Moby-Dick
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/* In popular culture */
{{otheruses|adaptations of Moby-Dick}}
{{infobox Book | <!-- See [[Wikipedia:WikiProject Novels]] or [[Wikipedia:WikiProject Books]] -->
| name = Moby - Dick
| title_orig = The Whale
| translator =
| image = [[Image:Moby-Dick FE title page.jpg|200px]]
| image_caption = Title page, first edition of ''Moby-Dick''
| author = [[Herman Melville]]
| illustrator =
| cover_artist =
| country = [[United States]]
| language = [[English language|English]]
| series =
| subject =
| genre = [[Adventure novel]], [[Wikt:epic#Noun|Epic]], [[Sea story]]
| publisher = [[Richard Bentley]]
| release_date = [[18 October]] [[1851]]
| english_release_date =
| media_type = Print ([[Hardcover|Hardback]] and [[Paperback]])
| pages =
| isbn = NA
}}
'''''Moby-Dick'''''<ref>The hyphen in the title is present in the original edition. See picture at upper right.</ref> is an [[1851]] [[novel]] by [[Herman Melville]]. The story tells the adventures of the wandering sailor [[Ishmael (Moby-Dick)|Ishmael]] and his voyage on the [[whaling|whaling ship]] ''[[Pequod (Moby-Dick)|Pequod]],'' commanded by Captain Ahab. Ishmael soon learns that Ahab seeks one specific whale, Moby-Dick, a white whale of tremendous size and ferocity. Comparatively few whaling ships know of Moby-Dick, and fewer yet have encountered him. In a previous encounter, the whale destroyed Ahab's boat and bit off his leg. Ahab intends to exact revenge.
In ''Moby-Dick'', Melville employs stylized language, symbolism, and metaphor to explore numerous complex themes. Through the main character's journey, the concepts of class and social status, good and evil, and the existence of gods are all examined as Ishmael speculates upon his personal beliefs and his place in the universe. The narrator's reflections, along with his descriptions of a sailor's life aboard a whaling ship, are woven into the narrative along with [[Shakespearean]] literary devices such as stage directions, extended [[soliloquies]] and [[asides]].
Often considered the embodiment of [[United States|American]] [[Romanticism]], ''Moby-Dick'' was first published by Richard Bentley in [[London]] on [[October 18]], [[1851]] in an expurgated three-volume edition titled '''''The Whale''''', and later as one massive volume, by [[New York City]] publisher [[Harper and Row|Harper and Brothers]] as '''''Moby-Dick; or, The Whale''''' on [[November 14]] [[1851]]. The first line of Chapter One—"Call me Ishmael."—is one of the most famous in literature. Although the book initially received mixed reviews, ''Moby-Dick'' is now considered one of the [[Western canon|greatest novels]] in the [[English language]] and has secured Melville's place among America's greatest writers.
==Historical background==
''Moby Dick'' appeared in 1851, during an important period in American literature. The year before, Melville's good friend and neighbor [[Nathaniel Hawthorne]] published his bestseller ''[[The Scarlet Letter]]''. The year after, [[Harriet Beecher Stowe]] published ''[[Uncle Tom's Cabin]]'', which would become the second best-selling book in America in the 19th century after the [[Bible]].
Two actual events inspired Melville's tale. One was the sinking of the [[Nantucket, Massachusetts|Nantucket]] [[Whaleship Essex|whaling ship ''Essex'']], which foundered in 1820 after it was rammed by a large [[sperm whale]] 2,000 miles (3,700 km) from the western coast of [[South America]]. First mate [[Owen Chase]], one of eight survivors, recorded the events in his 1821 ''Narrative of the Most Extraordinary and Distressing Shipwreck of the Whale-Ship Essex''. Already out-of-print, the book was rare even at the time.<ref>Beaver, Harold. "On the Composition of ''Moby-Dick''" (1972), 17, in ''Moby-Dick'' by Herman Melville, ed. Harold Beaver. New York: Penguin (1972; reprint 1986), 17. ISBN 0-14-43082-2.</ref> Knowing that Melville, his son-in-law, was looking for it, Lemuel Shaw managed to find a copy and buy it for him. When Melville received it, he fell to it almost immediately, heavily annotating it.<ref>Beaver, 17.</ref>
The other event was the alleged killing in the late 1830s of the albino sperm whale [[Mocha Dick]], who was usually encountered in the waters off the [[Chile]]an island of [[Mocha (island)|Mocha]]. Riddled with dozens of harpoons from his numerous escapes from whalers, Mocha Dick often attacked ships with premeditated ferocity. One of his battles with a whaler served as subject for an article by [[Jeremiah N. Reynolds]]<ref>Reynolds, J. N. "Mocha Dick, or The White Whale of the Pacific: A Leaf from a Manuscript Journal" (May, 1839), in Appendix to ''Moby-Dick'', ed. Harold Beaver (''op cit.''). pp. 991-1,011.</ref> in ''The Knickerbocker, New York Monthly Magazine'', which Melville would likely have come across through his literary connections or during his time in New York City.{{Fact|date=May 2007}} Significantly, Reynolds writes a [[First-person narrative|first-person narration]] that serves as a [[Frame story|frame]] for the story of a whaling captain he meets. The captain resembles Ahab and suggests a possible symbolism for whales in that, when his crew first encounters Mocha Dick and cowers from him, the captain rallies them thus: "'Mocha Dick or the d----l [devil],' said I, 'this boat never sheers off from any thing that wears the shape of a whale.'"<ref>Reynolds, J. N., 1,000.</ref>
Mocha Dick may not have been the only white whale in the sea. A Swedish whaler claimed to have taken a very old white whale in 1859,<ref> Whipple, ibid, p66 </ref>; a retired Nantucket whaler claimed to have harpooned a white whale in 1902.<ref> Whipple, ibid, p72 </ref> Nor was he the only whale to attack his hunters. Periodic attacks on whaleboats were recorded until they were replaced by the [[harpoon gun]]. In 1850 the bark Parker Cook was rammed in mid-Atlantic; the crew killed and harvested the whale but had to put into port for repairs. Later that same year the Pocahontas was almost sunk in the same area. In 1851, not long after publication of the novel, the [[Ann Alexander (ship)|Ann Alexander]] was destroyed by a [[sperm whale]] near where the Essex was sunk, but the crew were picked up the next day. In 1820 the Essex was alone in mid-Pacific, but by 1851 the area "virtually swarmed with whalers".<ref>ABC Whipple, Yankee Whalers in the South Seas, Doubleday, 1954, pp 66-72</ref> Other whalers disappeared at sea, perhaps sunk by their prey.<ref>ibid, p79</ref>
The most important inspiration for the novel was Melville's experiences as a sailor, in particular those during 1841-1842 on the whaler ''Acushnet''. He had already drawn on his different sailing experiences in previous novels—''Mardi'' the closest to ''Moby-Dick'' in its symbolic or allegorical aspirations—but he had never focused specifically on whaling. Melville had read Chase's account before sailing on the Acushnet in 1841; he was excited about sighting Captain Chase himself, who had returned to sea.<ref> ABC Whipple, Yankee Whalers in the South Seas, Doubleday, 1954</ref> During a midocean "gam" (rendezvous) he met Chase's son William, who loaned him his father's book.
The novel 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. 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. Since [[Romanticism|Romantics]] such as [[Sir Walter Scott]], [[Washington Irving]], [[Lord Byron]], and [[Mary Shelley]] had greatly influenced him from an early age, he hoped to emulate them with a book that was compelling and vivid both emotionally and poetically. Early Romantics also proposed that fiction was the exemplary way to describe and record history (after all, Walter Scott had invented the [[historical novel]], and almost all of Irving's work had the trappings of history), so Melville wanted to craft something educational and definitive. However, despite his own interest in the subject, Melville claimed to struggle with it, writing to [[Richard Henry Dana]] on [[May 1]] [[1850]]:
{{quote|I am half way in the work ... It will be a strange sort of book, tho', I fear; blubber is blubber you know; tho' you might get oil out of it, the poetry runs as hard as sap from a frozen maple tree; — and to cool 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.<ref>Herman Melville, from Norton Critical Edition (2002), 532.</ref>}}
==Major themes==
''Moby-Dick'' is a highly [[symbolic]] work, but also includes chapters on [[natural history]]. Major themes include [[obsession]], [[religion]], [[idealism]] versus [[pragmatism]], [[revenge]], [[racism]], [[hierarchical]] [[Interpersonal relationship|relationship]]s, and [[politics]].
===Symbolism===
All of the members of the crew have [[biblical]]-sounding, improbable, or descriptive names, and the narrator deliberately avoids specifying the exact time of the events and some other similar details. These together suggest that the narrator—and not just Melville—is deliberately casting his tale in an [[Epic poetry|epic]] and [[allegorical]] mode.
The white whale has also been seen as a [[symbol]] for many things, including nature and those elements of life that are out of human control.<sup>Ch 42</sup> Melville mentions the Matsya Avatar of [[Lord Vishnu]], the first among ten incarnations when Vishnu appears as a giant fish on Earth and saves creation from the flood of destruction. Melville mentions this while discussing the spiritual and mystical aspects of the sailing profession and he calls Lord Vishnu as the first among whales and the God of whalers.
The ''Pequod's'' quest to hunt down Moby-Dick itself is also widely viewed as allegorical. To Ahab, killing the whale becomes the ultimate [[Objective (goal)|goal]] in his life, and this observation can also be expanded allegorically so that the whale represents everyone's goals. Furthermore, his vengeance against the whale is analogous to man's struggle against [[wiktionary:fate|fate]]. The only escape from Ahab's vision is seen through the ''Pequod's'' occasional encounters, called gams, with other ships. Readers could consider what exactly Ahab will do if he, in fact, succeeds in his [[quest]]: having accomplished his ultimate goal, what else is there left for him to do? Similarly, Melville may be implying that people in general need something to reach for in life, or that such a goal can destroy one if allowed to overtake all other concerns. Some such things are hinted at early on in the book, when the main character, Ishmael, is sharing a cold bed with his newfound friend, Queequeg:
:... truly to enjoy bodily warmth, some small part of you must be cold, for there is no quality in this world that is not what it is merely by contrast. Nothing exists in itself. If you flatter yourself that you are all over comfortable, and have been so a long time, then you cannot be said to be comfortable any more.<br> — ''Moby-Dick'', Ch. 11[http://books.google.com/books?id=cYKYYypj8UAC&pg=PA51&lpg=PA51&dq=%22nothing+exists+in+itself+if+you+flatter+yourself+that+you+are+all+over+comfortable+and+have+been+so+a+long+time+then+you+cannot+be+said+to+be+comfortable+any+more%22&source=web&ots=KQw9WHqRP3&sig=Un_kp41o5HHcDfFKLsAcZutrQdE]
Ahab's [[smoking pipe (tobacco)|pipe]] is widely looked upon as the riddance of happiness in Ahab's life. By throwing the pipe overboard, Ahab signifies that he no longer can enjoy simple pleasures in life; instead, he dedicates his entire life to the pursuit of his obsession, the killing of the white whale, Moby-Dick.
A number of biblical themes can also be found in the novel. The book contains multiple implicit and explicit allusions to the story of [[Jonah]], in addition to the use of certain biblical names (see [[#Characters in Moby-Dick|below]]).
Ishmael's musings also allude to themes common among the American [[Transcendentalists]] and parallel certain themes in European [[Romanticism]] and the philosophy of [[Hegel]]. In the poetry of [[Walt Whitman|Whitman]] and the prose writings of [[Ralph Waldo Emerson|Emerson]] and [[Thoreau]], a ship at sea is sometimes a metaphor for the soul.
===Whale biology and ecology===
Sections of the novel depart from the progression of the [[Plot (narrative)|plot]] entirely and discuss at great length the biology and ecology of whales and related species. Many of the claims are inaccurate—for example, Ishmael insists that whales are [[fish]], although they had been [[Systema Naturae|classified]] as [[mammal]]s for almost a century (which he acknowledges dismissively).[http://etext.virginia.edu/etcbin/toccer-new2?id=Mel2Mob.sgm&images=images/modeng&data=/texts/english/modeng/parsed&tag=public&part=32&division=div1]
==Plot summary==
''Moby-Dick'' begins with two prefaces: "[[Wikt:etymology|Etymology]]" and "Extracts." "Etymology" provides origins for the word ''whale'' as well as its spellings in Classical, Romance, and Germanic languages and the usually overlooked "Feegee" ([[Fijian language|Fijian]]) and "Erromangoan" ([[Erromanga languages|Erromanga]]). In "Extracts," excerpts on whales are culled from numerous works. Listed mostly chronologically, the quotations come from fiction, poetry, plays, anonymous sea chanties, the Bible and other religious works, legal references, histories, scientific and naturalist treatises, biographies, economic studies, philosophical texts, travelogues, and reading primers. The range shows myriad perspectives on whales and whaling, from [[materialist]] to [[political]] to [[mystical]].<ref>e.g. Smith, Elizabeth Oakes, ''The Drowned Mariner'' (1845), lines 1-5. See note 59, pg. 698, in ''Moby-Dick'', ed. Harold Beaver.</ref>
In Chapter 1, "Loomings", Ishmael introduces himself. With a mixture of chattiness, seriousness, and humor, he speaks of his temperament, the call of the sea, and contends that every man wants at least once in his life to leave the land behind for the ocean.
Aiming to join a whaling crew, Ishmael heads for [[Nantucket]], the older of the two U.S. centers of the whaling industry. Time problems force him to stop for the night in the newer, more powerful whaling center of [[New Bedford, Massachusetts]]. Lacking money, he lodges at the Spouter Inn. The innkeeper, Peter Coffin, puts him in a room with the mysterious tattooed cannibal [[Queequeg]], a harpooner. Despite Ishmael's initial reservations, the two become friends. Queequeg tells Ishmael they are "married", which means they are "bosom friends", and shares his pipe with Ishmael. In turn, Ishmael joins Queequeg in worshipping Queequeg's idol god, Yojo.
The two decide to enlist together on the ''Pequod'', a whaler owned by three captains: Peleg, Bildad, and Ahab. Ishmael and Queequeg have yet to meet their captain when they sign [[Articled clerk|ship's articles]], Queequeg drawing a peculiar mark identical to one of his tattoos. Soon enough they discover that Ahab is captain for this voyage, which Peleg and Bildad hope will reap a handsome profit.
As the ship sets sail, other main characters are introduced: the three mates, Starbuck, Stubb, and Flask; and the two remaining harpooners, Daggoo and Tashtego, who will later be joined by a mysterious third, Fedallah. For several days, though, Ahab stays below decks, completely out of sight from the common sailors. Ahab finally emerges and plants himself on the quarter-deck, leading Ishmael to ponder his captain's missing leg and the ivory replacing it.
The extremely enigmatic Ahab broods and behaves erratically. He paces the deck, thudding his ivory heel. Stubb suggests that he dampen the sound, but Ahab, furious, calls him a dog. When Stubb objects to the insult, Ahab says, “Then be called ten times a donkey, and a mule, and an ass, and begone, or I’ll clear the world of thee!”
Ahab's eccentricities multiply and intensify. He throws his pipe off the ship. He asks his crew to yell more loudly if they spot a white whale. Then he tells the crew that a [[Moby Dick Coin|gold doubloon]] will go to the crewman who first spots a "white-headed whale with a wrinkled brow and a crooked jaw."[http://etcweb.princeton.edu/cgi-bin/mfs.batke/14/moby_036.html?128#mfs] He nails the coin to the ship's mast, saying, "Whosoever of ye raises me that same white whale, he shall have this gold ounce, my boys!"[http://etcweb.princeton.edu/cgi-bin/mfs.batke/14/moby_036.html?128#mfs]
It turns out Tashtego has heard of this white whale, which he says some call "Moby Dick". Starbuck reveals that Moby Dick took Captain Ahab’s leg. With pressure on him mounting, Ahab admits that for him the voyage of the ''Pequod'' has no other purpose than to have his vengeance on Moby Dick.
Over the course of the story, the reader is presented with numerous apparent digressions giving scenes and details of whales, the whaling industry, and everyday whaling life. These digressions—sometimes funny, sometimes eerie, and sometimes a combination—often shed light on the ocean of symbolisms and profundities Melville gathers, dives into, plays with, and sometimes strains to surface from. On the other hand, there is always a forward-driving adventure story highlighting various whale sightings, whale hunts, and encounters (again, sometimes spooky or humorous) with other whalers. The combination of more typical plot elements with many other exploratory and curious styles and registers allows Melville to encapsulate and expand on the localized and cosmic significances of a way of life already in decline.
Toward the end of the novel, the ''Pequod'' nears Moby Dick's territory and encounters the ''Rachel'', whose master rows over to the ''Pequod''. He begs Ahab for help in finding a whaleboat crew lost in the previous day's hunt, a crew that includes his young son. When Ahab hears that the whale involved in the crew's disappearance was Moby-Dick, he flatly refuses to help the ''Rachel'' so he can take up his own search for the whale.
The journey comes to its dramatic and tragic end when the ''Pequod'', sailing despite dark portents, sights Moby-Dick. For three long days the ship battles the white whale. Moby-Dick shatters the ''Pequod''’s hunting boats and then charges the ship itself, sinking it. Ahab and all the crew drown except for Ishmael, who uses the coffin built for Queequeg as a buoy. By pure luck, the still-searching ''Rachel'' sails by and rescues him.
==Characters in Moby-Dick==
The crew-members of the ''Pequod'' are carefully drawn stylizations of human types and habits; critics have often described the crew as a "self-enclosed universe".
===Ishmael===
{{Main|Ishmael (Moby-Dick)}}
In the novel's first sentence, the narrator famously declares, "Call me Ishmael." Initially, his is the only narrative, but after the ''Pequod'' leaves port, he repeatedly fades (including the narration of several scenes he could not possibly have witnessed firsthand) and comes back to full prominence.
The name ''[[Ishmael]]'' also appears in the Bible as that of the first son of [[Abraham]] in the [[Old Testament]]. The name has come to symbolize [[orphan]]s, [[exile]]s, and social [[outcast]]s—in the opening paragraph of ''Moby-Dick'', Ishmael tells the reader that he has turned to the sea out of a feeling of [[Social alienation|alienation]] from human [[society]]. In the last line of the book, Ishmael also refers to himself symbolically as an orphan. Ishmael has a rich literary background (he has previously been a [[schoolteacher]]), which he brings to bear on his shipmates and events that occur while at sea.
Ishmael resembles Melville in several ways (as well as the narrator of Melville's ''[[White-Jacket]]''), being well-educated and reflective. Ishmael sees his shipmates as [[archetype]]s of [[human nature]] and society, and tells his story couched in a vast array of detail, largely occurring during sections in which Ishmael takes an almost-omniscient [[point of view (literature)|viewpoint]].
===Elijah===
The character Elijah (named for the [[prophet#Prophets in the Tanakh (Hebrew Bible)|Biblical prophet]], [[Elijah]], who is also referred to in the [[King James Bible]] as [[Elias]]), on learning that Ishmael and Queequeg have signed onto Ahab's ship, asks, "Anything down there about your [[souls]]?" When Ishmael reacts with surprise, Elijah continues:
:"Oh, perhaps you hav'n't got any," he said quickly. "No matter though, I know many chaps that hav'n't got any – good luck to 'em; and they are all the better off for it. A soul's a sort of a fifth wheel to a wagon."[http://www.princeton.edu/~batke/moby/moby_019.html]
Later in the conversation, Elijah adds:
:"Well, well, what's signed, is signed; and what's to be, will be; and then again, perhaps it wont be, after all. Any how, it's all fixed and arranged a'ready; and some sailors or other must go with him, I suppose; as well these as any other men, God pity 'em! Morning to ye, shipmates, morning; the ineffable heavens bless ye; I'm sorry I stopped ye."[http://www.princeton.edu/~batke/moby/moby_019.html]
The vague and uncertain prophet of the text, ambivalent about [[religion]], is replaced in both the 1956 and 1998 movie adaptations with a prescient Elijah who foretells the fate of the ''Pequod'' with confident precision. The 1956 [[film]] has Elijah waving his lame arm in pantomime foretelling Ahab's demise, and Ahab (played by [[Gregory Peck]]) moves his own arm in fulfillment of Elijah's prophecy.[http://www.imdb.com/title/tt0049513/] In the 1998 [[television]] adaptation, Elijah warns that captain and crew shall all perish except one, and that by signing on they have effectively signed away their souls; Queequeg asks Ishmael what a soul is, to which Ishmael responds by leading Queequeg to a Christian church where Father Mapple (played by [[Gregory Peck]]) <!--STET GREGORY PECK. One or more anonymous editors keep changing this to Orson Welles, overlooking the fact that Welles died in 1985, and sometimes even misspelling his name.-->preaches the story of [[Jonah]].[http://www.imdb.com/title/tt0120756/fullcredits#cast] (In the text, the Jonah sermon occurs before Ishmael meets Elijah, and Queequeg leaves the chapel "before the benediction some time."[http://etcweb.princeton.edu/cgi-bin/mfs.batke/14/moby_010.html])
===Ahab===<!-- This section is linked from [[Parsi]] -->
Ahab is the tyrannical captain of the ''Pequod'' who is driven by a [[monomania]]cal desire to kill Moby-Dick, the whale that maimed him on his last whaling voyage. A [[Quaker]], he seeks revenge in defiance of his religion's well-known pacifism. Ahab's name comes directly from the Bible (see [[Books of Kings|1 Kings 18-22]]).
Little information is provided about Ahab's life prior to meeting Moby-Dick, although it is known that he was [[orphaned]] at a young age. When discussing the purpose of his quest with Starbuck it is revealed that he first began whaling at eighteen and has continued in the trade for forty years, having spent less than three on land. He also mentions his "girl-wife" whom he married late in life, and their young son, but does not give their names.
In Ishmael's first encounter with Ahab's name, he responds "When [[Ahab|that wicked king]] was slain, the dogs, did they not lick his blood?" (''Moby-Dick'', Chapter 16).[http://www.princeton.edu/~batke/moby/moby_016.html]
Ahab ultimately dooms the crew of the ''Pequod'' (save for Ishmael) to death by his obsession with Moby-Dick. During the final chase, Ahab hurls his final harpoon while yelling his now-famous revenge line:
:''... to the last I grapple with thee; from hell's heart I stab at thee; for hate's sake I spit my last breath at thee.''
The harpoon becomes lodged into Moby-Dick's flesh and Ahab, caught in his own harpoon's rope and unable to free himself, is dragged into the cold oblivion of the sea with the injured whale. The whale eventually destroys the longboats and crew, and sinks the ''Pequod''.
Ahab has the qualities of a tragic hero – a great heart and a fatal flaw – and his deeply philosophical ruminations are expressed in language that is not only deliberately lofty and [[Shakespeare's style#Form|Shakespearian]], but also so heavily iambic as often to read like the [[Shakespeare's style#Form|Shakespeare]]'s own pentameters.
===Moby Dick===
Moby Dick is a mottled [[Sperm Whale]] with a white [[hump]], of extraordinary ferocity and size, but also possesses ineffable strength, mystery, and power. The color white is explored in the chapter "The Whiteness of the Whale". It calls into question the meaning of the chapters on [[cetology]]. The symbolism of the whale is not clear; many things, including [[nature]], [[providence]], and [[wiktionary:fate|fate]] have been suggested.
In popular culture, Moby Dick is often depicted as being an [[albinism|albino]] whale. For example, in the huge whale mural at the New Bedford Whaling Museum, a white sperm whale with a red eye and several harpoons (detached from their boats) stuck in its back is prominently displayed.
Moby Dick also appears to be unusually intelligent, resorting to many clever stratagems to defeat Ahab and crew. He also seems to be capable of using his injuries to great advantage. On the second day of the chase, he allows Ahab and his men to strike him with their harpoons during a head-on charge; he then swims around wildly to entangle the harpoons before yanking Ahab towards him in order to cut him up with the harpoons embedded in his flesh. Moby Dick then pulls Stubb and Flask to him and crushes their boats in between his flippers, before pulling Ahab's boat to him and sending it flying with a powerful headbutt.
===Mates===
The three mates of the ''Pequod'' are all from [[New England]].
====Starbuck====
Starbuck, the young [[first mate]] of the ''Pequod'', is a thoughtful and intellectual [[Quakers|Quaker]] from [[Nantucket]].
:Uncommonly conscientious for a seaman, and endued with a deep natural reverence, the wild watery loneliness of his life did therefore strongly incline him to superstition; but to that sort of superstition, which in some organization seems rather to spring, somehow, from intelligence than from ignorance... [H]is far-away domestic memories of his young Cape wife and child, tend[ed] to bend him ... from the original ruggedness of his nature, and open him still further to those latent influences which, in some honest-hearted men, restrain the gush of dare-devil daring, so often evinced by others in the more perilous vicissitudes of the fishery. "I will have no man in my boat," said Starbuck, "who is not afraid of a whale." By this, he seemed to mean, not only that the most reliable and useful courage was that which arises from the fair estimation of the encountered peril, but that an utterly fearless man is a far more dangerous comrade than a coward.<br> — ''Moby-Dick'', Ch. 26
Little is said about Starbuck's early life, except that he is married with a son. Unlike Ahab's wife, who remains nameless, Starbuck gives his wife's name as Mary.
Starbuck is alone among the crew in objecting to Ahab's quest, declaring it [[Insanity|madness]] to want [[revenge]] on an animal, which lacks [[reason]]. Starbuck advocates continuing the more mundane pursuit of whales for their oil. But he lacks the support of the crew in his opposition to Ahab, and is unable to persuade them to turn back. Despite his misgivings, he feels himself bound by his obligations to obey the captain.
Starbuck was an important [[Quaker]] family name on [[Nantucket Island]], and there were several actual whalers of this period named "Starbuck," as evidenced by the name of [[Starbuck Island]] in the southern Pacific whaling grounds. The multinational coffee chain, [[Starbucks]] was named after Starbuck, although not for any affinity for coffee but after the name Pequod was rejected by one of the co-founders.
====Stubb====
Stubb, the [[second mate]] of the ''Pequod'', is from [[Cape Cod]], and always seems to have a pipe in his mouth and a smile on his face. "Good-humored, easy, and careless, he presided over his whaleboat as if the most deadly encounter were but a dinner, and his crew all invited guests." (''Moby-Dick'', Ch. 27) Although he is not an educated man, Stubb is remarkably articulate, and during whale hunts keeps up an imaginative patter reminiscent of that of some characters in Shakespeare.
====Flask====
Flask is the [[third mate]] of the ''Pequod''. He is from [[Martha's Vineyard]].
:A short, stout, ruddy young fellow, very pugnacious concerning whales, who somehow seemed to think that the great Leviathans had personally and hereditarily affronted him; and therefore it was a sort of point of honor with him, to destroy them whenever encountered.<br> — ''Moby-Dick'', Ch. 27
===Harpooners===
The harpooneers of the ''Pequod'' are all non-[[Christian]]s from various parts of the world. All come from Islands. Each serves on a mate's boat.
====Queequeg====
{{Main|Queequeg}}
[[Queequeg]] hails from a fictional island in the South Seas inhabited by a [[cannibal]] tribe, and is the son of the chief of his tribe. Since leaving the island, he has become extremely skilled with the [[harpoon]]. He befriends Ishmael very early in the novel, when they meet in [[New Bedford, Massachusetts|New Bedford]], [[Massachusetts]] before leaving for [[Nantucket]]. He is described as existing in a state between civilized and savage; for example, Ishmael recounts with amusement how Queequeg feels it necessary to hide himself when pulling on his boots, noting that if he were a savage he wouldn't consider any such modesty necessary, but if he were completely civilized he would realize there was no need to be modest when pulling on his boots.
Queequeg is the harpooneer on Starbuck's boat, where Ishmael is also an oarsman. Queequeg is best friends with Ishmael in the story. He is prominent early in the novel, but later fades in significance, as does Ishmael himself.
====Tashtego====
Tashtego is described as a [[Indigenous peoples of the Americas|Native American]] harpooner. The personification of the hunter, he turns from hunting land animals to hunting whales. Tashtego is the harpooner on Stubb's boat.
:Next was Tashtego, an unmixed Indian from Gay Head, the most westerly promontory of Martha’s Vineyard, where there still exists the last remnant of a village of red men, which has long supplied the neighboring island of Nantucket with many of her most daring harpooneers. In the fishery, they usually go by the generic name of Gay-Headers. <br> — ''Moby-Dick'', Ch.27
====Daggoo====
Daggoo is a gigantic [[African]] harpooner with a noble bearing and grace. He is the harpooneer on Flask's boat.
====Fedallah====
Fedallah is the harpooner on Ahab's boat. He is of [[India]]n [[Zoroastrian]] ("[[Parsi]]") descent. Due to descriptions of him having lived in [[China]], he might have been among the great wave of [[Parsi]] traders that made their way to [[Hong Kong]] and the [[Far East]] during the mid-19th century. At the time when the ''Pequod'' sets sail, Fedallah is hidden on board, and he emerges with Ahab's boat's crew later on, to the surprise of the crew. Fedallah is referred to in the text as Ahab's "Dark Shadow." Ishmael calls him a "fire worshipper" and the crew speculates that he is a [[devil]] in man's disguise. He is the source of a variety of prophecies regarding Ahab and his hunt for Moby Dick.
:Tall and smart, with one white tooth evilly protruding from its steel-like lips. A rumpled Chinese jacket of black cotton funereally invested him, with wide black trowsers of the same dark stuff. But strangely crowning this ebonness was a glistening white plaited turban, the living hair braided and coiled round and round upon his head.<br> — ''Moby-Dick'', Ch.48
=== Other notable characters ===
'''Pip''' (nicknamed "Pippin," but "Pip" for short) is an [[African-American]] boy from [[Tolland County]], [[Connecticut]] who is "the most insignificant of the Pequod's crew". Because he is physically slight, he is made a ship-keeper, (a sailor who stays in the ''Pequod'' while its hunting boats go out). Ishmael contrasts him with the "dull and torpid in his intellects" — and paler and much older — steward Dough-Boy, describing Pip as "over tender-hearted" but "at bottom very bright, with that pleasant, genial, jolly brightness peculiar to his tribe". Ishmael goes so far as to chastise the reader: "Nor smile so, while I write that this little black was brilliant, for even blackness has its brilliancy; behold yon lustrous ebony, panelled in king's cabinets."<ref name ="The Castaway">All quotes are taken from Chapter 93, "The Castaway".</ref>
The after-oarsman on Stubb's boat is injured, however, so Pip is temporarily reassigned to Stubb's hunting crew. The first time out, Pip jumps from the boat, causing Stubb and Tashtego to lose their already-harpooned whale. Tashtego and the rest of the crew are furious; Stubb chides him "officially" and "unofficially", even raising the specter of [[slavery]]: "a whale would sell for thirty times what you would, Pip, in Alabama". The next time a whale is sighted, Pip again jumps overboard and is left stranded in the "awful lonesomeness" of the sea while Stubb's and the others' boats are dragged along by their harpooned whales. By the time he is rescued, he has become (at least to the other sailors) "an idiot", "mad". Ishmael, however, thought Pip had a mystical experience: "So man's insanity is heaven's sense." Pip and his experience are crucial because they serve as adumbration, in Ishmael's words "providing the sometimes madly merry and predestinated craft with a living and ever accompanying prophecy of whatever shattered sequel might prove her own." Pip's madness is full of poetry and eloquence; he is reminiscent of Tom in King Lear.<ref name="The Castaway"/> Ahab later sympathizes with Pip and takes the young boy under his wing.
Dough-boy is the pale, nervous steward of the ship. The '''Cook''' (Fleece), '''Blacksmith''' and '''Carpenter''' of the ship are each highlighted in at least one chapter near the end of the book. Fleece, a very old African-American with bad knees, is presented in the chapter "Stubb Kills a Whale" at some length in a [[dialogue]] where Stubb good-humoredly takes him to task over how to prepare a variety of dishes from the whale's carcass.
'''The crew as a whole''' is exceedingly international, having a makeup of both the [[United States]]' and the world's population. Chapter 40, "Midnight, [[Forecastle]]," highlights, in its stage-play manner (in [[Shakespeare]]an style), the striking variety in the sailors' origins. A partial list of the speakers includes sailors from the [[Isle of Man]], [[France]], [[Iceland]], [[Holland]], the [[Azores]], [[Sicily]] and [[Malta]] ([[Italy]]), [[China]], [[Denmark]], [[Portugal]], [[India]], [[England]], [[Spain]], [[Chile]] and [[Ireland]]. Considering that this variety is in only one part of the ship (the [[forecastle]]) there could be many other nationalities on board. Melville gives an overall impression of the crew as being a [[melting pot]] of every conceivable [[ethnicity]].
==Critical reception==
=== Melville's expectations ===
In a letter to Nathaniel Hawthorne written within days of ''Moby-Dick's'' American publication, Melville made a number of revealing comments:
<blockquote>... for not one man in five cycles, who is wise, will expect appreciative recognition from his fellows, or any one of them. Appreciation! Recognition! Is [[Jove]] appreciated? Why, ever since Adam, who has got to the meaning of his great allegory—the world? Then we pigmies must be content to have our paper allegories but ill comprehended. I say your appreciation is my glorious gratuity.<ref>Melville, Herman. ''Correspondence'', ed. by Lynn Horth. Evanston, IL and Chicago: Northwestern University Press and The Newberry Library (1993), 212. Paperback ISBN 0-8101-0995-6. Horth tentatively dates the letter November 17, 1851.</ref></blockquote>
<blockquote>A sense of unspeakable security is in me this moment, on account of your understanding the book. I have written a wicked book, and feel spotless as the lamb. Ineffable sociabilities are in me. I would sit down and dine with you and all the gods in old Rome's Pantheon. It is a strange feeling—no hopefulness is in it, no despair. Content—that is it; and irresponsibility; but without licentious inclination. I speak now of my profoundest sense of being, not of an incidental feeling.<ref>''Correspondence'', 212.</ref></blockquote>
<blockquote>You did not care a penny for the book. But, now and then as you read, you understood the pervading thought that impelled the book—and that you praised. Was it not so? You were archangel enough to despise the imperfect body, and embrace the soul.<ref>''Correspondence'', 212-213.</ref></blockquote>
=== Contemporary ===
''Moby-Dick'' received decidedly mixed reviews from critics at the time it was published. Since the book first appeared in England, the American literary establishment took note of what the English critics said, especially when these critics were attached to the more prestigious journals. Although many critics praised it for its unique style, interesting characters and poetic language,<ref name=contemp>[http://www.melville.org/hmmoby.htm#Contemporary "A page from ''The Life and Works of Herman Melville"'']</ref> others agreed with a critic for the highly regarded ''[[Athenaeum (magazine)|London Athenaeum]]'', who described it as: "[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."<ref name=contemp/>
One problem was that publisher Peter Bentley botched the English edition, most significantly in omitting the (somewhat perfunctory) epilogue. For this reason, many of the critics faulted the book on what little they could grasp of it, namely on purely formal grounds, e.g., how the tale could have been told if no one survived to tell it. The generally bad reviews from across the ocean made American readers skittish about picking up the tome. Still, a handful of American critics saw much more in it than most of their U.S. and English colleagues. Hawthorne said of the book: "What a book Melville has written! It gives me an idea of much greater power than his preceding ones".<ref>Miller, Edwin Haviland. ''Salem Is My Dwelling Place: A Life of Nathaniel Hawthorne''. Iowa City: University of Iowa Press, 1991: 354. ISBN 0877453322.</ref> Perhaps the most perceptive review came from the pen of [[Evert Augustus Duyckinck]], who was the friend of Melville who introduced him to Hawthorne.
=== Underground ===
Within a year after Melville's death, ''Moby-Dick'', along with ''[[Typee]]'', ''[[Omoo]]'' and ''[[Mardi]]'', was reprinted by [[Harper and Row|Harper & Brothers]], 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.[http://www.bartleby.com/187/5.html]
Then came [[World War I]] and its consequences, particularly the shaking or destruction of faith in so many aspects of Western civilization, all of which caused people concerned with culture and its potential redemptive value to experiment with new aesthetic techniques. The stage was set for Melville to find his place.
=== The Melville Revival ===
With the burgeoning of Modernist aesthetics (see [[Modernism]] and [[American modernism]]) and the war that tore everything apart still so fresh in memory, ''Moby-Dick'' began to seem increasingly relevant. Not only did many of Melville's techniques echo those of Modernism: kaleidoscopic, hybrid in genre and tone, monumentally ambitious in trying to unite so many disparate elements and loose ends. His new readers also found in him an almost too-profound exploration of violence, hunger for power, [[Quixotism|quixotic]] goals, and reckless disregard for the fate of one's fellows. Although many critics of this time still considered ''Moby-Dick'' extremely difficult to come to grips with, they largely saw this lack of easy understanding as an asset rather than a liability.{{Fact|date=May 2007}}
In 1917, American author [[Carl Van Doren]] became the first of this period to proselytize about Melville's value.{{Fact|date=May 2007}}
In the 1920s, British literary critics began to take notice. In his idiosyncratic but landmark ''[[Studies in Classic American Literature]]'', novelist, poet, and short story writer [[D. H. Lawrence]] directed Americans' attention to the great originality and value of many American authors, among them Melville's. Perhaps most surprising is that Lawrence saw ''Moby-Dick'' as a work of the first order despite his using the original English edition. [http://www.bartleby.com/187/5.html]
In his 1921 study, ''The American Novel'', [[Carl Van Doren]] returns to Melville with much more depth. Here he calls ''Moby-Dick'' a pinnacle of American Romanticism.[http://www.bartleby.com/187/5.html]
=== Post-Revival ===
The next great wave of ''Moby-Dick'' appraisal came with the publication of [[F. O. Matthiessen]]'s ''[[American Renaissance (literature)|American Renaissance: Art and Expression in the Age of Emerson and Whitman]]''.<ref>Selby, Nick, author and editor. ''Herman Melville's, Moby-Dick'' (Columbia Critical Guides series). New York: Columbia University Press, 1999. pp. 51-52. ISBN 0-231-11538-5.</ref> Published in 1941, the book proposed that Emerson, Whitman, Thoreau, Hawthorne, and Melville were the most prominent figures of a flowering of conflicted (and mostly ''pre''-Civil War) literature important for its promulgation of democracy and the exploration of its possibilities, successes, and failures. Since Matthiessen's book came out shortly before the entry of the U.S. into [[World War II]], the end of which found the U.S. in possession of the [[atomic bomb]] and thus a superpower, critic Nick Selby argues that
:… ''Moby-Dick'' was now read as a text that reflected the power struggles of a world concerned to uphold democracy, and of a country seeking an identity for itself within that world.<ref>Selby, 53.</ref>
=== Current ===
Moby-Dick is seen as a great American classic—at times deemed "America's greatest novel"—and is looked upon as a high point in literature. It is studied in most schools in the United States alongside ''[[The Sound and the Fury]],'' ''[[The Scarlet Letter]],'' ''[[The Great Gatsby]],'' ''[[Death of a Salesman]],'' and other great classics.
==Selected adaptations==
===Film and television adaptations===
* A 1926 [[silent movie]], ''[[The Sea Beast]]'', starring [[John Barrymore]] as a heroic Ahab with a fiancée and an evil brother, loosely based on the novel ([http://www.imdb.com/title/tt0017354/ IMDb link]). Remade as ''[[Moby Dick (1930 film)|Moby Dick]]'' in 1930 ([http://www.imdb.com/title/tt0021149/ IMDb link]), a version in which Ahab kills the whale and returns home to the woman he loves (played by [[Joan Bennett]]).
* A 1956 [[film]] directed by [[John Huston]] and starring [[Gregory Peck]] as Captain Ahab, [[Richard Basehart]] as Ishmael, [[Leo Genn]] as Starbuck, and, in a one-scene cameo, [[Orson Welles]] as Father Mapple, with screenplay by [[Ray Bradbury]] (see ''[[Moby Dick (1956 film)|Moby Dick]]'')
* ''[[Moby Dick (1978 film)|Moby Dick]]'', a one-man show featuring [[Jack Aranson]] playing characters including Ahab, Ishmael, Starbuck, and Father Mapple, was filmed in 1978 and released in November 2005 on DVD. The director was [[Paul Stanley (director)|Paul Stanley]] ([http://www.imdb.com/title/tt0452823/combined IMDb link]).
* [[Moby Dick (TV movie)|''Moby Dick'']], a 1998 television movie starring [[Patrick Stewart]] as Ahab, [[Gregory Peck]] as Father Mapple (a [[Golden Globe]]-winning performance) and [[Henry Thomas]] as Ishmael ([http://www.imdb.com/title/tt0120756/ IMDb link])
* ''[[Capitaine Achab]]'', two French [[film]], 2003 and 2007, directed by [[Philippe Ramos]]
See also [[adaptations of Moby-Dick]]
== Sequels ==
In 1999, [[Sena Jeter Naslund]] wrote a highly praised novel, ''Ahab's Wife, or the Stargazer: A Novel'', detailing the adventurous life of Una Spenser, Ahab's young wife.
[[Louise M. Gouge]]'s ''Ahab's Legacy'' trilogy – ''Ahab's Bride'', ''Hannah Rose'' and ''Son of Perdition'', is also concerned with Ahab's widow, here named Hannah, and later with their only child Timothy.
==In popular culture==
{{Trivia|date=May 2008}}
In the [[Woody Allen]] movie [[Zelig]], the title character's transformation into a human chameleon begins with him pretending to have read ''Moby Dick'' in order to fit in. At the end on his deathbed, Zelig finally reads it, saying he wants to find out how it turns out.
In [[Michael Lehmann]]'s [[1988]] film ''[[Heathers]]'', the book is used throughout and is even carried around by Heather Duke, who says it is her favorite book.
In [[Victor Salva]]'s [[1995]] film [[Powder (film)]], the title character has memorized all of Moby-Dick and quotes from Chapter 114 to the social worker, Jesse.
The name sake of German funeral doom band [[Ahab]] was taken from the book. Also all of their song's on the album, [[The Call of The Wretched Sea]], are based upon Moby Dick.
In the [[1996]] family comedy, [[Matilda (film)|Matilda]], [[Mara Wilson|Matilda Wormwood]] is reading the book while Matilda's mother [[Rhea Perlman|Zinnia]], cuts the glued hat from the head of her husband, [[Danny DeVito|Harry]], a few seconds later, the family is watching T.V. and Harry, asks her what she is reading, when she mentions the title, Harry asks, "MOBY WHAT?!!?" (thinking it's a dirty book) and tears the book up.
In the [[Fear and Loathing in Las Vegas (film)|film adaptation]] of [[Hunter S. Thompson]]'s book, ''[[Fear and Loathing in Las Vegas (novel)|Fear and Loathing in Las Vegas]]'', [[Johnny Depp]]'s character (Hunter/Raoul Duke) is trying to calm down his "attorney" ([[Benicio del Toro]]) who is acid tripping in a bathtub. He points a pole at him like a spear and says "I am Ahab!" In both the book and the film, Duke and Dr. Gonzo obtain a white convertible which they dub the "White Whale" after the destruction of their previous rental car, the "Great Red Shark."
[[Led Zeppelin]] recorded a song on [[Led Zeppelin II]] called [[Moby Dick (song)|Moby Dick]], which consisted of a blues-based riff and an extended drum solo. It was so called because [[John Bonham|John Bonham's]] son, [[Jason Bonham|Jason]], said that it was 'big like Moby.'
In the [[Futurama]] episode [[The Day the Earth Stood Stupid]], Fry is transported to the world of Moby Dick by the leader of the Brainspawn.
In the [[Seinfeld]] episode [[The Scofflaw]], a police officer refers to a scofflaw (later revealed to be [[Newman]]) who repeatedly eludes the officer's attempts to make him pay his parking tickets as his "white whale."
There are numerous references to Moby Dick throughout the [[Star Trek]] series and movies. Khan has a copy of the book and quotes several lines in [[Star Trek II: The Wrath of Khan]]. Lily compares Picard to Ahab in [[Star Trek: First Contact]]. Coincidentally, Stewart would later play Ahab. Both Khan and Picard go on an Ahab-like quests for revenge in those movies. In [[Bliss (Star Trek: Voyager)|''Bliss'']] The Doctor also compares Qatai to Ahab. [[Tom Paris]] said in the episode [[Thirty Days (Star Trek: Voyager)|''Thirty Days'']] that he was fond of the book as a child.
''[[Leviathan (album)|Leviathan]]'', an album by [[Mastodon (band)|Mastodon]], is completely based on Moby Dick.
In the movie ''[[The Pagemaster]]'', [[Macaulay Culkin]]'s character is transported to Ahab's ship during the "adventure" portion of the film.<ref>[http://www.imdb.com/title/tt0110763/ The Pagemaster (1994)<!-- Bot generated title -->]</ref>
[[MC Lars]] has a song entitled "Ahab".
The book is very referenced on the book series ''[[A Series of Unfortunate Events]]'', most noticeably on the books ''[[The Grim Grotto]]'' and ''[[The End (A Series of Unfortunate Events)|The End]]''.
In the [[manga]]-[[anime]] series [[Toward the Terra]], the ''Mu'' mothership, ''Shangri-La'', is given the codename "Moby Dick", and referred to by humans as the white whale of space.
The main character of [[John Kessel]]'s [[Nebula Award]]-winning novella "Another Orphan" found himself inexplicably as a crewman on the Pequod. The title is taken from the last two words in the novel.
In the Graphic Novel epic [[Bone]] by Jeff Smith, the protagonist Fone Bone's favorite book is Moby-Dick. He often tries to discuss it with his friends, who immediately fall asleep before he gets more than a few words out. There are also dream sequences in which scenes from Moby-Dick are enacted, with Fone Bone imagining himself as Ishmael, and other Bone characters taking the roles of characters from the novel.
In [[The Simpsons]] episode ''[[Diatribe of a Mad Housewife]]'', Marge refers to the painting of the yacht behind the couch as "Scene From Moby Dick".
One of ''[[Tom and Jerry]]'''s Rembrandt cartoons spoofs the Moby Dick story, ''[[Dicky Moe]]''.
In the television series [[Weeds]], Agent George "Fundis" Fundislavsky refers to himself as [[Ahab]] when explaining how he pines to catch "whale" Guillermo García Gómez.
In House M.D House referance Moby Dick on two occsions, once in the season 2 Episode 'All In' where Wilson warns him of the dangers of obsession, and once again in the Season 3 Episode 'Merry Little Christmas' when Foreman stands between him and a draw containing House's Pills remarking 'Only an idiot stands between Ahab and his Whale.'
==Notes==
{{reflist|2}}
==References==
* Hershel Parker and Harrison Hayford, ed. (2002). ''Moby Dick / Herman Melville''. Norton Critical Edition. ISBN 0-393-97283-6
==Editions==
* Melville, H. ''The Whale''. [[London]]: Richard Bentley, 1851 3 vols. (viii, 312; iv, 303; iv, 328 pp.) Published [[October 18]] [[1851]].
* Melville, H., ''Moby-Dick''; or, ''The Whale''. [[New York City|New York]]: Harper and Brothers, 1851. xxiii, 635 pages. Published probably on [[November 14]] [[1851]].
* Melville, H. ''Moby-Dick, or The Whale.'' Northwestern–Newberry Edition of the Writings of Herman Melville 6. Evanston, Ill.: Northwestern U. Press, 1988. A scholarly edition with full textual apparatus. This text has been reprinted in other editions.
==External links==
{{wikisource}}
{{wikiquote}}
* Online texts
** {{gutenberg|no=2701|name=Moby-Dick}}
** [http://www.mobydickthewhale.com ''Moby-Dick; or, The White Whale''] Online version.
** [http://www.archive.org/search.php?query=title%3Amoby%20dick%20-contributor%3Agutenberg%20AND%20mediatype%3Atexts ''Moby-Dick; or, The Whale'' in 2 volumes] (1922). London: Constable. From [[Internet Archive]], scanned book.
** [http://mobydick.publicliterature.org Moby Dick] - Online text with embedded audio.
** [http://www.online-literature.com/melville/mobydick/ ''Moby-Dick; or, The Whale''], from The Literature Network, with search features.
** [http://www.amlit.com/mobydick/chap0.html ''Moby Dick; or, The Whale''], clean text HTML version.
** [http://www.americanliterature.com/md/MDINDEX.HTML ''Moby Dick; or, The Whale''], "Chapter A Day" version.
** {{ria|17|Moby Dick; or, The Whale}}
** [http://librivox.org/moby-dick-by-herman-melville ''Moby Dick; or The Whale''], audio book version from [[LibriVox]]
** [http://www.powermobydick.com ''Power Moby-Dick''], annotated version.
* [[Mocha Dick]] (1810? - 1859), the real-life "Moby Dick"
* Motion picture adaptations
** {{imdb title|id=0021149|title=Moby Dick}} (1930) - [[John Barrymore]] as Captain Ahab
** {{imdb title|id=0049513|title=Moby Dick}} (1956) - [[Gregory Peck]] as Captain Ahab
** {{imdb title|id=0452823|title=Moby Dick}} (1978) - [[Jack Aranson]] as 13 characters
** {{imdb title|id=0120756|title=Moby Dick}} (1998) - [[Patrick Stewart]] as Captain Ahab
* [http://www.cummingsstudyguides.net/Guides3/MobyDick.html#Moby-Dick Study guide]
* [http://www.litquotes.com/quote_title_resp.php?TName=Moby%20Dick Notable quotations]
{{Herman Melville}}
[[Category:1851 novels]]
[[Category:American novels]]
[[Category:Epics]]
[[Category:Fictional cetaceans]]
[[Category:Massachusetts in fiction]]
[[Category:Moby-Dick| ]]
[[Category:Nantucket, Massachusetts]]
[[Category:Novels by Herman Melville]]
[[Category:Public domain characters]]
[[Category:Whaling]]
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