"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/></span>\n</li>\n<li id="cite_note-159"><span class="mw-cite-backlink"><b><a href="#cite_ref-159">^</a></b></span> <span class="reference-text"><cite class="citation book">Benton, Megan (2000). <i>Beauty and the Book: Fine Editions and Cultural Distinction in America</i>. Yale University Press. <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780300082135" title="Special:BookSources/9780300082135">9780300082135</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Beauty+and+the+Book%3A+Fine+Editions+and+Cultural+Distinction+in+America&rft.pub=Yale+University+Press&rft.date=2000&rft.isbn=9780300082135&rft.aulast=Benton&rft.aufirst=Megan&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick" class="Z3988"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/>, pp. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=WbpOcowMfCIC&pg=PA131&dq=Rockwell+Kent+Moby-dick+lakeside&hl=en&sa=X&ei=UFHUVK3lGoWQyAT84YDQCg&ved=0CDUQ6AEwAQ#v=onepage&q=Rockwell%20Kent%20Moby-dick%20lakeside&f=false">107, 132, 200</a></span>\n</li>\n<li id="cite_note-160"><span class="mw-cite-backlink"><b><a href="#cite_ref-160">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://www.imdb.com/title/tt0017354/">IMDb link</a></span>\n</li>\n<li id="cite_note-Springer_2007-161"><span class="mw-cite-backlink">^ <a href="#cite_ref-Springer_2007_161-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Springer_2007_161-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bryant and Springer (2007), xxiii–xxv.</span>\n</li>\n<li id="cite_note-162"><span class="mw-cite-backlink"><b><a href="#cite_ref-162">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://www.rottentomatoes.com/m/1014090-moby_dick"><i>Moby Dick (1956)</i></a> at <a href="/wiki/Rotten_Tomatoes" title="Rotten Tomatoes">Rotten Tomatoes</a></span>\n</li>\n<li id="cite_note-Schultz-163"><span class="mw-cite-backlink"><b><a href="#cite_ref-Schultz_163-0">^</a></b></span> <span class="reference-text">Schultz, Elizabeth. Unpainted to the Last: <i>Moby-Dick and Twentieth Century American Art</i>, University Press of Kansas, 1995, p.329-330.</span>\n</li>\n<li id="cite_note-164"><span class="mw-cite-backlink"><b><a href="#cite_ref-164">^</a></b></span> <span class="reference-text">Rampersad (1997), 172–173</span>\n</li>\n<li id="cite_note-165"><span class="mw-cite-backlink"><b><a href="#cite_ref-165">^</a></b></span> <span class="reference-text">Rampersad (2007), 197</span>\n</li>\n<li id="cite_note-166"><span class="mw-cite-backlink"><b><a href="#cite_ref-166">^</a></b></span> <span class="reference-text">Rampersad (2007), 228</span>\n</li>\n<li id="cite_note-167"><span class="mw-cite-backlink"><b><a href="#cite_ref-167">^</a></b></span> <span class="reference-text">Bob Dylan, <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=6TlcPRlau2Q">2016 Nobel Lecture in Literature</a>. Discussion of Moby-Dick at 6:30–12:30, quotation at 12:22–12:29.</span>\n</li>\n</ol></div>\n<h2><span class="mw-headline" id="References">References</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=24" title="Edit section: References">edit</a><span class="mw-editsection-bracket">]</span></span></h2>\n<ul><li><a href="/wiki/M._H._Abrams" title="M. H. Abrams">Abrams, M. H</a>. (1999). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160527182311/http://www.ohio.edu/people/hartleyg/ref/abrams_mh.pdf"><i>A Glossary of Literary Terms</i>.</a> Seventh Edition. Fort Worth, Texas: Harcourt Brace College Publishers. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780155054523" title="Special:BookSources/9780155054523">9780155054523</a></li>\n<li><a href="/wiki/Newton_Arvin" title="Newton Arvin">Arvin, Newton</a>. (1950). "The Whale." Excerpt from Newton Arvin, <i>Herman Melville</i> (New York: William Sloane Associates, Inc., 1950), in Parker and Hayford (1970).</li>\n<li>Bercaw, Mary K. (1987). <i>Melville\'s Sources</i>. Evanston, Illinois: Northwestern University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-8101-0734-1" title="Special:BookSources/0-8101-0734-1">0-8101-0734-1</a></li>\n<li>Berthoff, Warner. (1962). <i>The Example of Melville</i>. Reprinted 1972, New York: W.W. Norton.</li>\n<li>Bezanson, Walter E. (1953). \'<i>Moby-Dick</i>: Work of Art.\' Reprinted in Parker and Hayford (2001).</li>\n<li>--- . (1986). "<i>Moby-Dick</i>: Document, Drama, Dream." In Bryant 1986.</li>\n<li>Branch, Watson G. (1974). <i>Melville: The Critical Heritage.</i> First edition 1974. Paperback edition 1985, London and Boston: Routledge and Kegan Paul. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0710205139" title="Special:BookSources/0710205139">0710205139</a></li>\n<li>Bryant, John (ed.). (1986). <i>A Companion to Melville Studies</i>. Greenport, Connecticut: Greenwood Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780313238741" title="Special:BookSources/9780313238741">9780313238741</a></li>\n<li>--- . (1998). "<i>Moby-Dick</i> as Revolution." In Levine 1998.</li>\n<li>--- . (2006). "The Melville Text." In Kelley 2006.</li>\n<li>--- , and Haskell Springer. (2007). "Introduction," "Explanatory Notes" and "The Making of <i>Moby-Dick</i>." In John Bryant and Haskell Springer (eds), Herman Melville, <i>Moby-Dick.</i> New York Boston: Pearson Longman (A Longman Critical Edition). <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0321228006" title="Special:BookSources/0321228006">0321228006</a>.</li>\n<li><a href="/wiki/Lawrence_Buell" title="Lawrence Buell">Buell, Lawrence</a>. (2014).<a rel="nofollow" class="external text" href="https://books.google.com/books?id=J5DzAgAAQBAJ&printsec=frontcover&hl=nl#v=onepage&q&f=false"><i>The Dream of the Great American Novel</i>.</a> Cambridge, Massachusetts and London: The Belknap Press of Harvard University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780674051157" title="Special:BookSources/9780674051157">9780674051157</a></li>\n<li><a href="/wiki/William_Faulkner" title="William Faulkner">Faulkner, William</a>. (1927). "[I Wish I Had Written That.]" Originally in the <i>Chicago Tribune</i>, 16 July 1927. Reprinted in Parker & Hayford (2001), 640.</li>\n<li><a href="/wiki/E.M._Forster" class="mw-redirect" title="E.M. Forster">Forster, E.M.</a> (1927). <i>Aspects of the Novel</i>. Reprinted Middlesex: Penguin Books 1972. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0140205578" title="Special:BookSources/0140205578">0140205578</a></li>\n<li>Gale, Robert L. (1972). <i>Plots and Characters in the Fiction and Narrative Poetry of Herman Melville</i>. Cambridge, Massachusetts and London: The MIT Press.</li>\n<li>Graham, Sarah (2014). <a rel="nofollow" class="external text" href="http://www.the-tls.co.uk/tls/public/article1434758.ece">"What is the Great American Novel?"</a> In: <i>The Times Literary Supplement</i>, 16 July 2014.</li>\n<li>Grey, Robin. (2006). "The Legacy of Britain." In Kelley (2006).</li>\n<li>Hayford, Harrison. (1988). "Historical Note Section V." In Melville (1988).</li>\n<li>Heflin, Wilson. (2004). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=EvT98u-eJ24C&printsec=frontcover&dq=melville&hl=nl&sa=X&ved=0ahUKEwiisIfEycDLAhUGfg8KHYAAA_MQ6AEIczAJ#v=onepage&q&f=false"><i>Herman Melville\'s Whaling Years</i>.</a> Edited by Mary K. Bercaw Edwards and Thomas Farel Heffernan. Nashville: Vanderbilt University Press.</li>\n<li>Howard, Leon (1940). "Melville\'s Struggle with the Angel." <i>Modern Language Quarterly</i>, Vol. 1 (June 1940). Reprinted in Hershel Parker (ed.), <i>The Recognition of Herman Melville. Selected Criticism Since 1846.</i> Ann Arbor: University of Michigan Press, 1967. Paperback edition 1970.</li>\n<li>Kelley, Wyn (ed.). (2006). <i>A Companion to Herman Melville</i>. Malden, MA, Oxford, UK, and Carlton, Australia: Blackwell Publishing Ltd. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9781405122313" title="Special:BookSources/9781405122313">9781405122313</a></li>\n<li>Lawrence, D.H. (1923). <i>Studies in Classic American Literature</i>. Reprinted London: Penguin Books. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780140183771" title="Special:BookSources/9780140183771">9780140183771</a></li>\n<li><cite id="CITEREFLee,_Maurice_S.2006" class="citation">Lee, Maurice S. (2006), "The Language of Moby-Dick: "Read It If You Can<span class="cs1-kern-right">"</span>", in Kelley, Wyn, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=EbxeLZ-xbcgC&printsec=frontcover#v=onepage&q=language%20Moby-Dick&f=false"><i>A Companion to Herman Melville</i></a>, Malden, MA; Oxford: Blackwell, pp. 393–407, <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/1405122315" title="Special:BookSources/1405122315">1405122315</a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Language+of+Moby-Dick%3A+%22Read+It+If+You+Can%22&rft.btitle=A+Companion+to+Herman+Melville&rft.place=Malden%2C+MA%3B+Oxford&rft.pages=393-407&rft.pub=Blackwell&rft.date=2006&rft.isbn=1405122315&rft.au=Lee%2C+Maurice+S.&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DEbxeLZ-xbcgC%26printsec%3Dfrontcover%23v%3Donepage%26q%3Dlanguage%2520Moby-Dick%26f%3Dfalse&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick" class="Z3988"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/></li>\n<li>Levine, Robert S. (1998). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=L-KhKv9kNqkC&printsec=frontcover&hl=nl#v=onepage&q&f=false"><i>The Cambridge Companion to Herman Melville</i></a>. Cambridge: Cambridge University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-521-55571-X" title="Special:BookSources/0-521-55571-X">0-521-55571-X</a></li>\n<li><a href="/wiki/F.O._Matthiessen" class="mw-redirect" title="F.O. Matthiessen">Matthiessen, F.O.</a> (1941). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=tULy3pA-ZoQC&pg=PA626&lpg=PA626&dq=matthiessen+american+renaissance&source=bl&ots=qErO4CPybM&sig=tk7tve3EWXSHWYNCPfhw1yKYDmI&hl=nl&sa=X&redir_esc=y#v=onepage&q&f=false"><i>American Renaissance: Art and Expression in the Age of Emerson and Whitman</i>.</a> Tenth Printing, 1966, New York, London and Toronto: Oxford University Press.</li>\n<li><cite id="CITEREFMelville1988" class="citation">Melville, Herman (1988), <a rel="nofollow" class="external text" href="https://books.google.com/?id=jnNBh61lpjUC&printsec=frontcover"><i>Moby-Dick; or, the Whale</i></a>, The Writings of Herman Melville, <b>Six</b>, Edited by Harrison Hayford, Hershel Parker, and G. Thomas Tanselle, Evanston; Chicago: Northwestern University Press and the Newberry Library, <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0810103249" title="Special:BookSources/0810103249">0810103249</a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Moby-Dick%3B+or%2C+the+Whale&rft.place=Evanston%3B+Chicago&rft.series=The+Writings+of+Herman+Melville&rft.pub=Northwestern+University+Press+and+the+Newberry+Library&rft.date=1988&rft.isbn=0810103249&rft.aulast=Melville&rft.aufirst=Herman&rft_id=https%3A%2F%2Fbooks.google.com%2F%3Fid%3DjnNBh61lpjUC%26printsec%3Dfrontcover&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick" class="Z3988"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/></li>\n<li>--- .(1993). <i>Correspondence</i>. The Writings of Herman Melville Volume Fourteen. Edited by Lynn Horth. Evanston and Chicago: Northwestern University Press and The Newberry Library. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780810109957" title="Special:BookSources/9780810109957">9780810109957</a></li>\n<li>Milder, Robert. (1977). The Composition of <i>Moby-Dick</i>: A Review and a Prospect." <i>ESQ: A Journal of the American Renaissance</i>.</li>\n<li>--- . (1988). "Herman Melville." In Emory Elliott (General Editor), <i>Columbia Literary History of the United States</i>. New York: Columbia University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-231-05812-8" title="Special:BookSources/0-231-05812-8">0-231-05812-8</a></li>\n<li>Miller, Edwin Haviland. (1991). <i>Salem Is My Dwelling Place: A Life of Nathaniel Hawthorne</i>. Iowa City: University of Iowa Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-87745-332-2" title="Special:BookSources/0-87745-332-2">0-87745-332-2</a></li>\n<li>Olsen-Smith, Steven. (2008). [Review of Bryant and Springer 2007]. <i>Leviathan: A Journal of Melville Studies</i>, June 2008, 96–9.</li>\n<li><a href="/wiki/Hershel_Parker" title="Hershel Parker">Parker, Hershel</a>. (1988). "Historical Note Section VII." In Melville (1988).</li>\n<li>--- , and Harrison Hayford (eds.). (1970). <i>Moby-Dick as Doubloon. Essays and Extracts (1851-1970).</i> New York: W.W. Norton & Company Inc., 1970.</li>\n<li>--- , and Harrison Hayford (eds). (2001). Herman Melville, <i>Moby-Dick</i>. A Norton Critical Edition. Second Edition, New York and London: W.W. Norton & Company. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780393972832" title="Special:BookSources/9780393972832">9780393972832</a></li>\n<li>--- . (2002). <i>Herman Melville: A Biography. Volume 2, 1851-1891.</i> Baltimore and London: The Johns Hopkins University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0801868920" title="Special:BookSources/0801868920">0801868920</a></li>\n<li><cite id="CITEREFPhilbrick2000" class="citation book"><a href="/wiki/Nathaniel_Philbrick" title="Nathaniel Philbrick">Philbrick, Nathaniel</a> (2000). <i>In the Heart of the Sea: The Tragedy of the Whaleship Essex</i>. New York: Viking. <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0670891576" title="Special:BookSources/0670891576">0670891576</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=In+the+Heart+of+the+Sea%3A+The+Tragedy+of+the+Whaleship+Essex&rft.place=New+York&rft.pub=Viking&rft.date=2000&rft.isbn=0670891576&rft.aulast=Philbrick&rft.aufirst=Nathaniel&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick" class="Z3988"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/></li>\n<li><a href="/wiki/Arnold_Rampersad" title="Arnold Rampersad">Rampersad, Arnold</a> (1997). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=3ROt_zMv1WsC&pg=PA181&dq=melville&hl=nl&sa=X&ved=0ahUKEwid0ua8ysDLAhXI_w4KHUm5CBs4FBDoAQhLMAU#v=onepage&q&f=false">"Shadow and Veil: Melville and Modern Black Consciousness."</a> <i>Melville\'s Evermoving Dawn: Centennial Essays</i>. Edited by John Bryant and Robert Milder. Kent, Ohia, and London, England: The Kent State University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-87338-562-4" title="Special:BookSources/0-87338-562-4">0-87338-562-4</a></li>\n<li>--- . (2007). <i>Ralph Ellison: A Biography.</i> New York: Alfred A. Knopf. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780375408274" title="Special:BookSources/9780375408274">9780375408274</a></li>\n<li>Robertson-Lorant, Laurie. (1996). <i>Melville. A Biography.</i> New York: Clarkson Potters/ Publishers. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r879151008"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0517593149" title="Special:BookSources/0517593149">0517593149</a></li>\n<li>Tanselle, G. Thomas. (1988). "Historical Note Section VI", "Note on the Text", and "The Hubbard Copy of <i>The Whale</i>". In Melville (1988).</li>\n<li>Vincent, Howard P. (1949). <i>The Trying-Out of Moby-Dick.</i> Boston: Houghton Mifflin Company.</li>\n<li>Wright, Nathalia. (1940). <a rel="nofollow" class="external text" href="https://www.jstor.org/discover/10.2307/2920476?uid=3738736&uid=2&uid=4&sid=21104087484591">"Biblical Allusion in Melville\'s Prose."</a> <i>American Literature</i>, May 1940, 185–199.</li>\n<li>--- . (1949). <i>Melville\'s Use of the Bible</i>. Durham, North Carolina: Duke University Press.</li></ul>\n<h2><span class="mw-headline" id="External_links">External links</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=25" title="Edit section: External links">edit</a><span class="mw-editsection-bracket">]</span></span></h2>\n<table role="presentation" class="mbox-small plainlinks sistersitebox" style="background-color:#f9f9f9;border:1px solid #aaa;color:#000">\n<tbody><tr>\n<td class="mbox-image"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="noviewer" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></td>\n<td class="mbox-text plainlist">Wikimedia Commons has media related to <i><b><a href="https://commons.wikimedia.org/wiki/Category:Moby_Dick" class="extiw" title="commons:Category:Moby Dick">Moby Dick</a></b></i>.</td></tr></tbody></table>\n<table role="presentation" class="mbox-small plainlinks sistersitebox" style="background-color:#f9f9f9;border:1px solid #aaa;color:#000">\n<tbody><tr>\n<td class="mbox-image"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png" decoding="async" width="34" height="40" class="noviewer" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/51px-Wikiquote-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/68px-Wikiquote-logo.svg.png 2x" data-file-width="300" data-file-height="355" /></td>\n<td class="mbox-text plainlist">Wikiquote has quotations related to: <i><b><a href="https://en.wikiquote.org/wiki/Special:Search/Moby-Dick" class="extiw" title="q:Special:Search/Moby-Dick">Moby-Dick</a></b></i></td></tr></tbody></table>\n<table role="presentation" class="mbox-small plainlinks sistersitebox" style="background-color:#f9f9f9;border:1px solid #aaa;color:#000">\n<tbody><tr>\n<td class="mbox-image"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/38px-Wikisource-logo.svg.png" decoding="async" width="38" height="40" class="noviewer" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/57px-Wikisource-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/76px-Wikisource-logo.svg.png 2x" data-file-width="410" data-file-height="430" /></td>\n<td class="mbox-text plainlist"><a href="/wiki/Wikisource" title="Wikisource">Wikisource</a> has original text related to this article:\n<div style="margin-left: 10px;"><b><a href="https://en.wikisource.org/wiki/Moby-Dick" class="extiw" title="wikisource:Moby-Dick"><i>Moby-Dick</i></a></b></div></td></tr></tbody></table>\n<ul><li><span class="citation gutenberg"> <i><a href="http://www.gutenberg.org/etext/2701" class="extiw" title="gutenberg:2701">Moby-Dick</a></i> at <a href="/wiki/Project_Gutenberg" title="Project Gutenberg">Project Gutenberg</a></span></li>\n<li><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/15px-Speaker_Icon.svg.png" decoding="async" width="15" height="15" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/23px-Speaker_Icon.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/30px-Speaker_Icon.svg.png 2x" data-file-width="500" data-file-height="500" /> <a rel="nofollow" class="external text" href="https://librivox.org/search?title=Moby+Dick&author=Melville&reader=&keywords=&genre_id=0&status=all&project_type=either&recorded_language=&sort_order=catalog_date&search_page=1&search_form=advanced"><i>Moby Dick</i></a> public domain audiobook at <a href="/wiki/LibriVox" title="LibriVox">LibriVox</a></li>\n<li><a rel="nofollow" class="external text" href="http://www.mobydickbigread.com">The <i>Moby-Dick</i> "Big Read"</a>, "an online version of Melville\'s magisterial tome: each of its 135 chapters read out aloud, by a mixture of the celebrated and the unknown"</li>\n<li><a rel="nofollow" class="external text" href="http://mel.hofstra.edu/versions-of-moby-dick.html">Side-by-side versions of the British and American 1851 first editions of <i>Moby-Dick</i></a> at the <a rel="nofollow" class="external text" href="http://mel.hofstra.edu/index.html">Melville Electronic Library</a>, with differences highlighted</li>\n<li><a rel="nofollow" class="external text" href="http://organizations.plattsburgh.edu/museum/mdimg1.htm"><i>Moby Dick or The Whale</i> illustrations</a> by <a href="/wiki/Rockwell_Kent" title="Rockwell Kent">Rockwell Kent</a> for the 1930 <a href="/wiki/Lakeside_Press" class="mw-redirect" title="Lakeside Press">Lakeside Press</a> edition</li>\n<li>"<a rel="nofollow" class="external text" href="http://edsitement.neh.gov/curriculum-unit/melvilles-moby-dick-shifts-narrative-voice-and-literary-genres">Melville\'s “Moby-Dick”: Shifts in Narrative Voice and Literary Genres</a>" lesson plan for grades 9–12</li>\n<li><a rel="nofollow" class="external text" href="http://www.wnyc.org/story/95322-american-icons-moby-dick/">American Icons: <i>Moby-Dick</i></a>, a <a href="/wiki/Peabody_Award" title="Peabody Award">Peabody Award</a>–winning episode of <i><a href="/wiki/Studio_360" title="Studio 360">Studio 360</a></i> that examines the influence of <i>Moby-Dick</i> on contemporary American culture</li></ul>\n<div role="navigation" class="navbox" aria-labelledby="Herman_Melville_(works)" style="padding:3px"><table class="nowraplinks collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div class="plainlinks hlist navbar mini"><ul><li class="nv-view"><a href="/wiki/Template:Herman_Melville" title="Template:Herman Melville"><abbr title="View this template" style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none; padding:0;">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Herman_Melville" title="Template talk:Herman Melville"><abbr title="Discuss this template" style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none; padding:0;">t</abbr></a></li><li class="nv-edit"><a class="external text" href="//en.wikipedia.org/w/index.php?title=Template:Herman_Melville&action=edit"><abbr title="Edit this template" style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none; padding:0;">e</abbr></a></li></ul></div><div id="Herman_Melville_(works)" style="font-size:114%;margin:0 4em"><a href="/wiki/Herman_Melville" title="Herman Melville">Herman Melville</a> <a href="/wiki/Herman_Melville_bibliography" title="Herman Melville bibliography">(works)</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Novels</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><i><a href="/wiki/Typee" title="Typee">Typee</a></i> (1846)</li>\n<li><i><a href="/wiki/Omoo" title="Omoo">Omoo</a></i> (1847)</li>\n<li><i><a href="/wiki/Mardi" title="Mardi">Mardi</a></i> (1849)</li>\n<li><i><a href="/wiki/Redburn" title="Redburn">Redburn</a></i> (1849)</li>\n<li><i><a href="/wiki/White-Jacket" title="White-Jacket">White-Jacket</a></i> (1850)</li>\n<li><i><a class="mw-selflink selflink">Moby-Dick</a></i> (1851)</li>\n<li><i><a href="/wiki/Pierre;_or,_The_Ambiguities" title="Pierre; or, The Ambiguities">Pierre; or, The Ambiguities</a></i> (1852)</li>\n<li><i><a href="/wiki/Israel_Potter" title="Israel Potter">Israel Potter</a></i> (1855)</li>\n<li><i><a href="/wiki/The_Confidence-Man" title="The Confidence-Man">The Confidence-Man</a></i> (1857)</li>\n<li><i><a href="/wiki/Billy_Budd" title="Billy Budd">Billy Budd</a></i> (1924, posthumous)</li></ul>\n</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Short stories</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%"><i><a href="/wiki/The_Piazza_Tales" title="The Piazza Tales">The Piazza Tales</a></i> (1856)</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li>"<a href="/w/index.php?title=The_Piazza_(short_story)&action=edit&redlink=1" class="new" title="The Piazza (short story) (page does not exist)">The Piazza</a>"</li>\n<li>"<a href="/wiki/Bartleby,_the_Scrivener" title="Bartleby, the Scrivener">Bartleby, the Scrivener</a>"</li>\n<li>"<a href="/wiki/Benito_Cereno" title="Benito Cereno">Benito Cereno</a>"</li>\n<li>"<a href="/w/index.php?title=The_Lightning-Rod_Man&action=edit&redlink=1" class="new" title="The Lightning-Rod Man (page does not exist)">The Lightning-Rod Man</a>"</li>\n<li>"<a href="/wiki/The_Encantadas" title="The Encantadas">The Encantadas</a>"</li>\n<li>"<a href="/w/index.php?title=The_Bell-Tower&action=edit&redlink=1" class="new" title="The Bell-Tower (page does not exist)">The Bell-Tower</a>"</li></ul>\n</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Uncollected</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li>"<a href="/wiki/Cock-A-Doodle-Doo!" title="Cock-A-Doodle-Doo!">Cock-A-Doodle-Doo!</a>" (1853)</li>\n<li>"<a href="/w/index.php?title=Poor_Man%27s_Pudding_and_Rich_Man%27s_Crumbs&action=edit&redlink=1" class="new" title="Poor Man's Pudding and Rich Man's Crumbs (page does not exist)">Poor Man\'s Pudding and Rich Man\'s Crumbs</a>" (1854)</li>\n<li>"<a href="/w/index.php?title=The_Happy_Failure&action=edit&redlink=1" class="new" title="The Happy Failure (page does not exist)">The Happy Failure</a>" (1854)</li>\n<li>"<a href="/w/index.php?title=The_Fiddler&action=edit&redlink=1" class="new" title="The Fiddler (page does not exist)">The Fiddler</a>" (1854)</li>\n<li>"<a href="/wiki/The_Paradise_of_Bachelors_and_the_Tartarus_of_Maids" title="The Paradise of Bachelors and the Tartarus of Maids">The Paradise of Bachelors and the Tartarus of Maids</a>" (1855)</li>\n<li>"<a href="/w/index.php?title=Jimmy_Rose_(short_story)&action=edit&redlink=1" class="new" title="Jimmy Rose (short story) (page does not exist)">Jimmy Rose</a>" (1855)</li>\n<li>"<a href="/w/index.php?title=The_%27Gees&action=edit&redlink=1" class="new" title="The 'Gees (page does not exist)">The \'Gees</a>" (1856)</li>\n<li>"<a href="/w/index.php?title=I_and_My_Chimney&action=edit&redlink=1" class="new" title="I and My Chimney (page does not exist)">I and My Chimney</a>" (1856)</li>\n<li>"<a href="/w/index.php?title=The_Apple-Tree_Table&action=edit&redlink=1" class="new" title="The Apple-Tree Table (page does not exist)">The Apple-Tree Table</a>" (1856)</li></ul>\n</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Published posthumously</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li>"<a href="/w/index.php?title=The_Two_Temples&action=edit&redlink=1" class="new" title="The Two Temples (page does not exist)">The Two Temples</a>"</li>\n<li>"Daniel Orme"</li></ul>\n</div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Poetry</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><i><a href="/wiki/Battle-Pieces_and_Aspects_of_the_War" title="Battle-Pieces and Aspects of the War">Battle-Pieces and Aspects of the War</a></i> (1866)</li>\n<li><i><a href="/wiki/Clarel" title="Clarel">Clarel</a></i> (1876)</li>\n<li><i><a href="/wiki/John_Marr_and_Other_Sailors" title="John Marr and Other Sailors">John Marr and Other Sailors</a></i> (1888)</li>\n<li><i><a href="/wiki/Timoleon_(poems)" title="Timoleon (poems)">Timoleon</a></i> (1891)</li>\n<li><i><a href="/w/index.php?title=Weeds_and_Wildings,_and_a_Rose_or_Two&action=edit&redlink=1" class="new" title="Weeds and Wildings, and a Rose or Two (page does not exist)">Weeds and Wildings, and a Rose or Two</a></i> (1924, posthumous)</li></ul>\n</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Essays</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li>"<a href="/wiki/Hawthorne_and_His_Mosses" title="Hawthorne and His Mosses">Hawthorne and His Mosses</a>" (1850)</li></ul>\n</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Possible</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><i><a href="/wiki/Isle_of_the_Cross" title="Isle of the Cross">Isle of the Cross</a></i> (ca 1853)</li></ul>\n</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><a href="/wiki/Arrowhead_(Herman_Melville_House)" title="Arrowhead (Herman Melville House)">Arrowhead (Herman Melville House)</a></li>\n<li><a href="/wiki/Berkshire_Athenaeum#Herman_Melville_Memorial_Room" title="Berkshire Athenaeum">Herman Melville Memorial Room archives</a></li>\n<li><a href="/wiki/Herman_Melville_bibliography" title="Herman Melville bibliography">Herman Melville bibliography</a></li></ul>\n</div></td></tr></tbody></table></div>\n<div role="navigation" class="navbox" aria-labelledby="Herman_Melville&#039;s_Moby-Dick_(1851)" style="padding:3px"><table class="nowraplinks collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div class="plainlinks hlist navbar mini"><ul><li class="nv-view"><a href="/wiki/Template:Moby-Dick" title="Template:Moby-Dick"><abbr title="View this template" style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none; padding:0;">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Moby-Dick" title="Template talk:Moby-Dick"><abbr title="Discuss this template" style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none; padding:0;">t</abbr></a></li><li class="nv-edit"><a class="external text" href="//en.wikipedia.org/w/index.php?title=Template:Moby-Dick&action=edit"><abbr title="Edit this template" style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none; padding:0;">e</abbr></a></li></ul></div><div id="Herman_Melville&#039;s_Moby-Dick_(1851)" style="font-size:114%;margin:0 4em"><a href="/wiki/Herman_Melville" title="Herman Melville">Herman Melville</a>\'s <i><a class="mw-selflink selflink">Moby-Dick</a></i> (1851)</div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/List_of_Moby-Dick_characters" title="List of Moby-Dick characters">Characters</a></th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><a href="/wiki/Captain_Ahab" title="Captain Ahab">Captain Ahab</a></li>\n<li><a href="/wiki/Ishmael_(Moby-Dick)" title="Ishmael (Moby-Dick)">Ishmael</a></li>\n<li><a href="/wiki/Moby_Dick_(whale)" title="Moby Dick (whale)">Moby Dick</a></li>\n<li><a href="/wiki/Queequeg" title="Queequeg">Queequeg</a></li>\n<li><a href="/wiki/Father_Mapple" title="Father Mapple">Father Mapple</a></li></ul>\n</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Ships</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><i><a href="/wiki/Pequod_(Moby-Dick)" title="Pequod (Moby-Dick)">Pequod</a></i></li></ul>\n</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Special subjects</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><a href="/wiki/Cetology_of_Moby-Dick" title="Cetology of Moby-Dick">Cetology</a></li>\n<li><a href="/wiki/Fast-Fish_and_Loose-Fish" class="mw-redirect" title="Fast-Fish and Loose-Fish">Fast-Fish and Loose-Fish</a></li></ul>\n</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Adaptations_of_Moby-Dick" title="Adaptations of Moby-Dick">Adaptations</a></th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Film</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><i><a href="/wiki/The_Sea_Beast" title="The Sea Beast">The Sea Beast</a></i> (1926)</li>\n<li><i><a href="/wiki/Moby_Dick_(1930_film)" title="Moby Dick (1930 film)">Moby Dick</a></i> (1930)</li>\n<li><i><a href="/wiki/Moby_Dick_(1956_film)" title="Moby Dick (1956 film)">Moby Dick</a></i> (1956)</li>\n<li><i><a href="/wiki/Moby_Dick_(unfinished_film)" title="Moby Dick (unfinished film)">Moby Dick</a></i> (1971; unfinished)</li>\n<li><i><a href="/wiki/Moby_Dick_(1978_film)" title="Moby Dick (1978 film)">Moby Dick</a></i> (1978)</li>\n<li><i><a href="/wiki/Moby_Dick_(2010_film)" title="Moby Dick (2010 film)">Moby Dick</a></i> (2010)</li></ul>\n</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Television</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><i><a href="/wiki/Hakugei:_Legend_of_the_Moby_Dick" title="Hakugei: Legend of the Moby Dick">Hakugei: Legend of the Moby Dick</a></i> (1997)</li>\n<li><i><a href="/wiki/Moby_Dick_(1998_miniseries)" title="Moby Dick (1998 miniseries)">Moby Dick</a></i> (1998)</li>\n<li><i><a href="/wiki/Moby_Dick_(2011_miniseries)" title="Moby Dick (2011 miniseries)">Moby Dick</a></i> (2011)</li></ul>\n</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Stage</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><i><a href="/wiki/Moby_Dick%E2%80%94Rehearsed" title="Moby Dick—Rehearsed">Moby Dick—Rehearsed</a></i> (1955)</li>\n<li><i><a href="/wiki/Moby_Dick_(musical)" title="Moby Dick (musical)">Moby Dick</a></i> (1990 musical)</li>\n<li><i><a href="/wiki/Moby-Dick_(opera)" title="Moby-Dick (opera)">Moby-Dick</a></i> (2010 opera)</li></ul>\n</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><i><a href="/wiki/Age_of_the_Dragons" title="Age of the Dragons">Age of the Dragons</a></i></li>\n<li><i><a href="/wiki/The_Call_of_the_Wretched_Sea" title="The Call of the Wretched Sea">The Call of the Wretched Sea</a></i></li>\n<li><i><a href="/wiki/Capitaine_Achab" title="Capitaine Achab">Capitaine Achab</a></i></li>\n<li><i><a href="/wiki/Dopey_Dick_the_Pink_Whale" title="Dopey Dick the Pink Whale">Dopey Dick the Pink Whale</a></i></li>\n<li><i><a href="/wiki/Dicky_Moe" title="Dicky Moe">Dicky Moe</a></i></li>\n<li><i><a href="/wiki/Leviathan_(album)" title="Leviathan (album)">Leviathan</a></i></li>\n<li>"<a href="/wiki/M%C3%B6bius_Dick_(Futurama)" title="Möbius Dick (Futurama)">Möbius Dick</a>"</li>\n<li><i><a href="/wiki/Moby_Dick_and_Mighty_Mightor" title="Moby Dick and Mighty Mightor">Moby Dick and Mighty Mightor</a></i></li>\n<li><i><a href="/wiki/Railsea" title="Railsea">Railsea</a></i></li></ul>\n</div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><a href="/wiki/Moby_Dick_Coin" title="Moby Dick Coin">Moby Dick Coin</a></li>\n<li><a href="/wiki/Mocha_Dick" title="Mocha Dick">Mocha Dick</a></li>\n<li><a href="/wiki/Essex_(whaleship)" title="Essex (whaleship)"><i>Essex</i></a> (whaleship)</li>\n<li><a href="/wiki/In_the_Heart_of_the_Sea" title="In the Heart of the Sea"><i>In the Heart of the Sea</i></a> (book)</li>\n<li><a href="/wiki/In_the_Heart_of_the_Sea_(film)" title="In the Heart of the Sea (film)"><i>In the Heart of the Sea</i></a> (film)</li></ul>\n</div></td></tr></tbody></table></div>\n<div role="navigation" class="navbox" aria-labelledby="Authority_control_frameless_&#124;text-top_&#124;10px_&#124;alt=Edit_this_at_Wikidata_&#124;link=https&#58;//www.wikidata.org/wiki/Q174596&#124;Edit_this_at_Wikidata" style="padding:3px"><table class="nowraplinks hlist navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th id="Authority_control_frameless_&#124;text-top_&#124;10px_&#124;alt=Edit_this_at_Wikidata_&#124;link=https&#58;//www.wikidata.org/wiki/Q174596&#124;Edit_this_at_Wikidata" scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control</a> <a href="https://www.wikidata.org/wiki/Q174596" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/10px-Blue_pencil.svg.png" decoding="async" width="10" height="10" style="vertical-align: text-top" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/20px-Blue_pencil.svg.png 2x" data-file-width="600" data-file-height="600" /></a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">\n<ul><li><span class="nowrap"><a href="/wiki/Biblioth%C3%A8que_nationale_de_France" title="Bibliothèque nationale de France">BNF</a>: <span class="uid"><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb120108674">cb120108674</a> <a rel="nofollow" class="external text" href="http://data.bnf.fr/ark:/12148/cb120108674">(data)</a></span></span></li>\n<li><span class="nowrap"><a href="/wiki/Integrated_Authority_File" title="Integrated Authority File">GND</a>: <span class="uid"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/4204518-6">4204518-6</a></span></span></li>\n<li><span class="nowrap"><a href="/wiki/Library_of_Congress_Control_Number" title="Library of Congress Control Number">LCCN</a>: <span class="uid"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/names/n88282472">n88282472</a></span></span></li>\n<li><span class="nowrap"><a href="/wiki/Syst%C3%A8me_universitaire_de_documentation" title="Système universitaire de documentation">SUDOC</a>: <span class="uid"><a rel="nofollow" class="external text" href="https://www.idref.fr/028230795">028230795</a></span></span></li>\n<li><span class="nowrap"><a href="/wiki/Virtual_International_Authority_File" title="Virtual International Authority File">VIAF</a>: <span class="uid"><a rel="nofollow" class="external text" href="https://viaf.org/viaf/92145857808123020242">92145857808123020242</a></span></span></li>\n<li><span class="nowrap"> <a href="/wiki/WorldCat_Identities" class="mw-redirect" title="WorldCat Identities">WorldCat Identities</a> (via VIAF): <a rel="nofollow" class="external text" href="https://www.worldcat.org/identities/containsVIAFID/92145857808123020242">92145857808123020242</a></span></li></ul>\n</div></td></tr></tbody></table></div>\n\n<!-- \nNewPP limit report\nParsed by mw1251\nCached time: 20190211200119\nCache expiry: 2073600\nDynamic content: false\nCPU time usage: 1.284 seconds\nReal time usage: 1.554 seconds\nPreprocessor visited node count: 8312/1000000\nPreprocessor generated node count: 0/1500000\nPost‐expand include size: 105659/2097152 bytes\nTemplate argument size: 14766/2097152 bytes\nHighest expansion depth: 13/40\nExpensive parser function count: 10/500\nUnstrip recursion depth: 1/20\nUnstrip 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lang="hr" hreflang="hr" class="interlanguage-link-target">Hrvatski</a></li><li class="interlanguage-link interwiki-id"><a href="https://id.wikipedia.org/wiki/Moby-Dick" title="Moby-Dick – Indonesian" lang="id" hreflang="id" class="interlanguage-link-target">Bahasa Indonesia</a></li><li class="interlanguage-link interwiki-it"><a href="https://it.wikipedia.org/wiki/Moby_Dick" title="Moby Dick – Italian" lang="it" hreflang="it" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he"><a href="https://he.wikipedia.org/wiki/%D7%9E%D7%95%D7%91%D7%99_%D7%93%D7%99%D7%A7" title="מובי דיק – Hebrew" lang="he" hreflang="he" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-jv"><a href="https://jv.wikipedia.org/wiki/Moby-Dick" title="Moby-Dick – Javanese" lang="jv" hreflang="jv" class="interlanguage-link-target">Basa Jawa</a></li><li class="interlanguage-link interwiki-ky"><a href="https://ky.wikipedia.org/wiki/%D0%9C%D0%BE%D0%B1%D0%B8-%D0%94%D0%B8%D0%BA" title="Моби-Дик – Kyrgyz" lang="ky" hreflang="ky" class="interlanguage-link-target">Кыргызча</a></li><li class="interlanguage-link interwiki-la"><a href="https://la.wikipedia.org/wiki/Moby-Dick" title="Moby-Dick – Latin" lang="la" hreflang="la" class="interlanguage-link-target">Latina</a></li><li class="interlanguage-link interwiki-lv"><a href="https://lv.wikipedia.org/wiki/Mobijs_Diks" title="Mobijs Diks – Latvian" lang="lv" hreflang="lv" class="interlanguage-link-target">Latviešu</a></li><li class="interlanguage-link interwiki-lt"><a href="https://lt.wikipedia.org/wiki/Mobis_Dikas" title="Mobis Dikas – Lithuanian" lang="lt" hreflang="lt" class="interlanguage-link-target">Lietuvių</a></li><li class="interlanguage-link interwiki-hu"><a href="https://hu.wikipedia.org/wiki/Moby_Dick_(reg%C3%A9ny)" title="Moby Dick (regény) – Hungarian" lang="hu" hreflang="hu" class="interlanguage-link-target">Magyar</a></li><li class="interlanguage-link interwiki-ml"><a href="https://ml.wikipedia.org/wiki/%E0%B4%AE%E0%B5%8A%E0%B4%AC%E0%B4%BF_%E0%B4%A1%E0%B4%BF%E0%B4%95%E0%B5%8D%E0%B4%95%E0%B5%8D" title="മൊബി ഡിക്ക് – Malayalam" lang="ml" hreflang="ml" class="interlanguage-link-target">മലയാളം</a></li><li class="interlanguage-link interwiki-xmf"><a href="https://xmf.wikipedia.org/wiki/%E1%83%9B%E1%83%9D%E1%83%91%E1%83%98_%E1%83%93%E1%83%98%E1%83%99%E1%83%98" title="მობი დიკი – Mingrelian" lang="xmf" hreflang="xmf" class="interlanguage-link-target">მარგალური</a></li><li class="interlanguage-link interwiki-nl"><a href="https://nl.wikipedia.org/wiki/Moby-Dick_(boek)" title="Moby-Dick (boek) – Dutch" lang="nl" hreflang="nl" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja"><a href="https://ja.wikipedia.org/wiki/%E7%99%BD%E9%AF%A8" title="白鯨 – Japanese" lang="ja" hreflang="ja" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-no"><a href="https://no.wikipedia.org/wiki/Moby_Dick" title="Moby Dick – Norwegian" lang="no" hreflang="no" class="interlanguage-link-target">Norsk</a></li><li class="interlanguage-link interwiki-nn"><a href="https://nn.wikipedia.org/wiki/Moby_Dick" title="Moby Dick – Norwegian Nynorsk" lang="nn" hreflang="nn" class="interlanguage-link-target">Norsk nynorsk</a></li><li class="interlanguage-link interwiki-oc"><a href="https://oc.wikipedia.org/wiki/Moby_Dick" title="Moby Dick – Occitan" lang="oc" hreflang="oc" class="interlanguage-link-target">Occitan</a></li><li class="interlanguage-link interwiki-pa"><a href="https://pa.wikipedia.org/wiki/%E0%A8%AE%E0%A9%8B%E0%A8%AC%E0%A9%80_%E0%A8%A1%E0%A8%BF%E0%A9%B1%E0%A8%95" title="ਮੋਬੀ ਡਿੱਕ – Punjabi" lang="pa" hreflang="pa" class="interlanguage-link-target">ਪੰਜਾਬੀ</a></li><li class="interlanguage-link interwiki-pl"><a href="https://pl.wikipedia.org/wiki/Moby_Dick" title="Moby Dick – Polish" lang="pl" hreflang="pl" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt"><a href="https://pt.wikipedia.org/wiki/Moby_Dick" title="Moby Dick – Portuguese" lang="pt" hreflang="pt" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ro"><a href="https://ro.wikipedia.org/wiki/Moby_Dick" title="Moby Dick – Romanian" lang="ro" hreflang="ro" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-ru"><a href="https://ru.wikipedia.org/wiki/%D0%9C%D0%BE%D0%B1%D0%B8_%D0%94%D0%B8%D0%BA" title="Моби Дик – Russian" lang="ru" hreflang="ru" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-sco"><a href="https://sco.wikipedia.org/wiki/Moby-Dick" title="Moby-Dick – Scots" lang="sco" hreflang="sco" class="interlanguage-link-target">Scots</a></li><li class="interlanguage-link interwiki-sq"><a href="https://sq.wikipedia.org/wiki/Moby-Dick" title="Moby-Dick – Albanian" lang="sq" hreflang="sq" class="interlanguage-link-target">Shqip</a></li><li class="interlanguage-link interwiki-si"><a href="https://si.wikipedia.org/wiki/%E0%B6%B8%E0%B7%9C%E0%B6%B6%E0%B7%92-%E0%B6%A9%E0%B7%92%E0%B6%9A%E0%B7%8A" title="මොබි-ඩික් – Sinhala" lang="si" hreflang="si" class="interlanguage-link-target">සිංහල</a></li><li class="interlanguage-link interwiki-simple"><a href="https://simple.wikipedia.org/wiki/Moby-Dick" title="Moby-Dick – Simple English" lang="en-simple" hreflang="en-simple" class="interlanguage-link-target">Simple English</a></li><li class="interlanguage-link interwiki-sk"><a href="https://sk.wikipedia.org/wiki/Biela_ve%C4%BEryba" title="Biela veľryba – Slovak" lang="sk" hreflang="sk" class="interlanguage-link-target">Slovenčina</a></li><li class="interlanguage-link interwiki-ckb"><a href="https://ckb.wikipedia.org/wiki/%D9%85%DB%86%D8%A8%DB%8C_%D8%AF%DB%8C%DA%A9" title="مۆبی دیک – Central Kurdish" lang="ckb" hreflang="ckb" class="interlanguage-link-target">کوردی</a></li><li class="interlanguage-link interwiki-sr"><a href="https://sr.wikipedia.org/wiki/%D0%9C%D0%BE%D0%B1%D0%B8_%D0%94%D0%B8%D0%BA" title="Моби Дик – Serbian" lang="sr" hreflang="sr" class="interlanguage-link-target">Српски / srpski</a></li><li class="interlanguage-link interwiki-sh"><a href="https://sh.wikipedia.org/wiki/Moby-Dick" title="Moby-Dick – Serbo-Croatian" lang="sh" hreflang="sh" class="interlanguage-link-target">Srpskohrvatski / српскохрватски</a></li><li class="interlanguage-link interwiki-fi"><a href="https://fi.wikipedia.org/wiki/Moby_Dick" title="Moby Dick – Finnish" lang="fi" hreflang="fi" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv"><a href="https://sv.wikipedia.org/wiki/Moby_Dick" title="Moby Dick – Swedish" lang="sv" hreflang="sv" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-tl"><a href="https://tl.wikipedia.org/wiki/Moby-Dick" title="Moby-Dick – Tagalog" lang="tl" hreflang="tl" class="interlanguage-link-target">Tagalog</a></li><li class="interlanguage-link interwiki-th"><a href="https://th.wikipedia.org/wiki/%E0%B9%82%E0%B8%A1%E0%B8%9A%E0%B8%B4%E0%B8%94%E0%B8%B4%E0%B8%81" title="โมบิดิก – Thai" lang="th" hreflang="th" class="interlanguage-link-target">ไทย</a></li><li class="interlanguage-link interwiki-tr"><a href="https://tr.wikipedia.org/wiki/Moby_Dick" title="Moby Dick – Turkish" lang="tr" hreflang="tr" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-uk"><a href="https://uk.wikipedia.org/wiki/%D0%9C%D0%BE%D0%B1%D1%96_%D0%94%D1%96%D0%BA" title="Мобі Дік – Ukrainian" lang="uk" hreflang="uk" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-vi"><a href="https://vi.wikipedia.org/wiki/Moby_Dick" title="Moby Dick – Vietnamese" lang="vi" hreflang="vi" class="interlanguage-link-target">Tiếng Việt</a></li><li class="interlanguage-link interwiki-war"><a href="https://war.wikipedia.org/wiki/Moby-Dick" title="Moby-Dick – Waray" lang="war" hreflang="war" class="interlanguage-link-target">Winaray</a></li><li class="interlanguage-link interwiki-zh-yue"><a href="https://zh-yue.wikipedia.org/wiki/%E7%84%A1%E6%AF%94%E6%95%B5" title="無比敵 – Cantonese" lang="yue" hreflang="yue" class="interlanguage-link-target">粵語</a></li><li class="interlanguage-link interwiki-zh"><a href="https://zh.wikipedia.org/wiki/%E7%99%BD%E9%AF%A8%E8%A8%98" title="白鯨記 – Chinese" lang="zh" hreflang="zh" class="interlanguage-link-target">中文</a></li>\t\t\t\t</ul>\n\t\t\t\t<div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit wb-langlinks-link"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q174596#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit 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<h1 class="firstHeading" id="firstHeading" lang="en"><i>Moby-Dick</i></h1> <div class="mw-body-content" id="bodyContent">
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<table class="infobox vcard" style="width:22em"><caption style="font-style:italic;padding-bottom:0.2em;">Moby-Dick; or, The Whale <span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Moby-Dick%3B+or%2C+The+Whale&rft.author=%5B%5BHerman+Melville%5D%5D&rft.date=October+18%2C+1851+%28Britain%29%3Cbr+%2F%3ENovember+14%2C+1851+%28US%29&rft.pub=%3Cdiv+class%3D%22plainlist+%22+%3E%0A%2A+%5B%5BRichard+Bentley+%28publisher%29%7CRichard+Bentley%5D%5D+%28Britain%29%0A%2A+%5B%5BHarper+%26+Brothers%5D%5D+%28US%29%0A%3C%2Fdiv%3E"></span></caption><tbody><tr><td colspan="2" style="text-align:center"><a class="image" href="/wiki/File:Moby-Dick_FE_title_page.jpg"><img alt="Moby-Dick FE title page.jpg" class="thumbborder" data-file-height="1380" data-file-width="840" decoding="async" height="361" src="//upload.wikimedia.org/wikipedia/commons/thumb/3/36/Moby-Dick_FE_title_page.jpg/220px-Moby-Dick_FE_title_page.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/36/Moby-Dick_FE_title_page.jpg/330px-Moby-Dick_FE_title_page.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/36/Moby-Dick_FE_title_page.jpg/440px-Moby-Dick_FE_title_page.jpg 2x" width="220"/></a><div>Title page, first American edition of <i>Moby-Dick</i></div></td></tr><tr><th scope="row">Author</th><td><a href="/wiki/Herman_Melville" title="Herman Melville">Herman Melville</a></td></tr><tr><th scope="row">Illustrator</th><td>Rockwell Kent <span style="font-size:85%;">(1930 <a class="mw-redirect" href="/wiki/Lakeside_Press" title="Lakeside Press">Lakeside Press</a> ed.)</span></td></tr><tr><th scope="row">Country</th><td>United States</td></tr><tr><th scope="row">Language</th><td>English</td></tr><tr><th scope="row">Genre</th><td><a href="/wiki/Novel" title="Novel">Novel</a>, <a href="/wiki/Adventure_fiction" title="Adventure fiction">adventure fiction</a>, <a href="/wiki/Epic_(genre)" title="Epic (genre)">epic</a>, <a href="/wiki/Nautical_fiction" title="Nautical fiction">sea story</a>, <a href="/wiki/Encyclopedic_novel" title="Encyclopedic novel">encyclopedic novel</a></td></tr><tr><th scope="row">Publisher</th><td><div class="plainlist">
<ul><li><a href="/wiki/Richard_Bentley_(publisher)" title="Richard Bentley (publisher)">Richard Bentley</a> (Britain)</li>
<li><a class="mw-redirect" href="/wiki/Harper_%26_Brothers" title="Harper & Brothers">Harper & Brothers</a> (US)</li></ul>
</div></td></tr><tr><th scope="row"><div style="padding:0.1em 0;line-height:1.2em;">Publication date</div></th><td>October 18, 1851 (Britain)<br/>November 14, 1851 (US)</td></tr><tr><th scope="row"><div style="padding:0.1em 0;line-height:1.2em;"><a href="/wiki/Dewey_Decimal_Classification" title="Dewey Decimal Classification">Dewey Decimal</a></div></th><td>813.3</td></tr><tr><th scope="row"><a href="/wiki/Library_of_Congress_Classification" title="Library of Congress Classification"><abbr title="Library of Congress Classification">LC Class</abbr></a></th><td>PZ3.M498 Mo3</td></tr></tbody></table>
<p><i><b>Moby-Dick; or, The Whale</b></i> is an 1851 novel by American writer <a href="/wiki/Herman_Melville" title="Herman Melville">Herman Melville</a>. The book is sailor <a href="/wiki/Ishmael_(Moby-Dick)" title="Ishmael (Moby-Dick)">Ishmael</a>'s narrative of the obsessive quest of <a href="/wiki/Captain_Ahab" title="Captain Ahab">Ahab</a>, captain of the <a href="/wiki/Whaler" title="Whaler">whaling ship</a> <i><a href="/wiki/Pequod_(Moby-Dick)" title="Pequod (Moby-Dick)">Pequod</a></i>, for revenge on <a href="/wiki/Moby_Dick_(whale)" title="Moby Dick (whale)">Moby Dick</a>, the white whale that on the ship's previous voyage bit off Ahab's leg at the knee. A contribution to the literature of the <a href="/wiki/American_Renaissance_(literature)" title="American Renaissance (literature)">American Renaissance</a>, the work's genre classifications range from late <a href="/wiki/Romantic_literature_in_English" title="Romantic literature in English">Romantic</a> to early <a href="/wiki/Symbolism_(arts)" title="Symbolism (arts)">Symbolist</a>. <i>Moby-Dick</i> was published to mixed reviews, was a commercial failure, and was out of print at the time of the author's death in 1891. Its reputation as a "<a href="/wiki/Great_American_Novel" title="Great American Novel">Great American Novel</a>" was established only in the 20th century, after the centennial of its author's birth. <a href="/wiki/William_Faulkner" title="William Faulkner">William Faulkner</a> confessed he wished he had written the book himself,<sup class="reference" id="cite_ref-1"><a href="#cite_note-1">[1]</a></sup> and <a href="/wiki/D._H._Lawrence" title="D. H. Lawrence">D. H. Lawrence</a> called it "one of the strangest and most wonderful books in the world" and "the greatest book of the sea ever written".<sup class="reference" id="cite_ref-2"><a href="#cite_note-2">[2]</a></sup> Its <a href="/wiki/Opening_sentence" title="Opening sentence">opening sentence</a>, "Call me Ishmael", is among world literature's most famous.<sup class="reference" id="cite_ref-Buell_2014,_367_3-0"><a href="#cite_note-Buell_2014,_367-3">[3]</a></sup>
</p><p>Melville began writing <i>Moby-Dick</i> in February 1850, and would eventually take 18 months to write the book, a full year more than he had first anticipated. Writing was interrupted by his making the acquaintance of <a href="/wiki/Nathaniel_Hawthorne" title="Nathaniel Hawthorne">Nathaniel Hawthorne</a> in August 1850, and by the creation of the "<a href="/wiki/Mosses_from_an_Old_Manse" title="Mosses from an Old Manse">Mosses from an Old Manse</a>" essay as a first result of that friendship. The book is dedicated to Hawthorne, "in token of my admiration for his genius".
</p><p>The basis for the work is Melville's 1841 whaling voyage aboard the <i>Acushnet</i>. The novel also draws on whaling literature, and on literary inspirations such as <a class="mw-redirect" href="/wiki/Shakespeare" title="Shakespeare">Shakespeare</a> and <a class="mw-redirect" href="/wiki/The_Bible" title="The Bible">the Bible</a>. The white whale is modeled on the notoriously hard-to-catch albino whale <a href="/wiki/Mocha_Dick" title="Mocha Dick">Mocha Dick</a>, and the book's ending is based on the sinking of the whaleship <a href="/wiki/Essex_(whaleship)" title="Essex (whaleship)"><i>Essex</i></a> in 1820. The detailed and realistic descriptions of <a class="mw-redirect" href="/wiki/Whale_hunting" title="Whale hunting">whale hunting</a> and of extracting whale oil, as well as life aboard ship among a culturally diverse crew, are mixed with exploration of <a href="/wiki/Social_class_in_the_United_States" title="Social class in the United States">class</a> and <a href="/wiki/Social_status" title="Social status">social status</a>, good and evil, and the <a href="/wiki/Existence_of_God" title="Existence of God">existence of God</a>. In addition to <a href="/wiki/Narrative" title="Narrative">narrative</a> prose, Melville uses styles and <a class="mw-redirect" href="/wiki/Literary_device" title="Literary device">literary devices</a> ranging from songs, poetry, and catalogs to Shakespearean <a class="mw-redirect" href="/wiki/Stage_direction" title="Stage direction">stage directions</a>, <a href="/wiki/Soliloquy" title="Soliloquy">soliloquies</a>, and <a href="/wiki/Aside" title="Aside">asides</a>.
</p><p>In October 1851, the chapter "The Town Ho's Story" was published in <i><a href="/wiki/Harper%27s_Magazine" title="Harper's Magazine">Harper's New Monthly Magazine</a></i>. The same month, the whole book was first published (in three volumes) as <i>The Whale</i> in <a href="/wiki/London" title="London">London</a>, and under its definitive title in a single-volume edition in New York in November. There are hundreds of differences between the two editions, most slight but some important and illuminating. The London publisher, <a href="/wiki/Richard_Bentley_(publisher)" title="Richard Bentley (publisher)">Richard Bentley</a>, censored or changed sensitive passages; Melville made revisions as well, including a last-minute change to the title for the New York edition. The whale, however, appears in the text of both editions as "Moby Dick", without the hyphen.<sup class="reference" id="cite_ref-4"><a href="#cite_note-4">[4]</a></sup> One factor that led British reviewers to scorn the book was that it seemed to be told by a narrator who perished with the ship: the British edition lacked the Epilogue, which recounts Ishmael's survival. About 3,200 copies were sold during the author's life.
</p>
<div class="toc" id="toc"><input class="toctogglecheckbox" id="toctogglecheckbox" role="button" style="display:none" type="checkbox"/><div class="toctitle" dir="ltr" lang="en"><h2>Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1 tocsection-1"><a href="#Plot"><span class="tocnumber">1</span> <span class="toctext">Plot</span></a></li>
<li class="toclevel-1 tocsection-2"><a href="#Structure"><span class="tocnumber">2</span> <span class="toctext">Structure</span></a>
<ul>
<li class="toclevel-2 tocsection-3"><a href="#Point_of_view"><span class="tocnumber">2.1</span> <span class="toctext">Point of view</span></a></li>
<li class="toclevel-2 tocsection-4"><a href="#Chapter_structure"><span class="tocnumber">2.2</span> <span class="toctext">Chapter structure</span></a></li>
<li class="toclevel-2 tocsection-5"><a href="#Nine_meetings_with_other_ships"><span class="tocnumber">2.3</span> <span class="toctext">Nine meetings with other ships</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-6"><a href="#Themes"><span class="tocnumber">3</span> <span class="toctext">Themes</span></a></li>
<li class="toclevel-1 tocsection-7"><a href="#Style"><span class="tocnumber">4</span> <span class="toctext">Style</span></a>
<ul>
<li class="toclevel-2 tocsection-8"><a href="#Assimilation_of_Shakespeare"><span class="tocnumber">4.1</span> <span class="toctext">Assimilation of Shakespeare</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-9"><a href="#Background"><span class="tocnumber">5</span> <span class="toctext">Background</span></a>
<ul>
<li class="toclevel-2 tocsection-10"><a href="#Autobiographical_elements"><span class="tocnumber">5.1</span> <span class="toctext">Autobiographical elements</span></a></li>
<li class="toclevel-2 tocsection-11"><a href="#Whaling_sources"><span class="tocnumber">5.2</span> <span class="toctext">Whaling sources</span></a></li>
<li class="toclevel-2 tocsection-12"><a href="#Composition"><span class="tocnumber">5.3</span> <span class="toctext">Composition</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-13"><a href="#Publication_history"><span class="tocnumber">6</span> <span class="toctext">Publication history</span></a>
<ul>
<li class="toclevel-2 tocsection-14"><a href="#Melville's_revisions_and_British_editorial_revisions"><span class="tocnumber">6.1</span> <span class="toctext">Melville's revisions and British editorial revisions</span></a></li>
<li class="toclevel-2 tocsection-15"><a href='#British_censorship_and_missing_"Epilogue"'><span class="tocnumber">6.2</span> <span class="toctext">British censorship and missing "Epilogue"</span></a></li>
<li class="toclevel-2 tocsection-16"><a href="#Last-minute_change_of_title"><span class="tocnumber">6.3</span> <span class="toctext">Last-minute change of title</span></a></li>
<li class="toclevel-2 tocsection-17"><a href="#Sales_and_earnings"><span class="tocnumber">6.4</span> <span class="toctext">Sales and earnings</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-18"><a href="#Reception"><span class="tocnumber">7</span> <span class="toctext">Reception</span></a>
<ul>
<li class="toclevel-2 tocsection-19"><a href="#British"><span class="tocnumber">7.1</span> <span class="toctext">British</span></a></li>
<li class="toclevel-2 tocsection-20"><a href="#American"><span class="tocnumber">7.2</span> <span class="toctext">American</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-21"><a href="#Legacy_and_adaptations"><span class="tocnumber">8</span> <span class="toctext">Legacy and adaptations</span></a></li>
<li class="toclevel-1 tocsection-22"><a href="#Editions"><span class="tocnumber">9</span> <span class="toctext">Editions</span></a></li>
<li class="toclevel-1 tocsection-23"><a href="#Footnotes"><span class="tocnumber">10</span> <span class="toctext">Footnotes</span></a></li>
<li class="toclevel-1 tocsection-24"><a href="#References"><span class="tocnumber">11</span> <span class="toctext">References</span></a></li>
<li class="toclevel-1 tocsection-25"><a href="#External_links"><span class="tocnumber">12</span> <span class="toctext">External links</span></a></li>
</ul>
</div>
<h2><span class="mw-headline" id="Plot">Plot</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=1" title="Edit section: Plot">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<div class="hatnote navigation-not-searchable" role="note">See also: <a href="/wiki/List_of_Moby-Dick_characters" title="List of Moby-Dick characters">List of Moby-Dick characters</a></div>
<p><a href="/wiki/Ishmael_(Moby-Dick)" title="Ishmael (Moby-Dick)">Ishmael</a> travels in December from <a class="mw-redirect" href="/wiki/Manhattan_Island" title="Manhattan Island">Manhattan Island</a> to <a href="/wiki/New_Bedford,_Massachusetts" title="New Bedford, Massachusetts">New Bedford, Massachusetts</a> with plans to sign up for a whaling voyage. The inn where he arrives is overcrowded, so he must share a bed with the tattooed cannibal <a href="/wiki/Polynesia" title="Polynesia">Polynesian</a> <a href="/wiki/Queequeg" title="Queequeg">Queequeg</a>, a harpooneer whose father was king of the fictional island of <a href="/wiki/Rokovoko" title="Rokovoko">Rokovoko</a>. The next morning, Ishmael and Queequeg attend <a href="/wiki/Father_Mapple" title="Father Mapple">Father Mapple</a>'s sermon on <a href="/wiki/Jonah" title="Jonah">Jonah</a>, then head for <a class="mw-redirect" href="/wiki/Nantucket,_Massachusetts" title="Nantucket, Massachusetts">Nantucket</a>. Ishmael signs up with the Quaker ship-owners <a class="mw-redirect" href="/wiki/Captain_Bildad" title="Captain Bildad">Bildad</a> and <a class="mw-redirect" href="/wiki/Captain_Peleg" title="Captain Peleg">Peleg</a> for a voyage on their whaler <i><a href="/wiki/Pequod_(Moby-Dick)" title="Pequod (Moby-Dick)">Pequod</a></i>. Peleg describes <a href="/wiki/Captain_Ahab" title="Captain Ahab">Captain Ahab</a>: "He's a grand, ungodly, god-like man" who nevertheless "has his humanities". They hire Queequeg the following morning. A man named <a href="/wiki/Elijah" title="Elijah">Elijah</a> prophesies a dire fate should Ishmael and Queequeg join Ahab. While provisions are loaded, shadowy figures board the ship. On a cold Christmas Day, the <i>Pequod</i> leaves the harbor.
</p><p>Ishmael discusses <a href="/wiki/Cetology_of_Moby-Dick" title="Cetology of Moby-Dick">cetology</a> (the zoological classification and natural history of the whale), and describes the crew members. The chief mate is 30-year-old <a href="/wiki/List_of_Moby-Dick_characters#Crewmates" title="List of Moby-Dick characters">Starbuck</a>, a Nantucket <a class="mw-redirect" href="/wiki/Quaker" title="Quaker">Quaker</a> with a realist mentality, whose harpooneer is Queequeg; second mate is <a href="/wiki/List_of_Moby-Dick_characters#Crewmates" title="List of Moby-Dick characters">Stubb</a>, from Cape Cod, happy-go-lucky and cheerful, whose harpooneer is <a class="mw-redirect" href="/wiki/Tashtego" title="Tashtego">Tashtego</a>, a proud, pure-blooded Indian from Gay Head, and the third mate is <a href="/wiki/List_of_Moby-Dick_characters#Crewmates" title="List of Moby-Dick characters">Flask</a>, also from <a href="/wiki/Martha%27s_Vineyard" title="Martha's Vineyard">Martha's Vineyard</a>, short, stout, whose harpooneer is <a href="/wiki/List_of_Moby-Dick_characters#Harpooneers" title="List of Moby-Dick characters">Daggoo</a>, a tall African, now a resident of Nantucket.
</p><p>When Ahab finally appears on the <a href="/wiki/Quarterdeck" title="Quarterdeck">quarterdeck</a>, he announces he is out for revenge on the white whale which took one leg from the knee down and left him with a prosthesis fashioned from a whale's jawbone. Ahab will give the first man to sight Moby Dick a <a href="/wiki/Doubloon" title="Doubloon">doubloon</a>, a gold coin, which he nails to the mast. Starbuck objects that he has not come for vengeance but for profit. Ahab's purpose exercises a mysterious spell on Ishmael: "Ahab's quenchless feud seemed mine". Instead of rounding <a href="/wiki/Cape_Horn" title="Cape Horn">Cape Horn</a>, Ahab heads for the equatorial <a href="/wiki/Pacific_Ocean" title="Pacific Ocean">Pacific Ocean</a> via southern Africa. One afternoon, as Ishmael and Queequeg are weaving a mat — "its warp seemed necessity, his hand free will, and Queequeg's sword chance" — <a class="mw-redirect" href="/wiki/Tashtego" title="Tashtego">Tashtego</a> sights a <a href="/wiki/Sperm_whale" title="Sperm whale">sperm whale</a>. Five previously unknown men appear on deck and are revealed to be a special crew selected by Ahab and explain the shadowy figures seen boarding the ship. Their leader, <a href="/wiki/List_of_Moby-Dick_characters#Harpooneers" title="List of Moby-Dick characters">Fedallah</a>, a <a class="mw-redirect" href="/wiki/Parsi" title="Parsi">Parsee</a>, is Ahab's harpooneer. The pursuit is unsuccessful.
</p>
<div class="thumb tleft"><div class="thumbinner" style="width:172px;"><a class="image" href="/wiki/File:Moby_Dick_p510_illustration.jpg"><img alt="" class="thumbimage" data-file-height="972" data-file-width="620" decoding="async" height="267" src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Moby_Dick_p510_illustration.jpg/170px-Moby_Dick_p510_illustration.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Moby_Dick_p510_illustration.jpg/255px-Moby_Dick_p510_illustration.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Moby_Dick_p510_illustration.jpg/340px-Moby_Dick_p510_illustration.jpg 2x" width="170"/></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="/wiki/File:Moby_Dick_p510_illustration.jpg" title="Enlarge"></a></div>Moby Dick</div></div></div>
<p>Southeast of the <a href="/wiki/Cape_of_Good_Hope" title="Cape of Good Hope">Cape of Good Hope</a>, the <i>Pequod</i> makes the first of nine sea-encounters, or "gams", with other ships: Ahab hails the <i>Goney</i> (Albatross) to ask whether they have seen the White Whale, but the trumpet through which her captain tries to speak falls into the sea before he can answer. Ishmael explains that because of Ahab's absorption with Moby Dick, he sails on without the customary "gam", which defines as a "social meeting of two (or more) Whale-ships", in which the two captains remain on one ship and the chief mates on the other. In the second gam off the Cape of Good Hope, with the <i>Town-Ho</i>, a Nantucket whaler, the concealed story of a "judgment of God" is revealed, but only to the crew: a defiant sailor who struck an oppressive officer is flogged, and when that officer led the chase for Moby Dick, he fell from the boat and was killed by the whale.
</p><p>Ishmael digresses on pictures of whales, brit (microscopic sea creatures on which whales feed), squid and — after four boats lowered in vain because Daggoo mistook a <a href="/wiki/Giant_squid" title="Giant squid">giant squid</a> for the white whale — whale-lines. The next day, in the <a href="/wiki/Indian_Ocean" title="Indian Ocean">Indian Ocean</a>, Stubb kills a sperm whale, and that night Fleece, the <i>Pequod</i><span class="nowrap" style="padding-left:0.1em;">'</span>s black cook, prepares him a rare whale steak. Fleece, at Stubb's request, delivers a sermon to the sharks that fight each other to feast on the whale's carcass, tied to the ship, saying that their nature is to be voracious, but they must overcome it. The whale is prepared, beheaded, and barrels of oil are tried out. Standing at the head of the whale, Ahab begs it to speak of the depths of the sea. The <i>Pequod</i> next encounters the <i>Jeroboam</i>, which not only lost its chief mate to Moby Dick, but also is now plagued by an epidemic.
</p><p>The whale carcass still lies in the water. Queequeg mounts it, tied to Ishmael's belt by a monkey-rope as if they were <a href="/wiki/Conjoined_twins" title="Conjoined twins">Siamese twins</a>. Stubb and Flask kill a right whale whose head is fastened to a yardarm opposite the sperm whale's head. Ishmael compares the two heads in a philosophical way: the right whale is <a href="/wiki/John_Locke" title="John Locke">Lockean</a>, stoic, and the sperm whale as <a href="/wiki/Immanuel_Kant" title="Immanuel Kant">Kantean</a>, <a href="/wiki/Plato" title="Plato">platonic</a>. Tashtego cuts into the head of the sperm whale and retrieves buckets of oil. He falls into the head, and the head falls off the yardarm into the sea. Queequeg dives after him and frees his mate with his sword.
</p><p>The <i>Pequod</i> next gams with the <i>Jungfrau</i> from Bremen. Both ships sight whales simultaneously, with the <i>Pequod</i> winning the contest. The three harpooneers dart their harpoons, and Flask delivers the mortal strike with a lance. The carcass sinks, and Queequeg barely manages to escape. The <i>Pequod</i><span class="nowrap" style="padding-left:0.1em;">'</span>s next gam is with the French whaler <i>Bouton de Rose</i>, whose crew is ignorant of the <a href="/wiki/Ambergris" title="Ambergris">ambergris</a> in the gut of the diseased whale in their possession. Stubb talks them out of it, but Ahab orders him away. Days later, an encounter with a harpooned whale prompts Pip, a little black cabin-boy from Connecticut, to jump out of his whale boat. The whale must be cut loose, because the line has Pip so entangled in it. Furious, Stubb orders Pip to stay in the whale boat, but Pip later jumps again, and is left alone in the immense sea and has gone insane by the time he is picked up.
</p><p>Cooled sperm oil congeals and must be squeezed back into liquid state; blubber is boiled in the try-pots on deck; the warm oil is decanted into casks, and then stowed in the ship. After the operation, the decks are scrubbed. The coin hammered to the main mast shows three <a href="/wiki/Andes" title="Andes">Andes</a> summits, one with a flame, one with a tower, and one a crowing cock. Ahab stops to look at the doubloon and interprets the coin as signs of his firmness, volcanic energy, and victory; Starbuck takes the high peaks as evidence of the <a href="/wiki/Trinity" title="Trinity">Trinity</a>; Stubb focuses on the zodiacal arch over the mountains; and Flask sees nothing of any symbolic value at all. The Manxman mutters in front of the mast, and Pip declines the verb "look".
</p>
<div class="thumb tright"><div class="thumbinner" style="width:172px;"><a class="image" href="/wiki/File:Queequeg.JPG"><img alt="" class="thumbimage" data-file-height="1076" data-file-width="651" decoding="async" height="281" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Queequeg.JPG/170px-Queequeg.JPG" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Queequeg.JPG/255px-Queequeg.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Queequeg.JPG/340px-Queequeg.JPG 2x" width="170"/></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="/wiki/File:Queequeg.JPG" title="Enlarge"></a></div>Queequeg</div></div></div>
<p>The <i>Pequod</i> next gams with the <i>Samuel Enderby</i> of <a href="/wiki/London" title="London">London</a>, captained by Boomer, a down-to-earth fellow who lost his right arm to Moby Dick. Nevertheless, he carries no ill will toward the whale, which he regards not as malicious, but as awkward. Ahab puts an end to the gam by rushing back to his ship. The narrator now discusses the subjects of (1) whalers supply; (2) a <a href="/wiki/Glen" title="Glen">glen</a> in Tranque in the Arsacides islands full of carved whale bones, fossil whales, whale skeleton measurements; (3) the chance that the magnitude of the whale will diminish and that the leviathan might perish.
</p><p>Leaving the <i>Samuel Enderby</i>, Ahab wrenches his ivory leg and orders the carpenter to fashion him another. Starbuck informs Ahab of oil leakage in the hold. Reluctantly, Ahab orders the harpooneers to inspect the casks. Queequeg, sweating all day below decks, develops a chill and soon is almost mortally feverish. The carpenter makes a coffin for Queequeg, who fears an ordinary <a href="/wiki/Burial_at_sea" title="Burial at sea">burial at sea</a>. Queequeg tries it for size, with Pip sobbing and beating his tambourine, standing by and calling himself a coward while he praises Queequeg for his gameness. Yet Queequeg suddenly rallies, briefly convalesces, and leaps up, back in good health. Henceforth, he uses his coffin for a spare seachest, which is later caulked and pitched to replace the <i>Pequod</i><span class="nowrap" style="padding-left:0.1em;">'</span>s life buoy.
</p><p>The <i>Pequod</i> sails northeast toward <a class="mw-redirect" href="/wiki/Formosa" title="Formosa">Formosa</a> and into the Pacific Ocean. Ahab, with one nostril, smells the musk from the <a href="/wiki/Philippines" title="Philippines">Bashee</a> isles, and with the other, the salt of the waters where Moby Dick swims. Ahab goes to Perth, the blacksmith, with a bag of racehorse shoenail stubs to be forged into the shank of a special harpoon, and with his razors for Perth to melt and fashion into a <a href="/wiki/Harpoon" title="Harpoon">harpoon</a> barb. Ahab tempers the barb in blood from Queequeg, Tashtego, and Daggoo.
</p><p>The <i>Pequod</i> gams next with the <i>Bachelor</i>, a Nantucket ship heading home full of sperm oil. Every now and then, the <i>Pequod</i> lowers for whales with success. On one of those nights in the whaleboat, Fedallah prophesies that neither hearse nor coffin can be Ahab's, that before he dies, Ahab must see two hearses — one not made by mortal hands and the other made of American wood — that Fedallah will precede his captain in death, and finally that only hemp can kill Ahab.
</p><p>As the <i>Pequod</i> approaches the <a href="/wiki/Equator" title="Equator">Equator</a>, Ahab scolds his quadrant for telling him only where he is and not where he will be. He dashes it to the deck. That evening, an impressive <a href="/wiki/Typhoon" title="Typhoon">typhoon</a> attacks the ship. Lightning strikes the mast, setting the doubloon and Ahab's harpoon aglow. Ahab delivers a speech on the spirit of fire, seeing the lightning as a portent of Moby Dick. Starbuck sees the lightning as a warning, and feels tempted to shoot the sleeping Ahab with a musket. Next morning, when he finds that the lightning disoriented the compass, Ahab makes a new one out of a lance, a maul, and a sailmaker's needle. He orders the <a href="/wiki/Chip_log" title="Chip log">log</a> be heaved, but the weathered line snaps, leaving the ship with no way to fix its location.
</p><p>The <i>Pequod</i> is now heading southeast toward Moby Dick. A man falls overboard from the mast. The life buoy is thrown, but both sink. Now Queequeg proposes that his superfluous coffin be used as a new life buoy. Starbuck orders the carpenter take care it is lidded and caulked. Next morning, the ship meets in another truncated gam with the <i>Rachel</i>, commanded by Captain Gardiner from Nantucket. The <i>Rachel</i> is seeking survivors from one of her whaleboats which had gone after Moby Dick. Among the missing is Gardiner's young son. Ahab refuses to join the search. Twenty-four hours a day, Ahab now stands and walks the deck, while Fedallah shadows him. Suddenly, a sea hawk grabs Ahab's slouched hat and flies off with it. Next, the <i>Pequod</i>, in a ninth and final gam, meets the <i>Delight</i>, badly damaged and with five of her crew left dead by Moby Dick. Her captain shouts that the harpoon which can kill the white whale has yet to be forged, but Ahab flourishes his special lance and once more orders the ship forward. Ahab shares a moment of contemplation with Starbuck. Ahab speaks about his wife and child, calls himself a fool for spending 40 years on whaling, and claims he can see his own child in Starbuck's eye. Starbuck tries to persuade Ahab to return to Nantucket to meet both their families, but Ahab simply crosses the deck and stands near Fedallah.
</p><p>On the first day of the chase, Ahab smells the whale, climbs the mast, and sights Moby Dick. He claims the doubloon for himself, and orders all boats to lower except for Starbuck's. The whale bites Ahab's boat in two, tosses the captain out of it, and scatters the crew. On the second day of the chase, Ahab leaves Starbuck in charge of the <i>Pequod</i>. Moby Dick smashes the three boats that seek him into splinters and tangles their lines. Ahab is rescued, but his ivory leg and Fedallah are lost. Starbuck begs Ahab to desist, but Ahab vows to slay the white whale, even if he would have to dive through the globe itself to get his revenge.
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<div class="thumb tleft"><div class="thumbinner" style="width:172px;"><a class="image" href="/wiki/File:Moby_Dick_final_chase.jpg"><img alt="" class="thumbimage" data-file-height="920" data-file-width="585" decoding="async" height="267" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Moby_Dick_final_chase.jpg/170px-Moby_Dick_final_chase.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Moby_Dick_final_chase.jpg/255px-Moby_Dick_final_chase.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Moby_Dick_final_chase.jpg/340px-Moby_Dick_final_chase.jpg 2x" width="170"/></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="/wiki/File:Moby_Dick_final_chase.jpg" title="Enlarge"></a></div>Moby Dick</div></div></div>
<p>On the third day of the chase, Ahab sights Moby Dick at noon, and sharks appear, as well. Ahab lowers his boat for a final time, leaving Starbuck again on board. Moby Dick breaches and destroys two boats. Fedallah's corpse, still entangled in the fouled lines, is lashed to the whale's back, so Moby Dick turns out to be the hearse Fedallah prophesied. "Possessed by all the fallen angels", Ahab plants his harpoon in the whale's flank. Moby Dick smites the whaleboat, tossing its men into the sea. Only Ishmael is unable to return to the boat. He is left behind in the sea, and so is the only crewman of the <i>Pequod</i> to survive the final encounter. The whale now fatally attacks the <i>Pequod</i>. Ahab then realizes that the destroyed ship is the hearse made of American wood in Fedallah's prophesy. The whale returns to Ahab, who stabs at him again. As he does so, the line gets tangled, and Ahab bends over to free it. In doing so the line loops around Ahab's neck, and as the stricken whale swims away, the captain is drawn with him out of sight. Queequeg's coffin comes to the surface, the only thing to escape the vortex when <i>Pequod</i> sank. For an entire day, Ishmael floats on it, until the <i>Rachel</i>, still looking for its lost seamen, rescues him.
</p>
<h2><span class="mw-headline" id="Structure">Structure</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=2" title="Edit section: Structure">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="Point_of_view">Point of view</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=3" title="Edit section: Point of view">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Ishmael is the narrator, shaping his story with use of many different genres including sermons, stage plays, soliloquies, and emblematical readings.<sup class="reference" id="cite_ref-Bezanson_1953,_644_5-0"><a href="#cite_note-Bezanson_1953,_644-5">[5]</a></sup> Repeatedly, Ishmael refers to his writing of the book: "But how can I hope to explain myself here; and yet, in some dim, random way, explain myself I must, else all these chapters might be naught."<sup class="reference" id="cite_ref-6"><a href="#cite_note-6">[6]</a></sup> Scholar John Bryant calls him the novel's "central consciousness and narrative voice."<sup class="reference" id="cite_ref-7"><a href="#cite_note-7">[7]</a></sup> Bezanson first distinguishes Ishmael as narrator from Ishmael as character, whom he calls "forecastle Ishmael", and who is the younger Ishmael of some years ago. Narrator Ishmael, then, is "merely young Ishmael grown older."<sup class="reference" id="cite_ref-Bezanson_1953,_644_5-1"><a href="#cite_note-Bezanson_1953,_644-5">[5]</a></sup> A second distinction avoids confusion of either of both Ishmaels with the author Herman Melville. Bezanson warns readers to "resist any one-to-one equation of Melville and Ishmael."<sup class="reference" id="cite_ref-8"><a href="#cite_note-8">[8]</a></sup>
</p>
<h3><span class="mw-headline" id="Chapter_structure">Chapter structure</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=4" title="Edit section: Chapter structure">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>According to critic Walter Bezanson, the chapter structure can be divided into "chapter sequences", "chapter clusters", and "balancing chapters". The simplest sequences are of narrative progression, then sequences of theme such as the three chapters on whale painting, and sequences of structural similarity, such as the five dramatic chapters beginning with "The Quarter-Deck" or the four chapters beginning with "The Candles". Chapter clusters are the chapters on the significance of the colour white, and those on the meaning of fire. Balancing chapters are chapters of opposites, such as "Loomings" versus the "Epilogue," or similars, such as "The Quarter-Deck" and "The Candles".<sup class="reference" id="cite_ref-9"><a href="#cite_note-9">[9]</a></sup>
</p><p>Scholar <a href="/wiki/Lawrence_Buell" title="Lawrence Buell">Lawrence Buell</a> describes the arrangement of the non-narrative chapters as structured around three patterns: first, the nine meetings of the <i>Pequod</i> with ships that have encountered Moby Dick. Each has been more and more severely damaged, foreshadowing the <i>Pequod</i><span class="nowrap" style="padding-left:0.1em;">'</span>s own fate. Second, the increasingly impressive encounters with whales. In the early encounters, the whaleboats hardly make contact; later there are false alarms and routine chases; finally, the massive assembling of whales at the edges of the China Sea in "The Grand Armada". A typhoon near Japan sets the stage for Ahab's confrontation with Moby Dick. The third pattern is the cetological documentation, so lavish that it can be divided into two subpatterns. These chapters start with the ancient history of whaling and a bibliographical classification of whales, getting closer with second-hand stories of the evil of whales in general and of Moby Dick in particular, a chronologically ordered commentary on pictures of whales. The climax to this section is chapter 57, "Of whales in paint etc.", which begins with the humble (a beggar in London) and ends with the sublime (the constellation Cetus). The next chapter ("Brit"), thus the other half of this pattern, begins with the book's first description of live whales, and next the anatomy of the sperm whale is studied, more or less from front to rear and from outer to inner parts, all the way down to the skeleton. Two concluding chapters set forth the whale's evolution as a species and claim its eternal nature.<sup class="reference" id="cite_ref-Buell_2014,_367_3-1"><a href="#cite_note-Buell_2014,_367-3">[3]</a></sup>
</p><p>Some "ten or more" of the chapters on whale killings, beginning at two-fifths of the book, are developed enough to be called "events". As Bezanson writes, "in each case a killing provokes either a chapter sequence or a chapter cluster of cetological lore growing out of the circumstance of the particular killing," thus these killings are "structural occasions for ordering the whaling essays and sermons".<sup class="reference" id="cite_ref-Bezanson_1953,_654_10-0"><a href="#cite_note-Bezanson_1953,_654-10">[10]</a></sup>
</p><p>Buell observes that the "narrative architecture" is an "idiosyncratic variant of the bipolar observer/hero narrative", that is, the novel is structured around the two main characters, Ahab and Ishmael, who are intertwined and contrasted with each other, with Ishmael the observer and narrator.<sup class="reference" id="cite_ref-Buell_2014,_365_11-0"><a href="#cite_note-Buell_2014,_365-11">[11]</a></sup> As the story of Ishmael, remarks Robert Milder, it is a "narrative of education".<sup class="reference" id="cite_ref-12"><a href="#cite_note-12">[12]</a></sup>
</p><p>Bryant and Springer find that the book is structured around the two consciousnesses of Ahab and Ishmael, with Ahab as a force of linearity and Ishmael a force of digression.<sup class="reference" id="cite_ref-Bryant_and_Springer_2007,_xvi_13-0"><a href="#cite_note-Bryant_and_Springer_2007,_xvi-13">[13]</a></sup> While both have an angry sense of being orphaned, they try to come to terms with this hole in their beings in different ways: Ahab with violence, Ishmael with meditation. And while the plot in <i>Moby-Dick</i> may be driven by Ahab's anger, Ishmael's desire to get a hold of the "ungraspable" accounts for the novel's lyricism.<sup class="reference" id="cite_ref-14"><a href="#cite_note-14">[14]</a></sup> Buell sees a double quest in the book: Ahab's is to hunt Moby Dick, Ishmael's is "to understand what to make of both whale and hunt".<sup class="reference" id="cite_ref-Buell_2014,_365_11-1"><a href="#cite_note-Buell_2014,_365-11">[11]</a></sup>
</p><p>One of the most distinctive features of the book is the variety of genres. Bezanson mentions sermons, dreams, travel account, autobiography, Elizabethan plays, and epic poetry.<sup class="reference" id="cite_ref-15"><a href="#cite_note-15">[15]</a></sup> He calls Ishmael's explanatory footnotes to establish the documentary genre "a Nabokovian touch".<sup class="reference" id="cite_ref-16"><a href="#cite_note-16">[16]</a></sup>
</p>
<h3><span class="mw-headline" id="Nine_meetings_with_other_ships">Nine meetings with other ships</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=5" title="Edit section: Nine meetings with other ships">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>A significant structural device is the series of nine meetings (gams) between the <i>Pequod</i> and other ships. These meetings are important in three ways. First, their placement in the narrative. The initial two meetings and the last two are both close to each other. The central group of five gams are separated by about 12 chapters, more or less. This pattern provides a structural element, remarks Bezanson, as if the encounters were "bones to the book's flesh". Second, Ahab's developing responses to the meetings plot the "rising curve of his passion" and of his monomania. Third, in contrast to Ahab, Ishmael interprets the significance of each ship individually: "each ship is a scroll which the narrator unrolls and reads."<sup class="reference" id="cite_ref-Bezanson_1953,_654_10-1"><a href="#cite_note-Bezanson_1953,_654-10">[10]</a></sup> Bezanson sees no single way to account for the meaning of all of these ships. Instead, they may be interpreted as "a group of metaphysical parables, a series of biblical analogues, a masque of the situation confronting man, a pageant of the humors within men, a parade of the nations, and so forth, as well as concrete and symbolic ways of thinking about the White Whale".<sup class="reference" id="cite_ref-17"><a href="#cite_note-17">[17]</a></sup>
</p><p>Scholar Nathalia Wright sees the meetings and the significance of the vessels along other lines. She singles out the four vessels which have already encountered Moby Dick. The first, the <i>Jeroboam</i>, is named after the predecessor of the biblical King Ahab. Her "prophetic" fate is "a message of warning to all who follow, articulated by Gabriel and vindicated by the <i>Samuel Enderby</i>, the <i>Rachel</i>, the <i>Delight</i>, and at last the <i>Pequod</i>". None of the other ships has been completely destroyed because none of their captains shared Ahab's monomania; the fate of the <i>Jeroboam</i> reinforces the structural parallel between Ahab and his biblical namesake: "Ahab did more to provoke the Lord God of Israel to anger than all the kings of Israel that were before him" (<a href="/wiki/Books_of_Kings" title="Books of Kings">I Kings</a> 16:33).<sup class="reference" id="cite_ref-18"><a href="#cite_note-18">[18]</a></sup>
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<h2><span class="mw-headline" id="Themes">Themes</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=6" title="Edit section: Themes">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>An early enthusiast for the Melville Revival, British author <a href="/wiki/E._M._Forster" title="E. M. Forster">E. M. Forster</a>, remarked in 1927: "<i>Moby-Dick</i> is full of meanings: its meaning is a different problem."<sup class="reference" id="cite_ref-19"><a href="#cite_note-19">[19]</a></sup> Yet he saw as "the essential" in the book "its prophetic song", which flows "like an undercurrent" beneath the surface action and morality.<sup class="reference" id="cite_ref-20"><a href="#cite_note-20">[20]</a></sup>
</p><p>Biographer Laurie Robertson-Lorant sees epistemology as the book's theme. Ishmael's taxonomy of whales merely demonstrates "the limitations of scientific knowledge and the impossibility of achieving certainty". She also contrasts Ishmael and Ahab's attitudes toward life, with Ishmael's open-minded and meditative, "polypositional stance" as antithetical to Ahab's monomania, adhering to dogmatic rigidity.<sup class="reference" id="cite_ref-21"><a href="#cite_note-21">[21]</a></sup>
</p><p>Melville biographer Delbanco cites race as an example of this search for truth beneath surface differences. All races are represented among the crew members of the <i>Pequod</i>. Although Ishmael initially is afraid of Queequeg as a tattooed cannibal, he soon decides, "Better sleep with a sober cannibal than a drunken Christian."<sup class="reference" id="cite_ref-22"><a href="#cite_note-22">[22]</a></sup> While it may be rare for a mid-19th century American book to feature black characters in a nonslavery context, slavery is frequently mentioned. The theme of race is primarily carried by Pip, the diminutive black cabin boy.<sup class="reference" id="cite_ref-23"><a href="#cite_note-23">[23]</a></sup> When Pip has almost drowned, Ahab, genuinely touched by Pip's suffering, questions him gently, Pip "can only parrot the language of an advertisement for the return of a fugitive slave: 'Pip! Reward for Pip!'".<sup class="reference" id="cite_ref-24"><a href="#cite_note-24">[24]</a></sup>
</p><p>Editors Bryant and Springer suggest perception is a central theme, the difficulty of seeing and understanding, which makes deep reality hard to discover and truth hard to pin down. Ahab explains that, like all things, the evil whale wears a disguise: "All visible objects, man, are but pasteboard masks" — and Ahab is determined to "strike through the mask! How can the prisoner reach outside, except by thrusting through the wall? To me, the white whale is that wall" (Ch. 36, "The Quarter-Deck"). This theme pervades the novel, perhaps never so emphatically as in "The Doubloon" (Ch. 99), where each crewmember perceives the coin in a way shaped by his own personality. Later, the American edition has Ahab "discover no sign" (Ch. 133) of the whale when he is staring into the deep. In fact, Moby Dick is then swimming up at him. In the British edition, Melville changed the word "discover" to "perceive", and with good reason, for "discovery" means finding what is already there, but "perceiving", or better still, perception, is "a matter of shaping what exists by the way in which we see it".<sup class="reference" id="cite_ref-Bryant_and_Springer_2007,_xxii_25-0"><a href="#cite_note-Bryant_and_Springer_2007,_xxii-25">[25]</a></sup> The point is not that Ahab would discover the whale as an object, but that he would perceive it as a symbol of his making.<sup class="reference" id="cite_ref-Bryant_and_Springer_2007,_xxii_25-1"><a href="#cite_note-Bryant_and_Springer_2007,_xxii-25">[25]</a></sup>
</p><p>Yet Melville does not offer easy solutions. Ishmael and Queequeg's sensual friendship initiates a kind of racial harmony that is shattered when the crew's dancing erupts into racial conflict in "Midnight, Forecastle" (Ch. 40).<sup class="reference" id="cite_ref-Bryant_and_Springer_2007,_xvi_13-1"><a href="#cite_note-Bryant_and_Springer_2007,_xvi-13">[13]</a></sup> Fifty chapters later, Pip suffers mental disintegration after he is reminded that as a slave he would be worth less money than a whale. Commodified and brutalized, "Pip becomes the ship's conscience".<sup class="reference" id="cite_ref-26"><a href="#cite_note-26">[26]</a></sup> His views of property are another example of wrestling with moral choice. In Chapter 89, Ishmael expounds the concept of the fast-fish and the loose-fish, which gives right of ownership to those who take possession of an abandoned fish or ship, and observes that the British Empire took possession of American Indian lands in colonial times in just the way that whalers take possession of an unclaimed whale.<sup class="reference" id="cite_ref-27"><a href="#cite_note-27">[27]</a></sup>
</p><p>The novel has also been read as being critical of the contemporary literary and philosophical movement <a href="/wiki/Transcendentalism" title="Transcendentalism">Transcendentalism</a>, attacking the thought of leading Transcendentalist<sup class="reference" id="cite_ref-Baldick_28-0"><a href="#cite_note-Baldick-28">[28]</a></sup> <a href="/wiki/Ralph_Waldo_Emerson" title="Ralph Waldo Emerson">Ralph Waldo Emerson</a> in particular.<sup class="reference" id="cite_ref-Ruland_and_Bradbury_29-0"><a href="#cite_note-Ruland_and_Bradbury-29">[29]</a></sup> The life and death of Ahab has been read as an attack on Emerson's philosophy of <a href="/wiki/Self-Reliance" title="Self-Reliance">self reliance</a>, for one, in its destructive potential and potential justification for egoism. Richard Chase writes that for Melville, 'Death–spiritual, emotional, physical–is the price of self-reliance when it is pushed to the point of solipsism, where the world has no existence apart from the all-sufficient self.'<sup class="reference" id="cite_ref-R._Chase_30-0"><a href="#cite_note-R._Chase-30">[30]</a></sup> In that regard, Chase sees Melville's art as antithetical to that of Emerson's thought, in that Melville '[points] up the dangers of an exaggerated self-regard, rather than, as ... Emerson loved to do, [suggested] the vital possibilities of the self.'<sup class="reference" id="cite_ref-R._Chase_30-1"><a href="#cite_note-R._Chase-30">[30]</a></sup> Newton Arvin further suggests that self-reliance was, for Melville, really the '[masquerade in kingly weeds of] a wild egoism, anarchic, irresponsible, and destructive.'<sup class="reference" id="cite_ref-Moby-Dick_(Bantam)_31-0"><a href="#cite_note-Moby-Dick_(Bantam)-31">[31]</a></sup>
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<h2><span class="mw-headline" id="Style">Style</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=7" title="Edit section: Style">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>An incomplete inventory of the language of <i>Moby-Dick</i> by editors Bryant and Springer includes "nautical, biblical, Homeric, Shakespearean, Miltonic, cetological" influences, and his style is "alliterative, fanciful, colloquial, archaic, and unceasingly allusive": Melville tests and exhausts the possibilities of grammar, quotes from a range of well-known or obscure sources, and swings from calm prose to high rhetoric, technical exposition, seaman's slang, mystic speculation, or wild prophetic archaism.<sup class="reference" id="cite_ref-Bryant_and_Springer_2007,_xv_32-0"><a href="#cite_note-Bryant_and_Springer_2007,_xv-32">[32]</a></sup>
</p><p>Many words that make up the vocabulary of <i>Moby-Dick</i> are Melville's own coinages, critic <a href="/wiki/Newton_Arvin" title="Newton Arvin">Newton Arvin</a> recognizes, as if the English vocabulary were too limited for the complex things Melville had to express. Perhaps the most striking example is the use of verbal nouns, mostly plural, such as <i>allurings</i>, <i>coincidings</i>, and <i>leewardings</i>. Equally abundant are unfamiliar adjectives and adverbs, including participial adjectives such as <i>officered</i>, <i>omnitooled</i>, and <i>uncatastrophied</i>; participial adverbs such as <i>intermixingly</i>, <i>postponedly</i>, and <i>uninterpenetratingly</i>; rarities such as the adjectives <i>unsmoothable</i>, <i>spermy</i>, and <i>leviathanic</i>, and adverbs such as <i>sultanically</i>, <i>Spanishly</i>, and <i>Venetianly</i>; and adjectival compounds ranging from odd to magnificent, such as "the <i>message-carrying</i> air", "the <i>circus-running</i> sun", and "<i>teeth-tiered</i> sharks".<sup class="reference" id="cite_ref-33"><a href="#cite_note-33">[33]</a></sup> It is rarer for Melville to create his own verbs from nouns, but he does this with what Arvin calls "irresistible effect", such as in "who didst <i>thunder</i> him higher than a throne", and "my fingers ... began ... to <i>serpentine</i> and <i>spiralize</i>".<sup class="reference" id="cite_ref-34"><a href="#cite_note-34">[34]</a></sup> For Arvin, the essence of the writing style of <i>Moby-Dick</i> lies in
</p>
<dl><dd>the manner in which the parts of speech are 'intermixingly' assorted in Melville's style--so that the distinction between verbs and nouns, substantives and modifiers, becomes a half unreal one--this is the prime characteristic of his language. No feature of it could express more tellingly the awareness that lies below and behind <i>Moby-Dick</i>--the awareness that action and condition, movement and stasis, object and idea, are but surface aspects of one underlying reality.<sup class="reference" id="cite_ref-35"><a href="#cite_note-35">[35]</a></sup></dd></dl>
<p>Arvin's categories have been slightly expanded by later critics, most notably Warner Berthoff. The superabundant vocabulary of the work can be broken down into strategies used individually and in combination. First, the original modification of words as "Leviathanism"<sup class="reference" id="cite_ref-Lee_2006,_395_36-0"><a href="#cite_note-Lee_2006,_395-36">[36]</a></sup> and the exaggerated repetition of modified words, as in the series "pitiable", "pity", "pitied" and "piteous" (Ch. 81, "The Pequod Meets the Virgin").<sup class="reference" id="cite_ref-Berthoff_1962,_164_37-0"><a href="#cite_note-Berthoff_1962,_164-37">[37]</a></sup> Second, the use of existing words in new ways, as when the whale "heaps" and "tasks".<sup class="reference" id="cite_ref-Lee_2006,_395_36-1"><a href="#cite_note-Lee_2006,_395-36">[36]</a></sup> Third, words lifted from specialized fields, as "fossiliferous".<sup class="reference" id="cite_ref-Lee_2006,_395_36-2"><a href="#cite_note-Lee_2006,_395-36">[36]</a></sup> Fourth, the use of unusual adjective-noun combinations, as in "concentrating brow" and "immaculate manliness" (Ch. 26, "Knights and Squires").<sup class="reference" id="cite_ref-38"><a href="#cite_note-38">[38]</a></sup> Fifth, using the participial modifier to emphasize and to reinforce the already established expectations of the reader, as the words "preluding" and "foreshadowing" ("so still and subdued and yet somehow preluding was all the scene ..."; "In this foreshadowing interval ...").<sup class="reference" id="cite_ref-Berthoff_1962,_164_37-1"><a href="#cite_note-Berthoff_1962,_164-37">[37]</a></sup>
</p><p>Characteristic stylistic elements of another kind are the echoes and overtones.<sup class="reference" id="cite_ref-39"><a href="#cite_note-39">[39]</a></sup> Responsible for this are both Melville's imitation of certain distinct styles and his habitual use of sources to shape his own work. His three most important sources, in order, are the Bible, Shakespeare, and Milton.<sup class="reference" id="cite_ref-40"><a href="#cite_note-40">[40]</a></sup>
</p><p>Another notable stylistic element are the several levels of rhetoric, the simplest of which is "a relatively straightforward <i>expository</i> style" that is evident of many passages in the cetological chapters, though they are "rarely sustained, and serve chiefly as transitions" between more sophisticated levels. One of these is the "<i>poetic</i>" level of rhetoric, which Bezanson sees "well exemplified" in Ahab's quarter-deck soliloquy, to the point that it can be set as <a href="/wiki/Blank_verse" title="Blank verse">blank verse</a>.<sup class="reference" id="cite_ref-41"><a href="#cite_note-41">[41]</a></sup> Set over a metrical patern, the rhythms are "evenly controlled—too evenly perhaps for prose," Bezanson suggests.<sup class="reference" id="cite_ref-42"><a href="#cite_note-42">[42]</a></sup> A third level of rhetoric is the <i>idiomatic</i>, and just as the poetic it hardly is present in pure form. Examples of this are "the consistently excellent idiom" of Stubb, such as in the way he encourages the rowing crew in a rhythm of speech that suggests "the beat of the oars takes the place of the metronomic meter". The fourth and final level of rhetoric is the <i>composite</i>, "a magnificent blending" of the first three and possible other elements:
</p>
<blockquote><p>The Nantucketer, he alone resides and riots on the sea; he alone, in Bible language, goes down to it in ships; to and fro ploughing it as his own special plantation. <i>There</i> is his home; <i>there</i> lies his buisiness, which a Noah's flood would not interrupt, though it overwhelmed all the millions in China. He lives on the sea, as prairie cocks in the prairie; he hides among the waves, he climbs them as chamois hunters climb the Alps. For years he knows not the land; so that when he comes to it at last, it smells like another world, more strangely than the moon would to an Earthsman. 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.<br/>
("Nantucket," Ch. 14).</p></blockquote>
<p>This passage, from a chapter that Bezanson calls a comical "prose poem", blends "high and low with a relaxed assurance". Similar great passages include the "marvelous hymn to spiritual democracy" that can be found in the middle of "Knights and Squires".<sup class="reference" id="cite_ref-43"><a href="#cite_note-43">[43]</a></sup>
</p><p>The elaborate use of the <a href="/wiki/Homeric_simile" title="Homeric simile">Homeric simile</a> 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 <a href="/wiki/Hubris" title="Hubris">hubris</a> 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. 134).<sup class="reference" id="cite_ref-Matthiessen_1941,_461_44-0"><a href="#cite_note-Matthiessen_1941,_461-44">[44]</a></sup> One paragraph-long simile describes how the 30 men of the crew became a single unit:
</p>
<blockquote><p>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.<br/>
("The Chase – Second Day," Ch. 134).</p></blockquote>
<p>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.<sup class="reference" id="cite_ref-Matthiessen_1941,_461_44-1"><a href="#cite_note-Matthiessen_1941,_461-44">[44]</a></sup> These similes, with their astonishing "imaginative abundance," are not only invaluable in creating the dramatic movement, Matthiessen observes: "They are no less notable for breadth; and the more sustained among them, for an heroic dignity."<sup class="reference" id="cite_ref-45"><a href="#cite_note-45">[45]</a></sup>
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<h3><span class="mw-headline" id="Assimilation_of_Shakespeare">Assimilation of Shakespeare</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=8" title="Edit section: Assimilation of Shakespeare">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>The influence of Shakespeare on the book has been analyzed by <a class="mw-redirect" href="/wiki/F.O._Matthiessen" title="F.O. Matthiessen">F.O. Matthiessen</a> in his 1941 study of the American Renaissance with such results that almost a half century later Bezanson still considered him "the richest critic on these matters."<sup class="reference" id="cite_ref-46"><a href="#cite_note-46">[46]</a></sup> According to Matthiesen, then, Melville's "possession by Shakespeare went far beyond all other influences"<sup class="reference" id="cite_ref-Matthiessen_1941,_424_47-0"><a href="#cite_note-Matthiessen_1941,_424-47">[47]</a></sup> in that it made Melville discover his own full strength "through the challenge of the most abundant imagination in history".<sup class="reference" id="cite_ref-Matthiessen_1941,_424_47-1"><a href="#cite_note-Matthiessen_1941,_424-47">[47]</a></sup> Especially the influence of <i><a href="/wiki/King_Lear" title="King Lear">King Lear</a></i> and <i><a href="/wiki/Macbeth" title="Macbeth">Macbeth</a></i> has attracted scholarly attention.<sup class="reference" id="cite_ref-48"><a href="#cite_note-48">[48]</a></sup> On almost every page debts to Shakespeare can be discovered, whether hard or easy to recognize. Matthiessen points out that the "mere sounds, full of Leviathanism, but signifying nothing" at the end of "Cetology" (Ch.32) echo the famous phrase in <i>Macbeth</i>: "Told by an idiot, full of sound and fury, Signifying nothing."<sup class="reference" id="cite_ref-Matthiessen_1941,_424_47-2"><a href="#cite_note-Matthiessen_1941,_424-47">[47]</a></sup> As Matthiessen demonstrates, Ahab's first extended speech to the crew, in the "Quarter-Deck" (Ch.36), is "virtually blank verse, and can be printed as such":<sup class="reference" id="cite_ref-Matthiessen_1941,_424_47-3"><a href="#cite_note-Matthiessen_1941,_424-47">[47]</a></sup>
</p>
<blockquote><p>But look ye, Starbuck, what is said in heat,<br/>
</p><p>That thing unsays itself. There are men<br/>
From whom warm words are small indignity.<br/>
I mean not to incense thee. Let it go.<br/>
Look! see yonder Turkish cheeks of spotted tawn--<br/>
Living, breathing pictures painted by the sun.<br/>
The pagan leopards—the unrecking and<br/>
Unworshipping things, that live; and seek and give<br/>
</p><p>
No reason for the torrid life they feel!<sup class="reference" id="cite_ref-49"><a href="#cite_note-49">[49]</a></sup></p></blockquote>
<p>Most importantly, through Shakespeare, Melville infused <i>Moby-Dick</i> with a power of expression he had not previously possessed.<sup class="reference" id="cite_ref-50"><a href="#cite_note-50">[50]</a></sup> Reading Shakespeare, Matthiessen observes, had been "a catalytic agent" for Melville, one that transformed his writing "from limited reporting to the expression of profound natural forces".<sup class="reference" id="cite_ref-51"><a href="#cite_note-51">[51]</a></sup> The extent to which Melville was in full possession of his powers is demonstrated by Matthiessen through the description of Ahab, which ends in language "that suggests Shakespeare's but is not an imitation of it: 'Oh, Ahab! what shall be grand in thee, it must needs be plucked from the skies and dived for in the deep, and featured in the unbodied air!' The imaginative richness of the final phrase seems particularly Shakespearean, "but its two key words appear only once each in the plays ... and to neither of these usages is Melville indebted for his fresh combination."<sup class="reference" id="cite_ref-52"><a href="#cite_note-52">[52]</a></sup> Melville's assimilation of Shakespeare, Matthiessen concludes, gave <i>Moby-Dick</i> "a kind of diction that depended upon no source",<sup class="reference" id="cite_ref-53"><a href="#cite_note-53">[53]</a></sup> and that could, as D.H. Lawrence put it, convey something "almost superhuman or inhuman, bigger than life".<sup class="reference" id="cite_ref-54"><a href="#cite_note-54">[54]</a></sup> The prose is not based on anybody else's verse but on "a sense of speech rhythm".<sup class="reference" id="cite_ref-Matthiessen_1941,_430_55-0"><a href="#cite_note-Matthiessen_1941,_430-55">[55]</a></sup>
</p><p>In addition to this sense of rhythm, Melville acquired verbal resources which for Matthiessen showed that he "now mastered Shakespeare's mature secret of how to make language itself dramatic".<sup class="reference" id="cite_ref-Matthiessen_1941,_430_55-1"><a href="#cite_note-Matthiessen_1941,_430-55">[55]</a></sup> He had learned three essential things, Matthiessen sums up:
</p>
<ul><li>To rely on verbs of action, "which lend their dynamic pressure to both movement and meaning."<sup class="reference" id="cite_ref-Matthiessen_1941,_430_55-2"><a href="#cite_note-Matthiessen_1941,_430-55">[55]</a></sup> The effective tension caused by the contrast of "thou launchest navies of full-freighted worlds" and "there's that in here that still remains indifferent" in "The Candles" (Ch. 119) makes the last clause lead to a "compulsion to strike the breast", which suggests "how thoroughly the drama has come to inhere in the words;"<sup class="reference" id="cite_ref-56"><a href="#cite_note-56">[56]</a></sup></li>
<li>The Shakespearean energy of verbal compounds was not lost on him ("full-freighted");</li>
<li>And, finally, Melville learned how to handle "the quickened sense of life that comes from making one part of speech act as another – for example, 'earthquake' as an adjective, or the coining of 'placeless', an adjective from a noun."<sup class="reference" id="cite_ref-57"><a href="#cite_note-57">[57]</a></sup></li></ul>
<p>The creation of Ahab, Melville biographer Leon Howard discovered, followed an observation by Coleridge in his lecture on <i>Hamlet</i>: "one of Shakespeare's modes of creating characters is to conceive any one intellectual or moral faculty in <i>morbid</i> excess, and then to place himself. ... thus <i>mutilated</i> or <i>diseased</i>, under given circumstances".<sup class="reference" id="cite_ref-58"><a href="#cite_note-58">[58]</a></sup> Coleridge's vocabulary is echoed in some phrases that describe Ahab. Ahab seemed to have "what seems a half-wilful <i>over-ruling morbidness</i> at the bottom of his nature", and "all men tragically great", Melville added, "are made so through a certain <i>morbidness</i>; "all mortal greatness is but <i>disease</i>". 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 <i>Hamlet</i> and <i>King Lear</i>".<sup class="reference" id="cite_ref-59"><a href="#cite_note-59">[59]</a></sup>
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<h2><span class="mw-headline" id="Background">Background</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=9" title="Edit section: Background">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="Autobiographical_elements">Autobiographical elements</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=10" title="Edit section: Autobiographical elements">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p><i>Moby-Dick</i> is based on Melville's experience on the whaler <i>Acushnet</i>, however even the book's most factual accounts of whaling are not straight autobiography. On December 30, 1840, he signed on as a green hand for the maiden voyage of the <i>Acushnet</i>, planned to last for 52 months. Its owner, Melvin O. Bradford, resembled Bildad, who signed on Ishmael, in that he was a <a href="/wiki/Quakers" title="Quakers">Quaker</a>: on several instances when he signed documents, he erased the word "swear" and replaced it with "affirm". But the shareholders of the <i>Acushnet</i> were relatively wealthy, whereas the owners of the <i>Pequod</i> included poor widows and orphaned children.<sup class="reference" id="cite_ref-60"><a href="#cite_note-60">[60]</a></sup> Its captain was Valentine Pease, Jr., who was 43 years old at the start of the voyage.<sup class="reference" id="cite_ref-61"><a href="#cite_note-61">[61]</a></sup> Although 26 men signed up as crew members, two did not show up for the ship's departure and were replaced by one new crew member. The crew was not as heterogenous or exotic as the crew of the <i>Pequod</i>. Five of the crew 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 cook of the <i>Pequod</i>, was also black, so probably modeled on this Philadelphia-born William Maiden, who was 38 years old when he signed for the <i>Acushnet</i>.<sup class="reference" id="cite_ref-62"><a href="#cite_note-62">[62]</a></sup>
</p><p>Only 11 of the 26 original crew members completed the voyage. The others either deserted or were regularly discharged.<sup class="reference" id="cite_ref-63"><a href="#cite_note-63">[63]</a></sup> The <a class="mw-redirect" href="/wiki/Chief_Mate" title="Chief Mate">First Officer</a>, Frederic Raymond, left the ship after a "fight" with the captain.<sup class="reference" id="cite_ref-64"><a href="#cite_note-64">[64]</a></sup> A <a class="mw-redirect" href="/wiki/First_mate" title="First mate">first mate</a>, actually called Edward C. Starbuck, was on an earlier voyage with Captain Pease, in the early 1830s, and was discharged at <a href="/wiki/Tahiti" title="Tahiti">Tahiti</a> under mysterious circumstances.<sup class="reference" id="cite_ref-65"><a href="#cite_note-65">[65]</a></sup> The <a href="/wiki/Second_mate" title="Second mate">second mate</a> on the <i>Acushnet</i> was John Hall, English-born but a naturalized American.<sup class="reference" id="cite_ref-66"><a href="#cite_note-66">[66]</a></sup> He is identified as Stubb in an annotation in the book's copy of crew member Henry Hubbard, who, like Melville, had joined the voyage as a green hand. Hubbard also identified the model for Pip: John Backus, a little black man added to the crew during the voyage.<sup class="reference" id="cite_ref-67"><a href="#cite_note-67">[67]</a></sup> Hubbard's annotation appears in the chapter "The Castaway" and reveals that Pip's falling into the water was authentic; Hubbard was with him in the same boat when the incident occurred.<sup class="reference" id="cite_ref-68"><a href="#cite_note-68">[68]</a></sup>
</p><p>Ahab seems to have had no model in real life, though his death may have been based on an actual event. On May 18, 1843, Melville was aboard <i>The Star</i>, which sailed for <a href="/wiki/Honolulu" title="Honolulu">Honolulu</a>. Aboard were two sailors from the <i>Nantucket</i> who could have told him that they had seen their second mate "taken out of a whaleboat by a foul line and drowned".<sup class="reference" id="cite_ref-69"><a href="#cite_note-69">[69]</a></sup> The model for the Whaleman's Chapel of chapter 7 is the <a href="/wiki/Seamen%27s_Bethel" title="Seamen's Bethel">Seamen's Bethel</a> on Johnny Cake Hill. Melville attended a service there shortly before he shipped out on the <i>Acushnet</i>, and he heard a sermon by the chaplain, 63-year-old Reverend <a href="/wiki/Enoch_Mudge" title="Enoch Mudge">Enoch Mudge</a>, who is at least in part the model for Father Mapple. Even the topic of <a class="mw-redirect" href="/wiki/Jonah_and_the_Whale" title="Jonah and the Whale">Jonah and the Whale</a> may be authentic, for Mudge was a contributor to <i>Sailor's Magazine</i>, which printed in December 1840 the ninth of a series of sermons on Jonah.<sup class="reference" id="cite_ref-70"><a href="#cite_note-70">[70]</a></sup>
</p>
<h3><span class="mw-headline" id="Whaling_sources">Whaling sources</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=11" title="Edit section: Whaling sources">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<div class="thumb tright"><div class="thumbinner" style="width:222px;"><a class="image" href="/wiki/File:Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg"><img alt="" class="thumbimage" data-file-height="1697" data-file-width="1041" decoding="async" height="359" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg/220px-Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg/330px-Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/95/Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg/440px-Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg 2x" width="220"/></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="/wiki/File:Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg" title="Enlarge"></a></div>Melville's copy of <i>Natural History of the Sperm Whale</i>, 1839</div></div></div>
<p>In addition to his own experience on the whaling ship <i>Acushnet</i>, two actual events served as the genesis for Melville's tale. One was the sinking of the Nantucket ship <i><a class="mw-redirect" href="/wiki/Essex_(1799_whaleship)" title="Essex (1799 whaleship)">Essex</a></i> in 1820, after a sperm whale rammed her 2,000 miles (3,200 km) from the western coast of South America. First mate <a href="/wiki/Owen_Chase" title="Owen Chase">Owen Chase</a>, one of eight survivors, recorded the events in his 1821 <i>Narrative of the Most Extraordinary and Distressing Shipwreck of the Whale-Ship Essex</i>.<sup class="reference" id="cite_ref-FOOTNOTEPhilbrick2000xii-_xv_71-0"><a href="#cite_note-FOOTNOTEPhilbrick2000xii-_xv-71">[71]</a></sup>
</p><p>
The other event was the alleged killing in the late 1830s of the albino sperm whale <a href="/wiki/Mocha_Dick" title="Mocha Dick">Mocha Dick</a>, in the waters off the Chilean island of <a class="mw-redirect" href="/wiki/Mocha_(island)" title="Mocha (island)">Mocha</a>. 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 <a href="/wiki/Jeremiah_N._Reynolds" title="Jeremiah N. Reynolds">Jeremiah N. Reynolds</a> in the May 1839 issue of <i><a href="/wiki/The_Knickerbocker" title="The Knickerbocker">The Knickerbocker</a> or New-York Monthly Magazine</i>.<sup class="reference" id="cite_ref-Reynolds,_J.N_72-0"><a href="#cite_note-Reynolds,_J.N-72">[72]</a></sup> Melville was familiar with the article, which described: <style data-mw-deduplicate="TemplateStyles:r856303468">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}</style></p><blockquote class="templatequote"><p> 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 ... a singular consequence had resulted — <i>he was white as wool!</i><sup class="reference" id="cite_ref-Reynolds,_J.N_72-1"><a href="#cite_note-Reynolds,_J.N-72">[72]</a></sup>
</p></blockquote><p> Significantly, Reynolds writes a <a href="/wiki/First-person_narrative" title="First-person narrative">first-person narration</a> that serves as a <a href="/wiki/Frame_story" title="Frame story">frame</a> 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: <link href="mw-data:TemplateStyles:r856303468" rel="mw-deduplicated-inline-style"/></p><blockquote class="templatequote"><p>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!
</p><p>"Mocha Dick or the d----l [devil]', said I, 'this boat never sheers off from any thing that wears the shape of a whale."<sup class="reference" id="cite_ref-Reynolds,_J.N_72-2"><a href="#cite_note-Reynolds,_J.N-72">[72]</a></sup>
</p>
</blockquote>
<p>Mocha Dick had over 100 encounters with whalers in the decades between 1810 and the 1830s. 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.<sup class="reference" id="cite_ref-73"><a href="#cite_note-73">[73]</a></sup>
</p><p>While an accidental collision with a sperm whale at night accounted for sinking of the <i>Union</i> in 1807,<sup class="reference" id="cite_ref-74"><a href="#cite_note-74">[74]</a></sup> it was not until August 1851 that the whaler <i><a href="/wiki/Ann_Alexander_(ship)" title="Ann Alexander (ship)">Ann Alexander</a></i>, while hunting in the Pacific off the <a href="/wiki/Gal%C3%A1pagos_Islands" title="Galápagos Islands">Galápagos Islands</a>, became the second vessel since the <i>Essex</i> to be attacked, holed, and sunk by a whale. Melville remarked, "Ye Gods! What a commentator is this <i>Ann Alexander</i> whale. What he has to say is short & pithy & very much to the point. I wonder if my evil art has raised this monster."<sup class="reference" id="cite_ref-75"><a href="#cite_note-75">[75]</a></sup>
</p><p>
While Melville had already drawn on his different sailing experiences in his previous novels, such as <i><a href="/wiki/Mardi" title="Mardi">Mardi</a></i>, he had never focused specifically on whaling. The 18 months he spent as an ordinary seaman aboard the whaler <i>Acushnet</i> in 1841–42, 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: <link href="mw-data:TemplateStyles:r856303468" rel="mw-deduplicated-inline-style"/></p><blockquote class="templatequote"><p>I questioned him concerning his father's adventure; ... he went to his chest & handed me a complete copy ... of the Narrative [of the <i>Essex</i> catastrophe]. 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.<sup class="reference" id="cite_ref-76"><a href="#cite_note-76">[76]</a></sup>
</p></blockquote>
<p>The book was out of print, and rare. Melville let his interest in the book be known to his father-in-law, <a href="/wiki/Lemuel_Shaw" title="Lemuel Shaw">Lemuel Shaw</a>, whose friend in Nantucket procured an imperfect but clean copy which Shaw gave to Melville in April 1851. 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. <sup class="reference" id="cite_ref-FOOTNOTEMelville1988[httpsbooksgooglecombooksidjnNBh61lpjUCprintsecfrontcoverhlnlvonepageqOwen20Chaseffalse_971-77]_77-0"><a href="#cite_note-FOOTNOTEMelville1988[httpsbooksgooglecombooksidjnNBh61lpjUCprintsecfrontcoverhlnlvonepageqOwen20Chaseffalse_971-77]-77">[77]</a></sup>
</p>
<div class="thumb tright"><div class="thumbinner" style="width:222px;"><a class="image" href="/wiki/File:Herman_Melville.jpg"><img alt="" class="thumbimage" data-file-height="4618" data-file-width="3520" decoding="async" height="289" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Herman_Melville.jpg/220px-Herman_Melville.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Herman_Melville.jpg/330px-Herman_Melville.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Herman_Melville.jpg/440px-Herman_Melville.jpg 2x" width="220"/></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="/wiki/File:Herman_Melville.jpg" title="Enlarge"></a></div>Herman Melville</div></div></div>
<p><i>Moby-Dick</i> 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. Although a successful earlier novel about Nantucket whalers had been written, <i>Miriam Coffin or The Whale-Fisherman</i> (1835) by <a href="/wiki/Joseph_C._Hart" title="Joseph C. Hart">Joseph C. Hart</a>,<sup class="reference" id="cite_ref-78"><a href="#cite_note-78">[78]</a></sup> 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.
</p><p>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, <i>Natural History of the Sperm Whale</i> (1839), a book of reputed authority which Melville bought on July 10, 1850.<sup class="reference" id="cite_ref-79"><a href="#cite_note-79">[79]</a></sup> "In scale and complexity," scholar Steven Olsen-Smith writes, "the significance of [this source] to the composition of <i>Moby-Dick</i> surpasses that of any other source book from which Melville is known to have drawn."<sup class="reference" id="cite_ref-80"><a href="#cite_note-80">[80]</a></sup> According to scholar Howard P. Vincent, the general influence of this source is to supply the arrangement of whaling data in chapter groupings.<sup class="reference" id="cite_ref-81"><a href="#cite_note-81">[81]</a></sup> Melville followed Beale's grouping closely, yet adapted it to what art demanded, and he changed the original's prosaic phrases into graphic figures of speech.<sup class="reference" id="cite_ref-Vincent_1949,_130_82-0"><a href="#cite_note-Vincent_1949,_130-82">[82]</a></sup> The second most important whaling book is Frederick Debell Bennett, <i>A Whaling Voyage Round the Globe, from the Year 1833 to 1836</i> (1840), from which Melville also took the chapter organization, but in a lesser degree than he learned from Beale.<sup class="reference" id="cite_ref-Vincent_1949,_130_82-1"><a href="#cite_note-Vincent_1949,_130-82">[82]</a></sup>
</p><p>The third book was the one Melville reviewed for the <i>Literary World</i> in 1847, J. Ross Browne's <i>Etchings of a Whaling Cruise</i> (1846), which may have given Melville the first thought for a whaling book, and in any case contains passages embarrassingly similar to passages in <i>Moby-Dick</i>.<sup class="reference" id="cite_ref-Vincent_1949,_131_83-0"><a href="#cite_note-Vincent_1949,_131-83">[83]</a></sup> The fourth book, Reverend Henry T. Cheever's <i>The Whale and His Captors</i> (1850), was used for two episodes in <i>Moby-Dick</i> but probably appeared too late in the writing of the novel to be of much more use.<sup class="reference" id="cite_ref-Vincent_1949,_131_83-1"><a href="#cite_note-Vincent_1949,_131-83">[83]</a></sup> Melville did plunder a fifth book, <a href="/wiki/William_Scoresby" title="William Scoresby">William Scoresby</a>, Jr., <i>An Account of the Arctic Regions with a History and Description of the Northern Whale Fishery</i> (1820), though—unlike the other four books—its subject is the <a class="mw-redirect" href="/wiki/Greenland_whale" title="Greenland whale">Greenland whale</a> rather than the sperm whale. 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." Vincent suggests several reasons for Melville's attitude towards Scoresby, including his dryness and abundance of irrelevant data, but the major reason seems to have been that the Greenland whale was the sperm whale's closest competitor for the public's attention, so Melville felt obliged to dismiss anything dealing with it.<sup class="reference" id="cite_ref-84"><a href="#cite_note-84">[84]</a></sup>
</p>
<h3><span class="mw-headline" id="Composition">Composition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=12" title="Edit section: Composition">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>The earliest surviving mention of the composition of what became <i>Moby-Dick</i><sup class="reference" id="cite_ref-Bezanson_85-0"><a href="#cite_note-Bezanson-85">[85]</a></sup><sup class="reference" id="cite_ref-86"><a href="#cite_note-86">[86]</a></sup> is the final paragraph of the letter Melville wrote to <a class="mw-redirect" href="/wiki/Richard_Henry_Dana,_Jr." title="Richard Henry Dana, Jr.">Richard Henry Dana, Jr.</a> on May 1, 1850:
</p>
<link href="mw-data:TemplateStyles:r856303468" rel="mw-deduplicated-inline-style"/><blockquote class="templatequote"><p>About the "whaling voyage" — I am half way in the work, & am very glad that your suggestion so jumps with mine. It will be a strange sort of book, tho', I fear; blubber is blubber you know; tho' you may get oil out of it, the poetry runs as hard as sap from a frozen maple tree; — & to cook the thing up, one must needs throw in a little fancy, which from the nature of the thing, must be ungainly as the gambols of the whales themselves. Yet I mean to give the truth of the thing, spite of this.<sup class="reference" id="cite_ref-87"><a href="#cite_note-87">[87]</a></sup>
</p></blockquote>
<p>Some scholars have concluded that Melville composed <i>Moby-Dick</i> in two or even three stages. Reasoning from a series of inconsistencies and structural developments in the final version, they hypothesize that the work he mentioned to Dana was, in the words of <a href="/wiki/Lawrence_Buell" title="Lawrence Buell">Lawrence Buell</a>, a "relatively straightforward" whaling adventure, but that reading Shakespeare and his encounters with Hawthorne inspired him to rewrite it as "an epic of cosmic encyclopedic proportions".<sup class="reference" id="cite_ref-Buell_2014,_364_88-0"><a href="#cite_note-Buell_2014,_364-88">[88]</a></sup> 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 <i>White-Jacket</i>".<sup class="reference" id="cite_ref-Bezanson_85-1"><a href="#cite_note-Bezanson-85">[85]</a></sup> In addition, Dana had experienced how incomparable Melville was in dramatic story telling when he met him in Boston, so perhaps "his 'suggestion' was that Melville do a book that captured that gift".<sup class="reference" id="cite_ref-Bezanson_85-2"><a href="#cite_note-Bezanson-85">[85]</a></sup> And the long sentence in the middle of the above quotation simply acknowledges that Melville is struggling with the problem, not of choosing between fact and fancy but of how to interrelate them. 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.<sup class="reference" id="cite_ref-Bezanson_85-3"><a href="#cite_note-Bezanson-85">[85]</a></sup>
</p><p>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.<sup class="reference" id="cite_ref-89"><a href="#cite_note-89">[89]</a></sup> Scholars John Bryant and Haskell Springer cite the development of the character Ishmael as another factor which prolonged Melville's process of composition and which can be deduced from the structure of the final version of the book. 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.<sup class="reference" id="cite_ref-Bryant_and_Springer_2007,_xi_90-0"><a href="#cite_note-Bryant_and_Springer_2007,_xi-90">[90]</a></sup>
</p><p>Less than two months after mentioning the project to Dana, Melville reported in a letter of June 27 to Richard Bentley, his English publisher:
</p>
<link href="mw-data:TemplateStyles:r856303468" rel="mw-deduplicated-inline-style"/><blockquote class="templatequote"><p>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. The book is a romance of adventure, founded upon certain wild legends in the Southern Sperm Whale Fisheries, and illustrated by the author's own personal experience, of two years & more, as a harpooneer.<sup class="reference" id="cite_ref-91"><a href="#cite_note-91">[91]</a></sup>
</p></blockquote>
<p>Nathaniel Hawthorne and his family had moved to a small red farmhouse near <a href="/wiki/Lenox,_Massachusetts" title="Lenox, Massachusetts">Lenox, Massachusetts</a>, at the end of March 1850.<sup class="reference" id="cite_ref-92"><a href="#cite_note-92">[92]</a></sup> He became friends with <a href="/wiki/Oliver_Wendell_Holmes_Sr." title="Oliver Wendell Holmes Sr.">Oliver Wendell Holmes Sr.</a> and Melville beginning on August 5, 1850, when the authors met at a picnic hosted by a mutual friend.<sup class="reference" id="cite_ref-93"><a href="#cite_note-93">[93]</a></sup> Melville wrote an unsigned review of Hawthorne's short story collection <i><a href="/wiki/Mosses_from_an_Old_Manse" title="Mosses from an Old Manse">Mosses from an Old Manse</a></i> titled "<a href="/wiki/Hawthorne_and_His_Mosses" title="Hawthorne and His Mosses">Hawthorne and His Mosses</a>", which appeared in <i><a href="/wiki/The_Literary_World_(magazine)" title="The Literary World (magazine)">The Literary World</a></i> on August 17 and 24.<sup class="reference" id="cite_ref-94"><a href="#cite_note-94">[94]</a></sup> Bezanson finds the essay "so deeply related to Melville's imaginative and intellectual world while writing <i>Moby-Dick</i>" that it could be regarded as a virtual preface and should be "everybody's prime piece of contextual reading".<sup class="reference" id="cite_ref-Bezanson_85-4"><a href="#cite_note-Bezanson-85">[85]</a></sup> In the essay, Melville compares Hawthorne to Shakespeare and Dante, and his "self-projection" is evident in the repeats of the word "genius", the more than two dozen references to Shakespeare, and in the insistence that Shakespeare's "unapproachability" is nonsense for an American.<sup class="reference" id="cite_ref-Bezanson_85-5"><a href="#cite_note-Bezanson-85">[85]</a></sup>
</p>
<div class="thumb tright"><div class="thumbinner" style="width:222px;"><a class="image" href="/wiki/File:Arrowhead_farmhouse_Herman_Melville.jpg"><img alt="" class="thumbimage" data-file-height="720" data-file-width="936" decoding="async" height="169" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Arrowhead_farmhouse_Herman_Melville.jpg/220px-Arrowhead_farmhouse_Herman_Melville.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Arrowhead_farmhouse_Herman_Melville.jpg/330px-Arrowhead_farmhouse_Herman_Melville.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Arrowhead_farmhouse_Herman_Melville.jpg/440px-Arrowhead_farmhouse_Herman_Melville.jpg 2x" width="220"/></a> <div class="thumbcaption"><div class="magnify"><a class="internal" href="/wiki/File:Arrowhead_farmhouse_Herman_Melville.jpg" title="Enlarge"></a></div><a href="/wiki/Arrowhead_(Herman_Melville_House)" title="Arrowhead (Herman Melville House)">Arrowhead</a>, the house in <a href="/wiki/Pittsfield,_Massachusetts" title="Pittsfield, Massachusetts">Pittsfield, Massachusetts</a> in which Melville worked on <i>Moby-Dick</i>.</div></div></div>
<p>The most intense work on the book was done during the winter of 1850–1851, 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.<sup class="reference" id="cite_ref-95"><a href="#cite_note-95">[95]</a></sup> During these months, he wrote several excited letters to Hawthorne, including one of June 1851 in which he summarizes his career: "What I feel most moved to write, that is banned, — it will not pay. Yet, altogether, write the <i>other</i> way I cannot. So the product is a final hash, and all my books are botches."<sup class="reference" id="cite_ref-96"><a href="#cite_note-96">[96]</a></sup> This is the stubborn Melville who stood by <i><a href="/wiki/Mardi" title="Mardi">Mardi</a></i> 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."<sup class="reference" id="cite_ref-97"><a href="#cite_note-97">[97]</a></sup> One other theory holds that getting to know Hawthorne first inspired him to write Ahab's tragic obsession into the book, but Bryant and Springer object that 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.<sup class="reference" id="cite_ref-Bryant_and_Springer_2007,_xi_90-1"><a href="#cite_note-Bryant_and_Springer_2007,_xi-90">[90]</a></sup>
</p><p>Theories of the composition of the book have been harpooned in three ways, first by raising objections against the use of evidence and the evidence itself. Scholar Robert Milder sees "insufficient evidence and doubtful methodology" at work.<sup class="reference" id="cite_ref-98"><a href="#cite_note-98">[98]</a></sup> John Bryant finds "little concrete evidence, and nothing at all conclusive, to show that Melville radically altered the structure or conception of the book".<sup class="reference" id="cite_ref-99"><a href="#cite_note-99">[99]</a></sup> A second type of objection is based upon Melville's intellectual development. Bezanson is not convinced that before he met Hawthorne, "Melville was <i>not</i> ready for the kind of book <i>Moby-Dick</i> became",<sup class="reference" id="cite_ref-Bezanson_85-6"><a href="#cite_note-Bezanson-85">[85]</a></sup> because in his letters from the time Melville denounces his last two "straight narratives, <i><a href="/wiki/Redburn" title="Redburn">Redburn</a></i> and <i><a href="/wiki/White-Jacket" title="White-Jacket">White-Jacket</a></i>, as two books written just for the money, and he firmly stood by <i>Mardi</i> as the kind of book he believed in. His language is already "richly steeped in 17th-century mannerisms", characteristics of <i>Moby-Dick</i>. 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".<sup class="reference" id="cite_ref-100"><a href="#cite_note-100">[100]</a></sup> 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". Despite all this, Buell finds the evidence that Melville changed his ambitions during writing "on the whole convincing".<sup class="reference" id="cite_ref-Buell_2014,_364_88-1"><a href="#cite_note-Buell_2014,_364-88">[88]</a></sup>
</p>
<h2><span class="mw-headline" id="Publication_history">Publication history</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=13" title="Edit section: Publication history">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Melville first proposed the English publication in a 27 June 1850 letter to <a href="/wiki/Richard_Bentley_(publisher)" title="Richard Bentley (publisher)">Richard Bentley</a>, London publisher of his earlier works. Textual scholar <a href="/wiki/G._Thomas_Tanselle" title="G. Thomas Tanselle">G. Thomas Tanselle</a> explains that for these earlier books, American proof sheets had been sent to the English 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 English copyright of an American work.<sup class="reference" id="cite_ref-101"><a href="#cite_note-101">[101]</a></sup> In the case of <i>Moby-Dick</i>, Melville had taken almost a year longer than promised, and could not rely on Harpers to prepare the proofs as they had done for the earlier books. Indeed, Harpers had denied him an advance, and since he was already in debt to them for almost $700, he was forced to borrow money and to arrange for the typesetting and plating himself.<sup class="reference" id="cite_ref-102"><a href="#cite_note-102">[102]</a></sup> John Bryant suggests that he did so "to reduce the number of hands playing with his text".<sup class="reference" id="cite_ref-103"><a href="#cite_note-103">[103]</a></sup>
</p><p>The final stages of composition overlapped with the early stages of publication. In June 1851, Melville wrote to Hawthorne that he was in New York to "work and slave on my 'Whale' while it is driving through the press".<sup class="reference" id="cite_ref-Cited_in_Tanselle_(1988),_663_104-0"><a href="#cite_note-Cited_in_Tanselle_(1988),_663-104">[104]</a></sup> By the end of the month, "wearied with the long delay of printers", Melville came back to finish work on the book in Pittsfield. Three weeks later, the typesetting was almost done, as he announced to Bentley on 20 July: "I am now passing thro' the press, the closing sheets of my new work".<sup class="reference" id="cite_ref-Cited_in_Tanselle_(1988),_663_104-1"><a href="#cite_note-Cited_in_Tanselle_(1988),_663-104">[104]</a></sup> While Melville was simultaneously writing and proofreading what had been set, the corrected proof would be plated, that is, the type fixed in final form. 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".<sup class="reference" id="cite_ref-105"><a href="#cite_note-105">[105]</a></sup>
</p><p>On 3 July 1851, Bentley offered Melville ₤150 and "half profits", that is, half the profits that remained after the expenses of production and advertising. On 20 July, Melville accepted, after which Bentley drew up a contract on 13 August.<sup class="reference" id="cite_ref-106"><a href="#cite_note-106">[106]</a></sup> Melville signed and returned the contract in early September, and then went to New York with the proof sheets, made from the finished plates, which he sent to London by his brother Allan on 10 September. For over a month, these proofs had been in Melville's possession, and because the book would be set anew in England, he could devote all his time to correcting and revising them. He still had no American publisher, so the usual hurry about getting the English publication to precede the American was not present.<sup class="reference" id="cite_ref-Tanselle_1988,_667_107-0"><a href="#cite_note-Tanselle_1988,_667-107">[107]</a></sup> Only on 12 September was the Harper publishing contract signed.<sup class="reference" id="cite_ref-108"><a href="#cite_note-108">[108]</a></sup> Bentley received the proof sheets with Melville's corrections and revisions marked on them on September 24. He published the book less than four weeks later.
</p><p>In the October 1851 issue of <i><a href="/wiki/Harper%27s_Magazine" title="Harper's Magazine">Harper's New Monthly Magazine</a></i> "The Town Ho's Story" was published, with a footnote reading: "From 'The Whale'. The title of a new work by Mr. Melville, in the press of Harper and Brothers, and now publishing in London by Mr. Bentley."<sup class="reference" id="cite_ref-109"><a href="#cite_note-109">[109]</a></sup>
</p><p>On 18 October, the English edition, <i>The Whale</i>, was published in a printing of only 500 copies, fewer than Melville's previous books. Their slow sales had convinced Bentley that a smaller number was more realistic. The London <i>Morning Herald</i> on October 20 printed the earliest known review.<sup class="reference" id="cite_ref-110"><a href="#cite_note-110">[110]</a></sup> On 14 November, the American edition, <i>Moby-Dick</i>, was published and the same day reviewed in both the Albany <i>Argus</i> and the <i>Morning Courier and New-York Enquirer</i>. On 19 November, Washington received the copy to be deposited for copyright purposes. The first American printing of 2,915 copies was almost the same as the first of <i>Mardi</i>, but the first printing of Melville's other three Harper books had been a thousand copies more.<sup class="reference" id="cite_ref-111"><a href="#cite_note-111">[111]</a></sup>
</p>
<h3><span id="Melville.27s_revisions_and_British_editorial_revisions"></span><span class="mw-headline" id="Melville's_revisions_and_British_editorial_revisions">Melville's revisions and British editorial revisions</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=14" title="Edit section: Melville's revisions and British editorial revisions">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>The English edition, set by Bentley's printers from the American page proofs with Melville's revisions and corrections, differs from the American edition in over 700 wordings and thousands of punctuation and spelling changes.<sup class="reference" id="cite_ref-Tanselle_1988,_667_107-1"><a href="#cite_note-Tanselle_1988,_667-107">[107]</a></sup>
</p><p>Excluding the preliminaries and the one extract, the three volumes of the English edition came to 927 pages<sup class="reference" id="cite_ref-112"><a href="#cite_note-112">[112]</a></sup> and the single American volume to 635 pages.<sup class="reference" id="cite_ref-Tanselle_1988,_687_113-0"><a href="#cite_note-Tanselle_1988,_687-113">[113]</a></sup> Accordingly, the dedication to Hawthorne in the American edition — "this book is inscribed to"— became "these volumes are inscribed to" in the English.<sup class="reference" id="cite_ref-114"><a href="#cite_note-114">[114]</a></sup> The table of contents in the English edition generally follows the actual chapter titles in the American edition, but 19 titles in the American table of contents differ from the titles above the chapters themselves. This list was probably drawn up by Melville himself: the titles of chapters describing encounters of the <i>Pequod</i> with other ships had—apparently to stress the parallelisms between these chapters—been standardized to "The Pequod meets the ...," with the exception of the already published 'The Town-Ho's Story'.<sup class="reference" id="cite_ref-115"><a href="#cite_note-115">[115]</a></sup> For unknown reasons, the "Etymology" and "Extracts" were moved to the end of the third volume.<sup class="reference" id="cite_ref-Tanselle_1988,_678_116-0"><a href="#cite_note-Tanselle_1988,_678-116">[116]</a></sup> An epigraph from <i>Paradise Lost</i>, taken from the second of the two quotations from that work in the American edition, appears on the title page of each of the three English volumes. Melville's involvement with this rearrangement is not clear: if it was Bentley's gesture toward accommodating Melville, as Tanselle suggests,<sup class="reference" id="cite_ref-Tanselle_1988,_678_116-1"><a href="#cite_note-Tanselle_1988,_678-116">[116]</a></sup> its selection put an emphasis on the quotation Melville may not have agreed with.
</p><p>The largest of Melville's revisions is the addition to the English edition of a 139-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.<sup class="reference" id="cite_ref-117"><a href="#cite_note-117">[117]</a></sup> In addition, about 35 changes produce genuine improvements, as opposed to mere corrections: "Melville may not have made every one of the changes in this category, but it seems certain that he was responsible for the great majority of them."<sup class="reference" id="cite_ref-118"><a href="#cite_note-118">[118]</a></sup>
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<h3><span id="British_censorship_and_missing_.22Epilogue.22"></span><span class="mw-headline" id='British_censorship_and_missing_"Epilogue"'>British censorship and missing "Epilogue"</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=15" title='Edit section: British censorship and missing "Epilogue"'>edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>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".<sup class="reference" id="cite_ref-119"><a href="#cite_note-119">[119]</a></sup> According to biographer Robertson-Lorant, the result was that the English edition was "badly mutilated".<sup class="reference" id="cite_ref-Robertson-Lorant_1996,_277_120-0"><a href="#cite_note-Robertson-Lorant_1996,_277-120">[120]</a></sup> The expurgations fall into four categories, ranked according to the apparent priorities of the censor:
</p>
<ol><li>Sacrilegious passages, more than 1200 words: Attributing human failures to God was grounds for excision or revision, as was comparing human shortcomings to divine ones. For example, in chapter 28, "Ahab", Ahab stands with "a crucifixion" in his face" was revised to "an apparently eternal anguish";<sup class="reference" id="cite_ref-121"><a href="#cite_note-121">[121]</a></sup></li>
<li>Sexual matters, including the sex life of whales and even Ishmael's worried anticipation of the nature of Queequeg's underwear, as well as allusions to fornication or harlots, and "our hearts' honeymoon" (in relation to Ishmael and Queequeg)<sup class="reference" id="cite_ref-122"><a href="#cite_note-122">[122]</a></sup> Chapter 95, however, "The Cassock", referring to the whale's genital organ, was untouched, perhaps because of Melville's indirect language.</li>
<li>Remarks "belittling royalty or implying a criticism of the British": This meant the exclusion of the complete chapter 25, a "Postscript" on the use of sperm oil at coronations;<sup class="reference" id="cite_ref-123"><a href="#cite_note-123">[123]</a></sup></li>
<li>Perceived grammatical or stylistic anomalies were treated with "a highly conservative interpretation of rules of 'correctness'".<sup class="reference" id="cite_ref-124"><a href="#cite_note-124">[124]</a></sup></li></ol>
<p>These expurgations also meant that any corrections or revisions Melville may have marked upon these passages are now lost.
</p><p>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 English 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."<sup class="reference" id="cite_ref-125"><a href="#cite_note-125">[125]</a></sup> Why the "Epilogue" is missing is unknown. Since nothing objectionable was in it, most likely it was somehow lost by Bentley's printer when the "Etymology" and "Extracts" were moved.<sup class="reference" id="cite_ref-126"><a href="#cite_note-126">[126]</a></sup>
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<h3><span class="mw-headline" id="Last-minute_change_of_title">Last-minute change of title</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=16" title="Edit section: Last-minute change of title">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>After the sheets had been sent, Melville changed the title. Probably late in September, Allan sent Bentley two pages of proof with a letter of which only a draft survives which informed him that Melville "has determined upon a new title & dedication—Enclosed you have proof of both—It is thought here that the new title will be a better <i>selling</i> 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".<sup class="reference" id="cite_ref-Cited_in_Tanselle_(1988),_671_127-0"><a href="#cite_note-Cited_in_Tanselle_(1988),_671-127">[127]</a></sup> Biographer Hershel Parker suggests that the reason for the change was that Harper's had two years earlier published a book with a similar title, <i>The Whale and His Captors</i>.<sup class="reference" id="cite_ref-128"><a href="#cite_note-128">[128]</a></sup>
</p><p>Changing the title was not a problem for the American edition, since the <a class="mw-redirect" href="/wiki/Running_head" title="Running head">running heads</a> 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. In October <i>Harper's New Monthly Magazine</i> printed chapter 54, "The Town-Ho's Story", with a footnote saying: "From <i>The Whale.</i> The title of a new work by Mr. Melville".<sup class="reference" id="cite_ref-Cited_in_Tanselle_(1988),_671_127-1"><a href="#cite_note-Cited_in_Tanselle_(1988),_671-127">[127]</a></sup> The one surviving leaf of proof, "a 'trial' page bearing the title 'The Whale' and the Harper imprint,"<sup class="reference" id="cite_ref-Cited_in_Tanselle_(1988),_672_129-0"><a href="#cite_note-Cited_in_Tanselle_(1988),_672-129">[129]</a></sup> shows that at this point, after the publisher had been found, the original title still stood. When Allan's letter arrived, no sooner than early October, Bentley had already announced <i>The Whale</i> in both the <i>Athenaem</i> and the <i>Spectator</i> of 4 and 11 October.<sup class="reference" id="cite_ref-130"><a href="#cite_note-130">[130]</a></sup> Probably to accommodate Melville, Bentley inserted a <a class="mw-redirect" href="/wiki/Half_title" title="Half title">half-title page</a> in the first volume only, which reads "The Whale; or, Moby Dick".<sup class="reference" id="cite_ref-Cited_in_Tanselle_(1988),_672_129-1"><a href="#cite_note-Cited_in_Tanselle_(1988),_672-129">[129]</a></sup>
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<h3><span class="mw-headline" id="Sales_and_earnings">Sales and earnings</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=17" title="Edit section: Sales and earnings">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>The British printing of 500 copies sold fewer than 300 within the first four months. In 1852, some remaining sheets were bound in a cheaper casing, and in 1853, enough sheets were still left to issue a cheap edition in one volume. Bentley recovered only half on the ₤150 he advanced Melville, whose share from actual sales would have been just ₤38, and he did not print a new edition.<sup class="reference" id="cite_ref-Tanselle_1988,_688_131-0"><a href="#cite_note-Tanselle_1988,_688-131">[131]</a></sup> Harper's first printing was 2,915 copies, including the standard 125 review copies. The selling price was $1.50, about a fifth of the price of the British three-volume edition.<sup class="reference" id="cite_ref-Tanselle_1988,_687_113-1"><a href="#cite_note-Tanselle_1988,_687-113">[113]</a></sup> About 1,500 copies were sold within 11 days, and then sales slowed down to less than 300 the next year. After three years, the first edition was still available, almost 300 copies of which were lost when a fire broke out at the firm in December 1853. In 1855, a second printing of 250 copies was issued, in 1863, a third of 253 copies, and finally in 1871, a fourth printing of 277 copies, which sold so slowly that no new printing was ordered.<sup class="reference" id="cite_ref-Tanselle_1988,_688_131-1"><a href="#cite_note-Tanselle_1988,_688-131">[131]</a></sup> <i>Moby-Dick</i> was out of print during the last four years of Melville's life, having sold 2,300 in its first year and a half and on average 27 copies a year for the next 34 years, totaling 3,215 copies.
</p><p>Melville's earnings from the book add up to $1,260: the ₤150 advance from Bentley was equivalent to $703, and the American printings earned him $556, which was $100 less than he earned from any of his five previous books.<sup class="reference" id="cite_ref-Tanselle_1988,_689_132-0"><a href="#cite_note-Tanselle_1988,_689-132">[132]</a></sup> Melville's widow received another $81 when the United States Book Company issued the book and sold almost 1,800 copies between 1892 and 1898.<sup class="reference" id="cite_ref-Tanselle_1988,_689_132-1"><a href="#cite_note-Tanselle_1988,_689-132">[132]</a></sup>
</p>
<h2><span class="mw-headline" id="Reception">Reception</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=18" title="Edit section: Reception">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The reception of <i>The Whale</i> in Britain and of <i>Moby-Dick</i> in the United States differed in two ways, according to Parker. 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"<sup class="reference" id="cite_ref-Parker_2002,_17_133-0"><a href="#cite_note-Parker_2002,_17-133">[133]</a></sup> who were "experienced critics and trenchant prose stylists",<sup class="reference" id="cite_ref-Parker_1988,_700_134-0"><a href="#cite_note-Parker_1988,_700-134">[134]</a></sup> 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.<sup class="reference" id="cite_ref-Parker_2002,_17_133-1"><a href="#cite_note-Parker_2002,_17-133">[133]</a></sup> American reviewing was mostly delegated to "newspaper staffers" or else by "amateur contributors more noted for religious piety than critical acumen."<sup class="reference" id="cite_ref-Parker_1988,_700_134-1"><a href="#cite_note-Parker_1988,_700-134">[134]</a></sup> Second, the differences between the two editions caused "two distinct critical receptions."<sup class="reference" id="cite_ref-135"><a href="#cite_note-135">[135]</a></sup>
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<h3><span class="mw-headline" id="British">British</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=19" title="Edit section: British">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Twenty-one reviews appeared in London, and later one in Dublin.<sup class="reference" id="cite_ref-Parker_1988,_700_134-2"><a href="#cite_note-Parker_1988,_700-134">[134]</a></sup> The British reviewers, according to Parker, mostly regarded <i>The Whale</i> as "a phenomenal literary work, a philosophical, metaphysical, and poetic romance".<sup class="reference" id="cite_ref-Parker_1988,_702_136-0"><a href="#cite_note-Parker_1988,_702-136">[136]</a></sup> The <i>Morning Advertiser</i> for October 24 was in awe of Melville's learning, of his "dramatic ability for producing a prose poem", and of the whale adventures which were "powerful in their cumulated horrors."<sup class="reference" id="cite_ref-137"><a href="#cite_note-137">[137]</a></sup> To its surprise, <i>John Bull</i> found "philosophy in whales" and "poetry in blubber", and concluded that few books that claimed to be either philosophical or literary works "contain as much true philosophy and as much genuine poetry as the tale of the <i>Pequod'</i>s whaling expedition", making it a work "far beyond the level of an ordinary work of fiction".<sup class="reference" id="cite_ref-Parker_1988,_702-03_138-0"><a href="#cite_note-Parker_1988,_702-03-138">[138]</a></sup> The <i>Morning Post</i> found it "one of the cleverest, wittiest, and most amusing of modern books", and predicted that it was a book "which will do great things for the literary reputation of its author".<sup class="reference" id="cite_ref-Parker_1988,_702-03_138-1"><a href="#cite_note-Parker_1988,_702-03-138">[138]</a></sup>
</p><p>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."<sup class="reference" id="cite_ref-139"><a href="#cite_note-139">[139]</a></sup>
</p><p>
One of the earliest reviews, by the extremely conservative critic Henry Chorley<sup class="reference" id="cite_ref-Robertson-Lorant_1996,_277_120-1"><a href="#cite_note-Robertson-Lorant_1996,_277-120">[120]</a></sup> in the highly regarded London <i><a class="mw-redirect" href="/wiki/Athenaeum_(British_magazine)" title="Athenaeum (British magazine)">Athenaeum</a></i>, described it as <link href="mw-data:TemplateStyles:r856303468" rel="mw-deduplicated-inline-style"/></p><blockquote class="templatequote"><p>[A]n ill-compounded mixture of romance and matter-of-fact. 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.
</p></blockquote>
<p>According to the London <i>Literary Gazette and Journal of Science and Art</i> for December 6, 1851, "Mr. Melville cannot do without savages, so he makes half of his <i>dramatis personae</i> 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".<sup class="reference" id="cite_ref-Robertson-Lorant_1996_140-0"><a href="#cite_note-Robertson-Lorant_1996-140">[140]</a></sup> Most critics regretted the extravagant digressions because they distracted from an otherwise interesting and even exciting narrative, but even critics who did not like the book as a whole recognized the genius evident in Melville's originality of imagination and expression.<sup class="reference" id="cite_ref-141"><a href="#cite_note-141">[141]</a></sup>
</p><p>One problem was that since the English edition omitted the epilogue, British reviewers read a book with a first-person narrator who apparently did not survive to tell the tale.<sup class="reference" id="cite_ref-Parker_1988,_702_136-1"><a href="#cite_note-Parker_1988,_702-136">[136]</a></sup> The reviewer of the <i>Literary Gazette</i> asked how Ishmael, "who appears to have been drowned with the rest, communicated his notes to Mr. Bentley".<sup class="reference" id="cite_ref-Robertson-Lorant_1996_140-1"><a href="#cite_note-Robertson-Lorant_1996-140">[140]</a></sup> The reviewer in the <i>Spectator</i> objected that "nothing should be introduced into a novel which it is physically impossible for the writer to have known: thus, he must not describe the conversation of miners in a pit if they <i>all</i> perish."<sup class="reference" id="cite_ref-Cited_in_Parker_(1988),_708_142-0"><a href="#cite_note-Cited_in_Parker_(1988),_708-142">[142]</a></sup> The <i>Dublin University Magazine</i> asked "how does it happen that the author is alive to tell the story?" and the <i>Literary Gazette</i> declared that how the writer, "who appears to have been drowned with the rest, communicated his notes for publication to Mr. Bentley is not explained".<sup class="reference" id="cite_ref-Cited_in_Parker_(1988),_708_142-1"><a href="#cite_note-Cited_in_Parker_(1988),_708-142">[142]</a></sup> A few other reviewers, who did not comment upon the apparent impossibility of Ishmael telling the story, pointed out violations of narrative conventions in other passages.
</p><p>Other reviewers were fascinated enough with the book to accept its perceived flaws. <i>John Bull</i> praised the author for making literature out of unlikely and even unattractive matter, and the <i>Morning Post</i> found that delight far oustripped the improbable character of events.<sup class="reference" id="cite_ref-143"><a href="#cite_note-143">[143]</a></sup> Though some reviewers viewed the characters, especially Ahab, as exaggerated, many understood it took an extraordinary character to undertake the battle with the white whale. Melville's style was usually praised regardless of the reviewer's judgment of the book, but some perceived the same tendency to over-doing here, and some found his style too American.<sup class="reference" id="cite_ref-144"><a href="#cite_note-144">[144]</a></sup>
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<h3><span class="mw-headline" id="American">American</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=20" title="Edit section: American">edit</a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Some sixty reviews appeared in America, the criterion for counting as a review being more than two lines of comment.<sup class="reference" id="cite_ref-145"><a href="#cite_note-145">[145]</a></sup> Only a couple of reviewers expressed themselves early enough not to be influenced by news of the British reception.<sup class="reference" id="cite_ref-Parker_2002,_17_133-2"><a href="#cite_note-Parker_2002,_17-133">[133]</a></sup> Though <i>Moby-Dick</i> did contain the <i>Epilogue</i> and so accounted for Ishmael's survival, the British reviews influenced the American reception. The earliest American review, in the Boston <i>Post</i> for November 20, quoted the London <i>Athenaeum</i><span class="nowrap" style="padding-left:0.1em;">'</span>s scornful review, not realizing that some of the criticism of <i>The Whale</i> did not pertain to <i>Moby-Dick</i>. 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'".<sup class="reference" id="cite_ref-146"><a href="#cite_note-146">[146]</a></sup> Though the <i>Post</i> quoted the greater portion of the review, it omitted the condensed extract of Melville's prose the <i>Athenaeum</i> had included to give readers an example of it. The <i>Post</i> 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".<sup class="reference" id="cite_ref-147"><a href="#cite_note-147">[147]</a></sup>
</p><p>The New York <i>North American Miscellany</i> for December summarized the verdict in the <i>Athenaeum</i>. The reviewer of the December New York <i>Eclectic Magazine</i> had actually read <i>Moby-Dick</i> in full, and was puzzled why the <i>Athenaeum</i> was so scornful of the ending. The attack on <i>The Whale</i> by the <i>Spectator</i> was reprinted in the December New York <i>International Magazine</i>, which inaugurated the influence of another unfavorable review. Rounding off what American readers were told about the British reception, in January <i>Harper's Monthly Magazine</i> attempted some damage control, and wrote that the book had "excited a general interest" among the London magazines.<sup class="reference" id="cite_ref-148"><a href="#cite_note-148">[148]</a></sup>
</p><p>The most influential American review, ranked according to the number of references to it, appeared in the weekly magazine <i>Literary World</i>, which had printed Melville's "Mosses" essay the preceding year. The author of the unsigned review in two installments, on 15 and 22 November, was later identified as publisher <a class="new" href="/w/index.php?title=Evert_Duyckinck&action=edit&redlink=1" title="Evert Duyckinck (page does not exist)">Evert Duyckinck</a>.<sup class="reference" id="cite_ref-149"><a href="#cite_note-149">[149]</a></sup> The first half of the first installment was devoted to an event of remarkable coincidence: early in the month, between the publishing of the British and the American edition, a whale had sunk the New Bedford whaler <i>Ann Alexander</i> near Chile.<sup class="reference" id="cite_ref-150"><a href="#cite_note-150">[150]</a></sup> In the second installment, Duyckinck described <i>Moby-Dick</i> 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 <i>Pequod</i> 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."<sup class="reference" id="cite_ref-151"><a href="#cite_note-151">[151]</a></sup> The review prompted Hawthorne to take the "unusually aggressive step of reproving Duyckinck" by criticizing the review in a letter to Duyckinck of December 1:<sup class="reference" id="cite_ref-152"><a href="#cite_note-152">[152]</a></sup>
</p>
<blockquote><p>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.<sup class="reference" id="cite_ref-153"><a href="#cite_note-153">[153]</a></sup></p></blockquote>
<p>The Transendental socialist <a href="/wiki/George_Ripley_(transcendentalist)" title="George Ripley (transcendentalist)">George Ripley</a> published a review in the New York <i>Tribune</i> for 22 November, in which he compared the book favorably to <i>Mardi</i>, 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.<sup class="reference" id="cite_ref-154"><a href="#cite_note-154">[154]</a></sup> Ripley was almost surely also the author of the review in <i>Harper's</i> for December, which saw in Ahab's quest the "slight framework" for something else: "Beneath the whole story, the subtle, imaginative reader may perhaps find a pregnant allegory, intended to illustrate the mystery of human life."<sup class="reference" id="cite_ref-Quoted_in_Parker_2002,_27_155-0"><a href="#cite_note-Quoted_in_Parker_2002,_27-155">[155]</a></sup> Among the handful of other favorable reviews was one in the <i>Albion</i> on 22 November which saw the book as a blend of truth and satire.<sup class="reference" id="cite_ref-156"><a href="#cite_note-156">[156]</a></sup> Melville's friend Nathaniel Parker Willis, reviewing the book in the 29 November <i>Home Journal</i>, found it "a very racy, spirited, curious and entertaining book ... it enlists the curiosity, excites the sympathies, and often charms the fancy".<sup class="reference" id="cite_ref-Quoted_in_Parker_2002,_27_155-1"><a href="#cite_note-Quoted_in_Parker_2002,_27-155">[155]</a></sup> In the 6 December <i>Spirit of the Times</i>, editor William T. 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".<sup class="reference" id="cite_ref-Quoted_in_Parker_2002,_27_155-2"><a href="#cite_note-Quoted_in_Parker_2002,_27-155">[155]</a></sup> Some other, shorter reviews mixed their praise with genuine reservations about the "irreverence and profane jesting", as the New Haven <i>Daily Palladium</i> for 17 November phrased it. 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.<sup class="reference" id="cite_ref-157"><a href="#cite_note-157">[157]</a></sup>
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<h2><span class="mw-headline" id="Legacy_and_adaptations">Legacy and adaptations</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=21" title="Edit section: Legacy and adaptations">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<div class="hatnote navigation-not-searchable" role="note">Main article: <a href="/wiki/Adaptations_of_Moby-Dick" title="Adaptations of Moby-Dick">Adaptations of Moby-Dick</a></div>
<p>Within a year after Melville's death, <i>Moby-Dick</i>, along with <i>Typee</i>, <i>Omoo</i>, and <i>Mardi</i>, was reprinted by <a class="mw-redirect" href="/wiki/Harper_and_Row" title="Harper and Row">Harper & Brothers</a>, giving it a chance to be rediscovered. However, only New York's literary underground seemed to take much 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 fairly easily obtained or remembered. Other works, especially the poetry, went largely forgotten.<sup class="reference" id="cite_ref-bartleby1_158-0"><a href="#cite_note-bartleby1-158">[158]</a></sup>
</p><p>In 1917, <a href="/wiki/American_literature" title="American literature">American author</a> <a href="/wiki/Carl_Van_Doren" title="Carl Van Doren">Carl Van Doren</a> became the first of this period to proselytize about Melville's value. His 1921 study, <i>The American Novel</i>, called <i>Moby-Dick</i> a pinnacle of American Romanticism.<sup class="reference" id="cite_ref-bartleby1_158-1"><a href="#cite_note-bartleby1-158">[158]</a></sup>
</p><p>In his 1923 idiosyncratic but influential <i><a href="/wiki/Studies_in_Classic_American_Literature" title="Studies in Classic American Literature">Studies in Classic American Literature</a></i>, novelist, poet, and short story writer <a href="/wiki/D._H._Lawrence" title="D. H. Lawrence">D. H. Lawrence</a> celebrated the originality and value of American authors, among them Melville. Perhaps surprisingly, Lawrence saw <i>Moby-Dick</i> as a work of the first order despite his using the expurgated original English edition which also lacked the epilogue.<sup class="reference" id="cite_ref-bartleby1_158-2"><a href="#cite_note-bartleby1-158">[158]</a></sup>
</p><p>The <a href="/wiki/Modern_Library" title="Modern Library">Modern Library</a> brought out <i>Moby-Dick</i> in 1926 and the <a class="mw-redirect" href="/wiki/Lakeside_Press" title="Lakeside Press">Lakeside Press</a> in Chicago commissioned <a href="/wiki/Rockwell_Kent#Biography" title="Rockwell Kent">Rockwell Kent</a> to design and illustrate a striking three-volume edition which appeared in 1930. <a href="/wiki/Random_House" title="Random House">Random House</a> then issued a one-volume trade version of Kent's edition, which in 1943 they reprinted as a less expensive Modern Library Giant.<sup class="reference" id="cite_ref-159"><a href="#cite_note-159">[159]</a></sup>
</p><p>The novel has been adapted or represented in art, film, books, cartoons, television, and more than a dozen versions in comic-book format. The first adaptation was the <a href="/wiki/1926_in_film" title="1926 in film">1926</a> <a class="mw-redirect" href="/wiki/Silent_movie" title="Silent movie">silent movie</a> <i><a href="/wiki/The_Sea_Beast" title="The Sea Beast">The Sea Beast</a></i>, starring <a href="/wiki/John_Barrymore" title="John Barrymore">John Barrymore</a>,<sup class="reference" id="cite_ref-160"><a href="#cite_note-160">[160]</a></sup> in which Ahab kills the whale and returns to marry his fiancée.<sup class="reference" id="cite_ref-Springer_2007_161-0"><a href="#cite_note-Springer_2007-161">[161]</a></sup> The most famous adaptation was the <a href="/wiki/John_Huston" title="John Huston">John Huston</a> <a href="/wiki/Moby_Dick_(1956_film)" title="Moby Dick (1956 film)">1956 film</a> produced from a screenplay by author <a href="/wiki/Ray_Bradbury" title="Ray Bradbury">Ray Bradbury</a>.<sup class="reference" id="cite_ref-162"><a href="#cite_note-162">[162]</a></sup> The long list of adaptations, as Bryant and Springer put it, demonstrates that "the iconic image of an angry embittered American slaying a mythic beast seemed to capture the popular imagination", showing how "different readers in different periods of popular culture have rewritten <i>Moby-Dick</i>" to make it a "true cultural icon".<sup class="reference" id="cite_ref-Springer_2007_161-1"><a href="#cite_note-Springer_2007-161">[161]</a></sup> American artist <a href="/wiki/David_Klamen" title="David Klamen">David Klamen</a> has cited the novel as an important influence on his dark, slow-to-disclose paintings, noting a passage in the book in which a mysterious, undecipherable painting in a bar is gradually revealed to depict a whale.<sup class="reference" id="cite_ref-Schultz_163-0"><a href="#cite_note-Schultz-163">[163]</a></sup>
</p><p>American author <a href="/wiki/Ralph_Ellison" title="Ralph Ellison">Ralph Ellison</a> wrote a tribute to the book in the prologue of his 1952 novel <i><a href="/wiki/Invisible_Man" title="Invisible Man">Invisible Man</a></i>, where the narrator remembers a moment of truth under the influence of marijuana, and evocates a church service: "Brothers and sisters, my text this morning is the 'Blackness of Blackness.' And the congregation answers: 'That blackness is most black, brother, most black ... '" This scene, Ellison biographer <a href="/wiki/Arnold_Rampersad" title="Arnold Rampersad">Arnold Rampersad</a> observes, "reprises a moment in the second chapter of <i>Moby-Dick</i>", where Ishmael wanders around New Bedford looking for a place to spend the night, and momentarily joins a congregation: "It was a negro church; and the preacher's text was about the blackness of darkness, and the weeping and wailing and teeth-gnashing there." According to Rampersad, it was Melville who "empowered Ellison to insist on a place in the American literary tradition" by his example of "representing the complexity of race and racism so acutely and generously in his text".<sup class="reference" id="cite_ref-164"><a href="#cite_note-164">[164]</a></sup> Rampersaf also believes Ellison's choice of a first-person narrator was inspired above all by <i>Moby-Dick</i>, and the novel even has a similar opening sentence with the narrator introducing himself ("I am an invisible man").<sup class="reference" id="cite_ref-165"><a href="#cite_note-165">[165]</a></sup> The oration by Ellison's blind preacher Barbee resembles Father Mapple's sermon in that both prepare the reader for what is to come.<sup class="reference" id="cite_ref-166"><a href="#cite_note-166">[166]</a></sup>
</p><p>American songwriter <a href="/wiki/Bob_Dylan" title="Bob Dylan">Bob Dylan</a> elaborated on the book in his Nobel Prize Acceptance Speech of 2017, citing the book as one of the three books that influenced him most. Dylan's description of the book ends with an acknowledgment: "That theme, and all that it implies, would work its way into more than a few of my songs."<sup class="reference" id="cite_ref-167"><a href="#cite_note-167">[167]</a></sup>
</p>
<h2><span class="mw-headline" id="Editions">Editions</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=22" title="Edit section: Editions">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<ul><li>Melville, H. <i>The Whale</i>. London: Richard Bentley, 1851 3 vols. (viii, 312; iv, 303; iv, 328 pp.) Published October 18, 1851.</li>
<li>Melville, H., <i><a class="external text" href="https://babel.hathitrust.org/cgi/pt?id=dul1.ark:/13960/t3kw6ns1s;view=1up;seq=9" rel="nofollow">Moby-Dick</a></i><a class="external text" href="https://babel.hathitrust.org/cgi/pt?id=dul1.ark:/13960/t3kw6ns1s;view=1up;seq=9" rel="nofollow">; or, <i>The Whale</i></a>. New York: Harper and Brothers, 1851. xxiii, 635 pages. Published probably on November 14, 1851.</li>
<li>Melville, H., <a class="external text" href="http://babel.hathitrust.org/cgi/pt?id=mdp.39015046801760;view=1up;seq=20" rel="nofollow"><i>Moby-Dick; or, The Whale</i>.</a> Edited by Luther S. Mansfield and Howard P. Vincent. New York: Hendricks House, 1952. Includes a 25-page Introduction and over 250 pages of Explanatory Notes with an Index.</li>
<li>Melville, H., <i>Moby-Dick; or, The Whale</i>: An Authoritative Text, Reviews and Letters by Melville, Analogues and Sources, Criticism. A Norton Critical Edition. Edited by Harrison Hayford and Hershel Parker. New York: W.W. Norton, 1967. <style data-mw-deduplicate="TemplateStyles:r879151008">.mw-parser-output cite.citation{font-style:inherit}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation .cs1-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/6/65/Lock-green.svg/9px-Lock-green.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Lock-gray-alt-2.svg/9px-Lock-gray-alt-2.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .citation .cs1-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Lock-red-alt-2.svg/9px-Lock-red-alt-2.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration{color:#555}.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration span{border-bottom:1px dotted;cursor:help}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/12px-Wikisource-logo.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output code.cs1-code{color:inherit;background:inherit;border:inherit;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;font-size:100%}.mw-parser-output .cs1-visible-error{font-size:100%}.mw-parser-output .cs1-maint{display:none;color:#33aa33;margin-left:0.3em}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration,.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-right{padding-right:0.2em}</style><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/039309670X" title="Special:BookSources/039309670X">039309670X</a></li>
<li>Melville, H. <i>Moby-Dick, or The Whale.</i> Northwestern-Newberry Edition of the Writings of Herman Melville 6. Evanston, Ill.: Northwestern U. Press, 1988. A <a href="/wiki/Textual_criticism" title="Textual criticism">critical text</a> with appendices on the history and reception of the book. The text is in the public domain.</li>
<li>Parker, Hershel, and Harrison Hayford (eds). (2001). Herman Melville, <i>Moby-Dick</i>. A Norton Critical Edition. Second Edition, New York and London: W.W. Norton & Company. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780393972832" title="Special:BookSources/9780393972832">9780393972832</a></li>
<li><a class="external text" href="http://www.pearsonhighered.com/educator/product/Moby-Dick-A-Longman-Critical-Edition/9780321228000.page" rel="nofollow"><i>Moby-Dick: A Longman Critical Edition</i></a>, Edited by John Bryant and Haskell Springer. New York: Longman, 2007 and 2009. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/978-0-321-22800-0" title="Special:BookSources/978-0-321-22800-0">978-0-321-22800-0</a></li></ul>
<h2><span class="mw-headline" id="Footnotes">Footnotes</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=23" title="Edit section: Footnotes">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<div class="reflist columns references-column-width" style="-moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;">
<ol class="references">
<li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Faulkner (1927)</span>
</li>
<li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Lawrence (1923), 168</span>
</li>
<li id="cite_note-Buell_2014,_367-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-Buell_2014,_367_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Buell_2014,_367_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Buell (2014), 367</span>
</li>
<li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Tanselle (1988) "Editorial Appendix," 810–12</span>
</li>
<li id="cite_note-Bezanson_1953,_644-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bezanson_1953,_644_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bezanson_1953,_644_5-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bezanson (1953), 644</span>
</li>
<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Quoted in Bezanson (1953), 645</span>
</li>
<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Bryant (1998), 67–8</span>
</li>
<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Bezanson (1953), 647</span>
</li>
<li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Bezanson (1953), 653</span>
</li>
<li id="cite_note-Bezanson_1953,_654-10"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bezanson_1953,_654_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bezanson_1953,_654_10-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bezanson (1953), 654</span>
</li>
<li id="cite_note-Buell_2014,_365-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-Buell_2014,_365_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Buell_2014,_365_11-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Buell (2014), 365</span>
</li>
<li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Milder (1988), 434</span>
</li>
<li id="cite_note-Bryant_and_Springer_2007,_xvi-13"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bryant_and_Springer_2007,_xvi_13-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bryant_and_Springer_2007,_xvi_13-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bryant and Springer (2007), xvi</span>
</li>
<li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Bryant and Springer (2007), x</span>
</li>
<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Bezanson (1986), 188</span>
</li>
<li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Bezanson (1986), 195</span>
</li>
<li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Bezanson (1953), 655, italics Bezanson's</span>
</li>
<li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Wright (1949), 66–67</span>
</li>
<li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Forster (1927), 143–144</span>
</li>
<li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">Forster (1927), 142</span>
</li>
<li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">Robertson-Lorant (1996), 279-80</span>
</li>
<li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">Ch.3, "The Spouter Inn".</span>
</li>
<li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">Delbanco (2005), 159</span>
</li>
<li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">Delbanco (2005), 161</span>
</li>
<li id="cite_note-Bryant_and_Springer_2007,_xxii-25"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bryant_and_Springer_2007,_xxii_25-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bryant_and_Springer_2007,_xxii_25-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bryant and Springer (2007), xxii</span>
</li>
<li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">Bryant and Springer (2007), xvii</span>
</li>
<li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text"><cite class="citation journal">Lamb, Robert Paul (2005). <a class="external text" href="http://muse.jhu.edu/journals/college_literature/v032/32.1lamb.html" rel="nofollow">"Fast-Fish and Loose-Fish: Teaching Melville's Moby-Dick in the College Classroom"</a>. <i>College Literature</i>. <b>32</b> (1): 42–62. <a href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</a>:<a class="external text" href="//doi.org/10.1353%2Flit.2005.0011" rel="nofollow">10.1353/lit.2005.0011</a><span class="reference-accessdate">. Retrieved <span class="nowrap">13 December</span> 2014</span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=College+Literature&rft.atitle=Fast-Fish+and+Loose-Fish%3A+Teaching+Melville%27s+Moby-Dick+in+the+College+Classroom&rft.volume=32&rft.issue=1&rft.pages=42-62&rft.date=2005&rft_id=info%3Adoi%2F10.1353%2Flit.2005.0011&rft.aulast=Lamb&rft.aufirst=Robert+Paul&rft_id=http%3A%2F%2Fmuse.jhu.edu%2Fjournals%2Fcollege_literature%2Fv032%2F32.1lamb.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick"></span><link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/></span>
</li>
<li id="cite_note-Baldick-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-Baldick_28-0">^</a></b></span> <span class="reference-text"><cite class="citation book">Baldick, Chris (2015). <i>The Oxford Dictionary of Literary Terms</i> (4th ed.). Oxford: Oxford University Press. p. 363. <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780198715443" title="Special:BookSources/9780198715443">9780198715443</a>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Oxford+Dictionary+of+Literary+Terms&rft.place=Oxford&rft.pages=363&rft.edition=4th&rft.pub=Oxford+University+Press&rft.date=2015&rft.isbn=9780198715443&rft.aulast=Baldick&rft.aufirst=Chris&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick"></span><link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/></span>
</li>
<li id="cite_note-Ruland_and_Bradbury-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-Ruland_and_Bradbury_29-0">^</a></b></span> <span class="reference-text"><cite class="citation book">Ruland, Richard; Bradbury, Malcolm (1990). <i>From Puritanism to Postmodernism</i>. Harmondsworth: Penguin. pp. 159–161. <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0140144358" title="Special:BookSources/0140144358">0140144358</a>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=From+Puritanism+to+Postmodernism&rft.place=Harmondsworth&rft.pages=159-161&rft.pub=Penguin&rft.date=1990&rft.isbn=0140144358&rft.aulast=Ruland&rft.aufirst=Richard&rft.au=Bradbury%2C+Malcolm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick"></span><link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/></span>
</li>
<li id="cite_note-R._Chase-30"><span class="mw-cite-backlink">^ <a href="#cite_ref-R._Chase_30-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-R._Chase_30-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite class="citation book">Chase, Richard Volney, ed. (1962). "Melville and Moby-Dick". <i>Melville: a Collection of Critical Essays</i>. Spectrum. pp. 56–61.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Melville+and+Moby-Dick&rft.btitle=Melville%3A+a+Collection+of+Critical+Essays&rft.pages=56-61&rft.pub=Spectrum&rft.date=1962&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick"></span><link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/></span>
</li>
<li id="cite_note-Moby-Dick_(Bantam)-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-Moby-Dick_(Bantam)_31-0">^</a></b></span> <span class="reference-text"><cite class="citation book">Melville, Herman (1981). Arvin, Newton, ed. <i>Moby-Dick</i>. Bantam. pp. 549–558. <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0553213113" title="Special:BookSources/0553213113">0553213113</a>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Moby-Dick&rft.pages=549-558&rft.pub=Bantam&rft.date=1981&rft.isbn=0553213113&rft.aulast=Melville&rft.aufirst=Herman&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick"></span><link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/></span>
</li>
<li id="cite_note-Bryant_and_Springer_2007,_xv-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-Bryant_and_Springer_2007,_xv_32-0">^</a></b></span> <span class="reference-text">Bryant and Springer (2007), xv</span>
</li>
<li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">Arvin (1950), 204-205. Arvin's italics.</span>
</li>
<li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Arvin (1950), 206. Arvin's italics.</span>
</li>
<li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">Arvin (1950), 206</span>
</li>
<li id="cite_note-Lee_2006,_395-36"><span class="mw-cite-backlink">^ <a href="#cite_ref-Lee_2006,_395_36-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Lee_2006,_395_36-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Lee_2006,_395_36-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Lee (2006), 395</span>
</li>
<li id="cite_note-Berthoff_1962,_164-37"><span class="mw-cite-backlink">^ <a href="#cite_ref-Berthoff_1962,_164_37-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Berthoff_1962,_164_37-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Berthoff (1962), 164</span>
</li>
<li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">Berthoff (1962), 163</span>
</li>
<li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text">Wright (1940), 196 n. 59</span>
</li>
<li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">Bercaw (1987), 10</span>
</li>
<li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text">Bezanson (1953), 648, italics Bezanson's</span>
</li>
<li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">Bezanson (1953), 648–49, italics Bezanson's</span>
</li>
<li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">Bezanson (1953), 649</span>
</li>
<li id="cite_note-Matthiessen_1941,_461-44"><span class="mw-cite-backlink">^ <a href="#cite_ref-Matthiessen_1941,_461_44-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Matthiessen_1941,_461_44-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Matthiessen (1941), 461</span>
</li>
<li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">Matthiessen (1941), 462–63</span>
</li>
<li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text">Bezanson (1986), 198</span>
</li>
<li id="cite_note-Matthiessen_1941,_424-47"><span class="mw-cite-backlink">^ <a href="#cite_ref-Matthiessen_1941,_424_47-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Matthiessen_1941,_424_47-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Matthiessen_1941,_424_47-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Matthiessen_1941,_424_47-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text">Matthiessen (1941), 424</span>
</li>
<li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text">Grey (2006), 253</span>
</li>
<li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text">Matthiessen (1941), 426</span>
</li>
<li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text">Matthiessen (1941). 425</span>
</li>
<li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text">Matthiessen (1941), 428</span>
</li>
<li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text">Matthiessen (1941), 428–429</span>
</li>
<li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text">Matthiessen (1941), 429</span>
</li>
<li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text">Quoted in Matthiessen (1941), 429</span>
</li>
<li id="cite_note-Matthiessen_1941,_430-55"><span class="mw-cite-backlink">^ <a href="#cite_ref-Matthiessen_1941,_430_55-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Matthiessen_1941,_430_55-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Matthiessen_1941,_430_55-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Matthiessen (1941), 430</span>
</li>
<li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text">Matthiessen (1941), 430–31</span>
</li>
<li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text">Matthiessen (1941), 431</span>
</li>
<li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text">Quoted in Howard (1940), 232. Howard's italics.</span>
</li>
<li id="cite_note-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-59">^</a></b></span> <span class="reference-text">Howard (1940), 232. Howard's italics.</span>
</li>
<li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text">Heflin (2004), 16</span>
</li>
<li id="cite_note-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-61">^</a></b></span> <span class="reference-text">Heflin (2004), 18</span>
</li>
<li id="cite_note-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-62">^</a></b></span> <span class="reference-text">Heflin (2004), 26-7</span>
</li>
<li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text">Heflin (2004), 29</span>
</li>
<li id="cite_note-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-64">^</a></b></span> <span class="reference-text">Heflin (2004), 28</span>
</li>
<li id="cite_note-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-65">^</a></b></span> <span class="reference-text">Heflin (2004), 19</span>
</li>
<li id="cite_note-66"><span class="mw-cite-backlink"><b><a href="#cite_ref-66">^</a></b></span> <span class="reference-text">Heflin (2004), 26</span>
</li>
<li id="cite_note-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-67">^</a></b></span> <span class="reference-text">Heflin (2004), 252 note 26</span>
</li>
<li id="cite_note-68"><span class="mw-cite-backlink"><b><a href="#cite_ref-68">^</a></b></span> <span class="reference-text">Tanselle (1988), 1012</span>
</li>
<li id="cite_note-69"><span class="mw-cite-backlink"><b><a href="#cite_ref-69">^</a></b></span> <span class="reference-text">Heflin (2004), 189</span>
</li>
<li id="cite_note-70"><span class="mw-cite-backlink"><b><a href="#cite_ref-70">^</a></b></span> <span class="reference-text">Heflin (2004), 41</span>
</li>
<li id="cite_note-FOOTNOTEPhilbrick2000xii-_xv-71"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPhilbrick2000xii-_xv_71-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPhilbrick2000">Philbrick (2000)</a>, p. xii- xv.</span>
</li>
<li id="cite_note-Reynolds,_J.N-72"><span class="mw-cite-backlink">^ <a href="#cite_ref-Reynolds,_J.N_72-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Reynolds,_J.N_72-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Reynolds,_J.N_72-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Reynolds, J.N., "Mocha Dick: or the White Whale of the Pacific: A Leaf from a Manuscript Journal", <i>The Knickerbocker, or New-York Monthly Magazine</i>. 13.5, May 1839, pp. 377–392.</span>
</li>
<li id="cite_note-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-73">^</a></b></span> <span class="reference-text"><cite class="citation book">Whipple, Addison Beecher Colvin (1954). <a class="external text" href="https://books.google.com/books?id=v4sGAQAAIAAJ&q=Yankee+Whalers+in+the+South+Seas&dq=Yankee+Whalers+in+the+South+Seas" rel="nofollow"><i>Yankee whalers in the South Seas</i></a>. Doubleday. <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-8048-1057-5" title="Special:BookSources/0-8048-1057-5">0-8048-1057-5</a>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Yankee+whalers+in+the+South+Seas&rft.pub=Doubleday&rft.date=1954&rft.isbn=0-8048-1057-5&rft.aulast=Whipple&rft.aufirst=Addison+Beecher+Colvin&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dv4sGAQAAIAAJ%26q%3DYankee%2BWhalers%2Bin%2Bthe%2BSouth%2BSeas%26dq%3DYankee%2BWhalers%2Bin%2Bthe%2BSouth%2BSeas&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick"></span><link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/>, 66–79</span>
</li>
<li id="cite_note-74"><span class="mw-cite-backlink"><b><a href="#cite_ref-74">^</a></b></span> <span class="reference-text"><a class="external text" href="https://books.google.com/books?id=DMwEAAAAQAAJ&lpg=PA115&ots=wLKjJyW1K_&dq=the%20ship%20union%2C%20of%20Nantucket%20September%2C%201807%20Edmund%20Gardner&pg=PA115#v=onepage&q=the%20ship%20union,%20of%20Nantucket%20September,%201807%20Edmund%20Gardner&f=false" rel="nofollow">Report of the Commissioner By United States Commission of Fish and Fisheries, p115</a></span>
</li>
<li id="cite_note-75"><span class="mw-cite-backlink"><b><a href="#cite_ref-75">^</a></b></span> <span class="reference-text"><a class="external text" href="http://www.melville.org/hmquotes.htm" rel="nofollow">Melville's Reflections, a page from The Life and Works of Herman Melville</a></span>
</li>
<li id="cite_note-76"><span class="mw-cite-backlink"><b><a href="#cite_ref-76">^</a></b></span> <span class="reference-text">Leyda, Jay. <i>The Melville Log: A Documentary Life of Herman Melville, 1819–1891</i>. New York: Harcourt, Brace, 1951, 119.</span>
</li>
<li id="cite_note-FOOTNOTEMelville1988[httpsbooksgooglecombooksidjnNBh61lpjUCprintsecfrontcoverhlnlvonepageqOwen20Chaseffalse_971-77]-77"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMelville1988[httpsbooksgooglecombooksidjnNBh61lpjUCprintsecfrontcoverhlnlvonepageqOwen20Chaseffalse_971-77]_77-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMelville1988">Melville (1988)</a>, p. <a class="external text" href="https://books.google.com/books?id=jnNBh61lpjUC&printsec=frontcover&hl=nl#v=onepage&q=Owen%20Chase&f=false" rel="nofollow">971-77</a>.</span>
</li>
<li id="cite_note-78"><span class="mw-cite-backlink"><b><a href="#cite_ref-78">^</a></b></span> <span class="reference-text">Mary K. Bercaw, "A Fine, Boisterous Something": Nantucket in Moby-Dick, <i>Historic Nantucket</i>, Vol. 39, No. 3 (Fall 1991); Philip Armstrong, <i>What animals mean in the fiction of modernity</i>, Routledge, 2008, p.132</span>
</li>
<li id="cite_note-79"><span class="mw-cite-backlink"><b><a href="#cite_ref-79">^</a></b></span> <span class="reference-text">Vincent (1949), 128</span>
</li>
<li id="cite_note-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-80">^</a></b></span> <span class="reference-text">Steven Olsen-Smith (2010), <a class="external text" href="http://melvillesmarginalia.org/introductions.php?id=52" rel="nofollow">"Introduction to Melville's Marginalia in Thomas Beale's <i>The Natural History of the Sperm Whale</i>." <i>Melville's Marginalia Online</i>. Retrieved on 30 November 2016.</a> <a class="external text" href="https://web.archive.org/web/20141215023652/http://melvillesmarginalia.org/introductions.php?id=52" rel="nofollow">Archived</a> 15 December 2014 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></span>
</li>
<li id="cite_note-81"><span class="mw-cite-backlink"><b><a href="#cite_ref-81">^</a></b></span> <span class="reference-text">Vincent (1949), 129</span>
</li>
<li id="cite_note-Vincent_1949,_130-82"><span class="mw-cite-backlink">^ <a href="#cite_ref-Vincent_1949,_130_82-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Vincent_1949,_130_82-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Vincent (1949), 130</span>
</li>
<li id="cite_note-Vincent_1949,_131-83"><span class="mw-cite-backlink">^ <a href="#cite_ref-Vincent_1949,_131_83-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Vincent_1949,_131_83-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Vincent (1949), 131</span>
</li>
<li id="cite_note-84"><span class="mw-cite-backlink"><b><a href="#cite_ref-84">^</a></b></span> <span class="reference-text">Vincent (1949), 132–34. Quotation on 134.</span>
</li>
<li id="cite_note-Bezanson-85"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bezanson_85-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bezanson_85-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Bezanson_85-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Bezanson_85-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Bezanson_85-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Bezanson_85-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Bezanson_85-6"><sup><i><b>g</b></i></sup></a></span> <span class="reference-text">Walter E. Bezanson, "<i>Moby-Dick</i>: Document, Drama, Dream," in John Bryant (ed.), <i>A Companion to Melville Studies</i>, Greenwoord Press, 1986, 176–180.</span>
</li>
<li id="cite_note-86"><span class="mw-cite-backlink"><b><a href="#cite_ref-86">^</a></b></span> <span class="reference-text">Melville (1993), 160</span>
</li>
<li id="cite_note-87"><span class="mw-cite-backlink"><b><a href="#cite_ref-87">^</a></b></span> <span class="reference-text">Melville (1993), 162</span>
</li>
<li id="cite_note-Buell_2014,_364-88"><span class="mw-cite-backlink">^ <a href="#cite_ref-Buell_2014,_364_88-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Buell_2014,_364_88-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Buell (2014), 364</span>
</li>
<li id="cite_note-89"><span class="mw-cite-backlink"><b><a href="#cite_ref-89">^</a></b></span> <span class="reference-text">Bryant and Springer (2007), ix</span>
</li>
<li id="cite_note-Bryant_and_Springer_2007,_xi-90"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bryant_and_Springer_2007,_xi_90-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bryant_and_Springer_2007,_xi_90-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bryant and Springer (2007), xi</span>
</li>
<li id="cite_note-91"><span class="mw-cite-backlink"><b><a href="#cite_ref-91">^</a></b></span> <span class="reference-text">Melville (1993), 163</span>
</li>
<li id="cite_note-92"><span class="mw-cite-backlink"><b><a href="#cite_ref-92">^</a></b></span> <span class="reference-text">Miller (1991), 274</span>
</li>
<li id="cite_note-93"><span class="mw-cite-backlink"><b><a href="#cite_ref-93">^</a></b></span> <span class="reference-text">Cheever, Susan. (2006). <i>American Bloomsbury: Louisa May Alcott, Ralph Waldo Emerson, Margaret Fuller, Nathaniel Hawthorne, and Henry David Thoreau: Their Lives, Their Loves, Their Work</i>. Large Print ed. Detroit: Thorndike. 174. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-7862-9521-X" title="Special:BookSources/0-7862-9521-X">0-7862-9521-X</a>.</span>
</li>
<li id="cite_note-94"><span class="mw-cite-backlink"><b><a href="#cite_ref-94">^</a></b></span> <span class="reference-text">Miller (1991), 312</span>
</li>
<li id="cite_note-95"><span class="mw-cite-backlink"><b><a href="#cite_ref-95">^</a></b></span> <span class="reference-text">Springer and Bryant (2007), xi</span>
</li>
<li id="cite_note-96"><span class="mw-cite-backlink"><b><a href="#cite_ref-96">^</a></b></span> <span class="reference-text">Melville (1993), 191</span>
</li>
<li id="cite_note-97"><span class="mw-cite-backlink"><b><a href="#cite_ref-97">^</a></b></span> <span class="reference-text">Melville (1993), 193</span>
</li>
<li id="cite_note-98"><span class="mw-cite-backlink"><b><a href="#cite_ref-98">^</a></b></span> <span class="reference-text">Milder (1977), 215</span>
</li>
<li id="cite_note-99"><span class="mw-cite-backlink"><b><a href="#cite_ref-99">^</a></b></span> <span class="reference-text">Bryant (1998), 67</span>
</li>
<li id="cite_note-100"><span class="mw-cite-backlink"><b><a href="#cite_ref-100">^</a></b></span> <span class="reference-text">Milder (1977), 208</span>
</li>
<li id="cite_note-101"><span class="mw-cite-backlink"><b><a href="#cite_ref-101">^</a></b></span> <span class="reference-text"><a class="external text" href="https://books.google.com/books?id=jnNBh61lpjUC&printsec=frontcover&hl=nl#v=onepage&q&f=false" rel="nofollow">Tanselle (1988), 660</a></span>
</li>
<li id="cite_note-102"><span class="mw-cite-backlink"><b><a href="#cite_ref-102">^</a></b></span> <span class="reference-text">Cited by Tanselle (1988), 660–661</span>
</li>
<li id="cite_note-103"><span class="mw-cite-backlink"><b><a href="#cite_ref-103">^</a></b></span> <span class="reference-text">Bryant (2006), 560</span>
</li>
<li id="cite_note-Cited_in_Tanselle_(1988),_663-104"><span class="mw-cite-backlink">^ <a href="#cite_ref-Cited_in_Tanselle_(1988),_663_104-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cited_in_Tanselle_(1988),_663_104-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Cited in Tanselle (1988), 663.</span>
</li>
<li id="cite_note-105"><span class="mw-cite-backlink"><b><a href="#cite_ref-105">^</a></b></span> <span class="reference-text">Tanselle (1988), 663</span>
</li>
<li id="cite_note-106"><span class="mw-cite-backlink"><b><a href="#cite_ref-106">^</a></b></span> <span class="reference-text">Tanselle (1988), 665.</span>
</li>
<li id="cite_note-Tanselle_1988,_667-107"><span class="mw-cite-backlink">^ <a href="#cite_ref-Tanselle_1988,_667_107-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Tanselle_1988,_667_107-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tanselle (1988), 667</span>
</li>
<li id="cite_note-108"><span class="mw-cite-backlink"><b><a href="#cite_ref-108">^</a></b></span> <span class="reference-text">Tanselle (1988), 661</span>
</li>
<li id="cite_note-109"><span class="mw-cite-backlink"><b><a href="#cite_ref-109">^</a></b></span> <span class="reference-text">Quoted in Tanselle (1988), 671</span>
</li>
<li id="cite_note-110"><span class="mw-cite-backlink"><b><a href="#cite_ref-110">^</a></b></span> <span class="reference-text">Tanselle (1988), 683–84</span>
</li>
<li id="cite_note-111"><span class="mw-cite-backlink"><b><a href="#cite_ref-111">^</a></b></span> <span class="reference-text">Tanselle (1988), 686–87</span>
</li>
<li id="cite_note-112"><span class="mw-cite-backlink"><b><a href="#cite_ref-112">^</a></b></span> <span class="reference-text">Tanselle (1988), 685</span>
</li>
<li id="cite_note-Tanselle_1988,_687-113"><span class="mw-cite-backlink">^ <a href="#cite_ref-Tanselle_1988,_687_113-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Tanselle_1988,_687_113-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tanselle (1988), 687</span>
</li>
<li id="cite_note-114"><span class="mw-cite-backlink"><b><a href="#cite_ref-114">^</a></b></span> <span class="reference-text">Cited in Tanselle (1988), 673</span>
</li>
<li id="cite_note-115"><span class="mw-cite-backlink"><b><a href="#cite_ref-115">^</a></b></span> <span class="reference-text">Tanselle (1988), 675–76</span>
</li>
<li id="cite_note-Tanselle_1988,_678-116"><span class="mw-cite-backlink">^ <a href="#cite_ref-Tanselle_1988,_678_116-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Tanselle_1988,_678_116-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tanselle (1988), 678</span>
</li>
<li id="cite_note-117"><span class="mw-cite-backlink"><b><a href="#cite_ref-117">^</a></b></span> <span class="reference-text">Tanselle (1988), 772</span>
</li>
<li id="cite_note-118"><span class="mw-cite-backlink"><b><a href="#cite_ref-118">^</a></b></span> <span class="reference-text">Tanselle (1988), 789</span>
</li>
<li id="cite_note-119"><span class="mw-cite-backlink"><b><a href="#cite_ref-119">^</a></b></span> <span class="reference-text">Olsen-Smith (2008), 97</span>
</li>
<li id="cite_note-Robertson-Lorant_1996,_277-120"><span class="mw-cite-backlink">^ <a href="#cite_ref-Robertson-Lorant_1996,_277_120-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Robertson-Lorant_1996,_277_120-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Robertson-Lorant (1996), 277</span>
</li>
<li id="cite_note-121"><span class="mw-cite-backlink"><b><a href="#cite_ref-121">^</a></b></span> <span class="reference-text">Cited in Tanselle (1988), 681 (citation), 784</span>
</li>
<li id="cite_note-122"><span class="mw-cite-backlink"><b><a href="#cite_ref-122">^</a></b></span> <span class="reference-text">Tanselle (1988), 682, 784–85</span>
</li>
<li id="cite_note-123"><span class="mw-cite-backlink"><b><a href="#cite_ref-123">^</a></b></span> <span class="reference-text">Tanselle (1988), 682, 785</span>
</li>
<li id="cite_note-124"><span class="mw-cite-backlink"><b><a href="#cite_ref-124">^</a></b></span> <span class="reference-text">Tanselle (1988), 682, 785–87</span>
</li>
<li id="cite_note-125"><span class="mw-cite-backlink"><b><a href="#cite_ref-125">^</a></b></span> <span class="reference-text">Cited in Tanselle (1988), 679</span>
</li>
<li id="cite_note-126"><span class="mw-cite-backlink"><b><a href="#cite_ref-126">^</a></b></span> <span class="reference-text">Tanselle (1988), 678–79</span>
</li>
<li id="cite_note-Cited_in_Tanselle_(1988),_671-127"><span class="mw-cite-backlink">^ <a href="#cite_ref-Cited_in_Tanselle_(1988),_671_127-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cited_in_Tanselle_(1988),_671_127-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Cited in Tanselle (1988), 671</span>
</li>
<li id="cite_note-128"><span class="mw-cite-backlink"><b><a href="#cite_ref-128">^</a></b></span> <span class="reference-text">Parker (1996), 863</span>
</li>
<li id="cite_note-Cited_in_Tanselle_(1988),_672-129"><span class="mw-cite-backlink">^ <a href="#cite_ref-Cited_in_Tanselle_(1988),_672_129-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cited_in_Tanselle_(1988),_672_129-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Cited in Tanselle (1988), 672</span>
</li>
<li id="cite_note-130"><span class="mw-cite-backlink"><b><a href="#cite_ref-130">^</a></b></span> <span class="reference-text">Tanselle (1988), 673</span>
</li>
<li id="cite_note-Tanselle_1988,_688-131"><span class="mw-cite-backlink">^ <a href="#cite_ref-Tanselle_1988,_688_131-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Tanselle_1988,_688_131-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tanselle (1988), 688</span>
</li>
<li id="cite_note-Tanselle_1988,_689-132"><span class="mw-cite-backlink">^ <a href="#cite_ref-Tanselle_1988,_689_132-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Tanselle_1988,_689_132-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tanselle (1988), 689</span>
</li>
<li id="cite_note-Parker_2002,_17-133"><span class="mw-cite-backlink">^ <a href="#cite_ref-Parker_2002,_17_133-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Parker_2002,_17_133-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Parker_2002,_17_133-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Parker (2002), 17</span>
</li>
<li id="cite_note-Parker_1988,_700-134"><span class="mw-cite-backlink">^ <a href="#cite_ref-Parker_1988,_700_134-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Parker_1988,_700_134-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Parker_1988,_700_134-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Parker (1988), 700</span>
</li>
<li id="cite_note-135"><span class="mw-cite-backlink"><b><a href="#cite_ref-135">^</a></b></span> <span class="reference-text">Parker (1988), 701</span>
</li>
<li id="cite_note-Parker_1988,_702-136"><span class="mw-cite-backlink">^ <a href="#cite_ref-Parker_1988,_702_136-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Parker_1988,_702_136-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Parker (1988), 702</span>
</li>
<li id="cite_note-137"><span class="mw-cite-backlink"><b><a href="#cite_ref-137">^</a></b></span> <span class="reference-text">Quoted in Parker (1988), 702</span>
</li>
<li id="cite_note-Parker_1988,_702-03-138"><span class="mw-cite-backlink">^ <a href="#cite_ref-Parker_1988,_702-03_138-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Parker_1988,_702-03_138-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Parker (1988), 702–03</span>
</li>
<li id="cite_note-139"><span class="mw-cite-backlink"><b><a href="#cite_ref-139">^</a></b></span> <span class="reference-text">Parker (1988), 703</span>
</li>
<li id="cite_note-Robertson-Lorant_1996-140"><span class="mw-cite-backlink">^ <a href="#cite_ref-Robertson-Lorant_1996_140-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Robertson-Lorant_1996_140-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Robertson-Lorant (1996), 646 note 7</span>
</li>
<li id="cite_note-141"><span class="mw-cite-backlink"><b><a href="#cite_ref-141">^</a></b></span> <span class="reference-text">Branch (1974), 27</span>
</li>
<li id="cite_note-Cited_in_Parker_(1988),_708-142"><span class="mw-cite-backlink">^ <a href="#cite_ref-Cited_in_Parker_(1988),_708_142-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cited_in_Parker_(1988),_708_142-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Cited in Parker (1988), 708</span>
</li>
<li id="cite_note-143"><span class="mw-cite-backlink"><b><a href="#cite_ref-143">^</a></b></span> <span class="reference-text">Parker (1988), 709</span>
</li>
<li id="cite_note-144"><span class="mw-cite-backlink"><b><a href="#cite_ref-144">^</a></b></span> <span class="reference-text">Branch (1974), 28</span>
</li>
<li id="cite_note-145"><span class="mw-cite-backlink"><b><a href="#cite_ref-145">^</a></b></span> <span class="reference-text">Parker (1988), 712</span>
</li>
<li id="cite_note-146"><span class="mw-cite-backlink"><b><a href="#cite_ref-146">^</a></b></span> <span class="reference-text">Quoted in Parker (2002), 18</span>
</li>
<li id="cite_note-147"><span class="mw-cite-backlink"><b><a href="#cite_ref-147">^</a></b></span> <span class="reference-text">Quoted in Parker (2002), 20</span>
</li>
<li id="cite_note-148"><span class="mw-cite-backlink"><b><a href="#cite_ref-148">^</a></b></span> <span class="reference-text">Parker (1988), 712–723. Quotation on 713.</span>
</li>
<li id="cite_note-149"><span class="mw-cite-backlink"><b><a href="#cite_ref-149">^</a></b></span> <span class="reference-text">Parker (2002), 22</span>
</li>
<li id="cite_note-150"><span class="mw-cite-backlink"><b><a href="#cite_ref-150">^</a></b></span> <span class="reference-text">Parker (2002), 23</span>
</li>
<li id="cite_note-151"><span class="mw-cite-backlink"><b><a href="#cite_ref-151">^</a></b></span> <span class="reference-text">Quoted, and summarized, in Parker (1988), 721–722</span>
</li>
<li id="cite_note-152"><span class="mw-cite-backlink"><b><a href="#cite_ref-152">^</a></b></span> <span class="reference-text">Parker (2002), 25</span>
</li>
<li id="cite_note-153"><span class="mw-cite-backlink"><b><a href="#cite_ref-153">^</a></b></span> <span class="reference-text">Quoted in Parker (1988), 691–92</span>
</li>
<li id="cite_note-154"><span class="mw-cite-backlink"><b><a href="#cite_ref-154">^</a></b></span> <span class="reference-text">Quoted in Parker (2002), 26</span>
</li>
<li id="cite_note-Quoted_in_Parker_2002,_27-155"><span class="mw-cite-backlink">^ <a href="#cite_ref-Quoted_in_Parker_2002,_27_155-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Quoted_in_Parker_2002,_27_155-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Quoted_in_Parker_2002,_27_155-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Quoted in Parker (2002), 27</span>
</li>
<li id="cite_note-156"><span class="mw-cite-backlink"><b><a href="#cite_ref-156">^</a></b></span> <span class="reference-text">Parker (2002), 26</span>
</li>
<li id="cite_note-157"><span class="mw-cite-backlink"><b><a href="#cite_ref-157">^</a></b></span> <span class="reference-text">Parker (2002), 30</span>
</li>
<li id="cite_note-bartleby1-158"><span class="mw-cite-backlink">^ <a href="#cite_ref-bartleby1_158-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-bartleby1_158-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-bartleby1_158-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><cite class="citation web"><a class="external text" href="http://www.bartleby.com/187/5.html" rel="nofollow">"Chapter 3. Romances of Adventure. Section 2. Herman Melville. Van Doren, Carl. 1921. The American Novel"</a>. Bartleby.com<span class="reference-accessdate">. Retrieved <span class="nowrap">2008-10-19</span></span>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Chapter+3.+Romances+of+Adventure.+Section+2.+Herman+Melville.+Van+Doren%2C+Carl.+1921.+The+American+Novel&rft.pub=Bartleby.com&rft_id=http%3A%2F%2Fwww.bartleby.com%2F187%2F5.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick"></span><link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/></span>
</li>
<li id="cite_note-159"><span class="mw-cite-backlink"><b><a href="#cite_ref-159">^</a></b></span> <span class="reference-text"><cite class="citation book">Benton, Megan (2000). <i>Beauty and the Book: Fine Editions and Cultural Distinction in America</i>. Yale University Press. <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780300082135" title="Special:BookSources/9780300082135">9780300082135</a>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Beauty+and+the+Book%3A+Fine+Editions+and+Cultural+Distinction+in+America&rft.pub=Yale+University+Press&rft.date=2000&rft.isbn=9780300082135&rft.aulast=Benton&rft.aufirst=Megan&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick"></span><link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/>, pp. <a class="external text" href="https://books.google.com/books?id=WbpOcowMfCIC&pg=PA131&dq=Rockwell+Kent+Moby-dick+lakeside&hl=en&sa=X&ei=UFHUVK3lGoWQyAT84YDQCg&ved=0CDUQ6AEwAQ#v=onepage&q=Rockwell%20Kent%20Moby-dick%20lakeside&f=false" rel="nofollow">107, 132, 200</a></span>
</li>
<li id="cite_note-160"><span class="mw-cite-backlink"><b><a href="#cite_ref-160">^</a></b></span> <span class="reference-text"><a class="external text" href="https://www.imdb.com/title/tt0017354/" rel="nofollow">IMDb link</a></span>
</li>
<li id="cite_note-Springer_2007-161"><span class="mw-cite-backlink">^ <a href="#cite_ref-Springer_2007_161-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Springer_2007_161-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Bryant and Springer (2007), xxiii–xxv.</span>
</li>
<li id="cite_note-162"><span class="mw-cite-backlink"><b><a href="#cite_ref-162">^</a></b></span> <span class="reference-text"><a class="external text" href="https://www.rottentomatoes.com/m/1014090-moby_dick" rel="nofollow"><i>Moby Dick (1956)</i></a> at <a href="/wiki/Rotten_Tomatoes" title="Rotten Tomatoes">Rotten Tomatoes</a></span>
</li>
<li id="cite_note-Schultz-163"><span class="mw-cite-backlink"><b><a href="#cite_ref-Schultz_163-0">^</a></b></span> <span class="reference-text">Schultz, Elizabeth. Unpainted to the Last: <i>Moby-Dick and Twentieth Century American Art</i>, University Press of Kansas, 1995, p.329-330.</span>
</li>
<li id="cite_note-164"><span class="mw-cite-backlink"><b><a href="#cite_ref-164">^</a></b></span> <span class="reference-text">Rampersad (1997), 172–173</span>
</li>
<li id="cite_note-165"><span class="mw-cite-backlink"><b><a href="#cite_ref-165">^</a></b></span> <span class="reference-text">Rampersad (2007), 197</span>
</li>
<li id="cite_note-166"><span class="mw-cite-backlink"><b><a href="#cite_ref-166">^</a></b></span> <span class="reference-text">Rampersad (2007), 228</span>
</li>
<li id="cite_note-167"><span class="mw-cite-backlink"><b><a href="#cite_ref-167">^</a></b></span> <span class="reference-text">Bob Dylan, <a class="external text" href="https://www.youtube.com/watch?v=6TlcPRlau2Q" rel="nofollow">2016 Nobel Lecture in Literature</a>. Discussion of Moby-Dick at 6:30–12:30, quotation at 12:22–12:29.</span>
</li>
</ol></div>
<h2><span class="mw-headline" id="References">References</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=24" title="Edit section: References">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
<ul><li><a href="/wiki/M._H._Abrams" title="M. H. Abrams">Abrams, M. H</a>. (1999). <a class="external text" href="https://web.archive.org/web/20160527182311/http://www.ohio.edu/people/hartleyg/ref/abrams_mh.pdf" rel="nofollow"><i>A Glossary of Literary Terms</i>.</a> Seventh Edition. Fort Worth, Texas: Harcourt Brace College Publishers. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780155054523" title="Special:BookSources/9780155054523">9780155054523</a></li>
<li><a href="/wiki/Newton_Arvin" title="Newton Arvin">Arvin, Newton</a>. (1950). "The Whale." Excerpt from Newton Arvin, <i>Herman Melville</i> (New York: William Sloane Associates, Inc., 1950), in Parker and Hayford (1970).</li>
<li>Bercaw, Mary K. (1987). <i>Melville's Sources</i>. Evanston, Illinois: Northwestern University Press. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-8101-0734-1" title="Special:BookSources/0-8101-0734-1">0-8101-0734-1</a></li>
<li>Berthoff, Warner. (1962). <i>The Example of Melville</i>. Reprinted 1972, New York: W.W. Norton.</li>
<li>Bezanson, Walter E. (1953). '<i>Moby-Dick</i>: Work of Art.' Reprinted in Parker and Hayford (2001).</li>
<li>--- . (1986). "<i>Moby-Dick</i>: Document, Drama, Dream." In Bryant 1986.</li>
<li>Branch, Watson G. (1974). <i>Melville: The Critical Heritage.</i> First edition 1974. Paperback edition 1985, London and Boston: Routledge and Kegan Paul. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0710205139" title="Special:BookSources/0710205139">0710205139</a></li>
<li>Bryant, John (ed.). (1986). <i>A Companion to Melville Studies</i>. Greenport, Connecticut: Greenwood Press. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780313238741" title="Special:BookSources/9780313238741">9780313238741</a></li>
<li>--- . (1998). "<i>Moby-Dick</i> as Revolution." In Levine 1998.</li>
<li>--- . (2006). "The Melville Text." In Kelley 2006.</li>
<li>--- , and Haskell Springer. (2007). "Introduction," "Explanatory Notes" and "The Making of <i>Moby-Dick</i>." In John Bryant and Haskell Springer (eds), Herman Melville, <i>Moby-Dick.</i> New York Boston: Pearson Longman (A Longman Critical Edition). <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0321228006" title="Special:BookSources/0321228006">0321228006</a>.</li>
<li><a href="/wiki/Lawrence_Buell" title="Lawrence Buell">Buell, Lawrence</a>. (2014).<a class="external text" href="https://books.google.com/books?id=J5DzAgAAQBAJ&printsec=frontcover&hl=nl#v=onepage&q&f=false" rel="nofollow"><i>The Dream of the Great American Novel</i>.</a> Cambridge, Massachusetts and London: The Belknap Press of Harvard University Press. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780674051157" title="Special:BookSources/9780674051157">9780674051157</a></li>
<li><a href="/wiki/William_Faulkner" title="William Faulkner">Faulkner, William</a>. (1927). "[I Wish I Had Written That.]" Originally in the <i>Chicago Tribune</i>, 16 July 1927. Reprinted in Parker & Hayford (2001), 640.</li>
<li><a class="mw-redirect" href="/wiki/E.M._Forster" title="E.M. Forster">Forster, E.M.</a> (1927). <i>Aspects of the Novel</i>. Reprinted Middlesex: Penguin Books 1972. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0140205578" title="Special:BookSources/0140205578">0140205578</a></li>
<li>Gale, Robert L. (1972). <i>Plots and Characters in the Fiction and Narrative Poetry of Herman Melville</i>. Cambridge, Massachusetts and London: The MIT Press.</li>
<li>Graham, Sarah (2014). <a class="external text" href="http://www.the-tls.co.uk/tls/public/article1434758.ece" rel="nofollow">"What is the Great American Novel?"</a> In: <i>The Times Literary Supplement</i>, 16 July 2014.</li>
<li>Grey, Robin. (2006). "The Legacy of Britain." In Kelley (2006).</li>
<li>Hayford, Harrison. (1988). "Historical Note Section V." In Melville (1988).</li>
<li>Heflin, Wilson. (2004). <a class="external text" href="https://books.google.com/books?id=EvT98u-eJ24C&printsec=frontcover&dq=melville&hl=nl&sa=X&ved=0ahUKEwiisIfEycDLAhUGfg8KHYAAA_MQ6AEIczAJ#v=onepage&q&f=false" rel="nofollow"><i>Herman Melville's Whaling Years</i>.</a> Edited by Mary K. Bercaw Edwards and Thomas Farel Heffernan. Nashville: Vanderbilt University Press.</li>
<li>Howard, Leon (1940). "Melville's Struggle with the Angel." <i>Modern Language Quarterly</i>, Vol. 1 (June 1940). Reprinted in Hershel Parker (ed.), <i>The Recognition of Herman Melville. Selected Criticism Since 1846.</i> Ann Arbor: University of Michigan Press, 1967. Paperback edition 1970.</li>
<li>Kelley, Wyn (ed.). (2006). <i>A Companion to Herman Melville</i>. Malden, MA, Oxford, UK, and Carlton, Australia: Blackwell Publishing Ltd. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9781405122313" title="Special:BookSources/9781405122313">9781405122313</a></li>
<li>Lawrence, D.H. (1923). <i>Studies in Classic American Literature</i>. Reprinted London: Penguin Books. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780140183771" title="Special:BookSources/9780140183771">9780140183771</a></li>
<li><cite class="citation" id="CITEREFLee,_Maurice_S.2006">Lee, Maurice S. (2006), "The Language of Moby-Dick: "Read It If You Can<span class="cs1-kern-right">"</span>", in Kelley, Wyn, <a class="external text" href="https://books.google.com/books?id=EbxeLZ-xbcgC&printsec=frontcover#v=onepage&q=language%20Moby-Dick&f=false" rel="nofollow"><i>A Companion to Herman Melville</i></a>, Malden, MA; Oxford: Blackwell, pp. 393–407, <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/1405122315" title="Special:BookSources/1405122315">1405122315</a></cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Language+of+Moby-Dick%3A+%22Read+It+If+You+Can%22&rft.btitle=A+Companion+to+Herman+Melville&rft.place=Malden%2C+MA%3B+Oxford&rft.pages=393-407&rft.pub=Blackwell&rft.date=2006&rft.isbn=1405122315&rft.au=Lee%2C+Maurice+S.&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DEbxeLZ-xbcgC%26printsec%3Dfrontcover%23v%3Donepage%26q%3Dlanguage%2520Moby-Dick%26f%3Dfalse&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick"></span><link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/></li>
<li>Levine, Robert S. (1998). <a class="external text" href="https://books.google.com/books?id=L-KhKv9kNqkC&printsec=frontcover&hl=nl#v=onepage&q&f=false" rel="nofollow"><i>The Cambridge Companion to Herman Melville</i></a>. Cambridge: Cambridge University Press. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-521-55571-X" title="Special:BookSources/0-521-55571-X">0-521-55571-X</a></li>
<li><a class="mw-redirect" href="/wiki/F.O._Matthiessen" title="F.O. Matthiessen">Matthiessen, F.O.</a> (1941). <a class="external text" href="https://books.google.com/books?id=tULy3pA-ZoQC&pg=PA626&lpg=PA626&dq=matthiessen+american+renaissance&source=bl&ots=qErO4CPybM&sig=tk7tve3EWXSHWYNCPfhw1yKYDmI&hl=nl&sa=X&redir_esc=y#v=onepage&q&f=false" rel="nofollow"><i>American Renaissance: Art and Expression in the Age of Emerson and Whitman</i>.</a> Tenth Printing, 1966, New York, London and Toronto: Oxford University Press.</li>
<li><cite class="citation" id="CITEREFMelville1988">Melville, Herman (1988), <a class="external text" href="https://books.google.com/?id=jnNBh61lpjUC&printsec=frontcover" rel="nofollow"><i>Moby-Dick; or, the Whale</i></a>, The Writings of Herman Melville, <b>Six</b>, Edited by Harrison Hayford, Hershel Parker, and G. Thomas Tanselle, Evanston; Chicago: Northwestern University Press and the Newberry Library, <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0810103249" title="Special:BookSources/0810103249">0810103249</a></cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Moby-Dick%3B+or%2C+the+Whale&rft.place=Evanston%3B+Chicago&rft.series=The+Writings+of+Herman+Melville&rft.pub=Northwestern+University+Press+and+the+Newberry+Library&rft.date=1988&rft.isbn=0810103249&rft.aulast=Melville&rft.aufirst=Herman&rft_id=https%3A%2F%2Fbooks.google.com%2F%3Fid%3DjnNBh61lpjUC%26printsec%3Dfrontcover&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick"></span><link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/></li>
<li>--- .(1993). <i>Correspondence</i>. The Writings of Herman Melville Volume Fourteen. Edited by Lynn Horth. Evanston and Chicago: Northwestern University Press and The Newberry Library. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780810109957" title="Special:BookSources/9780810109957">9780810109957</a></li>
<li>Milder, Robert. (1977). The Composition of <i>Moby-Dick</i>: A Review and a Prospect." <i>ESQ: A Journal of the American Renaissance</i>.</li>
<li>--- . (1988). "Herman Melville." In Emory Elliott (General Editor), <i>Columbia Literary History of the United States</i>. New York: Columbia University Press. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-231-05812-8" title="Special:BookSources/0-231-05812-8">0-231-05812-8</a></li>
<li>Miller, Edwin Haviland. (1991). <i>Salem Is My Dwelling Place: A Life of Nathaniel Hawthorne</i>. Iowa City: University of Iowa Press. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-87745-332-2" title="Special:BookSources/0-87745-332-2">0-87745-332-2</a></li>
<li>Olsen-Smith, Steven. (2008). [Review of Bryant and Springer 2007]. <i>Leviathan: A Journal of Melville Studies</i>, June 2008, 96–9.</li>
<li><a href="/wiki/Hershel_Parker" title="Hershel Parker">Parker, Hershel</a>. (1988). "Historical Note Section VII." In Melville (1988).</li>
<li>--- , and Harrison Hayford (eds.). (1970). <i>Moby-Dick as Doubloon. Essays and Extracts (1851-1970).</i> New York: W.W. Norton & Company Inc., 1970.</li>
<li>--- , and Harrison Hayford (eds). (2001). Herman Melville, <i>Moby-Dick</i>. A Norton Critical Edition. Second Edition, New York and London: W.W. Norton & Company. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780393972832" title="Special:BookSources/9780393972832">9780393972832</a></li>
<li>--- . (2002). <i>Herman Melville: A Biography. Volume 2, 1851-1891.</i> Baltimore and London: The Johns Hopkins University Press. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0801868920" title="Special:BookSources/0801868920">0801868920</a></li>
<li><cite class="citation book" id="CITEREFPhilbrick2000"><a href="/wiki/Nathaniel_Philbrick" title="Nathaniel Philbrick">Philbrick, Nathaniel</a> (2000). <i>In the Heart of the Sea: The Tragedy of the Whaleship Essex</i>. New York: Viking. <a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0670891576" title="Special:BookSources/0670891576">0670891576</a>.</cite><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=In+the+Heart+of+the+Sea%3A+The+Tragedy+of+the+Whaleship+Essex&rft.place=New+York&rft.pub=Viking&rft.date=2000&rft.isbn=0670891576&rft.aulast=Philbrick&rft.aufirst=Nathaniel&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMoby-Dick"></span><link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/></li>
<li><a href="/wiki/Arnold_Rampersad" title="Arnold Rampersad">Rampersad, Arnold</a> (1997). <a class="external text" href="https://books.google.com/books?id=3ROt_zMv1WsC&pg=PA181&dq=melville&hl=nl&sa=X&ved=0ahUKEwid0ua8ysDLAhXI_w4KHUm5CBs4FBDoAQhLMAU#v=onepage&q&f=false" rel="nofollow">"Shadow and Veil: Melville and Modern Black Consciousness."</a> <i>Melville's Evermoving Dawn: Centennial Essays</i>. Edited by John Bryant and Robert Milder. Kent, Ohia, and London, England: The Kent State University Press. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0-87338-562-4" title="Special:BookSources/0-87338-562-4">0-87338-562-4</a></li>
<li>--- . (2007). <i>Ralph Ellison: A Biography.</i> New York: Alfred A. Knopf. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/9780375408274" title="Special:BookSources/9780375408274">9780375408274</a></li>
<li>Robertson-Lorant, Laurie. (1996). <i>Melville. A Biography.</i> New York: Clarkson Potters/ Publishers. <link href="mw-data:TemplateStyles:r879151008" rel="mw-deduplicated-inline-style"/><a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a> <a href="/wiki/Special:BookSources/0517593149" title="Special:BookSources/0517593149">0517593149</a></li>
<li>Tanselle, G. Thomas. (1988). "Historical Note Section VI", "Note on the Text", and "The Hubbard Copy of <i>The Whale</i>". In Melville (1988).</li>
<li>Vincent, Howard P. (1949). <i>The Trying-Out of Moby-Dick.</i> Boston: Houghton Mifflin Company.</li>
<li>Wright, Nathalia. (1940). <a class="external text" href="https://www.jstor.org/discover/10.2307/2920476?uid=3738736&uid=2&uid=4&sid=21104087484591" rel="nofollow">"Biblical Allusion in Melville's Prose."</a> <i>American Literature</i>, May 1940, 185–199.</li>
<li>--- . (1949). <i>Melville's Use of the Bible</i>. Durham, North Carolina: Duke University Press.</li></ul>
<h2><span class="mw-headline" id="External_links">External links</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Moby-Dick&action=edit&section=25" title="Edit section: External links">edit</a><span class="mw-editsection-bracket">]</span></span></h2>
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<td class="mbox-text plainlist"><a href="/wiki/Wikisource" title="Wikisource">Wikisource</a> has original text related to this article:
<div style="margin-left: 10px;"><b><a class="extiw" href="https://en.wikisource.org/wiki/Moby-Dick" title="wikisource:Moby-Dick"><i>Moby-Dick</i></a></b></div></td></tr></tbody></table>
<ul><li><span class="citation gutenberg"> <i><a class="extiw" href="http://www.gutenberg.org/etext/2701" title="gutenberg:2701">Moby-Dick</a></i> at <a href="/wiki/Project_Gutenberg" title="Project Gutenberg">Project Gutenberg</a></span></li>
<li><img alt="" data-file-height="500" data-file-width="500" decoding="async" height="15" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/15px-Speaker_Icon.svg.png" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/23px-Speaker_Icon.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/30px-Speaker_Icon.svg.png 2x" width="15"/> <a class="external text" href="https://librivox.org/search?title=Moby+Dick&author=Melville&reader=&keywords=&genre_id=0&status=all&project_type=either&recorded_language=&sort_order=catalog_date&search_page=1&search_form=advanced" rel="nofollow"><i>Moby Dick</i></a> public domain audiobook at <a href="/wiki/LibriVox" title="LibriVox">LibriVox</a></li>
<li><a class="external text" href="http://www.mobydickbigread.com" rel="nofollow">The <i>Moby-Dick</i> "Big Read"</a>, "an online version of Melville's magisterial tome: each of its 135 chapters read out aloud, by a mixture of the celebrated and the unknown"</li>
<li><a class="external text" href="http://mel.hofstra.edu/versions-of-moby-dick.html" rel="nofollow">Side-by-side versions of the British and American 1851 first editions of <i>Moby-Dick</i></a> at the <a class="external text" href="http://mel.hofstra.edu/index.html" rel="nofollow">Melville Electronic Library</a>, with differences highlighted</li>
<li><a class="external text" href="http://organizations.plattsburgh.edu/museum/mdimg1.htm" rel="nofollow"><i>Moby Dick or The Whale</i> illustrations</a> by <a href="/wiki/Rockwell_Kent" title="Rockwell Kent">Rockwell Kent</a> for the 1930 <a class="mw-redirect" href="/wiki/Lakeside_Press" title="Lakeside Press">Lakeside Press</a> edition</li>
<li>"<a class="external text" href="http://edsitement.neh.gov/curriculum-unit/melvilles-moby-dick-shifts-narrative-voice-and-literary-genres" rel="nofollow">Melville's “Moby-Dick”: Shifts in Narrative Voice and Literary Genres</a>" lesson plan for grades 9–12</li>
<li><a class="external text" href="http://www.wnyc.org/story/95322-american-icons-moby-dick/" rel="nofollow">American Icons: <i>Moby-Dick</i></a>, a <a href="/wiki/Peabody_Award" title="Peabody Award">Peabody Award</a>–winning episode of <i><a href="/wiki/Studio_360" title="Studio 360">Studio 360</a></i> that examines the influence of <i>Moby-Dick</i> on contemporary American culture</li></ul>
<div aria-labelledby="Herman_Melville_(works)" class="navbox" role="navigation" style="padding:3px"><table class="nowraplinks collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th class="navbox-title" colspan="2" scope="col"><div class="plainlinks hlist navbar mini"><ul><li class="nv-view"><a href="/wiki/Template:Herman_Melville" title="Template:Herman Melville"><abbr style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none; padding:0;" title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Herman_Melville" title="Template talk:Herman Melville"><abbr style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none; padding:0;" title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a class="external text" href="//en.wikipedia.org/w/index.php?title=Template:Herman_Melville&action=edit"><abbr style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none; padding:0;" title="Edit this template">e</abbr></a></li></ul></div><div id="Herman_Melville_(works)" style="font-size:114%;margin:0 4em"><a href="/wiki/Herman_Melville" title="Herman Melville">Herman Melville</a> <a href="/wiki/Herman_Melville_bibliography" title="Herman Melville bibliography">(works)</a></div></th></tr><tr><th class="navbox-group" scope="row" style="width:1%">Novels</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><i><a href="/wiki/Typee" title="Typee">Typee</a></i> (1846)</li>
<li><i><a href="/wiki/Omoo" title="Omoo">Omoo</a></i> (1847)</li>
<li><i><a href="/wiki/Mardi" title="Mardi">Mardi</a></i> (1849)</li>
<li><i><a href="/wiki/Redburn" title="Redburn">Redburn</a></i> (1849)</li>
<li><i><a href="/wiki/White-Jacket" title="White-Jacket">White-Jacket</a></i> (1850)</li>
<li><i><a class="mw-selflink selflink">Moby-Dick</a></i> (1851)</li>
<li><i><a href="/wiki/Pierre;_or,_The_Ambiguities" title="Pierre; or, The Ambiguities">Pierre; or, The Ambiguities</a></i> (1852)</li>
<li><i><a href="/wiki/Israel_Potter" title="Israel Potter">Israel Potter</a></i> (1855)</li>
<li><i><a href="/wiki/The_Confidence-Man" title="The Confidence-Man">The Confidence-Man</a></i> (1857)</li>
<li><i><a href="/wiki/Billy_Budd" title="Billy Budd">Billy Budd</a></i> (1924, posthumous)</li></ul>
</div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Short stories</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th class="navbox-group" scope="row" style="width:1%"><i><a href="/wiki/The_Piazza_Tales" title="The Piazza Tales">The Piazza Tales</a></i> (1856)</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li>"<a class="new" href="/w/index.php?title=The_Piazza_(short_story)&action=edit&redlink=1" title="The Piazza (short story) (page does not exist)">The Piazza</a>"</li>
<li>"<a href="/wiki/Bartleby,_the_Scrivener" title="Bartleby, the Scrivener">Bartleby, the Scrivener</a>"</li>
<li>"<a href="/wiki/Benito_Cereno" title="Benito Cereno">Benito Cereno</a>"</li>
<li>"<a class="new" href="/w/index.php?title=The_Lightning-Rod_Man&action=edit&redlink=1" title="The Lightning-Rod Man (page does not exist)">The Lightning-Rod Man</a>"</li>
<li>"<a href="/wiki/The_Encantadas" title="The Encantadas">The Encantadas</a>"</li>
<li>"<a class="new" href="/w/index.php?title=The_Bell-Tower&action=edit&redlink=1" title="The Bell-Tower (page does not exist)">The Bell-Tower</a>"</li></ul>
</div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Uncollected</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li>"<a href="/wiki/Cock-A-Doodle-Doo!" title="Cock-A-Doodle-Doo!">Cock-A-Doodle-Doo!</a>" (1853)</li>
<li>"<a class="new" href="/w/index.php?title=Poor_Man%27s_Pudding_and_Rich_Man%27s_Crumbs&action=edit&redlink=1" title="Poor Man's Pudding and Rich Man's Crumbs (page does not exist)">Poor Man's Pudding and Rich Man's Crumbs</a>" (1854)</li>
<li>"<a class="new" href="/w/index.php?title=The_Happy_Failure&action=edit&redlink=1" title="The Happy Failure (page does not exist)">The Happy Failure</a>" (1854)</li>
<li>"<a class="new" href="/w/index.php?title=The_Fiddler&action=edit&redlink=1" title="The Fiddler (page does not exist)">The Fiddler</a>" (1854)</li>
<li>"<a href="/wiki/The_Paradise_of_Bachelors_and_the_Tartarus_of_Maids" title="The Paradise of Bachelors and the Tartarus of Maids">The Paradise of Bachelors and the Tartarus of Maids</a>" (1855)</li>
<li>"<a class="new" href="/w/index.php?title=Jimmy_Rose_(short_story)&action=edit&redlink=1" title="Jimmy Rose (short story) (page does not exist)">Jimmy Rose</a>" (1855)</li>
<li>"<a class="new" href="/w/index.php?title=The_%27Gees&action=edit&redlink=1" title="The 'Gees (page does not exist)">The 'Gees</a>" (1856)</li>
<li>"<a class="new" href="/w/index.php?title=I_and_My_Chimney&action=edit&redlink=1" title="I and My Chimney (page does not exist)">I and My Chimney</a>" (1856)</li>
<li>"<a class="new" href="/w/index.php?title=The_Apple-Tree_Table&action=edit&redlink=1" title="The Apple-Tree Table (page does not exist)">The Apple-Tree Table</a>" (1856)</li></ul>
</div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Published posthumously</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li>"<a class="new" href="/w/index.php?title=The_Two_Temples&action=edit&redlink=1" title="The Two Temples (page does not exist)">The Two Temples</a>"</li>
<li>"Daniel Orme"</li></ul>
</div></td></tr></tbody></table><div></div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Poetry</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><i><a href="/wiki/Battle-Pieces_and_Aspects_of_the_War" title="Battle-Pieces and Aspects of the War">Battle-Pieces and Aspects of the War</a></i> (1866)</li>
<li><i><a href="/wiki/Clarel" title="Clarel">Clarel</a></i> (1876)</li>
<li><i><a href="/wiki/John_Marr_and_Other_Sailors" title="John Marr and Other Sailors">John Marr and Other Sailors</a></i> (1888)</li>
<li><i><a href="/wiki/Timoleon_(poems)" title="Timoleon (poems)">Timoleon</a></i> (1891)</li>
<li><i><a class="new" href="/w/index.php?title=Weeds_and_Wildings,_and_a_Rose_or_Two&action=edit&redlink=1" title="Weeds and Wildings, and a Rose or Two (page does not exist)">Weeds and Wildings, and a Rose or Two</a></i> (1924, posthumous)</li></ul>
</div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Essays</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li>"<a href="/wiki/Hawthorne_and_His_Mosses" title="Hawthorne and His Mosses">Hawthorne and His Mosses</a>" (1850)</li></ul>
</div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Possible</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><i><a href="/wiki/Isle_of_the_Cross" title="Isle of the Cross">Isle of the Cross</a></i> (ca 1853)</li></ul>
</div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Related</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><a href="/wiki/Arrowhead_(Herman_Melville_House)" title="Arrowhead (Herman Melville House)">Arrowhead (Herman Melville House)</a></li>
<li><a href="/wiki/Berkshire_Athenaeum#Herman_Melville_Memorial_Room" title="Berkshire Athenaeum">Herman Melville Memorial Room archives</a></li>
<li><a href="/wiki/Herman_Melville_bibliography" title="Herman Melville bibliography">Herman Melville bibliography</a></li></ul>
</div></td></tr></tbody></table></div>
<div aria-labelledby="Herman_Melville&#039;s_Moby-Dick_(1851)" class="navbox" role="navigation" style="padding:3px"><table class="nowraplinks collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th class="navbox-title" colspan="2" scope="col"><div class="plainlinks hlist navbar mini"><ul><li class="nv-view"><a href="/wiki/Template:Moby-Dick" title="Template:Moby-Dick"><abbr style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none; padding:0;" title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Moby-Dick" title="Template talk:Moby-Dick"><abbr style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none; padding:0;" title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a class="external text" href="//en.wikipedia.org/w/index.php?title=Template:Moby-Dick&action=edit"><abbr style=";;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none; padding:0;" title="Edit this template">e</abbr></a></li></ul></div><div id="Herman_Melville&#039;s_Moby-Dick_(1851)" style="font-size:114%;margin:0 4em"><a href="/wiki/Herman_Melville" title="Herman Melville">Herman Melville</a>'s <i><a class="mw-selflink selflink">Moby-Dick</a></i> (1851)</div></th></tr><tr><th class="navbox-group" scope="row" style="width:1%"><a href="/wiki/List_of_Moby-Dick_characters" title="List of Moby-Dick characters">Characters</a></th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><a href="/wiki/Captain_Ahab" title="Captain Ahab">Captain Ahab</a></li>
<li><a href="/wiki/Ishmael_(Moby-Dick)" title="Ishmael (Moby-Dick)">Ishmael</a></li>
<li><a href="/wiki/Moby_Dick_(whale)" title="Moby Dick (whale)">Moby Dick</a></li>
<li><a href="/wiki/Queequeg" title="Queequeg">Queequeg</a></li>
<li><a href="/wiki/Father_Mapple" title="Father Mapple">Father Mapple</a></li></ul>
</div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Ships</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><i><a href="/wiki/Pequod_(Moby-Dick)" title="Pequod (Moby-Dick)">Pequod</a></i></li></ul>
</div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Special subjects</th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><a href="/wiki/Cetology_of_Moby-Dick" title="Cetology of Moby-Dick">Cetology</a></li>
<li><a class="mw-redirect" href="/wiki/Fast-Fish_and_Loose-Fish" title="Fast-Fish and Loose-Fish">Fast-Fish and Loose-Fish</a></li></ul>
</div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%"><a href="/wiki/Adaptations_of_Moby-Dick" title="Adaptations of Moby-Dick">Adaptations</a></th><td class="navbox-list navbox-odd hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th class="navbox-group" scope="row" style="width:1%">Film</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><i><a href="/wiki/The_Sea_Beast" title="The Sea Beast">The Sea Beast</a></i> (1926)</li>
<li><i><a href="/wiki/Moby_Dick_(1930_film)" title="Moby Dick (1930 film)">Moby Dick</a></i> (1930)</li>
<li><i><a href="/wiki/Moby_Dick_(1956_film)" title="Moby Dick (1956 film)">Moby Dick</a></i> (1956)</li>
<li><i><a href="/wiki/Moby_Dick_(unfinished_film)" title="Moby Dick (unfinished film)">Moby Dick</a></i> (1971; unfinished)</li>
<li><i><a href="/wiki/Moby_Dick_(1978_film)" title="Moby Dick (1978 film)">Moby Dick</a></i> (1978)</li>
<li><i><a href="/wiki/Moby_Dick_(2010_film)" title="Moby Dick (2010 film)">Moby Dick</a></i> (2010)</li></ul>
</div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Television</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><i><a href="/wiki/Hakugei:_Legend_of_the_Moby_Dick" title="Hakugei: Legend of the Moby Dick">Hakugei: Legend of the Moby Dick</a></i> (1997)</li>
<li><i><a href="/wiki/Moby_Dick_(1998_miniseries)" title="Moby Dick (1998 miniseries)">Moby Dick</a></i> (1998)</li>
<li><i><a href="/wiki/Moby_Dick_(2011_miniseries)" title="Moby Dick (2011 miniseries)">Moby Dick</a></i> (2011)</li></ul>
</div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Stage</th><td class="navbox-list navbox-even" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><i><a href="/wiki/Moby_Dick%E2%80%94Rehearsed" title="Moby Dick—Rehearsed">Moby Dick—Rehearsed</a></i> (1955)</li>
<li><i><a href="/wiki/Moby_Dick_(musical)" title="Moby Dick (musical)">Moby Dick</a></i> (1990 musical)</li>
<li><i><a href="/wiki/Moby-Dick_(opera)" title="Moby-Dick (opera)">Moby-Dick</a></i> (2010 opera)</li></ul>
</div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Other</th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><i><a href="/wiki/Age_of_the_Dragons" title="Age of the Dragons">Age of the Dragons</a></i></li>
<li><i><a href="/wiki/The_Call_of_the_Wretched_Sea" title="The Call of the Wretched Sea">The Call of the Wretched Sea</a></i></li>
<li><i><a href="/wiki/Capitaine_Achab" title="Capitaine Achab">Capitaine Achab</a></i></li>
<li><i><a href="/wiki/Dopey_Dick_the_Pink_Whale" title="Dopey Dick the Pink Whale">Dopey Dick the Pink Whale</a></i></li>
<li><i><a href="/wiki/Dicky_Moe" title="Dicky Moe">Dicky Moe</a></i></li>
<li><i><a href="/wiki/Leviathan_(album)" title="Leviathan (album)">Leviathan</a></i></li>
<li>"<a href="/wiki/M%C3%B6bius_Dick_(Futurama)" title="Möbius Dick (Futurama)">Möbius Dick</a>"</li>
<li><i><a href="/wiki/Moby_Dick_and_Mighty_Mightor" title="Moby Dick and Mighty Mightor">Moby Dick and Mighty Mightor</a></i></li>
<li><i><a href="/wiki/Railsea" title="Railsea">Railsea</a></i></li></ul>
</div></td></tr></tbody></table><div></div></td></tr><tr><th class="navbox-group" scope="row" style="width:1%">Related</th><td class="navbox-list navbox-even hlist" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><a href="/wiki/Moby_Dick_Coin" title="Moby Dick Coin">Moby Dick Coin</a></li>
<li><a href="/wiki/Mocha_Dick" title="Mocha Dick">Mocha Dick</a></li>
<li><a href="/wiki/Essex_(whaleship)" title="Essex (whaleship)"><i>Essex</i></a> (whaleship)</li>
<li><a href="/wiki/In_the_Heart_of_the_Sea" title="In the Heart of the Sea"><i>In the Heart of the Sea</i></a> (book)</li>
<li><a href="/wiki/In_the_Heart_of_the_Sea_(film)" title="In the Heart of the Sea (film)"><i>In the Heart of the Sea</i></a> (film)</li></ul>
</div></td></tr></tbody></table></div>
<div aria-labelledby="Authority_control_frameless_&#124;text-top_&#124;10px_&#124;alt=Edit_this_at_Wikidata_&#124;link=https&#58;//www.wikidata.org/wiki/Q174596&#124;Edit_this_at_Wikidata" class="navbox" role="navigation" style="padding:3px"><table class="nowraplinks hlist navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th class="navbox-group" id="Authority_control_frameless_&#124;text-top_&#124;10px_&#124;alt=Edit_this_at_Wikidata_&#124;link=https&#58;//www.wikidata.org/wiki/Q174596&#124;Edit_this_at_Wikidata" scope="row" style="width:1%"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control</a> <a href="https://www.wikidata.org/wiki/Q174596" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" data-file-height="600" data-file-width="600" decoding="async" height="10" src="//upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/10px-Blue_pencil.svg.png" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/20px-Blue_pencil.svg.png 2x" style="vertical-align: text-top" width="10"/></a></th><td class="navbox-list navbox-odd" style="text-align:left;border-left-width:2px;border-left-style:solid;width:100%;padding:0px"><div style="padding:0em 0.25em">
<ul><li><span class="nowrap"><a href="/wiki/Biblioth%C3%A8que_nationale_de_France" title="Bibliothèque nationale de France">BNF</a>: <span class="uid"><a class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb120108674" rel="nofollow">cb120108674</a> <a class="external text" href="http://data.bnf.fr/ark:/12148/cb120108674" rel="nofollow">(data)</a></span></span></li>
<li><span class="nowrap"><a href="/wiki/Integrated_Authority_File" title="Integrated Authority File">GND</a>: <span class="uid"><a class="external text" href="https://d-nb.info/gnd/4204518-6" rel="nofollow">4204518-6</a></span></span></li>
<li><span class="nowrap"><a href="/wiki/Library_of_Congress_Control_Number" title="Library of Congress Control Number">LCCN</a>: <span class="uid"><a class="external text" href="https://id.loc.gov/authorities/names/n88282472" rel="nofollow">n88282472</a></span></span></li>
<li><span class="nowrap"><a href="/wiki/Syst%C3%A8me_universitaire_de_documentation" title="Système universitaire de documentation">SUDOC</a>: <span class="uid"><a class="external text" href="https://www.idref.fr/028230795" rel="nofollow">028230795</a></span></span></li>
<li><span class="nowrap"><a href="/wiki/Virtual_International_Authority_File" title="Virtual International Authority File">VIAF</a>: <span class="uid"><a class="external text" href="https://viaf.org/viaf/92145857808123020242" rel="nofollow">92145857808123020242</a></span></span></li>
<li><span class="nowrap"> <a class="mw-redirect" href="/wiki/WorldCat_Identities" title="WorldCat Identities">WorldCat Identities</a> (via VIAF): <a class="external text" href="https://www.worldcat.org/identities/containsVIAFID/92145857808123020242" rel="nofollow">92145857808123020242</a></span></li></ul>
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href="https://cs.wikipedia.org/wiki/B%C3%ADl%C3%A1_velryba" hreflang="cs" lang="cs" title="Bílá velryba – Czech">Čeština</a></li><li class="interlanguage-link interwiki-da"><a class="interlanguage-link-target" href="https://da.wikipedia.org/wiki/Moby_Dick" hreflang="da" lang="da" title="Moby Dick – Danish">Dansk</a></li><li class="interlanguage-link interwiki-de"><a class="interlanguage-link-target" href="https://de.wikipedia.org/wiki/Moby-Dick" hreflang="de" lang="de" title="Moby-Dick – German">Deutsch</a></li><li class="interlanguage-link interwiki-et"><a class="interlanguage-link-target" href="https://et.wikipedia.org/wiki/Moby_Dick" hreflang="et" lang="et" title="Moby Dick – Estonian">Eesti</a></li><li class="interlanguage-link interwiki-es"><a class="interlanguage-link-target" href="https://es.wikipedia.org/wiki/Moby-Dick" hreflang="es" lang="es" title="Moby-Dick – Spanish">Español</a></li><li class="interlanguage-link interwiki-eo"><a class="interlanguage-link-target" href="https://eo.wikipedia.org/wiki/Moby-Dick" hreflang="eo" lang="eo" title="Moby-Dick – Esperanto">Esperanto</a></li><li class="interlanguage-link interwiki-eu"><a class="interlanguage-link-target" href="https://eu.wikipedia.org/wiki/Moby-Dick" hreflang="eu" lang="eu" title="Moby-Dick – Basque">Euskara</a></li><li class="interlanguage-link interwiki-fa"><a class="interlanguage-link-target" href="https://fa.wikipedia.org/wiki/%D9%85%D9%88%D8%A8%DB%8C%E2%80%8C%D8%AF%DB%8C%DA%A9" hreflang="fa" lang="fa" title="موبیدیک – Persian">فارسی</a></li><li class="interlanguage-link interwiki-fr"><a class="interlanguage-link-target" href="https://fr.wikipedia.org/wiki/Moby_Dick" hreflang="fr" lang="fr" title="Moby Dick – French">Français</a></li><li class="interlanguage-link interwiki-gl"><a class="interlanguage-link-target" href="https://gl.wikipedia.org/wiki/Moby_Dick" hreflang="gl" lang="gl" title="Moby Dick – Galician">Galego</a></li><li class="interlanguage-link interwiki-ko"><a class="interlanguage-link-target" href="https://ko.wikipedia.org/wiki/%EB%AA%A8%EB%B9%84%EB%94%95" hreflang="ko" lang="ko" title="모비딕 – Korean">한국어</a></li><li class="interlanguage-link interwiki-hy"><a class="interlanguage-link-target" href="https://hy.wikipedia.org/wiki/%D5%84%D5%B8%D5%A2%D5%AB_%D4%B4%D5%AB%D6%84" hreflang="hy" lang="hy" title="Մոբի Դիք – Armenian">Հայերեն</a></li><li class="interlanguage-link interwiki-hr"><a class="interlanguage-link-target" href="https://hr.wikipedia.org/wiki/Moby_Dick" hreflang="hr" lang="hr" title="Moby Dick – Croatian">Hrvatski</a></li><li class="interlanguage-link interwiki-id"><a class="interlanguage-link-target" href="https://id.wikipedia.org/wiki/Moby-Dick" hreflang="id" lang="id" title="Moby-Dick – Indonesian">Bahasa Indonesia</a></li><li class="interlanguage-link interwiki-it"><a class="interlanguage-link-target" href="https://it.wikipedia.org/wiki/Moby_Dick" hreflang="it" lang="it" title="Moby Dick – Italian">Italiano</a></li><li class="interlanguage-link interwiki-he"><a class="interlanguage-link-target" href="https://he.wikipedia.org/wiki/%D7%9E%D7%95%D7%91%D7%99_%D7%93%D7%99%D7%A7" hreflang="he" lang="he" title="מובי דיק – Hebrew">עברית</a></li><li class="interlanguage-link interwiki-jv"><a class="interlanguage-link-target" href="https://jv.wikipedia.org/wiki/Moby-Dick" hreflang="jv" lang="jv" title="Moby-Dick – Javanese">Basa Jawa</a></li><li class="interlanguage-link interwiki-ky"><a class="interlanguage-link-target" href="https://ky.wikipedia.org/wiki/%D0%9C%D0%BE%D0%B1%D0%B8-%D0%94%D0%B8%D0%BA" hreflang="ky" lang="ky" title="Моби-Дик – Kyrgyz">Кыргызча</a></li><li class="interlanguage-link interwiki-la"><a class="interlanguage-link-target" href="https://la.wikipedia.org/wiki/Moby-Dick" hreflang="la" lang="la" title="Moby-Dick – Latin">Latina</a></li><li class="interlanguage-link interwiki-lv"><a class="interlanguage-link-target" href="https://lv.wikipedia.org/wiki/Mobijs_Diks" hreflang="lv" lang="lv" title="Mobijs Diks – Latvian">Latviešu</a></li><li class="interlanguage-link interwiki-lt"><a class="interlanguage-link-target" href="https://lt.wikipedia.org/wiki/Mobis_Dikas" hreflang="lt" lang="lt" title="Mobis Dikas – Lithuanian">Lietuvių</a></li><li class="interlanguage-link interwiki-hu"><a class="interlanguage-link-target" href="https://hu.wikipedia.org/wiki/Moby_Dick_(reg%C3%A9ny)" hreflang="hu" lang="hu" title="Moby Dick (regény) – Hungarian">Magyar</a></li><li class="interlanguage-link interwiki-ml"><a class="interlanguage-link-target" href="https://ml.wikipedia.org/wiki/%E0%B4%AE%E0%B5%8A%E0%B4%AC%E0%B4%BF_%E0%B4%A1%E0%B4%BF%E0%B4%95%E0%B5%8D%E0%B4%95%E0%B5%8D" hreflang="ml" lang="ml" title="മൊബി ഡിക്ക് – Malayalam">മലയാളം</a></li><li class="interlanguage-link interwiki-xmf"><a class="interlanguage-link-target" href="https://xmf.wikipedia.org/wiki/%E1%83%9B%E1%83%9D%E1%83%91%E1%83%98_%E1%83%93%E1%83%98%E1%83%99%E1%83%98" hreflang="xmf" lang="xmf" title="მობი დიკი – Mingrelian">მარგალური</a></li><li class="interlanguage-link interwiki-nl"><a class="interlanguage-link-target" href="https://nl.wikipedia.org/wiki/Moby-Dick_(boek)" hreflang="nl" lang="nl" title="Moby-Dick (boek) – Dutch">Nederlands</a></li><li class="interlanguage-link interwiki-ja"><a class="interlanguage-link-target" href="https://ja.wikipedia.org/wiki/%E7%99%BD%E9%AF%A8" hreflang="ja" lang="ja" title="白鯨 – Japanese">日本語</a></li><li class="interlanguage-link interwiki-no"><a class="interlanguage-link-target" href="https://no.wikipedia.org/wiki/Moby_Dick" hreflang="no" lang="no" title="Moby Dick – Norwegian">Norsk</a></li><li class="interlanguage-link interwiki-nn"><a class="interlanguage-link-target" href="https://nn.wikipedia.org/wiki/Moby_Dick" hreflang="nn" lang="nn" title="Moby Dick – Norwegian Nynorsk">Norsk nynorsk</a></li><li class="interlanguage-link interwiki-oc"><a class="interlanguage-link-target" href="https://oc.wikipedia.org/wiki/Moby_Dick" hreflang="oc" lang="oc" title="Moby Dick – Occitan">Occitan</a></li><li class="interlanguage-link interwiki-pa"><a class="interlanguage-link-target" href="https://pa.wikipedia.org/wiki/%E0%A8%AE%E0%A9%8B%E0%A8%AC%E0%A9%80_%E0%A8%A1%E0%A8%BF%E0%A9%B1%E0%A8%95" hreflang="pa" lang="pa" title="ਮੋਬੀ ਡਿੱਕ – Punjabi">ਪੰਜਾਬੀ</a></li><li class="interlanguage-link interwiki-pl"><a class="interlanguage-link-target" href="https://pl.wikipedia.org/wiki/Moby_Dick" hreflang="pl" lang="pl" title="Moby Dick – Polish">Polski</a></li><li class="interlanguage-link interwiki-pt"><a class="interlanguage-link-target" href="https://pt.wikipedia.org/wiki/Moby_Dick" hreflang="pt" lang="pt" title="Moby Dick – Portuguese">Português</a></li><li class="interlanguage-link interwiki-ro"><a class="interlanguage-link-target" href="https://ro.wikipedia.org/wiki/Moby_Dick" hreflang="ro" lang="ro" title="Moby Dick – Romanian">Română</a></li><li class="interlanguage-link interwiki-ru"><a class="interlanguage-link-target" href="https://ru.wikipedia.org/wiki/%D0%9C%D0%BE%D0%B1%D0%B8_%D0%94%D0%B8%D0%BA" hreflang="ru" lang="ru" title="Моби Дик – Russian">Русский</a></li><li class="interlanguage-link interwiki-sco"><a class="interlanguage-link-target" href="https://sco.wikipedia.org/wiki/Moby-Dick" hreflang="sco" lang="sco" title="Moby-Dick – Scots">Scots</a></li><li class="interlanguage-link interwiki-sq"><a class="interlanguage-link-target" href="https://sq.wikipedia.org/wiki/Moby-Dick" hreflang="sq" lang="sq" title="Moby-Dick – Albanian">Shqip</a></li><li class="interlanguage-link interwiki-si"><a class="interlanguage-link-target" href="https://si.wikipedia.org/wiki/%E0%B6%B8%E0%B7%9C%E0%B6%B6%E0%B7%92-%E0%B6%A9%E0%B7%92%E0%B6%9A%E0%B7%8A" hreflang="si" lang="si" title="මොබි-ඩික් – Sinhala">සිංහල</a></li><li class="interlanguage-link interwiki-simple"><a class="interlanguage-link-target" href="https://simple.wikipedia.org/wiki/Moby-Dick" hreflang="en-simple" lang="en-simple" title="Moby-Dick – Simple English">Simple English</a></li><li class="interlanguage-link interwiki-sk"><a class="interlanguage-link-target" href="https://sk.wikipedia.org/wiki/Biela_ve%C4%BEryba" hreflang="sk" lang="sk" title="Biela veľryba – Slovak">Slovenčina</a></li><li class="interlanguage-link interwiki-ckb"><a class="interlanguage-link-target" href="https://ckb.wikipedia.org/wiki/%D9%85%DB%86%D8%A8%DB%8C_%D8%AF%DB%8C%DA%A9" hreflang="ckb" lang="ckb" title="مۆبی دیک – Central Kurdish">کوردی</a></li><li class="interlanguage-link interwiki-sr"><a class="interlanguage-link-target" href="https://sr.wikipedia.org/wiki/%D0%9C%D0%BE%D0%B1%D0%B8_%D0%94%D0%B8%D0%BA" hreflang="sr" lang="sr" title="Моби Дик – Serbian">Српски / srpski</a></li><li class="interlanguage-link interwiki-sh"><a class="interlanguage-link-target" href="https://sh.wikipedia.org/wiki/Moby-Dick" hreflang="sh" lang="sh" title="Moby-Dick – Serbo-Croatian">Srpskohrvatski / српскохрватски</a></li><li class="interlanguage-link interwiki-fi"><a class="interlanguage-link-target" href="https://fi.wikipedia.org/wiki/Moby_Dick" hreflang="fi" lang="fi" title="Moby Dick – Finnish">Suomi</a></li><li class="interlanguage-link interwiki-sv"><a class="interlanguage-link-target" href="https://sv.wikipedia.org/wiki/Moby_Dick" hreflang="sv" lang="sv" title="Moby Dick – Swedish">Svenska</a></li><li class="interlanguage-link interwiki-tl"><a class="interlanguage-link-target" href="https://tl.wikipedia.org/wiki/Moby-Dick" hreflang="tl" lang="tl" title="Moby-Dick – Tagalog">Tagalog</a></li><li class="interlanguage-link interwiki-th"><a class="interlanguage-link-target" href="https://th.wikipedia.org/wiki/%E0%B9%82%E0%B8%A1%E0%B8%9A%E0%B8%B4%E0%B8%94%E0%B8%B4%E0%B8%81" hreflang="th" lang="th" title="โมบิดิก – Thai">ไทย</a></li><li class="interlanguage-link interwiki-tr"><a class="interlanguage-link-target" href="https://tr.wikipedia.org/wiki/Moby_Dick" hreflang="tr" lang="tr" title="Moby Dick – Turkish">Türkçe</a></li><li class="interlanguage-link interwiki-uk"><a class="interlanguage-link-target" href="https://uk.wikipedia.org/wiki/%D0%9C%D0%BE%D0%B1%D1%96_%D0%94%D1%96%D0%BA" hreflang="uk" lang="uk" title="Мобі Дік – Ukrainian">Українська</a></li><li class="interlanguage-link interwiki-vi"><a class="interlanguage-link-target" href="https://vi.wikipedia.org/wiki/Moby_Dick" hreflang="vi" lang="vi" title="Moby Dick – Vietnamese">Tiếng Việt</a></li><li class="interlanguage-link interwiki-war"><a class="interlanguage-link-target" href="https://war.wikipedia.org/wiki/Moby-Dick" hreflang="war" lang="war" title="Moby-Dick – Waray">Winaray</a></li><li class="interlanguage-link interwiki-zh-yue"><a class="interlanguage-link-target" href="https://zh-yue.wikipedia.org/wiki/%E7%84%A1%E6%AF%94%E6%95%B5" hreflang="yue" lang="yue" title="無比敵 – Cantonese">粵語</a></li><li class="interlanguage-link interwiki-zh"><a class="interlanguage-link-target" href="https://zh.wikipedia.org/wiki/%E7%99%BD%E9%AF%A8%E8%A8%98" hreflang="zh" lang="zh" title="白鯨記 – Chinese">中文</a></li> </ul>
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<title>Moby-Dick - Wikipedia</title>
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<a href="/wiki/Ishmael_(Moby-Dick)" title="Ishmael (Moby-Dick)">Ishmael</a>,
<a href="/wiki/Captain_Ahab" title="Captain Ahab">Ahab</a>,
<a href="/wiki/Whaler" title="Whaler">whaling ship</a>,
<a href="/wiki/Pequod_(Moby-Dick)" title="Pequod (Moby-Dick)">Pequod</a>,
<a href="/wiki/Moby_Dick_(whale)" title="Moby Dick (whale)">Moby Dick</a>,
<a href="/wiki/American_Renaissance_(literature)" title="American Renaissance (literature)">American Renaissance</a>,
<a href="/wiki/Romantic_literature_in_English" title="Romantic literature in English">Romantic</a>,
<a href="/wiki/Symbolism_(arts)" title="Symbolism (arts)">Symbolist</a>,
<a href="/wiki/Great_American_Novel" title="Great American Novel">Great American Novel</a>,
<a href="/wiki/William_Faulkner" title="William Faulkner">William Faulkner</a>,
<a href="#cite_note-1">[1]</a>,
<a href="/wiki/D._H._Lawrence" title="D. H. Lawrence">D. H. Lawrence</a>,
<a href="#cite_note-2">[2]</a>,
<a href="/wiki/Opening_sentence" title="Opening sentence">opening sentence</a>,
<a href="#cite_note-Buell_2014,_367-3">[3]</a>,
<a href="/wiki/Nathaniel_Hawthorne" title="Nathaniel Hawthorne">Nathaniel Hawthorne</a>,
<a href="/wiki/Mosses_from_an_Old_Manse" title="Mosses from an Old Manse">Mosses from an Old Manse</a>,
<a class="mw-redirect" href="/wiki/Shakespeare" title="Shakespeare">Shakespeare</a>,
<a class="mw-redirect" href="/wiki/The_Bible" title="The Bible">the Bible</a>,
<a href="/wiki/Mocha_Dick" title="Mocha Dick">Mocha Dick</a>,
<a href="/wiki/Essex_(whaleship)" title="Essex (whaleship)"><i>Essex</i></a>,
<a class="mw-redirect" href="/wiki/Whale_hunting" title="Whale hunting">whale hunting</a>,
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<a href="/wiki/Social_status" title="Social status">social status</a>,
<a href="/wiki/Existence_of_God" title="Existence of God">existence of God</a>,
<a href="/wiki/Narrative" title="Narrative">narrative</a>,
<a class="mw-redirect" href="/wiki/Literary_device" title="Literary device">literary devices</a>,
<a class="mw-redirect" href="/wiki/Stage_direction" title="Stage direction">stage directions</a>,
<a href="/wiki/Soliloquy" title="Soliloquy">soliloquies</a>,
<a href="/wiki/Aside" title="Aside">asides</a>,
<a href="/wiki/Harper%27s_Magazine" title="Harper's Magazine">Harper's New Monthly Magazine</a>,
<a href="/wiki/London" title="London">London</a>,
<a href="/wiki/Richard_Bentley_(publisher)" title="Richard Bentley (publisher)">Richard Bentley</a>,
<a href="#cite_note-4">[4]</a>,
<a href="#Plot"><span class="tocnumber">1</span> <span class="toctext">Plot</span></a>,
<a href="#Structure"><span class="tocnumber">2</span> <span class="toctext">Structure</span></a>,
<a href="#Point_of_view"><span class="tocnumber">2.1</span> <span class="toctext">Point of view</span></a>,
<a href="#Chapter_structure"><span class="tocnumber">2.2</span> <span class="toctext">Chapter structure</span></a>,
<a href="#Nine_meetings_with_other_ships"><span class="tocnumber">2.3</span> <span class="toctext">Nine meetings with other ships</span></a>,
<a href="#Themes"><span class="tocnumber">3</span> <span class="toctext">Themes</span></a>,
<a href="#Style"><span class="tocnumber">4</span> <span class="toctext">Style</span></a>,
<a href="#Assimilation_of_Shakespeare"><span class="tocnumber">4.1</span> <span class="toctext">Assimilation of Shakespeare</span></a>,
<a href="#Background"><span class="tocnumber">5</span> <span class="toctext">Background</span></a>,
<a href="#Autobiographical_elements"><span class="tocnumber">5.1</span> <span class="toctext">Autobiographical elements</span></a>,
<a href="#Whaling_sources"><span class="tocnumber">5.2</span> <span class="toctext">Whaling sources</span></a>,
<a href="#Composition"><span class="tocnumber">5.3</span> <span class="toctext">Composition</span></a>,
<a href="#Publication_history"><span class="tocnumber">6</span> <span class="toctext">Publication history</span></a>,
<a href="#Melville's_revisions_and_British_editorial_revisions"><span class="tocnumber">6.1</span> <span class="toctext">Melville's revisions and British editorial revisions</span></a>,
<a href='#British_censorship_and_missing_"Epilogue"'><span class="tocnumber">6.2</span> <span class="toctext">British censorship and missing "Epilogue"</span></a>,
<a href="#Last-minute_change_of_title"><span class="tocnumber">6.3</span> <span class="toctext">Last-minute change of title</span></a>,
<a href="#Sales_and_earnings"><span class="tocnumber">6.4</span> <span class="toctext">Sales and earnings</span></a>,
<a href="#Reception"><span class="tocnumber">7</span> <span class="toctext">Reception</span></a>,
<a href="#British"><span class="tocnumber">7.1</span> <span class="toctext">British</span></a>,
<a href="#American"><span class="tocnumber">7.2</span> <span class="toctext">American</span></a>,
<a href="#Legacy_and_adaptations"><span class="tocnumber">8</span> <span class="toctext">Legacy and adaptations</span></a>,
<a href="#Editions"><span class="tocnumber">9</span> <span class="toctext">Editions</span></a>,
<a href="#Footnotes"><span class="tocnumber">10</span> <span class="toctext">Footnotes</span></a>,
<a href="#References"><span class="tocnumber">11</span> <span class="toctext">References</span></a>,
<a href="#External_links"><span class="tocnumber">12</span> <span class="toctext">External links</span></a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=1" title="Edit section: Plot">edit</a>,
<a href="/wiki/List_of_Moby-Dick_characters" title="List of Moby-Dick characters">List of Moby-Dick characters</a>,
<a href="/wiki/Ishmael_(Moby-Dick)" title="Ishmael (Moby-Dick)">Ishmael</a>,
<a class="mw-redirect" href="/wiki/Manhattan_Island" title="Manhattan Island">Manhattan Island</a>,
<a href="/wiki/New_Bedford,_Massachusetts" title="New Bedford, Massachusetts">New Bedford, Massachusetts</a>,
<a href="/wiki/Polynesia" title="Polynesia">Polynesian</a>,
<a href="/wiki/Queequeg" title="Queequeg">Queequeg</a>,
<a href="/wiki/Rokovoko" title="Rokovoko">Rokovoko</a>,
<a href="/wiki/Father_Mapple" title="Father Mapple">Father Mapple</a>,
<a href="/wiki/Jonah" title="Jonah">Jonah</a>,
<a class="mw-redirect" href="/wiki/Nantucket,_Massachusetts" title="Nantucket, Massachusetts">Nantucket</a>,
<a class="mw-redirect" href="/wiki/Captain_Bildad" title="Captain Bildad">Bildad</a>,
<a class="mw-redirect" href="/wiki/Captain_Peleg" title="Captain Peleg">Peleg</a>,
<a href="/wiki/Pequod_(Moby-Dick)" title="Pequod (Moby-Dick)">Pequod</a>,
<a href="/wiki/Captain_Ahab" title="Captain Ahab">Captain Ahab</a>,
<a href="/wiki/Elijah" title="Elijah">Elijah</a>,
<a href="/wiki/Cetology_of_Moby-Dick" title="Cetology of Moby-Dick">cetology</a>,
<a href="/wiki/List_of_Moby-Dick_characters#Crewmates" title="List of Moby-Dick characters">Starbuck</a>,
<a class="mw-redirect" href="/wiki/Quaker" title="Quaker">Quaker</a>,
<a href="/wiki/List_of_Moby-Dick_characters#Crewmates" title="List of Moby-Dick characters">Stubb</a>,
<a class="mw-redirect" href="/wiki/Tashtego" title="Tashtego">Tashtego</a>,
<a href="/wiki/List_of_Moby-Dick_characters#Crewmates" title="List of Moby-Dick characters">Flask</a>,
<a href="/wiki/Martha%27s_Vineyard" title="Martha's Vineyard">Martha's Vineyard</a>,
<a href="/wiki/List_of_Moby-Dick_characters#Harpooneers" title="List of Moby-Dick characters">Daggoo</a>,
<a href="/wiki/Quarterdeck" title="Quarterdeck">quarterdeck</a>,
<a href="/wiki/Doubloon" title="Doubloon">doubloon</a>,
<a href="/wiki/Cape_Horn" title="Cape Horn">Cape Horn</a>,
<a href="/wiki/Pacific_Ocean" title="Pacific Ocean">Pacific Ocean</a>,
<a class="mw-redirect" href="/wiki/Tashtego" title="Tashtego">Tashtego</a>,
<a href="/wiki/Sperm_whale" title="Sperm whale">sperm whale</a>,
<a href="/wiki/List_of_Moby-Dick_characters#Harpooneers" title="List of Moby-Dick characters">Fedallah</a>,
<a class="mw-redirect" href="/wiki/Parsi" title="Parsi">Parsee</a>,
<a class="image" href="/wiki/File:Moby_Dick_p510_illustration.jpg"><img alt="" class="thumbimage" data-file-height="972" data-file-width="620" decoding="async" height="267" src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Moby_Dick_p510_illustration.jpg/170px-Moby_Dick_p510_illustration.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Moby_Dick_p510_illustration.jpg/255px-Moby_Dick_p510_illustration.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Moby_Dick_p510_illustration.jpg/340px-Moby_Dick_p510_illustration.jpg 2x" width="170"/></a>,
<a class="internal" href="/wiki/File:Moby_Dick_p510_illustration.jpg" title="Enlarge"></a>,
<a href="/wiki/Cape_of_Good_Hope" title="Cape of Good Hope">Cape of Good Hope</a>,
<a href="/wiki/Giant_squid" title="Giant squid">giant squid</a>,
<a href="/wiki/Indian_Ocean" title="Indian Ocean">Indian Ocean</a>,
<a href="/wiki/Conjoined_twins" title="Conjoined twins">Siamese twins</a>,
<a href="/wiki/John_Locke" title="John Locke">Lockean</a>,
<a href="/wiki/Immanuel_Kant" title="Immanuel Kant">Kantean</a>,
<a href="/wiki/Plato" title="Plato">platonic</a>,
<a href="/wiki/Ambergris" title="Ambergris">ambergris</a>,
<a href="/wiki/Andes" title="Andes">Andes</a>,
<a href="/wiki/Trinity" title="Trinity">Trinity</a>,
<a class="image" href="/wiki/File:Queequeg.JPG"><img alt="" class="thumbimage" data-file-height="1076" data-file-width="651" decoding="async" height="281" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Queequeg.JPG/170px-Queequeg.JPG" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Queequeg.JPG/255px-Queequeg.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Queequeg.JPG/340px-Queequeg.JPG 2x" width="170"/></a>,
<a class="internal" href="/wiki/File:Queequeg.JPG" title="Enlarge"></a>,
<a href="/wiki/London" title="London">London</a>,
<a href="/wiki/Glen" title="Glen">glen</a>,
<a href="/wiki/Burial_at_sea" title="Burial at sea">burial at sea</a>,
<a class="mw-redirect" href="/wiki/Formosa" title="Formosa">Formosa</a>,
<a href="/wiki/Philippines" title="Philippines">Bashee</a>,
<a href="/wiki/Harpoon" title="Harpoon">harpoon</a>,
<a href="/wiki/Equator" title="Equator">Equator</a>,
<a href="/wiki/Typhoon" title="Typhoon">typhoon</a>,
<a href="/wiki/Chip_log" title="Chip log">log</a>,
<a class="image" href="/wiki/File:Moby_Dick_final_chase.jpg"><img alt="" class="thumbimage" data-file-height="920" data-file-width="585" decoding="async" height="267" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Moby_Dick_final_chase.jpg/170px-Moby_Dick_final_chase.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Moby_Dick_final_chase.jpg/255px-Moby_Dick_final_chase.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Moby_Dick_final_chase.jpg/340px-Moby_Dick_final_chase.jpg 2x" width="170"/></a>,
<a class="internal" href="/wiki/File:Moby_Dick_final_chase.jpg" title="Enlarge"></a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=2" title="Edit section: Structure">edit</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=3" title="Edit section: Point of view">edit</a>,
<a href="#cite_note-Bezanson_1953,_644-5">[5]</a>,
<a href="#cite_note-6">[6]</a>,
<a href="#cite_note-7">[7]</a>,
<a href="#cite_note-Bezanson_1953,_644-5">[5]</a>,
<a href="#cite_note-8">[8]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=4" title="Edit section: Chapter structure">edit</a>,
<a href="#cite_note-9">[9]</a>,
<a href="/wiki/Lawrence_Buell" title="Lawrence Buell">Lawrence Buell</a>,
<a href="#cite_note-Buell_2014,_367-3">[3]</a>,
<a href="#cite_note-Bezanson_1953,_654-10">[10]</a>,
<a href="#cite_note-Buell_2014,_365-11">[11]</a>,
<a href="#cite_note-12">[12]</a>,
<a href="#cite_note-Bryant_and_Springer_2007,_xvi-13">[13]</a>,
<a href="#cite_note-14">[14]</a>,
<a href="#cite_note-Buell_2014,_365-11">[11]</a>,
<a href="#cite_note-15">[15]</a>,
<a href="#cite_note-16">[16]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=5" title="Edit section: Nine meetings with other ships">edit</a>,
<a href="#cite_note-Bezanson_1953,_654-10">[10]</a>,
<a href="#cite_note-17">[17]</a>,
<a href="/wiki/Books_of_Kings" title="Books of Kings">I Kings</a>,
<a href="#cite_note-18">[18]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=6" title="Edit section: Themes">edit</a>,
<a href="/wiki/E._M._Forster" title="E. M. Forster">E. M. Forster</a>,
<a href="#cite_note-19">[19]</a>,
<a href="#cite_note-20">[20]</a>,
<a href="#cite_note-21">[21]</a>,
<a href="#cite_note-22">[22]</a>,
<a href="#cite_note-23">[23]</a>,
<a href="#cite_note-24">[24]</a>,
<a href="#cite_note-Bryant_and_Springer_2007,_xxii-25">[25]</a>,
<a href="#cite_note-Bryant_and_Springer_2007,_xxii-25">[25]</a>,
<a href="#cite_note-Bryant_and_Springer_2007,_xvi-13">[13]</a>,
<a href="#cite_note-26">[26]</a>,
<a href="#cite_note-27">[27]</a>,
<a href="/wiki/Transcendentalism" title="Transcendentalism">Transcendentalism</a>,
<a href="#cite_note-Baldick-28">[28]</a>,
<a href="/wiki/Ralph_Waldo_Emerson" title="Ralph Waldo Emerson">Ralph Waldo Emerson</a>,
<a href="#cite_note-Ruland_and_Bradbury-29">[29]</a>,
<a href="/wiki/Self-Reliance" title="Self-Reliance">self reliance</a>,
<a href="#cite_note-R._Chase-30">[30]</a>,
<a href="#cite_note-R._Chase-30">[30]</a>,
<a href="#cite_note-Moby-Dick_(Bantam)-31">[31]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=7" title="Edit section: Style">edit</a>,
<a href="#cite_note-Bryant_and_Springer_2007,_xv-32">[32]</a>,
<a href="/wiki/Newton_Arvin" title="Newton Arvin">Newton Arvin</a>,
<a href="#cite_note-33">[33]</a>,
<a href="#cite_note-34">[34]</a>,
<a href="#cite_note-35">[35]</a>,
<a href="#cite_note-Lee_2006,_395-36">[36]</a>,
<a href="#cite_note-Berthoff_1962,_164-37">[37]</a>,
<a href="#cite_note-Lee_2006,_395-36">[36]</a>,
<a href="#cite_note-Lee_2006,_395-36">[36]</a>,
<a href="#cite_note-38">[38]</a>,
<a href="#cite_note-Berthoff_1962,_164-37">[37]</a>,
<a href="#cite_note-39">[39]</a>,
<a href="#cite_note-40">[40]</a>,
<a href="/wiki/Blank_verse" title="Blank verse">blank verse</a>,
<a href="#cite_note-41">[41]</a>,
<a href="#cite_note-42">[42]</a>,
<a href="#cite_note-43">[43]</a>,
<a href="/wiki/Homeric_simile" title="Homeric simile">Homeric simile</a>,
<a href="/wiki/Hubris" title="Hubris">hubris</a>,
<a href="#cite_note-Matthiessen_1941,_461-44">[44]</a>,
<a href="#cite_note-Matthiessen_1941,_461-44">[44]</a>,
<a href="#cite_note-45">[45]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=8" title="Edit section: Assimilation of Shakespeare">edit</a>,
<a class="mw-redirect" href="/wiki/F.O._Matthiessen" title="F.O. Matthiessen">F.O. Matthiessen</a>,
<a href="#cite_note-46">[46]</a>,
<a href="#cite_note-Matthiessen_1941,_424-47">[47]</a>,
<a href="#cite_note-Matthiessen_1941,_424-47">[47]</a>,
<a href="/wiki/King_Lear" title="King Lear">King Lear</a>,
<a href="/wiki/Macbeth" title="Macbeth">Macbeth</a>,
<a href="#cite_note-48">[48]</a>,
<a href="#cite_note-Matthiessen_1941,_424-47">[47]</a>,
<a href="#cite_note-Matthiessen_1941,_424-47">[47]</a>,
<a href="#cite_note-49">[49]</a>,
<a href="#cite_note-50">[50]</a>,
<a href="#cite_note-51">[51]</a>,
<a href="#cite_note-52">[52]</a>,
<a href="#cite_note-53">[53]</a>,
<a href="#cite_note-54">[54]</a>,
<a href="#cite_note-Matthiessen_1941,_430-55">[55]</a>,
<a href="#cite_note-Matthiessen_1941,_430-55">[55]</a>,
<a href="#cite_note-Matthiessen_1941,_430-55">[55]</a>,
<a href="#cite_note-56">[56]</a>,
<a href="#cite_note-57">[57]</a>,
<a href="#cite_note-58">[58]</a>,
<a href="#cite_note-59">[59]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=9" title="Edit section: Background">edit</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=10" title="Edit section: Autobiographical elements">edit</a>,
<a href="/wiki/Quakers" title="Quakers">Quaker</a>,
<a href="#cite_note-60">[60]</a>,
<a href="#cite_note-61">[61]</a>,
<a href="#cite_note-62">[62]</a>,
<a href="#cite_note-63">[63]</a>,
<a class="mw-redirect" href="/wiki/Chief_Mate" title="Chief Mate">First Officer</a>,
<a href="#cite_note-64">[64]</a>,
<a class="mw-redirect" href="/wiki/First_mate" title="First mate">first mate</a>,
<a href="/wiki/Tahiti" title="Tahiti">Tahiti</a>,
<a href="#cite_note-65">[65]</a>,
<a href="/wiki/Second_mate" title="Second mate">second mate</a>,
<a href="#cite_note-66">[66]</a>,
<a href="#cite_note-67">[67]</a>,
<a href="#cite_note-68">[68]</a>,
<a href="/wiki/Honolulu" title="Honolulu">Honolulu</a>,
<a href="#cite_note-69">[69]</a>,
<a href="/wiki/Seamen%27s_Bethel" title="Seamen's Bethel">Seamen's Bethel</a>,
<a href="/wiki/Enoch_Mudge" title="Enoch Mudge">Enoch Mudge</a>,
<a class="mw-redirect" href="/wiki/Jonah_and_the_Whale" title="Jonah and the Whale">Jonah and the Whale</a>,
<a href="#cite_note-70">[70]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=11" title="Edit section: Whaling sources">edit</a>,
<a class="image" href="/wiki/File:Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg"><img alt="" class="thumbimage" data-file-height="1697" data-file-width="1041" decoding="async" height="359" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg/220px-Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg/330px-Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/95/Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg/440px-Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg 2x" width="220"/></a>,
<a class="internal" href="/wiki/File:Houghton_AC85.M4977.Zz839b_-_History_of_the_Sperm_Whale.jpg" title="Enlarge"></a>,
<a class="mw-redirect" href="/wiki/Essex_(1799_whaleship)" title="Essex (1799 whaleship)">Essex</a>,
<a href="/wiki/Owen_Chase" title="Owen Chase">Owen Chase</a>,
<a href="#cite_note-FOOTNOTEPhilbrick2000xii-_xv-71">[71]</a>,
<a href="/wiki/Mocha_Dick" title="Mocha Dick">Mocha Dick</a>,
<a class="mw-redirect" href="/wiki/Mocha_(island)" title="Mocha (island)">Mocha</a>,
<a href="/wiki/Jeremiah_N._Reynolds" title="Jeremiah N. Reynolds">Jeremiah N. Reynolds</a>,
<a href="/wiki/The_Knickerbocker" title="The Knickerbocker">The Knickerbocker</a>,
<a href="#cite_note-Reynolds,_J.N-72">[72]</a>,
<a href="#cite_note-Reynolds,_J.N-72">[72]</a>,
<a href="/wiki/First-person_narrative" title="First-person narrative">first-person narration</a>,
<a href="/wiki/Frame_story" title="Frame story">frame</a>,
<a href="#cite_note-Reynolds,_J.N-72">[72]</a>,
<a href="#cite_note-73">[73]</a>,
<a href="#cite_note-74">[74]</a>,
<a href="/wiki/Ann_Alexander_(ship)" title="Ann Alexander (ship)">Ann Alexander</a>,
<a href="/wiki/Gal%C3%A1pagos_Islands" title="Galápagos Islands">Galápagos Islands</a>,
<a href="#cite_note-75">[75]</a>,
<a href="/wiki/Mardi" title="Mardi">Mardi</a>,
<a href="#cite_note-76">[76]</a>,
<a href="/wiki/Lemuel_Shaw" title="Lemuel Shaw">Lemuel Shaw</a>,
<a href="#cite_note-FOOTNOTEMelville1988[httpsbooksgooglecombooksidjnNBh61lpjUCprintsecfrontcoverhlnlvonepageqOwen20Chaseffalse_971-77]-77">[77]</a>,
<a class="image" href="/wiki/File:Herman_Melville.jpg"><img alt="" class="thumbimage" data-file-height="4618" data-file-width="3520" decoding="async" height="289" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Herman_Melville.jpg/220px-Herman_Melville.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Herman_Melville.jpg/330px-Herman_Melville.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f1/Herman_Melville.jpg/440px-Herman_Melville.jpg 2x" width="220"/></a>,
<a class="internal" href="/wiki/File:Herman_Melville.jpg" title="Enlarge"></a>,
<a href="/wiki/Joseph_C._Hart" title="Joseph C. Hart">Joseph C. Hart</a>,
<a href="#cite_note-78">[78]</a>,
<a href="#cite_note-79">[79]</a>,
<a href="#cite_note-80">[80]</a>,
<a href="#cite_note-81">[81]</a>,
<a href="#cite_note-Vincent_1949,_130-82">[82]</a>,
<a href="#cite_note-Vincent_1949,_130-82">[82]</a>,
<a href="#cite_note-Vincent_1949,_131-83">[83]</a>,
<a href="#cite_note-Vincent_1949,_131-83">[83]</a>,
<a href="/wiki/William_Scoresby" title="William Scoresby">William Scoresby</a>,
<a class="mw-redirect" href="/wiki/Greenland_whale" title="Greenland whale">Greenland whale</a>,
<a href="#cite_note-84">[84]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=12" title="Edit section: Composition">edit</a>,
<a href="#cite_note-Bezanson-85">[85]</a>,
<a href="#cite_note-86">[86]</a>,
<a class="mw-redirect" href="/wiki/Richard_Henry_Dana,_Jr." title="Richard Henry Dana, Jr.">Richard Henry Dana, Jr.</a>,
<a href="#cite_note-87">[87]</a>,
<a href="/wiki/Lawrence_Buell" title="Lawrence Buell">Lawrence Buell</a>,
<a href="#cite_note-Buell_2014,_364-88">[88]</a>,
<a href="#cite_note-Bezanson-85">[85]</a>,
<a href="#cite_note-Bezanson-85">[85]</a>,
<a href="#cite_note-Bezanson-85">[85]</a>,
<a href="#cite_note-89">[89]</a>,
<a href="#cite_note-Bryant_and_Springer_2007,_xi-90">[90]</a>,
<a href="#cite_note-91">[91]</a>,
<a href="/wiki/Lenox,_Massachusetts" title="Lenox, Massachusetts">Lenox, Massachusetts</a>,
<a href="#cite_note-92">[92]</a>,
<a href="/wiki/Oliver_Wendell_Holmes_Sr." title="Oliver Wendell Holmes Sr.">Oliver Wendell Holmes Sr.</a>,
<a href="#cite_note-93">[93]</a>,
<a href="/wiki/Mosses_from_an_Old_Manse" title="Mosses from an Old Manse">Mosses from an Old Manse</a>,
<a href="/wiki/Hawthorne_and_His_Mosses" title="Hawthorne and His Mosses">Hawthorne and His Mosses</a>,
<a href="/wiki/The_Literary_World_(magazine)" title="The Literary World (magazine)">The Literary World</a>,
<a href="#cite_note-94">[94]</a>,
<a href="#cite_note-Bezanson-85">[85]</a>,
<a href="#cite_note-Bezanson-85">[85]</a>,
<a class="image" href="/wiki/File:Arrowhead_farmhouse_Herman_Melville.jpg"><img alt="" class="thumbimage" data-file-height="720" data-file-width="936" decoding="async" height="169" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Arrowhead_farmhouse_Herman_Melville.jpg/220px-Arrowhead_farmhouse_Herman_Melville.jpg" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Arrowhead_farmhouse_Herman_Melville.jpg/330px-Arrowhead_farmhouse_Herman_Melville.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Arrowhead_farmhouse_Herman_Melville.jpg/440px-Arrowhead_farmhouse_Herman_Melville.jpg 2x" width="220"/></a>,
<a class="internal" href="/wiki/File:Arrowhead_farmhouse_Herman_Melville.jpg" title="Enlarge"></a>,
<a href="/wiki/Arrowhead_(Herman_Melville_House)" title="Arrowhead (Herman Melville House)">Arrowhead</a>,
<a href="/wiki/Pittsfield,_Massachusetts" title="Pittsfield, Massachusetts">Pittsfield, Massachusetts</a>,
<a href="#cite_note-95">[95]</a>,
<a href="#cite_note-96">[96]</a>,
<a href="/wiki/Mardi" title="Mardi">Mardi</a>,
<a href="#cite_note-97">[97]</a>,
<a href="#cite_note-Bryant_and_Springer_2007,_xi-90">[90]</a>,
<a href="#cite_note-98">[98]</a>,
<a href="#cite_note-99">[99]</a>,
<a href="#cite_note-Bezanson-85">[85]</a>,
<a href="/wiki/Redburn" title="Redburn">Redburn</a>,
<a href="/wiki/White-Jacket" title="White-Jacket">White-Jacket</a>,
<a href="#cite_note-100">[100]</a>,
<a href="#cite_note-Buell_2014,_364-88">[88]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=13" title="Edit section: Publication history">edit</a>,
<a href="/wiki/Richard_Bentley_(publisher)" title="Richard Bentley (publisher)">Richard Bentley</a>,
<a href="/wiki/G._Thomas_Tanselle" title="G. Thomas Tanselle">G. Thomas Tanselle</a>,
<a href="#cite_note-101">[101]</a>,
<a href="#cite_note-102">[102]</a>,
<a href="#cite_note-103">[103]</a>,
<a href="#cite_note-Cited_in_Tanselle_(1988),_663-104">[104]</a>,
<a href="#cite_note-Cited_in_Tanselle_(1988),_663-104">[104]</a>,
<a href="#cite_note-105">[105]</a>,
<a href="#cite_note-106">[106]</a>,
<a href="#cite_note-Tanselle_1988,_667-107">[107]</a>,
<a href="#cite_note-108">[108]</a>,
<a href="/wiki/Harper%27s_Magazine" title="Harper's Magazine">Harper's New Monthly Magazine</a>,
<a href="#cite_note-109">[109]</a>,
<a href="#cite_note-110">[110]</a>,
<a href="#cite_note-111">[111]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=14" title="Edit section: Melville's revisions and British editorial revisions">edit</a>,
<a href="#cite_note-Tanselle_1988,_667-107">[107]</a>,
<a href="#cite_note-112">[112]</a>,
<a href="#cite_note-Tanselle_1988,_687-113">[113]</a>,
<a href="#cite_note-114">[114]</a>,
<a href="#cite_note-115">[115]</a>,
<a href="#cite_note-Tanselle_1988,_678-116">[116]</a>,
<a href="#cite_note-Tanselle_1988,_678-116">[116]</a>,
<a href="#cite_note-117">[117]</a>,
<a href="#cite_note-118">[118]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=15" title='Edit section: British censorship and missing "Epilogue"'>edit</a>,
<a href="#cite_note-119">[119]</a>,
<a href="#cite_note-Robertson-Lorant_1996,_277-120">[120]</a>,
<a href="#cite_note-121">[121]</a>,
<a href="#cite_note-122">[122]</a>,
<a href="#cite_note-123">[123]</a>,
<a href="#cite_note-124">[124]</a>,
<a href="#cite_note-125">[125]</a>,
<a href="#cite_note-126">[126]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=16" title="Edit section: Last-minute change of title">edit</a>,
<a href="#cite_note-Cited_in_Tanselle_(1988),_671-127">[127]</a>,
<a href="#cite_note-128">[128]</a>,
<a class="mw-redirect" href="/wiki/Running_head" title="Running head">running heads</a>,
<a href="#cite_note-Cited_in_Tanselle_(1988),_671-127">[127]</a>,
<a href="#cite_note-Cited_in_Tanselle_(1988),_672-129">[129]</a>,
<a href="#cite_note-130">[130]</a>,
<a class="mw-redirect" href="/wiki/Half_title" title="Half title">half-title page</a>,
<a href="#cite_note-Cited_in_Tanselle_(1988),_672-129">[129]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=17" title="Edit section: Sales and earnings">edit</a>,
<a href="#cite_note-Tanselle_1988,_688-131">[131]</a>,
<a href="#cite_note-Tanselle_1988,_687-113">[113]</a>,
<a href="#cite_note-Tanselle_1988,_688-131">[131]</a>,
<a href="#cite_note-Tanselle_1988,_689-132">[132]</a>,
<a href="#cite_note-Tanselle_1988,_689-132">[132]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=18" title="Edit section: Reception">edit</a>,
<a href="#cite_note-Parker_2002,_17-133">[133]</a>,
<a href="#cite_note-Parker_1988,_700-134">[134]</a>,
<a href="#cite_note-Parker_2002,_17-133">[133]</a>,
<a href="#cite_note-Parker_1988,_700-134">[134]</a>,
<a href="#cite_note-135">[135]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=19" title="Edit section: British">edit</a>,
<a href="#cite_note-Parker_1988,_700-134">[134]</a>,
<a href="#cite_note-Parker_1988,_702-136">[136]</a>,
<a href="#cite_note-137">[137]</a>,
<a href="#cite_note-Parker_1988,_702-03-138">[138]</a>,
<a href="#cite_note-Parker_1988,_702-03-138">[138]</a>,
<a href="#cite_note-139">[139]</a>,
<a href="#cite_note-Robertson-Lorant_1996,_277-120">[120]</a>,
<a class="mw-redirect" href="/wiki/Athenaeum_(British_magazine)" title="Athenaeum (British magazine)">Athenaeum</a>,
<a href="#cite_note-Robertson-Lorant_1996-140">[140]</a>,
<a href="#cite_note-141">[141]</a>,
<a href="#cite_note-Parker_1988,_702-136">[136]</a>,
<a href="#cite_note-Robertson-Lorant_1996-140">[140]</a>,
<a href="#cite_note-Cited_in_Parker_(1988),_708-142">[142]</a>,
<a href="#cite_note-Cited_in_Parker_(1988),_708-142">[142]</a>,
<a href="#cite_note-143">[143]</a>,
<a href="#cite_note-144">[144]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=20" title="Edit section: American">edit</a>,
<a href="#cite_note-145">[145]</a>,
<a href="#cite_note-Parker_2002,_17-133">[133]</a>,
<a href="#cite_note-146">[146]</a>,
<a href="#cite_note-147">[147]</a>,
<a href="#cite_note-148">[148]</a>,
<a class="new" href="/w/index.php?title=Evert_Duyckinck&action=edit&redlink=1" title="Evert Duyckinck (page does not exist)">Evert Duyckinck</a>,
<a href="#cite_note-149">[149]</a>,
<a href="#cite_note-150">[150]</a>,
<a href="#cite_note-151">[151]</a>,
<a href="#cite_note-152">[152]</a>,
<a href="#cite_note-153">[153]</a>,
<a href="/wiki/George_Ripley_(transcendentalist)" title="George Ripley (transcendentalist)">George Ripley</a>,
<a href="#cite_note-154">[154]</a>,
<a href="#cite_note-Quoted_in_Parker_2002,_27-155">[155]</a>,
<a href="#cite_note-156">[156]</a>,
<a href="#cite_note-Quoted_in_Parker_2002,_27-155">[155]</a>,
<a href="#cite_note-Quoted_in_Parker_2002,_27-155">[155]</a>,
<a href="#cite_note-157">[157]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=21" title="Edit section: Legacy and adaptations">edit</a>,
<a href="/wiki/Adaptations_of_Moby-Dick" title="Adaptations of Moby-Dick">Adaptations of Moby-Dick</a>,
<a class="mw-redirect" href="/wiki/Harper_and_Row" title="Harper and Row">Harper & Brothers</a>,
<a href="#cite_note-bartleby1-158">[158]</a>,
<a href="/wiki/American_literature" title="American literature">American author</a>,
<a href="/wiki/Carl_Van_Doren" title="Carl Van Doren">Carl Van Doren</a>,
<a href="#cite_note-bartleby1-158">[158]</a>,
<a href="/wiki/Studies_in_Classic_American_Literature" title="Studies in Classic American Literature">Studies in Classic American Literature</a>,
<a href="/wiki/D._H._Lawrence" title="D. H. Lawrence">D. H. Lawrence</a>,
<a href="#cite_note-bartleby1-158">[158]</a>,
<a href="/wiki/Modern_Library" title="Modern Library">Modern Library</a>,
<a class="mw-redirect" href="/wiki/Lakeside_Press" title="Lakeside Press">Lakeside Press</a>,
<a href="/wiki/Rockwell_Kent#Biography" title="Rockwell Kent">Rockwell Kent</a>,
<a href="/wiki/Random_House" title="Random House">Random House</a>,
<a href="#cite_note-159">[159]</a>,
<a href="/wiki/1926_in_film" title="1926 in film">1926</a>,
<a class="mw-redirect" href="/wiki/Silent_movie" title="Silent movie">silent movie</a>,
<a href="/wiki/The_Sea_Beast" title="The Sea Beast">The Sea Beast</a>,
<a href="/wiki/John_Barrymore" title="John Barrymore">John Barrymore</a>,
<a href="#cite_note-160">[160]</a>,
<a href="#cite_note-Springer_2007-161">[161]</a>,
<a href="/wiki/John_Huston" title="John Huston">John Huston</a>,
<a href="/wiki/Moby_Dick_(1956_film)" title="Moby Dick (1956 film)">1956 film</a>,
<a href="/wiki/Ray_Bradbury" title="Ray Bradbury">Ray Bradbury</a>,
<a href="#cite_note-162">[162]</a>,
<a href="#cite_note-Springer_2007-161">[161]</a>,
<a href="/wiki/David_Klamen" title="David Klamen">David Klamen</a>,
<a href="#cite_note-Schultz-163">[163]</a>,
<a href="/wiki/Ralph_Ellison" title="Ralph Ellison">Ralph Ellison</a>,
<a href="/wiki/Invisible_Man" title="Invisible Man">Invisible Man</a>,
<a href="/wiki/Arnold_Rampersad" title="Arnold Rampersad">Arnold Rampersad</a>,
<a href="#cite_note-164">[164]</a>,
<a href="#cite_note-165">[165]</a>,
<a href="#cite_note-166">[166]</a>,
<a href="/wiki/Bob_Dylan" title="Bob Dylan">Bob Dylan</a>,
<a href="#cite_note-167">[167]</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=22" title="Edit section: Editions">edit</a>,
<a class="external text" href="https://babel.hathitrust.org/cgi/pt?id=dul1.ark:/13960/t3kw6ns1s;view=1up;seq=9" rel="nofollow">Moby-Dick</a>,
<a class="external text" href="https://babel.hathitrust.org/cgi/pt?id=dul1.ark:/13960/t3kw6ns1s;view=1up;seq=9" rel="nofollow">; or, <i>The Whale</i></a>,
<a class="external text" href="http://babel.hathitrust.org/cgi/pt?id=mdp.39015046801760;view=1up;seq=20" rel="nofollow"><i>Moby-Dick; or, The Whale</i>.</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/039309670X" title="Special:BookSources/039309670X">039309670X</a>,
<a href="/wiki/Textual_criticism" title="Textual criticism">critical text</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/9780393972832" title="Special:BookSources/9780393972832">9780393972832</a>,
<a class="external text" href="http://www.pearsonhighered.com/educator/product/Moby-Dick-A-Longman-Critical-Edition/9780321228000.page" rel="nofollow"><i>Moby-Dick: A Longman Critical Edition</i></a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/978-0-321-22800-0" title="Special:BookSources/978-0-321-22800-0">978-0-321-22800-0</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=23" title="Edit section: Footnotes">edit</a>,
<a href="#cite_ref-1">^</a>,
<a href="#cite_ref-2">^</a>,
<a href="#cite_ref-Buell_2014,_367_3-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Buell_2014,_367_3-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-4">^</a>,
<a href="#cite_ref-Bezanson_1953,_644_5-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Bezanson_1953,_644_5-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-6">^</a>,
<a href="#cite_ref-7">^</a>,
<a href="#cite_ref-8">^</a>,
<a href="#cite_ref-9">^</a>,
<a href="#cite_ref-Bezanson_1953,_654_10-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Bezanson_1953,_654_10-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Buell_2014,_365_11-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Buell_2014,_365_11-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-12">^</a>,
<a href="#cite_ref-Bryant_and_Springer_2007,_xvi_13-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Bryant_and_Springer_2007,_xvi_13-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-14">^</a>,
<a href="#cite_ref-15">^</a>,
<a href="#cite_ref-16">^</a>,
<a href="#cite_ref-17">^</a>,
<a href="#cite_ref-18">^</a>,
<a href="#cite_ref-19">^</a>,
<a href="#cite_ref-20">^</a>,
<a href="#cite_ref-21">^</a>,
<a href="#cite_ref-22">^</a>,
<a href="#cite_ref-23">^</a>,
<a href="#cite_ref-24">^</a>,
<a href="#cite_ref-Bryant_and_Springer_2007,_xxii_25-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Bryant_and_Springer_2007,_xxii_25-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-26">^</a>,
<a href="#cite_ref-27">^</a>,
<a class="external text" href="http://muse.jhu.edu/journals/college_literature/v032/32.1lamb.html" rel="nofollow">"Fast-Fish and Loose-Fish: Teaching Melville's Moby-Dick in the College Classroom"</a>,
<a href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</a>,
<a class="external text" href="//doi.org/10.1353%2Flit.2005.0011" rel="nofollow">10.1353/lit.2005.0011</a>,
<a href="#cite_ref-Baldick_28-0">^</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/9780198715443" title="Special:BookSources/9780198715443">9780198715443</a>,
<a href="#cite_ref-Ruland_and_Bradbury_29-0">^</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0140144358" title="Special:BookSources/0140144358">0140144358</a>,
<a href="#cite_ref-R._Chase_30-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-R._Chase_30-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Moby-Dick_(Bantam)_31-0">^</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0553213113" title="Special:BookSources/0553213113">0553213113</a>,
<a href="#cite_ref-Bryant_and_Springer_2007,_xv_32-0">^</a>,
<a href="#cite_ref-33">^</a>,
<a href="#cite_ref-34">^</a>,
<a href="#cite_ref-35">^</a>,
<a href="#cite_ref-Lee_2006,_395_36-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Lee_2006,_395_36-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Lee_2006,_395_36-2"><sup><i><b>c</b></i></sup></a>,
<a href="#cite_ref-Berthoff_1962,_164_37-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Berthoff_1962,_164_37-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-38">^</a>,
<a href="#cite_ref-39">^</a>,
<a href="#cite_ref-40">^</a>,
<a href="#cite_ref-41">^</a>,
<a href="#cite_ref-42">^</a>,
<a href="#cite_ref-43">^</a>,
<a href="#cite_ref-Matthiessen_1941,_461_44-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Matthiessen_1941,_461_44-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-45">^</a>,
<a href="#cite_ref-46">^</a>,
<a href="#cite_ref-Matthiessen_1941,_424_47-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Matthiessen_1941,_424_47-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Matthiessen_1941,_424_47-2"><sup><i><b>c</b></i></sup></a>,
<a href="#cite_ref-Matthiessen_1941,_424_47-3"><sup><i><b>d</b></i></sup></a>,
<a href="#cite_ref-48">^</a>,
<a href="#cite_ref-49">^</a>,
<a href="#cite_ref-50">^</a>,
<a href="#cite_ref-51">^</a>,
<a href="#cite_ref-52">^</a>,
<a href="#cite_ref-53">^</a>,
<a href="#cite_ref-54">^</a>,
<a href="#cite_ref-Matthiessen_1941,_430_55-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Matthiessen_1941,_430_55-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Matthiessen_1941,_430_55-2"><sup><i><b>c</b></i></sup></a>,
<a href="#cite_ref-56">^</a>,
<a href="#cite_ref-57">^</a>,
<a href="#cite_ref-58">^</a>,
<a href="#cite_ref-59">^</a>,
<a href="#cite_ref-60">^</a>,
<a href="#cite_ref-61">^</a>,
<a href="#cite_ref-62">^</a>,
<a href="#cite_ref-63">^</a>,
<a href="#cite_ref-64">^</a>,
<a href="#cite_ref-65">^</a>,
<a href="#cite_ref-66">^</a>,
<a href="#cite_ref-67">^</a>,
<a href="#cite_ref-68">^</a>,
<a href="#cite_ref-69">^</a>,
<a href="#cite_ref-70">^</a>,
<a href="#cite_ref-FOOTNOTEPhilbrick2000xii-_xv_71-0">^</a>,
<a href="#CITEREFPhilbrick2000">Philbrick (2000)</a>,
<a href="#cite_ref-Reynolds,_J.N_72-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Reynolds,_J.N_72-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Reynolds,_J.N_72-2"><sup><i><b>c</b></i></sup></a>,
<a href="#cite_ref-73">^</a>,
<a class="external text" href="https://books.google.com/books?id=v4sGAQAAIAAJ&q=Yankee+Whalers+in+the+South+Seas&dq=Yankee+Whalers+in+the+South+Seas" rel="nofollow"><i>Yankee whalers in the South Seas</i></a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0-8048-1057-5" title="Special:BookSources/0-8048-1057-5">0-8048-1057-5</a>,
<a href="#cite_ref-74">^</a>,
<a class="external text" href="https://books.google.com/books?id=DMwEAAAAQAAJ&lpg=PA115&ots=wLKjJyW1K_&dq=the%20ship%20union%2C%20of%20Nantucket%20September%2C%201807%20Edmund%20Gardner&pg=PA115#v=onepage&q=the%20ship%20union,%20of%20Nantucket%20September,%201807%20Edmund%20Gardner&f=false" rel="nofollow">Report of the Commissioner By United States Commission of Fish and Fisheries, p115</a>,
<a href="#cite_ref-75">^</a>,
<a class="external text" href="http://www.melville.org/hmquotes.htm" rel="nofollow">Melville's Reflections, a page from The Life and Works of Herman Melville</a>,
<a href="#cite_ref-76">^</a>,
<a href="#cite_ref-FOOTNOTEMelville1988[httpsbooksgooglecombooksidjnNBh61lpjUCprintsecfrontcoverhlnlvonepageqOwen20Chaseffalse_971-77]_77-0">^</a>,
<a href="#CITEREFMelville1988">Melville (1988)</a>,
<a class="external text" href="https://books.google.com/books?id=jnNBh61lpjUC&printsec=frontcover&hl=nl#v=onepage&q=Owen%20Chase&f=false" rel="nofollow">971-77</a>,
<a href="#cite_ref-78">^</a>,
<a href="#cite_ref-79">^</a>,
<a href="#cite_ref-80">^</a>,
<a class="external text" href="http://melvillesmarginalia.org/introductions.php?id=52" rel="nofollow">"Introduction to Melville's Marginalia in Thomas Beale's <i>The Natural History of the Sperm Whale</i>." <i>Melville's Marginalia Online</i>. Retrieved on 30 November 2016.</a>,
<a class="external text" href="https://web.archive.org/web/20141215023652/http://melvillesmarginalia.org/introductions.php?id=52" rel="nofollow">Archived</a>,
<a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>,
<a href="#cite_ref-81">^</a>,
<a href="#cite_ref-Vincent_1949,_130_82-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Vincent_1949,_130_82-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Vincent_1949,_131_83-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Vincent_1949,_131_83-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-84">^</a>,
<a href="#cite_ref-Bezanson_85-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Bezanson_85-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Bezanson_85-2"><sup><i><b>c</b></i></sup></a>,
<a href="#cite_ref-Bezanson_85-3"><sup><i><b>d</b></i></sup></a>,
<a href="#cite_ref-Bezanson_85-4"><sup><i><b>e</b></i></sup></a>,
<a href="#cite_ref-Bezanson_85-5"><sup><i><b>f</b></i></sup></a>,
<a href="#cite_ref-Bezanson_85-6"><sup><i><b>g</b></i></sup></a>,
<a href="#cite_ref-86">^</a>,
<a href="#cite_ref-87">^</a>,
<a href="#cite_ref-Buell_2014,_364_88-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Buell_2014,_364_88-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-89">^</a>,
<a href="#cite_ref-Bryant_and_Springer_2007,_xi_90-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Bryant_and_Springer_2007,_xi_90-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-91">^</a>,
<a href="#cite_ref-92">^</a>,
<a href="#cite_ref-93">^</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0-7862-9521-X" title="Special:BookSources/0-7862-9521-X">0-7862-9521-X</a>,
<a href="#cite_ref-94">^</a>,
<a href="#cite_ref-95">^</a>,
<a href="#cite_ref-96">^</a>,
<a href="#cite_ref-97">^</a>,
<a href="#cite_ref-98">^</a>,
<a href="#cite_ref-99">^</a>,
<a href="#cite_ref-100">^</a>,
<a href="#cite_ref-101">^</a>,
<a class="external text" href="https://books.google.com/books?id=jnNBh61lpjUC&printsec=frontcover&hl=nl#v=onepage&q&f=false" rel="nofollow">Tanselle (1988), 660</a>,
<a href="#cite_ref-102">^</a>,
<a href="#cite_ref-103">^</a>,
<a href="#cite_ref-Cited_in_Tanselle_(1988),_663_104-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Cited_in_Tanselle_(1988),_663_104-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-105">^</a>,
<a href="#cite_ref-106">^</a>,
<a href="#cite_ref-Tanselle_1988,_667_107-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Tanselle_1988,_667_107-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-108">^</a>,
<a href="#cite_ref-109">^</a>,
<a href="#cite_ref-110">^</a>,
<a href="#cite_ref-111">^</a>,
<a href="#cite_ref-112">^</a>,
<a href="#cite_ref-Tanselle_1988,_687_113-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Tanselle_1988,_687_113-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-114">^</a>,
<a href="#cite_ref-115">^</a>,
<a href="#cite_ref-Tanselle_1988,_678_116-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Tanselle_1988,_678_116-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-117">^</a>,
<a href="#cite_ref-118">^</a>,
<a href="#cite_ref-119">^</a>,
<a href="#cite_ref-Robertson-Lorant_1996,_277_120-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Robertson-Lorant_1996,_277_120-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-121">^</a>,
<a href="#cite_ref-122">^</a>,
<a href="#cite_ref-123">^</a>,
<a href="#cite_ref-124">^</a>,
<a href="#cite_ref-125">^</a>,
<a href="#cite_ref-126">^</a>,
<a href="#cite_ref-Cited_in_Tanselle_(1988),_671_127-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Cited_in_Tanselle_(1988),_671_127-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-128">^</a>,
<a href="#cite_ref-Cited_in_Tanselle_(1988),_672_129-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Cited_in_Tanselle_(1988),_672_129-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-130">^</a>,
<a href="#cite_ref-Tanselle_1988,_688_131-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Tanselle_1988,_688_131-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Tanselle_1988,_689_132-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Tanselle_1988,_689_132-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Parker_2002,_17_133-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Parker_2002,_17_133-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Parker_2002,_17_133-2"><sup><i><b>c</b></i></sup></a>,
<a href="#cite_ref-Parker_1988,_700_134-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Parker_1988,_700_134-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Parker_1988,_700_134-2"><sup><i><b>c</b></i></sup></a>,
<a href="#cite_ref-135">^</a>,
<a href="#cite_ref-Parker_1988,_702_136-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Parker_1988,_702_136-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-137">^</a>,
<a href="#cite_ref-Parker_1988,_702-03_138-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Parker_1988,_702-03_138-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-139">^</a>,
<a href="#cite_ref-Robertson-Lorant_1996_140-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Robertson-Lorant_1996_140-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-141">^</a>,
<a href="#cite_ref-Cited_in_Parker_(1988),_708_142-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Cited_in_Parker_(1988),_708_142-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-143">^</a>,
<a href="#cite_ref-144">^</a>,
<a href="#cite_ref-145">^</a>,
<a href="#cite_ref-146">^</a>,
<a href="#cite_ref-147">^</a>,
<a href="#cite_ref-148">^</a>,
<a href="#cite_ref-149">^</a>,
<a href="#cite_ref-150">^</a>,
<a href="#cite_ref-151">^</a>,
<a href="#cite_ref-152">^</a>,
<a href="#cite_ref-153">^</a>,
<a href="#cite_ref-154">^</a>,
<a href="#cite_ref-Quoted_in_Parker_2002,_27_155-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Quoted_in_Parker_2002,_27_155-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-Quoted_in_Parker_2002,_27_155-2"><sup><i><b>c</b></i></sup></a>,
<a href="#cite_ref-156">^</a>,
<a href="#cite_ref-157">^</a>,
<a href="#cite_ref-bartleby1_158-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-bartleby1_158-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-bartleby1_158-2"><sup><i><b>c</b></i></sup></a>,
<a class="external text" href="http://www.bartleby.com/187/5.html" rel="nofollow">"Chapter 3. Romances of Adventure. Section 2. Herman Melville. Van Doren, Carl. 1921. The American Novel"</a>,
<a href="#cite_ref-159">^</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/9780300082135" title="Special:BookSources/9780300082135">9780300082135</a>,
<a class="external text" href="https://books.google.com/books?id=WbpOcowMfCIC&pg=PA131&dq=Rockwell+Kent+Moby-dick+lakeside&hl=en&sa=X&ei=UFHUVK3lGoWQyAT84YDQCg&ved=0CDUQ6AEwAQ#v=onepage&q=Rockwell%20Kent%20Moby-dick%20lakeside&f=false" rel="nofollow">107, 132, 200</a>,
<a href="#cite_ref-160">^</a>,
<a class="external text" href="https://www.imdb.com/title/tt0017354/" rel="nofollow">IMDb link</a>,
<a href="#cite_ref-Springer_2007_161-0"><sup><i><b>a</b></i></sup></a>,
<a href="#cite_ref-Springer_2007_161-1"><sup><i><b>b</b></i></sup></a>,
<a href="#cite_ref-162">^</a>,
<a class="external text" href="https://www.rottentomatoes.com/m/1014090-moby_dick" rel="nofollow"><i>Moby Dick (1956)</i></a>,
<a href="/wiki/Rotten_Tomatoes" title="Rotten Tomatoes">Rotten Tomatoes</a>,
<a href="#cite_ref-Schultz_163-0">^</a>,
<a href="#cite_ref-164">^</a>,
<a href="#cite_ref-165">^</a>,
<a href="#cite_ref-166">^</a>,
<a href="#cite_ref-167">^</a>,
<a class="external text" href="https://www.youtube.com/watch?v=6TlcPRlau2Q" rel="nofollow">2016 Nobel Lecture in Literature</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=24" title="Edit section: References">edit</a>,
<a href="/wiki/M._H._Abrams" title="M. H. Abrams">Abrams, M. H</a>,
<a class="external text" href="https://web.archive.org/web/20160527182311/http://www.ohio.edu/people/hartleyg/ref/abrams_mh.pdf" rel="nofollow"><i>A Glossary of Literary Terms</i>.</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/9780155054523" title="Special:BookSources/9780155054523">9780155054523</a>,
<a href="/wiki/Newton_Arvin" title="Newton Arvin">Arvin, Newton</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0-8101-0734-1" title="Special:BookSources/0-8101-0734-1">0-8101-0734-1</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0710205139" title="Special:BookSources/0710205139">0710205139</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/9780313238741" title="Special:BookSources/9780313238741">9780313238741</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0321228006" title="Special:BookSources/0321228006">0321228006</a>,
<a href="/wiki/Lawrence_Buell" title="Lawrence Buell">Buell, Lawrence</a>,
<a class="external text" href="https://books.google.com/books?id=J5DzAgAAQBAJ&printsec=frontcover&hl=nl#v=onepage&q&f=false" rel="nofollow"><i>The Dream of the Great American Novel</i>.</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/9780674051157" title="Special:BookSources/9780674051157">9780674051157</a>,
<a href="/wiki/William_Faulkner" title="William Faulkner">Faulkner, William</a>,
<a class="mw-redirect" href="/wiki/E.M._Forster" title="E.M. Forster">Forster, E.M.</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0140205578" title="Special:BookSources/0140205578">0140205578</a>,
<a class="external text" href="http://www.the-tls.co.uk/tls/public/article1434758.ece" rel="nofollow">"What is the Great American Novel?"</a>,
<a class="external text" href="https://books.google.com/books?id=EvT98u-eJ24C&printsec=frontcover&dq=melville&hl=nl&sa=X&ved=0ahUKEwiisIfEycDLAhUGfg8KHYAAA_MQ6AEIczAJ#v=onepage&q&f=false" rel="nofollow"><i>Herman Melville's Whaling Years</i>.</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/9781405122313" title="Special:BookSources/9781405122313">9781405122313</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/9780140183771" title="Special:BookSources/9780140183771">9780140183771</a>,
<a class="external text" href="https://books.google.com/books?id=EbxeLZ-xbcgC&printsec=frontcover#v=onepage&q=language%20Moby-Dick&f=false" rel="nofollow"><i>A Companion to Herman Melville</i></a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/1405122315" title="Special:BookSources/1405122315">1405122315</a>,
<a class="external text" href="https://books.google.com/books?id=L-KhKv9kNqkC&printsec=frontcover&hl=nl#v=onepage&q&f=false" rel="nofollow"><i>The Cambridge Companion to Herman Melville</i></a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0-521-55571-X" title="Special:BookSources/0-521-55571-X">0-521-55571-X</a>,
<a class="mw-redirect" href="/wiki/F.O._Matthiessen" title="F.O. Matthiessen">Matthiessen, F.O.</a>,
<a class="external text" href="https://books.google.com/books?id=tULy3pA-ZoQC&pg=PA626&lpg=PA626&dq=matthiessen+american+renaissance&source=bl&ots=qErO4CPybM&sig=tk7tve3EWXSHWYNCPfhw1yKYDmI&hl=nl&sa=X&redir_esc=y#v=onepage&q&f=false" rel="nofollow"><i>American Renaissance: Art and Expression in the Age of Emerson and Whitman</i>.</a>,
<a class="external text" href="https://books.google.com/?id=jnNBh61lpjUC&printsec=frontcover" rel="nofollow"><i>Moby-Dick; or, the Whale</i></a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0810103249" title="Special:BookSources/0810103249">0810103249</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/9780810109957" title="Special:BookSources/9780810109957">9780810109957</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0-231-05812-8" title="Special:BookSources/0-231-05812-8">0-231-05812-8</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0-87745-332-2" title="Special:BookSources/0-87745-332-2">0-87745-332-2</a>,
<a href="/wiki/Hershel_Parker" title="Hershel Parker">Parker, Hershel</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/9780393972832" title="Special:BookSources/9780393972832">9780393972832</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0801868920" title="Special:BookSources/0801868920">0801868920</a>,
<a href="/wiki/Nathaniel_Philbrick" title="Nathaniel Philbrick">Philbrick, Nathaniel</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0670891576" title="Special:BookSources/0670891576">0670891576</a>,
<a href="/wiki/Arnold_Rampersad" title="Arnold Rampersad">Rampersad, Arnold</a>,
<a class="external text" href="https://books.google.com/books?id=3ROt_zMv1WsC&pg=PA181&dq=melville&hl=nl&sa=X&ved=0ahUKEwid0ua8ysDLAhXI_w4KHUm5CBs4FBDoAQhLMAU#v=onepage&q&f=false" rel="nofollow">"Shadow and Veil: Melville and Modern Black Consciousness."</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0-87338-562-4" title="Special:BookSources/0-87338-562-4">0-87338-562-4</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/9780375408274" title="Special:BookSources/9780375408274">9780375408274</a>,
<a href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</a>,
<a href="/wiki/Special:BookSources/0517593149" title="Special:BookSources/0517593149">0517593149</a>,
<a class="external text" href="https://www.jstor.org/discover/10.2307/2920476?uid=3738736&uid=2&uid=4&sid=21104087484591" rel="nofollow">"Biblical Allusion in Melville's Prose."</a>,
<a href="/w/index.php?title=Moby-Dick&action=edit&section=25" title="Edit section: External links">edit</a>,
<a class="extiw" href="https://commons.wikimedia.org/wiki/Category:Moby_Dick" title="commons:Category:Moby Dick">Moby Dick</a>,
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<a href="/wiki/LibriVox" title="LibriVox">LibriVox</a>,
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<a class="external text" href="http://edsitement.neh.gov/curriculum-unit/melvilles-moby-dick-shifts-narrative-voice-and-literary-genres" rel="nofollow">Melville's “Moby-Dick”: Shifts in Narrative Voice and Literary Genres</a>,
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<a class="mw-selflink selflink">Moby-Dick</a>,
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<a href="/wiki/The_Paradise_of_Bachelors_and_the_Tartarus_of_Maids" title="The Paradise of Bachelors and the Tartarus of Maids">The Paradise of Bachelors and the Tartarus of Maids</a>,
<a class="new" href="/w/index.php?title=Jimmy_Rose_(short_story)&action=edit&redlink=1" title="Jimmy Rose (short story) (page does not exist)">Jimmy Rose</a>,
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<a href="/wiki/Hawthorne_and_His_Mosses" title="Hawthorne and His Mosses">Hawthorne and His Mosses</a>,
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<a href="/wiki/Queequeg" title="Queequeg">Queequeg</a>,
<a href="/wiki/Father_Mapple" title="Father Mapple">Father Mapple</a>,
<a href="/wiki/Pequod_(Moby-Dick)" title="Pequod (Moby-Dick)">Pequod</a>,
<a href="/wiki/Cetology_of_Moby-Dick" title="Cetology of Moby-Dick">Cetology</a>,
<a class="mw-redirect" href="/wiki/Fast-Fish_and_Loose-Fish" title="Fast-Fish and Loose-Fish">Fast-Fish and Loose-Fish</a>,
<a href="/wiki/Adaptations_of_Moby-Dick" title="Adaptations of Moby-Dick">Adaptations</a>,
<a href="/wiki/The_Sea_Beast" title="The Sea Beast">The Sea Beast</a>,
<a href="/wiki/Moby_Dick_(1930_film)" title="Moby Dick (1930 film)">Moby Dick</a>,
<a href="/wiki/Moby_Dick_(1956_film)" title="Moby Dick (1956 film)">Moby Dick</a>,
<a href="/wiki/Moby_Dick_(unfinished_film)" title="Moby Dick (unfinished film)">Moby Dick</a>,
<a href="/wiki/Moby_Dick_(1978_film)" title="Moby Dick (1978 film)">Moby Dick</a>,
<a href="/wiki/Moby_Dick_(2010_film)" title="Moby Dick (2010 film)">Moby Dick</a>,
<a href="/wiki/Hakugei:_Legend_of_the_Moby_Dick" title="Hakugei: Legend of the Moby Dick">Hakugei: Legend of the Moby Dick</a>,
<a href="/wiki/Moby_Dick_(1998_miniseries)" title="Moby Dick (1998 miniseries)">Moby Dick</a>,
<a href="/wiki/Moby_Dick_(2011_miniseries)" title="Moby Dick (2011 miniseries)">Moby Dick</a>,
<a href="/wiki/Moby_Dick%E2%80%94Rehearsed" title="Moby Dick—Rehearsed">Moby Dick—Rehearsed</a>,
<a href="/wiki/Moby_Dick_(musical)" title="Moby Dick (musical)">Moby Dick</a>,
<a href="/wiki/Moby-Dick_(opera)" title="Moby-Dick (opera)">Moby-Dick</a>,
<a href="/wiki/Age_of_the_Dragons" title="Age of the Dragons">Age of the Dragons</a>,
<a href="/wiki/The_Call_of_the_Wretched_Sea" title="The Call of the Wretched Sea">The Call of the Wretched Sea</a>,
<a href="/wiki/Capitaine_Achab" title="Capitaine Achab">Capitaine Achab</a>,
<a href="/wiki/Dopey_Dick_the_Pink_Whale" title="Dopey Dick the Pink Whale">Dopey Dick the Pink Whale</a>,
<a href="/wiki/Dicky_Moe" title="Dicky Moe">Dicky Moe</a>,
<a href="/wiki/Leviathan_(album)" title="Leviathan (album)">Leviathan</a>,
<a href="/wiki/M%C3%B6bius_Dick_(Futurama)" title="Möbius Dick (Futurama)">Möbius Dick</a>,
<a href="/wiki/Moby_Dick_and_Mighty_Mightor" title="Moby Dick and Mighty Mightor">Moby Dick and Mighty Mightor</a>,
<a href="/wiki/Railsea" title="Railsea">Railsea</a>,
<a href="/wiki/Moby_Dick_Coin" title="Moby Dick Coin">Moby Dick Coin</a>,
<a href="/wiki/Mocha_Dick" title="Mocha Dick">Mocha Dick</a>,
<a href="/wiki/Essex_(whaleship)" title="Essex (whaleship)"><i>Essex</i></a>,
<a href="/wiki/In_the_Heart_of_the_Sea" title="In the Heart of the Sea"><i>In the Heart of the Sea</i></a>,
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<a href="https://commons.wikimedia.org/wiki/Category:Moby_Dick" hreflang="en">Wikimedia Commons</a>,
<a href="https://en.wikiquote.org/wiki/Moby-Dick" hreflang="en">Wikiquote</a>,
<a class="interlanguage-link-target" href="https://ar.wikipedia.org/wiki/%D9%85%D9%88%D8%A8%D9%8A_%D8%AF%D9%8A%D9%83" hreflang="ar" lang="ar" title="موبي ديك – Arabic">العربية</a>,
<a class="interlanguage-link-target" href="https://an.wikipedia.org/wiki/Moby_Dick_(novela)" hreflang="an" lang="an" title="Moby Dick (novela) – Aragonese">Aragonés</a>,
<a class="interlanguage-link-target" href="https://ast.wikipedia.org/wiki/Moby-Dick" hreflang="ast" lang="ast" title="Moby-Dick – Asturian">Asturianu</a>,
<a class="interlanguage-link-target" href="https://bn.wikipedia.org/wiki/%E0%A6%AE%E0%A7%8B%E0%A6%AC%E0%A6%BF_%E0%A6%A1%E0%A6%BF%E0%A6%95" hreflang="bn" lang="bn" title="মোবি ডিক – Bangla">বাংলা</a>,
<a class="interlanguage-link-target" href="https://be.wikipedia.org/wiki/%D0%9C%D0%BE%D0%B1%D1%96_%D0%94%D0%B7%D1%96%D0%BA" hreflang="be" lang="be" title="Мобі Дзік – Belarusian">Беларуская</a>,
<a class="interlanguage-link-target" href="https://be-x-old.wikipedia.org/wiki/%D0%9C%D0%BE%D0%B1%D1%96_%D0%94%D1%8B%D0%BA" hreflang="be-tarask" lang="be-tarask" title="Мобі Дык – Belarusian (Taraškievica orthography)">Беларуская (тарашкевіца)</a>,
<a class="interlanguage-link-target" href="https://bg.wikipedia.org/wiki/%D0%9C%D0%BE%D0%B1%D0%B8_%D0%94%D0%B8%D0%BA" hreflang="bg" lang="bg" title="Моби Дик – Bulgarian">Български</a>,
<a class="interlanguage-link-target" href="https://ca.wikipedia.org/wiki/Moby_Dick" hreflang="ca" lang="ca" title="Moby Dick – Catalan">Català</a>,
<a class="interlanguage-link-target" href="https://cs.wikipedia.org/wiki/B%C3%ADl%C3%A1_velryba" hreflang="cs" lang="cs" title="Bílá velryba – Czech">Čeština</a>,
<a class="interlanguage-link-target" href="https://da.wikipedia.org/wiki/Moby_Dick" hreflang="da" lang="da" title="Moby Dick – Danish">Dansk</a>,
<a class="interlanguage-link-target" href="https://de.wikipedia.org/wiki/Moby-Dick" hreflang="de" lang="de" title="Moby-Dick – German">Deutsch</a>,
<a class="interlanguage-link-target" href="https://et.wikipedia.org/wiki/Moby_Dick" hreflang="et" lang="et" title="Moby Dick – Estonian">Eesti</a>,
<a class="interlanguage-link-target" href="https://es.wikipedia.org/wiki/Moby-Dick" hreflang="es" lang="es" title="Moby-Dick – Spanish">Español</a>,
<a class="interlanguage-link-target" href="https://eo.wikipedia.org/wiki/Moby-Dick" hreflang="eo" lang="eo" title="Moby-Dick – Esperanto">Esperanto</a>,
<a class="interlanguage-link-target" href="https://eu.wikipedia.org/wiki/Moby-Dick" hreflang="eu" lang="eu" title="Moby-Dick – Basque">Euskara</a>,
<a class="interlanguage-link-target" href="https://fa.wikipedia.org/wiki/%D9%85%D9%88%D8%A8%DB%8C%E2%80%8C%D8%AF%DB%8C%DA%A9" hreflang="fa" lang="fa" title="موبیدیک – Persian">فارسی</a>,
<a class="interlanguage-link-target" href="https://fr.wikipedia.org/wiki/Moby_Dick" hreflang="fr" lang="fr" title="Moby Dick – French">Français</a>,
<a class="interlanguage-link-target" href="https://gl.wikipedia.org/wiki/Moby_Dick" hreflang="gl" lang="gl" title="Moby Dick – Galician">Galego</a>,
<a class="interlanguage-link-target" href="https://ko.wikipedia.org/wiki/%EB%AA%A8%EB%B9%84%EB%94%95" hreflang="ko" lang="ko" title="모비딕 – Korean">한국어</a>,
<a class="interlanguage-link-target" href="https://hy.wikipedia.org/wiki/%D5%84%D5%B8%D5%A2%D5%AB_%D4%B4%D5%AB%D6%84" hreflang="hy" lang="hy" title="Մոբի Դիք – Armenian">Հայերեն</a>,
<a class="interlanguage-link-target" href="https://hr.wikipedia.org/wiki/Moby_Dick" hreflang="hr" lang="hr" title="Moby Dick – Croatian">Hrvatski</a>,
<a class="interlanguage-link-target" href="https://id.wikipedia.org/wiki/Moby-Dick" hreflang="id" lang="id" title="Moby-Dick – Indonesian">Bahasa Indonesia</a>,
<a class="interlanguage-link-target" href="https://it.wikipedia.org/wiki/Moby_Dick" hreflang="it" lang="it" title="Moby Dick – Italian">Italiano</a>,
<a class="interlanguage-link-target" href="https://he.wikipedia.org/wiki/%D7%9E%D7%95%D7%91%D7%99_%D7%93%D7%99%D7%A7" hreflang="he" lang="he" title="מובי דיק – Hebrew">עברית</a>,
<a class="interlanguage-link-target" href="https://jv.wikipedia.org/wiki/Moby-Dick" hreflang="jv" lang="jv" title="Moby-Dick – Javanese">Basa Jawa</a>,
<a class="interlanguage-link-target" href="https://ky.wikipedia.org/wiki/%D0%9C%D0%BE%D0%B1%D0%B8-%D0%94%D0%B8%D0%BA" hreflang="ky" lang="ky" title="Моби-Дик – Kyrgyz">Кыргызча</a>,
<a class="interlanguage-link-target" href="https://la.wikipedia.org/wiki/Moby-Dick" hreflang="la" lang="la" title="Moby-Dick – Latin">Latina</a>,
<a class="interlanguage-link-target" href="https://lv.wikipedia.org/wiki/Mobijs_Diks" hreflang="lv" lang="lv" title="Mobijs Diks – Latvian">Latviešu</a>,
<a class="interlanguage-link-target" href="https://lt.wikipedia.org/wiki/Mobis_Dikas" hreflang="lt" lang="lt" title="Mobis Dikas – Lithuanian">Lietuvių</a>,
<a class="interlanguage-link-target" href="https://hu.wikipedia.org/wiki/Moby_Dick_(reg%C3%A9ny)" hreflang="hu" lang="hu" title="Moby Dick (regény) – Hungarian">Magyar</a>,
<a class="interlanguage-link-target" href="https://ml.wikipedia.org/wiki/%E0%B4%AE%E0%B5%8A%E0%B4%AC%E0%B4%BF_%E0%B4%A1%E0%B4%BF%E0%B4%95%E0%B5%8D%E0%B4%95%E0%B5%8D" hreflang="ml" lang="ml" title="മൊബി ഡിക്ക് – Malayalam">മലയാളം</a>,
<a class="interlanguage-link-target" href="https://xmf.wikipedia.org/wiki/%E1%83%9B%E1%83%9D%E1%83%91%E1%83%98_%E1%83%93%E1%83%98%E1%83%99%E1%83%98" hreflang="xmf" lang="xmf" title="მობი დიკი – Mingrelian">მარგალური</a>,
<a class="interlanguage-link-target" href="https://nl.wikipedia.org/wiki/Moby-Dick_(boek)" hreflang="nl" lang="nl" title="Moby-Dick (boek) – Dutch">Nederlands</a>,
<a class="interlanguage-link-target" href="https://ja.wikipedia.org/wiki/%E7%99%BD%E9%AF%A8" hreflang="ja" lang="ja" title="白鯨 – Japanese">日本語</a>,
<a class="interlanguage-link-target" href="https://no.wikipedia.org/wiki/Moby_Dick" hreflang="no" lang="no" title="Moby Dick – Norwegian">Norsk</a>,
<a class="interlanguage-link-target" href="https://nn.wikipedia.org/wiki/Moby_Dick" hreflang="nn" lang="nn" title="Moby Dick – Norwegian Nynorsk">Norsk nynorsk</a>,
...]
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