Tag Archives: sophiafuga

Week 15: Conscious and Unconscious Writing

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What struck me from this week’s reading was from The Anatomy of Melville’s Fame. Riegel mentions on page 200 that the recent revival of Moby Dick has been in the context of modern psychology and philosophy. He goes on to discuss debates over whether Melville is a conscious or unconscious writer, which I think is an interesting topic. This is something I’ve considered a lot; how much of creative work is conscious effort toward an idea/motif/lesson etc, versus how much is a projection of the subconscious. These ideas of the conscious and subconscious are popular in psychology (partially why this part interests me so, since psychology is my major), and are often discussed in many other classes in regards to biology, philosophy etc. However, none of these ideas were strongly present when Melville wrote this book, and I always wonder how much of books are purposefully written in a historical context. It seems Melville did write with intention in some chapters (like Fast-Fish and Loose-Fish), yet others are just abstract ideas of the ocean. Yet, from these chapters too, we can glean insight into Melville, or the political state of the U.S. at the time. This also makes me wonder how Melville wanted this book to be read. Did he write this as a political commentary? Did he write it as a love letter? This type of context would influence the conscious versus unconscious debate; if written as political commentary then perhaps all about Hawthorne is irrelevant. But if written as a love letter (since it is dedicated to Hawthorne), then what is the context of all the political commentary? Even then, is all of this analysis necessary? I think most writers don’t write to have their own lives analyzed, it is the book they want read, not themselves. Yet who a person is makes a book all the more interesting. So should we read this novel as a conscious, intentional novel? Or as a subconscious, projective novel? Does it matter, if we are just projecting our own selves onto the writing?

Thanksgiving Week

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What do you need to do/learn for your final project?

For my final project, I am thinking about close reading the bay/boat when I go to my next sailing class, and writing something about that. Whenever I am at that class, I always think about Moby Dick because of how boring it is. We are using the wind to sail as they did back then, and I swear it is the most boring thing ever. We rig the boat, and then sail around Mission Bay for like an hour, and all I think is that everyone on that boat in Moby Dick must’ve been on the border of insanity and I can understand why Ahab lost it. Because staring at the water going by, the sunlight reflecting off of it, and literally nothing happening except just trying to catch wind and steer somewhere, is horribly boring. I think I want to observe this boredom in parallel to the chapters in Moby Dick that are, also, dreadfully boring, dragging on, slowly floating through page after page of nothingness.

I think sailing also gave me a lot of context for this novel. Even though it was just on the bay, it did allow me to imagine how it would be if the water just stretched on and on for miles, as well as how fluid of a state the water is in. I can always reach down and touch it, but it never stays in one place.

Essay 2: Forged in Blood

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In Chapter 113, “The Forge”, Ahab uses the blood of the harpooners to forge his harpoon, claiming that he is baptising the weapon in the name of the devil. He creates this harpoon specifically for Moby Dick, intent on killing the whale with it. Through the bloody baptism of the harpoon by Ahab, a binary model of religion is created, bringing into question how religion is used to create ideas of good and evil. 

The blacksmith creates Ahab’s harpoon, and then tells Ahab to grab the water to temper the barbs, but Ahab refuses, insisting on using blood as the temper liquid. From everyone on the ship, Ahab chooses to use the blood of the three harpooners, whom he calls the pagans: “‘No, no–no water for that; I want it of the true death temper… Tashtego, Queequeg, Daggoo! What say ye, pagans! Will ye give me as much blood as will cover this barb?’… a cluster of dark nods replied, Yes” (p.532). In this passage, Ahab calls out the harpooners, who do not conform to the Christian religion and have their own beliefs, to become part of his religion of Moby Dick. Ahab continues on to say: “‘Ego non baptizo te in nomine patris, sed in nomine diaboli’” (p.532), which means ‘I do not baptize you in the name of the father, but in the name of the devil’. With this verse, Ahab makes the harpooners the sacred liquid of his religion, as they are the ones who take the first strikes at the whales. Since they are the initial point of contact, they are the most important in Ahab’s hunt for Moby Dick. By choosing the harpooners, who are considered to be on the lower part of the hierarchy of the ship, Ahab creates a group of saints in his religion from the lower rank pagans. 

Another way that this binary model is created is through the use of blood in a baptism. Baptism is usually a sacred ritual in the Christian faith used to signify entry of a person into the religion. In addition, water is used for baptism, not blood. Ahab clearly states his intention to baptize the harpoon intended for Moby Dick in blood, as he cries his verse in Latin, followed by: “Deliriously howled Ahab, as the malignant iron scorchingly devoured the baptismal blood” (p.532). In this scene, Ahab takes the blood of the harpooners to forge his weapon, and the language used creates an uneasy, evil feeling. Ahab and the weapon transform into different entities—as Ahab howls he becomes animal-like, monstrous, and the harpoon becomes anthropomorphized as it scorchingly devours the blood offered by Ahab. In this scene, Ahab is submitting to the weapon in a baptismal worship, surrounded by malevolent connotations, such as ‘malignant’ and ‘devoured’. This tone implies an evil nature around Ahab’s ritual, and creates a bootleg version of Christianity. 

In addition, the choice to use blood separates Ahab’s religion from the natural world, providing further implication of evil. We are born in water, we are made of water, and this boat is, quite literally, surrounded by water. However, instead of making use of this natural element, Ahab restricts his ritual to humans, sealing himself and his practice away from nature. 

By using the structure of Christianity to create his harpoon, Ahab fabricates an evil religion, but it is only one that seems this way because of the binary model it fits into opposed to Christianity. Had there not been replications of Christianity and malevolent connotations, this scene would not have held such defiance toward the Christian faith and ideals. 

The use of Latin in this scene further draws a direct parallel to Christianity. Latin holds historical importance in the Christian faith, and by using Latin, Ahab creates a mockery of the religion. Not only is he using a holy language, but he is also using it to worship the Devil, a symbol of evil in Christianity. Ahab chooses to use the Devil as his instrument of worship because he perceives what he is doing as evil and chooses to defile Christianity. This further shows the ability of religion to be used in a binary sense of good and evil, as certain words can evoke feelings of evil or wrongdoing, like ‘the Devil’. 

This scene draws attention to the structures that religion, especially Christianity, builds. In this passage, Ahab’s religion is contrasted to Christianity, and becomes the evil half because of the binary nature created in their similarities. With the use of pagan saints, blood baptism, and Latin, Ahab assumes multiple dimensions of Christianity and purposefully bends the faith to fit his own goals. This creates a dualistic nature with Christianity being good and Ahab’s religion being malevolent. This is important because Ahab’s religion only appears in this negative light because of the contrast with Christianity. Without this original structure, this scene would not seem religious, or perhaps not necessarily evil, but driven by other intentions. 

Halloween Extra Credit

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For Halloween (sorry posting a bit late!), I dressed up as a whale that has been harpooned. I wore grey shorts and a grey shirt, with red accents (shoes, hair tie, red on the shirt) and I cut out a harpoon from cardboard. Although it may have been a bit of a ‘graphic’ costume, I think it represents a part of the book that has really stood out to me–how the whales are dying in these chapters. Their deaths are gory, violent, painful, helpless, which I find to be a sharp contrast to how human deaths are portrayed. This is also a representation of an industry (whaling) that is not well known or often talked about in the scope of history. There was a period of time in history where whales were hunted as they are in this book, and killed solely for their monetary value, and this costume is a reflection of the extents people were willing to go to for money, for the “American dream”.

Forged in Blood: Week 12

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When reading chapter 113, “The Forge” I came across the part in Latin and was confused. After some investigation online, I found out that “Ego non baptizo te in nomine patris, sed in nomine diaobli” means “I do not baptize you in the name of the father, but in the name of the devil”. I found this part of the plot to be quite interesting. There has been quite a strong focus on religion, specifically Christianity, and this seems to be sending the boat, led by Ahab, in quite a dark place in a Christian context. Just before this part, Stubb even says “What’s that bunch of lucifers dodging about there for?”. He says this while the weapon is being forged, and it does make me think of the implications of fire and that which burns–associated with hell. Is the Pequod having its fall from Heaven? Was it even there in the first place? 

Another very important part of this passage is that Ahab uses Tashtego, Queequeg, and Daggoo to put out the weapon after its been forged. Usually, its cooled using water, but Ahab literally brands the three men instead, and then says the verse in Latin. Water is used in baptism when one is dunked beneath it, symbolizing spiritual cleansing and new life in Christ, and instead the blood of three men not in power is being used by a man in power. They are in a position where they can’t say no, and the hierarchy of this ship is being violently reinforced, as it was in previous chapters as well. To me, baptizing a weapon in the name of the Devil seems to be an ill omen filled with ill intent, especially when it comes at the price of harming another. It also shows how out of touch from reality Ahab is becoming in his power and obsession.

Week 11: Pip’s Soft Death

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One part of the reading I found particularly interesting this week was Chapter 93, which covered Pip’s death. Instead of being violent or scary, I felt this chapter wrote Pip’s death off as something natural, a regular casualty of the whaling industry, and a celestial commentary on the feelings of death. The deaths’ of animals in this novel comes off as graphic and horrifying, filled with resistance and gore, yet Pip seems to just fade away into the horizon, as if he is nothing more than a leaf floating down the river.

Melville writes: “The sea had jeeringly kept his finite body up, but drowned the infinite of his soul… So man’s insanity is heaven’s sense; and wandering from all mortal reason, man comes at last to that celestial thought, which, to reason, is absurd and frantic; and weal or woe, feelings then uncompromised, indifferent as his God” (p.453). What a way to describe death. First off, the sea seems to be taunting, as it keeps Pip’s mortal body afloat, similar to those of the floating whales after their perishing. I also found the second half of this sentence interesting. Melville calls the soul infinite, yet it has been drowned. Drowning implies death, yet infinite implies forever, and these two contrasting descriptors could imply the place after death (presumably Heaven with the religious undertones we already see in this novel). These two contrasts mediums (solid body and infinite soul) are also important to note in a historical context; where examination of these two ideas were less scientific and more theoretical, not that we have much stronger of a grasp on these concepts nowadays. 

Melville continues on, talking about how man’s final thought would be absurd and frantic, and almost brushes over this idea. When the whales die, it is frantic. Yet this slight acknowledgement of the same concept in human’s death is barely seen, as Melville works to romanticize and sweeten Pip’s death with soft words and celestial language. He finishes it off with “indifferent as his God,” which implies God would not care of this death, or perhaps any human’s death. 

Death by Spermaceti

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One part of the reading for this week that I took interest with was the end of Cistern and Buckets. This whole chapter was action packed, detailed, a jump from the lull of Melville’s technical and historical chapters. Although Tashtego is saved by Queequeg (in a midwifery way), Melville still fantasizes about an alternate reality where this rebirth did not occur. “Now, had Tashtego perished in that head, it has been a very precious perishing; smothered in the very whitest and daintiest of fragrant spermaceti; coffined, hearsed, and tombed in the secret inner chamber and sanctum sanctorum of the whale. Only one sweeter end can be readily recalled” (p.377). This feels like a romanticization of death, one that contrasts strongly with the death of the whales in subsequent chapters. These deaths are violent, painful, pitiful, and blood baths, covered in red. Tashtego’s death, comparatively, would have been covered in white–the color of purity, honor, fear, existentialism. And maybe that is exactly what being smothered in this white would represent, the honor of dying in the whaling industry, of dying in a masculine way, yet also the fear and existentialism that comes with death, of the unknown of what follows when the biological functions cease. 

The language used in this passage is light for such a heavy topic. “Precious”, “daintiest”, “sweeter”, romanticize this death as if it is something to be desired. This romanticization is only possible because Ishmael (and other crew) would not have witnessed this death, would not have witnessed Tashtego’ fright and slow drowning in the spermaceti. When spared the details of seeing what happens, it is easy to romanticize the results–as Melville often argues about the landsmen who reap the rewards of the whaling industry with none of the suffering. 

This idea of Tashtego’s death is calm, slow, peaceful, unlike the thrashing the whales undergo. We can draw metaphors here to how we think about nature and animals in a hierarchical fashion, underneath us and allowed to suffer in death. Or we can draw a metaphor for slavery, for how the whales are allowed to die as slaves are, while the humans will die these white, painless, precious deaths. 

Week 7: The boat

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One part of the reading this week I wanted to bring into our discussions was part of the description of the boat in Chapter 16. The narrator ends the description with “A noble craft, but somehow a most melancholy! All noble things are touched with that” (p.78). I can see why this boat might be described as melancholy, with all the ruins of past trophies decorating her, yet I cannot understand the second line; that all noble things are touched with melancholy. Why is this statement made? Is the implication of this that one must be touched with melancholy to be noble, or that everything noble happens to have this melancholy? Why can something not simply be noble, without this melancholy. And what is melancholy? Simply sadness, or must there also be a level of destruction associated with creation? My mind, of course, drifts back to the letters, and Melville’s outright worship of Hawthorne. Is there a melancholy he feels in the noble Hawthorne? Or what else does Melville find makes something noble, besides melancholy? Does he figure that many greatly built crafts have some sort of ‘tragic’ backstory to be made, as this whaling ship has obviously purged many a whale to make its decor? 

I also found the amount of other cultures and countries being brought into the description of this boat interesting. For someone who has spent so much time viewing most of the world through Christian glasses, Ishmael suddenly mentions France, Egypt, Siberia, Japan, and Ethiopia. Perhaps induced by the sight of this boat, and the possibility of traveling with it, or that he sees this boat as a foreign entity. One important thing to note here is that when talking about Western countries he mentions kings and churches, and when he mentions Ethiopia, he uses the word ‘barbaric’. For how much description of the boat he gives, he seems unconstrained by one way of describing it–even calling the boat a cannibal with the teeth fashioned as decor.

Week 6: A False Idol

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One passage I want to examine from the reading this week is at the end of Chapter 10. Melville writes: “How then could I unite with this wild idolator in worshipping his piece of wood? But what is this worship? Thought I. Do you suppose now, Ishmael, that the magnanimous God of heaven and earth–pagans and all included–can possibly be jealous of an insignificant bit of black wood?”

I initially found interest in this passage because of the switch to third person–the narrator speaks to himself, Ishmael, perhaps as a way of dissociating from the situation at hand or separating himself from it. However, after writing this quote out, I am now seeing the use of ‘wood’ and ‘worship’ with Queepueg. What I find interesting in this sexually charged paragraph is the use of a religious idol to represent this relationship. Ishamel, or whoever the narrator is, feels as if he is betraying his identity as a Christian (his identity as a heterosexual?), and feels worshipping a false idol is wrong. Yet he justifies this worship of another idol, saying “could possibly be jealous of an insignificant bit of black wood?”. With this and his switch to the third person, he pulls himself away from the moral qualm faced and makes his actions seem small in comparison to all of the world, as if he can tuck himself away from God. Ishamel continues on this need to justify: “But what is worship?–to do the will of God–that is worship. And what is the will of God?–to do my fellow man what I would have my fellow man do to me–that is the will of God.” This continuous internal dialogue drives a point of obsession, almost in an OCD way as Ishmael continues to justify his actions. I think we can also look at this in a different lens, in one of interpretation and translation. How we choose to understand something, whether religious text, foreign languages, or even Moby Dick is this subjective experience influenced by so many different things. Ishmael here is choosing to interpret God’s will in a way that serves himself. This is not necessarily right or wrong and I have no opinion either way, besides that it is to serve his current situation. This is something we all do, not in a religious sense, but to push through life, there has to be a justification for the things we do that we may find moral qualm with.  

Week 5: Chapter 3

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What I found most interesting from the reading this week was the contents of chapter three. Ishmael’s borderline obsession with this ‘roommate’ seems to elude the rest of the contents of the novel. I haven’t read Moby Dick before, but the idea of obsession seems to be a common theme from what I’ve heard. Take, for instance, this line: “I was all eagerness to see his face, but he kept it averted for sometime” (p.23). Ishmael’s curiosity shines through on this page (or perhaps Melville’s), as the page takes on a run-on about this new character. His mind runs amuck, making assumptions about this new character and wanting to discover who he is. This type of mind-running is fairly normal, but this feels obsessive in the way it takes up a whole chapter, consuming Ishmael’s mind. What is he hoping for?

Another thing on my mind while reading this chapter was the letters from Melville to Hawthorne. That was good context to have before reading this. Many lines from this chapter felt very… suggestive. Ishmael’s fear of sharing a bed with this strange man could be interpreted as projection, or simply the social context of sharing a bed with a man. From page 23 as well, Melville writes “It’s only his outside; a man can be honest in any sort of skin.” Although this appears to be about honesty, I have my doubts. This seems to refer more to who someone is, as opposed to how they look, and put in the context of these men sharing a bed… just reminded me of the letters. This does go into what we talked about in class, as Moby Dick is often seen as the great American novel, masculine, man’s quest, etc but this beginning chapter seems to already delve into a psychological battle on many levels – obsession, sexuality, trust.