All his life, Melville “wrestled with the angel – Art”. Many of his novels did not go over well during his lifetime. He had what we would call, in the modern age, a “nervous breakdown” after a number of failures. He traveled to the Holy Land, a la Mark Twain, hoping his faith would be renewed, his spirit refreshed. But he just came back sadder. His life story is not a happy one. I love his poetry. I couldn’t choose between the two poems below – so I’m posting both.<\/p>\n
\nThe Maldive Shark<\/b><\/p>\n
About the Shark, phlegmatical one,
\nPale sot of the Maldive sea,
\nThe sleek little pilot-fish, azure and slim,
\nHow alert in attendance be.
\nFrom his saw-pit of mouth, from his charnel of maw,
\nThey have nothing of harm to dread,
\nBut liquidly glide on his ghastly flank
\nOr before his Gorgonian head;
\nOr lurk in the port of serrated teeth
\nIn white triple tiers of glittering gates,
\nAnd there find a haven when peril’s abroad,
\nAn asylum in jaws of the Fates!
\nThey are friends; and friendly they guide him to prey,
\nYet never partake of the treat–
\nEyes and brains to the dotard lethargic and dull,
\nPale ravener of horrible meat.<\/p>\n
Art<\/b><\/p>\n
In placid hours well-pleased we dream
\nOf many a brave unbodied scheme.
\nBut form to lend, pulsed life create,
\nWhat unlike things must meet and mate:
\nA flame to melt–a wind to freeze;
\nSad patience–joyous energies;
\nHumility–yet pride and scorn;
\nInstinct and study; love and hate;
\nAudacity–reverence. These must mate,
\nAnd fuse with Jacob’s mystic heart,
\nTo wrestle with the angel–Art.<\/p>\n
\n
“Moby Dick<\/i> proved hard and exhausting to write. But he knew it was original and he understood that it was good. Published in 1851, it was not a success; until the first quarter of the twentieth century it was neglected. Ambitious later books were rejected. The failure of Moby Dick<\/i> helped turn his primary attention to verse. Battle-Pieces<\/i> (1866) was welcomed as peripheral work by a man who had once been famous for his prose. Seriously disturbed in his mind, he made a trip to the Holy Land (meeting with [Nathaniel] Hawthorne in Southport en route), and out of this visit emerged his most ambitious if not his most accomplished poem, the 18,000-line Clarel<\/i>, twice as long as Paradise Lost<\/i>, and in the octo-syllabic couplets of Gower’s Confessio Amantis<\/i>. Eventually, Melville – after working as a minor customs officer in New York – was reduced to dependence on his wife’s money: she gave him an allowance to buy books and to print his later works in small editions for the tiny readership he retained. He died in 1891, quite forgotten, with the manuscript of the prose work Billy Budd<\/i> completed but unpublished. His reputation was at such a low ebb that even this masterpiece went unpublished until 1924.” — Michael Schmidt, “Lives of the Poets”<\/i><\/p>\n
At Melville’s Tomb<\/b>
\nby Hart Crane<\/p>\n
Often beneath the wave, wide from this ledge
\nThe dice of drowned men’s bones he saw bequeath
\nAn embassy. Their numbers as he watched,
\nBeat on the dusty shore and were obscured.<\/p>\n
And wrecks passed without sound of bells,
\nThe calyx of death’s bounty giving back
\nA scattered chapter, livid hieroglyph,
\nThe portent wound in corridors of shells.<\/p>\n
Then in the circuit calm of one vast coil,
\nIts lashings charmed and malice reconciled,
\nFrosted eyes there were that lifted altars;
\nAnd silent answers crept across the stars.<\/p>\n
Compass, quadrant and sextant contrive
\nNo farther tides . . . High in the azure steeps
\nMonody shall not wake the mariner.
\nThis fabulous shadow only the sea keeps.<\/p>\n
“In Melville’s lifetime few recognized or even suspected the writer’s exceptional genius — but Nathaniel Hawthorne came close, and the two men established a long-lasting friendship. After their first encounters, the writer of Polynesian adventures went back to his romantic tale about “Whale Fishery” and, in Delbanco’s words, “tore it up from within.” Melville deepened and amplified his novel, enlarged it in every sense, with the obvious hope of joining what he called, in an essay on Hawthorne, that fraternity where “genius, all over the world, stands hand in hand, and one shock of recognition runs the whole circle round.” With wonderful appropriateness, then, the author of The Scarlet Letter — which appeared in 1850 — became the dedicatee of the following year’s Moby-Dick” — Michael Dirda, 2005<\/i><\/p>\n
“Give me Vesuvius’ crater for an inkstand!” — Melville apparently shouted this, as he sat at his desk writing “Moby Dick”<\/i><\/p>\n
“…a cosmos (a chaos) not only perceptibly malignant as the Gnostics had intuited, but also irrational, like the cosmos in the hexameters of Lucretius.” — Jorge Luis Borges on the “cosmos” of “Moby Dick”<\/i><\/p>\n
“In general, it is the non-psychological novel that offers the richest opportunities for psychological elucidation. Here the author, having no intentions of this sort, does not show his characters in a psychological light and thus leaves room for analysis and interpretation, or even invites it by his unprejudiced mode of presentation… I would also include Melville’s Moby Dick, which I consider the be the greatest American novel, in this broad class of writings.” — Carl Jung in “The Spirit in Man, Art, and Literature”<\/i><\/p>\n
“Moby Dick<\/i> was the most difficult picture I ever made. I lost so many battles during it that I even began to suspect that my assistant director was plotting against me. Then I realized that it was only God. God had a perfectly good reason. Ahab saw the White Whale as a mask worn by the Deity, and he saw the Deity as a malignant force. It was God’s pleasure to torment and torture man. Ahab didn’t deny God, he simply looked on him as a murderer – a thought that is utterly blasphemous: “Is Ahab Ahab? Is it I, God, or who, that lifts this arm?…Where do murderers go?… Who’s to doom, when the judge himself is dragged to the bar?”‘ — John Huston, “An Open Book”, 1980<\/i><\/p>\n
“We have little more to say in reprobation or in recommendation of this absurd book…. Mr. Melville has to thank himself only if his horrors and his heroics are flung aside by the general reader, as so much trash belonging to the worst school of Bedlam literature — since he seems not so much unable to learn as disdainful of learning the craft of an artist. —Henry F. Chorley, in London Athenaeum, October 25 1851, review of “Moby Dick”<\/i><\/p>\n
“Moby Dick<\/i> is an easy book, as long as we read it as a yarn or an account of whaling interspersed with snatches of poetry. But as soon as we catch the song in it, it grows difficult and immensely important. Narrowed and hardened into words the spiritual theme of Moby Dick<\/i> is as follows: a battle against evil conducted too long or in the wrong way. The White Whale is evil, and Captain Ahab is warped by constant pursuit until his knight-errantry turns into revenge. These are words — a symbol for the book if we want one — but they do not carry us much further than the acceptance of the book as a yarn — perhaps they carry us backwards, for they may mislead us into harmonizing the incidents, and so losing their roughness and richness. The idea of a contest we may retain: all action is a battle, the only happiness is peace. But contest between what? We get false if we say that it is between good and evil or between two unreconciled evils. The essential in Moby Dick<\/i>, its prophetic song, flows athwart the action and the surface morality like an undercurrent. It lies outside words…we cannot catch the words of the song. There has been stress, with intervals: but no explicable solution, certainly no reaching back into universal pity and love; no ‘Gentlemen, I’ve had a good dream.’<\/p>\n
The extraordinary nature of the book appears in two of its early incidents — the sermon about Jonah and the friendship with Queequeg.<\/p>\n
The sermon has nothing to do with Christianity. It asks for endurance or loyalty without hope of reward. The preacher “kneeling in the pulpit’s bows, folded his large brown hands across his chest, uplifted his closed eyes, and offered a prayer so deeply devout that he seemed kneeling and praying at the bottom of the sea.” Then he works up and up and concludes on a note of joy that is far more terrifying than a menace…<\/p>\n
Immediately after the sermon, Ishmael makes a passionate alliance with the cannibal Queequeg, and it looks for a moment that the book is to be a saga of blood-brotherhood. But human relationships mean little to Melville, and after a grotesque and violent entry, Queequeg is almost forgotten. Almost — not quite…<\/p>\n
Moby Dick<\/i> is full of meanings: its meaning is a different problem. It is wrong to turn the Delight or the coffin into symbols, because even if the symbolism is correct, it silences the book. Nothing can be stated about Moby Dick<\/i> except that it is a contest. The rest is song.” — EM Forster, “Aspects of the Novel”<\/i><\/p>\n
“I am like one of those seeds taken out of the Egyptian pyramids, which, after being three thousand years a seed, and nothing but a seed, being planted in English soil it developed itself<\/u>, grew to greenness, and then fell to mould.” — Herman Melville<\/i><\/p>\n
“Some critics woud place his name among the most important American poets of the nineteenth century, or even today.” — Robert Penn Warren<\/i><\/p>\n
“Melville’s poems, less sumptuous in semantic nuance than the prose, less second nature to him than his fiction, are worked at and worked up, yet the difficulty of the restraining forms remains central. So does the rumor of an ‘unspeakable’ theme, unacknowledged at times, at times veiled from himself, which has to do with a radiant sexual irresolution. More insistently even than Conrad, Melville depicts a male world in prose and verse, a world in which intimate relationships and erotic experiences are between men and types of men: at sea, in the army and elsewhere. He celebrates, laments, touches – and he occasionally foresees, not the huge and benign vision of Walt Whitman, but with narrowed eyes, looking further than the future. His is not the optimism of Emerson but something more serious: he sees beyond a bad age, he sees to the other side of evil; nature consoles, but it also remembers and comments.” — Michael Schmidt, “Lives of the Poets”<\/i><\/p>\n
“Mr. Herman Melville has earned a deservedly high reputation for his performances in descriptive fiction. He has gathered his own materials, and travelled along fresh and untrodden literary paths, exhibiting powers of no common order, and great originality. The more careful, therefore, should he be to maintain the fame he so rapidly acquired, and not waste his strength on such purposeless and unequal doings as these rambling volumes about spermaceti whales.” — London Literary Gazette, December 6 1851<\/i><\/p>\n
“Melville, as he always does, began to reason of Providence and futurity, and everything that lies beyond human ken, and informed me that he had ‘pretty much made up his mind to be annihilated’; but still he does not seem to rest in that anticipation…. He can neither believe, nor be comfortable in his unbelief; and he is too honest and courageous not to try to do one or the other.” — Nathaniel Hawthorne, on a walk on the beach with Melville, 1857<\/i><\/p>\n
“Mardi<\/i> is a rich book, with depths here and there that compel a man to swim for his life. It is so good that one scarcely pardons the writer for not having brooded over it, so as to make it a great deal better.” — Nathaniel Hawthorne, in a letter to Evert Duyckinck<\/i><\/p>\n
“It will be a strange sort of book, tho,’ I fear; blubber is blubber you know … and to cook the thing up, one must needs throw in a little fancy, which from the nature of the things, must be ungainly as the gambols of the whales themselves.” — Melville on “Moby Dick” – in a letter to Richard Henry, Jr.<\/i><\/p>\n
“A sense of unspeakable security is in me at this moment, on account of your having understood the book. I have written a wicked book, and feel spotless as the lamb.” — Melville to Nathaniel Hawthorne – after Hawthorne read Moby Dick<\/i><\/i><\/p>\n
“…fresh from his mountain charged to the muzzle with sailor metaphysics and jargon of things unknowable,” — Evert Duyckinck in his journal, describing a meeting with Melville, 1856<\/i><\/p>\n
— “[He is] a little paler, and perhaps a little sadder…. and no doubt has suffered from too constant literary occupation, pursued without much success, latterly; and his writings, for a long while past, have indicated a morbid state of mind.” —Nathaniel Hawthorne, on seeing Melville in 1857<\/i><\/p>\n
“It is–or seems to be–a wise sort of thing, to realise that all that happens to a man in this life is only by way of a joke…. And it is also worth bearing in mind, that the joke is passed around pretty liberally and impartially, so that not very many are entitled to fancy that they in particular are getting the worst of it.” — Melville to Henry Savage<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"
All his life, Melville “wrestled with the angel – Art”. Many of his novels did not go over well during his lifetime. He had what we would call, in the modern age, a “nervous breakdown” after a number of failures. … Continue reading