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Moby-Dick, by Herman Melville, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics: New introductions commissioned from today's top writers and scholars Biographies of the authors Chronologies of contemporary historical, biographical, and cultural events Footnotes and endnotes Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work Comments by other famous authors Study questions to challenge the reader's viewpoints and expectations Bibliographies for further reading Indices & Glossaries, when appropriate All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary— to enrich each reader's understanding of these enduring works.

On a previous voyage, a mysterious white whale had ripped off the leg of a sea captain named Ahab. Now the crew of the Pequod, on a pursuit that features constant adventure and horrendous mishaps, must follow the mad Ahab into the abyss to satisfy his unslakeable thirst for vengeance. Narrated by the cunningly observant crew member Ishmael, Moby-Dick is the tale of the hunt for the elusive, omnipotent, and ultimately mystifying white whale—Moby Dick. On its surface, Moby-Dick is a vivid documentary of life aboard a nineteenth-century whaler, a virtual encyclopedia of whales and whaling, replete with facts, legends, and trivia that Melville had gleaned from personal experience and scores of sources. But as the quest for the whale becomes increasingly perilous, the tale works on allegorical levels, likening the whale to human greed, moral consequence, good, evil, and life itself. Who is good? The great white whale who, like Nature, asks nothing but to be left in peace? Or the bold Ahab who, like scientists, explorers, and philosophers, fearlessly probes the mysteries of the universe? Who is evil? The ferocious, man-killing sea monster? Or the revenge-obsessed madman who ignores his own better nature in his quest to kill the beast? Scorned by critics upon its publication, Moby-Dick was publicly derided during its author’s lifetime. Yet Melville’s masterpiece has outlived its initial misunderstanding to become an American classic of unquestionably epic proportions. Includes an extensive Dictionary of Sea Terms (37 pages). Carl F. Hovde taught at Columbia University for thirty-five years. An editor for the Princeton University Press edition of Henry David Thoreau, he has also written about Ralph Waldo Emerson, Henry James, and William Faulkner.

About The Author Carl F. Hovde taught at Columbia University for thirty-five years. An editor for the Princeton University Press edition of Henry David Thoreau, he has also written about Ralph Waldo Emerson, Henry James, and William Faulkner.

Biography Herman Melville was born in August 1, 1819, in New York City, the son of a merchant. Only twelve when his father died bankrupt, young Herman tried work as a bank clerk, as a cabin-boy on a trip to Liverpool, and as an elementary schoolteacher, before shipping in January 1841 on the whaler Acushnet, bound for the Pacific. Deserting ship the following year in the Marquesas, he made his way to Tahiti and Honolulu, returning as ordinary seaman on the frigate United States to Boston, where he was discharged in October 1844. Books based on these adventures won him immediate success. By 1850 he was married, had acquired a farm near Pittsfield, Massachussetts (where he was the impetuous friend and neighbor of Nathaniel Hawthorne), and was hard at work on his masterpiece Moby-Dick.

Literary success soon faded; his complexity increasingly alienated readers. After a visit to the Holy Land in January 1857, he turned from writing prose fiction to poetry. In 1863, during the Civil War, he moved back to New York City, where from 1866-1885 he was a deputy inspector in the Custom House, and where, in 1891, he died. A draft of a final prose work, Billy Budd, Sailor, was left unfinished and uncollated, packed tidily away by his widow, where it remained until its rediscovery and publication in 1924. Author biography courtesy of Penguin Group (USA).

Reviews MOBY-DICK packs a lot of power into this abbreviated form. William Hootkins brings just the right combination of youthful zeal and ancient wisdom to this far-flung cast of characters. Hootkins is as comfortable as the adventureseeking Ishmael, who makes the listener yearn for the high seas, as he is as the aboriginal Queequeg, who urges caution when not providing some much needed humor. Hootkins brings Captain Ahab to vivid life, giving voice to

the character who has become the symbol of fanatical obsession as he hunts the giant white whale that devoured his leg. His quarry, the enigmatic Moby-Dick, is more a force of nature than a living thing.

The way the story grabs you in ,you don't want to stop. You will never regret reading this book. I have read it once but over the year's I see myself recomending this book,not only to family and friend's but to new people who are dying to read a great book.I have enjoyed the story and so has many other's ,and so will my children .Moby-Dick will alway's be a recommended book by me.

This novel was a decent read, but a very allusive one, at that. Throughout the book, there really wasn't much storyline, the entire middle of the novel being very lengthy, and somewhat confusing explanations and descriptions of either objects and kind of "how-to" actions that regularly occur on the boat, or else details concerning the prosterity of whaling, resembling that of a series of persuasive, very much opinionated essays, to which had nothing really to do with the story. Amidst these many explanations and ponderings, Melville goes to explain the untold beauty and magnificence of the sperm whale, but, at the same time, attempts to portray the glories and nobility of killing those very creatures that he speaks so highly of, an inner struggle, it seems, that occurred in his mind quite often in the duration of the novel. The storyline, what little there was of it, was really good wrighting on Melville's part, very much addictive, but, strangely enough, the main character, Ishmael, showed his voice few times in the novel, the story focusing, instead, on Ahab and his main hands. I absolutely loved the beginning, and vastly enjoyed the end; in all the story was very good, if you just get past the bulky middle portion of it. You can definitely deturmine Melville's attempts to write like Shakespeare, and I think that he accomplished such quite beautifully, adding his own style to it which made it more easily understood. A decent novel, worth a look at, but I will admit that the middle was extremely tough to get through.

No doubt about it, this is a hard book to read. It's beauty, however, lies in that it truly is a book on two levels. On one level, it's a description of whaling. On the second level, it's this intense allegory about...what? That's up to the reader, because nobody can really say they understand what all the symbolism means. The book is loaded with Biblical allusions and names, so it helps to be up on the Bible. It's definitely not light reading, but if you can put in the effort, it's worth it.


Read An Excerpt From Carl F. Hovde's Introduction to Moby-Dick It is clear that Melville is not Ahab, nor is he Ishmael, though here the relationship is more complicated. "Call me Ishmael," chapter I begins: The borrowed name lets us know that he will tell us only what he wants to, and that he is a man apart from his fellows. The biblical Ishmael is the illegitimate son of Abraham by Rebecca's servant Hagar, and even though the Lord is good to Ishmael later in Genesis, his half-brother, Isaac, inherits the Lord's covenant through their father (Genesis 16, 17, 21, and 25). Melville's narrator promptly describes dark thoughts approaching self-destruction: He pauses before coffin warehouses and follows every funeral he meets. But in the novel things don't remain so grim for long. Just as the Lord in Genesis is good to Ishmael despite his illegitimacy, so Melville's Ishmael floats to rescue with his best friend's burial box. The

image of death has become the means to life, a change typical of Melville's density of view and sense of ambiguity. And the narrator's depressions spoken of at the beginning are modulated by the very language in which they are described: He is serious in describing his "spleen" and the "drizzly November" in his soul, but he presents them in a way that masks the pain even as it bodies it forth. The joking tone in which that account is developed is one we hear very often from the narrator even when he speaks of serious things. The Ishmael we hear at the beginning is in some ways the book's most illusive character because, just as the biblical name suggests an outsider, a wanderer of sorts, he wanders in and out of the novel's narrative voice as it moves along. In the early chapters he is fully present as a character as he leads us toward the Pequod, but once on board he soon melds into the crew as his storytelling duties are taken over by the much more knowledgeable narrator whose arrival is not announced, but whose presence is clear as early as chapter XXIX when we overhear an exchange between Ahab and Stubb, the second mate. They are on the quarterdeck, where Ishmael, as a common seaman, has no right to be unless working, and even if he were he could not overhear Stubb's private thoughts as he descends into the cabin. There is much in the book that Ishmael the crew member could not see or overhear: conversations between the ship's officers, Ahab's behavior at dinner with his officers, to say nothing of Ahab's private thoughts in a dramatic monologue complete with stage directions. In "Sunset" (chap. XXXVII), the scene is "The cabin; by the stern windows; Ahab sitting alone, and gazing out." As in the preceding chapter, "The Quarter Deck" (chap. XXXVI), we have suddenly changed literary genres-we are for a short time in a play, not a novel. As the action requires of him, Ishmael now and then returns as a man with a particular role on the ship, someone who could not have the wider knowledge we are often given. In chapter LXXII he is at one end of a rope with Queequeg at the other; in chapter XCIV he is squeezing coagulated oil back into liquid; in chapter XCVI he almost capsizes the ship; in the Epilogue he is floating with Queequeg's coffin so that the ship Rachel can bring him back to tell the story. These are inconsistencies, but how bothersome are they? Most readers have not been much troubled. Both narrators have the same voice and personality-one simply becomes the other, and it is best to think of them as the Ishmael who acts and the Ishmael who narrates, two functions of the same identity. Often enough we may not even notice the change from one to the other because we are caught up in the action and the strange brilliance of the style. The book's general narrator occupies a position between Ishmael, on the one hand, and Melville, on the other. We don't confuse Melville with the other two-that shared personality is the author's construction to serve his ends. But it is true that Moby-Dick is an opinionated work, and it is not surprising that the narrator sometimes expresses views that we assume to be Melville's. This is true, for example, in "The Ship" (chap. XVI), where Melville seems to wonder what it will take to turn an old American sea captain into a noble figure worthy of the greatest classical tragedies. The paragraph is a virtual recipe for what Melville will do in creating Ahab later in the book, so much so that he might have written it after he had largely finished with Ahab, and placed it early in the book as a sign of what is to come. There are also passages in which the narrator expresses directly to the reader opinions that are appropriate to the text and are views that Melville clearly held. After explaining how property rights are established after a dead whale is temporarily abandoned, he asks, "What to the ostentatious smuggling verbalists are the thoughts of thinkers but LooseFish? What is the great globe itself but a Loose-Fish! And what are you, reader, but a Loose-Fish and a Fast-Fish, too?" We should be annoyed if we thought that the story line were there only to set us up for the generalization, but Melville's gifts as a storyteller prevent this: The comment rises from the action. While the passage is not about Ahab, it implies what is wrong with him-in his arrogance and isolation he denies the inevitable interdependence of personal identity and community, one of the novel's great themes. In a novel where ambition reaches out to some of the largest matters-man's position in the natural world, the nature of charismatic rule in its moral dimensions, the very nature of reality itself-there are notable exclusions in Moby-Dick, though not through oversight. Important aspects of daily life are less represented than one would usually expect in a novel: Food, sleep, hygiene, pastimes are hardly present, nor matters of health-important on such a vessel-except for Queequeg's illness. These exclusions come about because the literary genre closest to Moby-Dick is not the traditional prose narrative, but

the epic-a form in which the texture of common life is often treated lightly to allow concentration on the protagonist and heroic action. After the nights and steaks in New Bedford's Spouter Inn and the meals of Mrs. Hussey's Nantucket chowder, there is little detail of this kind once the Pequod leaves the dock, with four-fifths of the novel still to come.

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