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ago" being the only clue. The "second
Ishmael", continues Bezanson, is "forecastle Ishmael", or the "younger Ishmael of 'some years ago.'... Narrator Ishmael is merely young Ishmael grown older." Forecastle Ishmael is "simply one of the characters in the novel, though, to be sure, a major one whose significance is possibly next to Ahab's." From time to time there are shifts of tense to indicate that "while forecastle Ishmael is busy hunting whales, narrator Ishmael is sifting memory and imagination in search of the many meanings of the dark adventure he has experienced."
209:, under Captain Ahab. Ahab is obsessed by the white whale, Moby Dick, who on a previous voyage had severed his leg. In his quest for revenge Ahab has lost all sense of responsibility, and when the whale sinks the ship and destroys the whaleboats, all crewmembers drown with the exception of Ishmael: "And I only am escaped alone to tell thee" is un the epigraph. A life buoy fashioned from Queequeg's coffin bobs up to the surface, and Ishmael keeps himself afloat on it until another whaling ship, the
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characteristic of
Ishmael himself." In the chapter "The Doubloon", Ishmael reports how each spectator sees his own personality reflected in the coin, but does not look at it himself. Fourteen chapters later, in "The Gilder", he participates in "what is clearly a recapitulation" of the earlier chapter. The difference is that the surface of the golden sea in "The Gilder" is alive, whereas the surface of the doubloon is unalterably fixed, "only one of several contrasts between Ishmael and Ahab."
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29, Ishmael, who does not reappear until Ch. 41, is no longer the "central character", but the novel's "central consciousness and narrative voice". As his role as a character erodes, says Bryant, "his life as a lyrical, poetic meditator upon whales and whaling transforms the novel once again...." Ishmael wrestles with the realization that he cannot follow Ahab to a fiery doom but must be content with "attainable felicity", (Ch. 94) but Ahab then takes over once more.
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325:, "warned against forgetting the narrator", that is, assuming that Ishmael was merely describing what he saw. Robert Zoellner pointed out that Ishmael's role as narrator "breaks down" either when Ahab and Stubb "have a conversation off by themselves" in chapter 29 or else when Ishmael reports "the soliloquy of Ahab sitting alone" in chapter 37.
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random way, explain myself I must, else all these chapters might be naught.'" This
Ishmael must not be equated with Melville himself: "we resist any one-to-one equation of Melville and Ishmael." Bezanson does attribute characteristic Melvillean features to the narrator, who in the Epilogue, likens himself to "another
364:'s sense of the technique, yet Ishmael-narrator's "struggle" with the shaping of his narrative, "under constant discussion, is itself one of the major themes of the book." Ishmael deploys among other genres and styles, a sermon, a dream, a comic set-piece, a midnight ballet, a meditation, an emblematic reading.
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John Bryant points out that as the novel progresses the central character is "flip-flopping from
Ishmael to Ahab". The beginning of the book is "comedy" in which anxious Ishmael and serene Queequeg "bed down, get 'married,' and take off on a whaling adventure come-what-may." After Ahab enters in Ch.
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Bezanson argues that there are two
Ishmaels. The first is the narrator, "the enfolding sensibility of the novel" and "the imagination through which all matters of the book pass." The reader is not told how long after the voyage Ishmael begins to tell his adventure, the second sentence's "some years
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The name further points to a
Biblical analogy that marks Ishmael as the prototype of "wanderer and outcast", the man set at odds with his fellows. Nathalia Wright says that all Melville's heroes—with the exception of Benito Cereno and Billy Budd—are manifestations of the Biblical Ishmael, and four
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and
Ishmael are fascinated by the whale, but whereas Ahab perceives him exclusively as evil, Ishmael keeps an open mind. Ahab has a static world view, blind to new information, but Ishmael's world view is constantly in flux as new insights and realizations occur. "And flux in turn ... is the chief
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Narrator-Ishmael demonstrates "an insatiable curiosity" and an "inexhaustible sense of wonder", says
Bezanson, but has not yet fully understood his adventures: "'It was the whiteness of the whale that above all things appalled me. But how can I hope to explain myself here; and yet, in some dim,
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Ishmael meditates on a wide range of topics. In addition to explicitly philosophical references, in
Chapter 89, for instance, he expounds on the legal concept, "Fast-Fish and Loose-Fish", which he takes to mean that possession, rather than a moral claim, bestows the right of ownership.
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complained as early as 1941 that "most of the criticism of our past masters has been perfunctorily tacked onto biographies" and objected to the "modern fallacy" of the "direct reading of an author's personal life into his works." In 1948 Howard P. Vincent, in his study
225:, in reality, was Melville's uncle, having married his paternal aunt Mary. Ishmael, writing the narrative of the book as an older man, also implies in Chapter 35 that he's a father ("we fathers being the original inventors and patentees...").
132:. Many either confused Ishmael with Melville or overlooked the role he played. Later critics distinguished Ishmael from Melville, and some saw his mystic and speculative consciousness as the novel's central force rather than Captain Ahab's
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In a 1986 essay, Bezanson calls
Ishmael an innocent "and not even particularly interesting except as the narrator, a mature and complex sensibility, examines his inner life from a distance, just as he examines the inner life of Ahab..."
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Bezanson also insists that it would be a mistake "to think the narrator indifferent to how his tale is told." Earlier critics charged that Melville did not pay a great deal of attention to point of view, "and of course this is true" in
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wanders, in his own words, in "the wilderness of waters." In the Bible, the desert or wilderness is a common setting for a vision of one kind or another. By contrast, Melville's Ishmael takes to sea searching for
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147:, who is banished into the desert, Melville's Ishmael wanders upon the sea. Each Ishmael, however, experiences a miraculous rescue; in the Bible from thirst, in the novel from drowning.
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Ishmael, like Melville, first worked as a school teacher before securing a position on a merchant vessel. After several voyages in the merchant service, he decides to sail as a
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argues that the novel is not so much about Ahab or the White Whale as it is about Ishmael, who is "the real center of meaning and the defining force of the novel."
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Jang Ye-na (장예나) as a female interpretation of Ishmael, working alongside other classic literary protagonists in the 2023 video game
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The coffin had previously been made by the ship's carpenter for Queequeg when the latter was suffering from a severe fever.
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In direct translation from the Hebrew Bible about Ishmael: "His hand in all, and the hand of all in him."
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has come to symbolize orphans, exiles, and social outcasts. By contrast with his eponym from the
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Mansfield, Luther S.; Vincent, Howard P. (1952). "Introduction", "Explanatory Notes".
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Biblical Ishmael is banished to "the wilderness of Beer-sheba", while the narrator of
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are actually identified with him: Redburn, Ishmael, Pierre, and Pitch from
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Melville shapes his allegory to the Biblical Ishmael as follows:
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458:(and 8 other characters) in a 2003 stage adaptation of the book.
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116:(1851), which opens with the line "Call me Ishmael." He is the
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plays Greenhorn, the renamed Ishmael character, in the 2010
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16:1-16; 17:18-25; 21:6-21; 25:9-17, Ishmael was the son of
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plays Michelle Herman, a female counterpart of Ishmael in
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Ishmael (left) depicted in a 1920 edition of the book
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203:. Ishmael signs up for a voyage on the whaler
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898:as Revolution". In Levine, Robert S. (ed.).
27:Fictional character from the novel Moby-Dick
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527:Manik Choksi in Dave Malloy's 2019 musical
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762:Cited in Bezanson (1953), 645
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781:Herman Melville (1851).
744:Bryant (1998), pp. 67-68
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1505:Characters in Moby-Dick
1482:In the Heart of the Sea
1474:In the Heart of the Sea
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871:Moby-Dick, or the Whale
464:in the 2006 three-part
448:, as the first mate of
229:Ishmael (Old Testament)
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894:Bryant, John (1998). "
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859:: Work of Art". In
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1163:Chapters and
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1111:Captain Ahab
1086:
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877:W. W. Norton
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842:the original
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795:. Retrieved
791:the original
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134:monomaniacal
126:Captain Ahab
121:
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41:
1454:(whaleship)
1405:Möbius Dick
1187:Adaptations
563:Book of Job
524:radio play.
522:BBC Radio 4
512:Jake Heggie
500:plays Ahab.
488:Charlie Cox
484:plays Ahab.
468:radio play.
466:BBC Radio 4
430:Rod Steiger
416:plays Ahab.
400:plays Ahab.
374:Howard Duff
362:Henry James
330:M.H. Abrams
223:John D'Wolf
189:New Bedford
130:protagonist
94:Nationality
1499:Categories
1445:Mocha Dick
1254:Television
1131:Bulkington
1098:Characters
976:B00BR5GVAK
933:B000KT6EXS
808:References
797:2014-06-05
783:"Epilogue"
518:PJ Brennan
420:Tim Guinee
193:Polynesian
174:green hand
86:Occupation
63:Created by
1469:(TV film)
1466:The Whale
1398:Leviathan
1391:Dicky Moe
1337:Moby-Dick
1329:Moby-Dick
1321:Moby Dick
1294:Moby Dick
1286:Moby Dick
1262:Moby Dick
1243:Moby Dick
1235:Moby Dick
1227:Moby Dick
1219:Moby Dick
1211:Moby Dick
1106:Moby Dick
1088:Moby-Dick
1040:Moby-Dick
943:(1968) .
896:Moby-Dick
857:Moby-Dick
855:(2002). "
583:Citations
493:Moby Dick
477:Moby Dick
409:Moby Dick
393:Moby Dick
284:Moby-Dick
280:Yishma'el
275:insights.
272:Moby-Dick
239:The name
201:Nantucket
168:Biography
122:Moby-Dick
113:Moby-Dick
46:character
43:Moby Dick
1172:Cetology
1121:Queequeg
867:(eds.).
817:(2011).
245:Biblical
197:Queequeg
128:was the
97:American
1433:Related
1419:Railsea
1116:Ishmael
253:Abraham
249:Genesis
241:Ishmael
235:Ishmael
141:Ishmael
104:Ishmael
36:Ishmael
1485:(film)
1477:(book)
1316:(1955)
1297:(2011)
1289:(1998)
1281:(1997)
1273:(1965)
1265:(1954)
1246:(2010)
1238:(1978)
1222:(1956)
1214:(1930)
1206:(1926)
1153:Pequod
1091:(1851)
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710:p. 303
680:xi-xii
288:Pequod
217:Family
211:Rachel
206:Pequod
78:Gender
1451:Essex
1348:Other
1305:Stage
1145:Ships
845:(PDF)
824:(PDF)
545:Notes
354:Ixion
261:Isaac
257:Hagar
176:on a
155:Both
1195:Film
1016:ISBN
993:ISBN
972:ASIN
953:ISBN
929:ASIN
910:ISBN
881:ISBN
832:ISBN
157:Ahab
81:Male
1136:Pip
1085:'s
510:by
490:in
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243:is
187:to
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20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
