American Patriotism

In “The Anatomy of Melville’s Fame” it is surprising to read Riegel’s comments on how influential the British critics were in slowing Melville’s and Moby Dick’s rise to literary prestige. Although, thinking about it, it makes sense when considering “The American Scholar”. Emerson writes: “We have listened too long to the courtly muses of Europe.” It is now clear how necessary Emerson’s call for American scholarship and pride was. Scholarly, Americans were still under the tutelage of the British thinkers. Living an in overly patriotic America, it is hard to wrap a modern mind around the need for American pride. In fact, in Moby Dick it seemed that Melville was critiquing American patriotism. Using Ahab as an allegory for a patriotism that is blind to its own flaws. This is why it was unexpected to read: “Had Americans felt more cultural pride and less inclination to grovel before British oracles, Melville might have become then, as he is now, a great hero of American national consciousness.”  Melville was not only ahead of his time in his critique on religion and racial issues. He also saw the danger of America’s emerging patriotism. Melville saw how Manifest Destiny and expansionism was leading to a blind patriotism. The kind that ignores flaws and breeds dictators.

Riegel points out that the most recent revival of Melville started in 1919 and continues on today, today being 1931. Riegel says “that the recent revival of interest in Melville has been attributed by some to ‘the spirit of the age.” But in its truth the “term is difficult to define”. He goes on to ponder the spirit as the “appeal of Melville’s boldness and expansiveness” or as the decade’s “devotion to psychological history… to spiritual struggle… to the spectacle of man against the world.” Riegel even mentions “post-war psychosis of futility”. But I was shocked to find he didn’t mention post-war patriotism. 1919 marked the end of World War One and America’s entrance as a major world power both militarily and economically. Post-war American patriotism might be another reason Melville’s great American novel made yet another comeback into the literary world.

final thesis idea

Reading the text vs reading the messages that hide behind the lines of the text, Melville takes us through a story. As he takes us through his story, he stops us in our tracks and makes us look at figures, paintings, and markings. This is how Melville teaches us how to read within reading. These painting and figures he asks us to read teaches us how to read his book, Moby Dick. We have to look further into these markings and paintings that Melville tells us to stop and read, just as we do with text. It’s about stopping, taking a first glance, reading the marking, leaving, and coming back to re-read the same markings. Throughout the whole book, we encounter paintings, figures, and markings, such as the painting in the Spouter Inn, the right whale’s head, the sperm whale’s head, and Queequeg’s tattoos. This book is filled with nuance and long, wordy paragraphs, but then we come across something like the painting at the beginning of the book; he tells us to stop and look with Ishmael. It’s the message within the painting that gives us some answers to the nuance. The art of the lesson that Melville is teaching us is a demonstration of closing reading, to adventure beyond the text and find out why he asks us to look at the right whale’s head and why the details give us (the audience) answers to the nuance that Melville is writing.

With this thesis, I want to close read certain objects, paintings, and figures.

Starting with the painting at the beginning of the book, The Spouter Inn, then the Right Whale’s head, then Queegueg’s tattoos in relation to his coffin, and then I want to close read the markings, such as the marble tables in the chapel. I will discuss why it’s important for us to closely read these non-textual elements within the text and how they teach us to read Moby Dick.