Free Essays on Moby Dick

Type of Work: Allegorical novel Setting The high Seas; early nineteenth century Principal Characters Ishmael, a teacher-seaman (and narrator) Queequeg, a hardened and savage harpooner Ahab, captain of the Pequod Starbuck and Stubb, Ahab's first and second mates Fedallah, Captain Ahab's Parsee servant and seer Story Overview A Massachusetts schoolmaster, Ishmael chose to give up the comfort and security of his classroom and fulfill his romantic desire to go to sea. Leaving Manhatto, he traveled to the seaport town of New Bedford to seek out work on a whaler. Ishmael's first night in New Bedford was spent in the crusty Spouter Inn near the water_ front. There he found the only bed available which, by necessity, he consented to share with an unknown harpooner. His roommate turned out to be a bizarre fellow indeed, a hardened South-sea islander whose body was covered with tattoos. But after Ishmael's initial fear had subsided, he found this "strange bedfellow," Queequeg, to be quite friendly. The huge man offered to share his small fortune and an embalmed human head with Ishmael. "At first I knew not what to make of this," Ishmael said, "but soon an inkling of the truth occurred to me. I remembered a story of a white man - a whaleman too - who, falling among cannibals, had been tattooed by them. I concluded that this harpooner, in the course of his distant voy_ ages, must have met with a similar adventure. And what is it, thought 1, after all! It's only his outside; a man can be honest in any sort of skin." The two men became fast friends, both signing on as harpooners aboard the Pequod, a Quaker-owned whaler out of Nantucket. There had been some question around New Bedford as to the future fate of the Pequod because of its eccentric captain, Ahab. But both Ishmael and Queequeg had no intention of changing their plans. They set sail. For the first few days the curious captain stayed out of sight in his cabin, and... Free Essays on Moby Dick Free Essays on Moby Dick Moby Dick The moral ambiguity of the universe is prevalent throughout Melville’s Moby Dick. None of the characters represent pure evil or pure goodness. Even Melville’s description of Ahab, whom he repeatedly refers to "monomaniacal," suggesting an amorality or psychosis, is given a chance to be seen as a frail, sympathetic character. When Ahab’s "monomaniac" fate is juxtaposed with that of Ishmael, that moral ambiguity deepens, leaving the reader with an ultimate unclarity of principle. The final moments of Moby Dick bring the novel to a terse, abrupt climax. The mutual destruction of the Pequod and the White Whale, followed by Ishmael’s epilogue occupies approximately half a dozen pages. Despite Melville’s previous tendency to methodically detail every aspect of whaling life, he assumes a concise, almost journalistic approach in the climax. Note that in these few pages, he makes little attempt to assign value judgements to the events taking place. Stylistically, his narration is reduced to brusque, factual phrases using a greater number of semicolons. By ending the book so curtly, Melville makes a virtually negligible attempt at denouement, leaving what value judgements exist to the reader. Ultimately, it is the dichotomy between the respective fortunes of Ishmael and Ahab that the reader is left with. Herein lies a greater moral ambiguity than is previously suggested. Although Ishmael is the sole survivor of the Pequod, it is notable that in his own way, Ahab fulfills his desire for revenge by ensuring the destruction of the White Whale alongside his own end. Despite the seeming superiority of Ishmael’s destiny, Melville does not explicitly indicate so. On the contrary, he subtly suggests that Ishmael’s survival is lonely and empty upon being rescued: "It was the devious-cruising Rachel, that in her retracing search after her missing children, only found anothe... Free Essays on Moby Dick Authors throughout history have used the biblical accounts to enhance their own story. Herman Melville’s classic American novel Moby Dick is no exception. In Moby Dick, Melville uses innumerable biblical allusions, but readers can observe this literary technique best in the naming of his characters. The use of the Bible in literature is a powerful tool for an author; it allows him to place his characters and plot within an immortal context. Each character lives for a finite amount of time, but given a biblical name he will live forever in scripture. Also, the author's comparison of aspects of a novel allows the reader to know something more about the characters, settings, and context without an author's introduction. The reader brings a pre-formed notion to the text from his knowledge of the biblical material. Knowing this adds more poignancy to the frustration that Ahab has over his mission to kill the whale. In Moby Dick Melville acts as both parent and inventor. As author, he creates the characters and names them. Ishmael begins Moby Dick saying "Call me Ishmael." (Melville 1) We do not know if this is his real name but he chooses to identify with the biblical character. It is interesting to consider the name of Ishmael in respect to all the other biblical names of the novel. Ishmael is the only one who chooses his, while Melville determines the others' names. This is particularly significant in regard to Ahab. Ishmael is the only one with the power to choose his fate because he is able to choose his name. Ishmael chooses God as his protector when most other people have a parent. Ishmael's survival story is incredible and supports the idea that God was looking out for him since he is the only one to survive. Because God is willing to save Ishmael, Melville is willing to save him as well; Ishmael is the only one to survive. Ahab is another person all his own, with his own past and biblical reigned as the king of the Israel f... Free Essays on Moby Dick Type of Work: Allegorical novel Setting The high Seas; early nineteenth century Principal Characters Ishmael, a teacher-seaman (and narrator) Queequeg, a hardened and savage harpooner Ahab, captain of the Pequod Starbuck and Stubb, Ahab's first and second mates Fedallah, Captain Ahab's Parsee servant and seer Story Overview A Massachusetts schoolmaster, Ishmael chose to give up the comfort and security of his classroom and fulfill his romantic desire to go to sea. Leaving Manhatto, he traveled to the seaport town of New Bedford to seek out work on a whaler. Ishmael's first night in New Bedford was spent in the crusty Spouter Inn near the water_ front. There he found the only bed available which, by necessity, he consented to share with an unknown harpooner. His roommate turned out to be a bizarre fellow indeed, a hardened South-sea islander whose body was covered with tattoos. But after Ishmael's initial fear had subsided, he found this "strange bedfellow," Queequeg, to be quite friendly. The huge man offered to share his small fortune and an embalmed human head with Ishmael. "At first I knew not what to make of this," Ishmael said, "but soon an inkling of the truth occurred to me. I remembered a story of a white man - a whaleman too - who, falling among cannibals, had been tattooed by them. I concluded that this harpooner, in the course of his distant voy_ ages, must have met with a similar adventure. And what is it, thought 1, after all! It's only his outside; a man can be honest in any sort of skin." The two men became fast friends, both signing on as harpooners aboard the Pequod, a Quaker-owned whaler out of Nantucket. There had been some question around New Bedford as to the future fate of the Pequod because of its eccentric captain, Ahab. But both Ishmael and Queequeg had no intention of changing their plans. They set sail. For the first few days the curious captain stayed out of sight in his cabin, and... Free Essays on Moby Dick â€Å"MOBY DICK† The Symbolism Of The Whale In Moby Dick, Herman Melville uses the whale to symbolize Humankind’s inability to understand the world, to express the nature of human relationships, the concept or idea of God and environment. Melville seems to have an array of multiple symbolic meaning to the whale. I have found it difficult to follow through with one flowing theme. Moby Dick is an unfriendly force, interpreted as a symbolic representation of God, an impassable and all powerful being that humankind can neither understand nor defy. Through out Moby Dick, the whale is given divine qualities and often compared to God. Just as many people fear God they also feared Moby Dick. Moby Dick possesses an array of symbolic meanings for a variety of individuals. To the crew of the Pequod, the whale is a legendary concept on to which they can transfer their anxieties about dangerous and often very frightening jobs. Because they have no delusions about the whale acting spitefully toward men or exactly embodying evil, tales about the whale allow them to face their fear, manage it and continue on. Ahab, on they other hand, believes that Moby Dick is a sign of all that is evil with the world, and he feels that it is his destiny to destroy this symbol of evil. In destroying the whale, Ahab is also destroying his own fears and evil that faces him in the world. Melville shows that Moby Dick is capable of great violence. However, he also shows the whale living peacefully and tranquilly at sea until man attacks him. Ishmael tries an array of approaches to describe the whale, but none proves adequate. Ishmael is in awe of the whale. He sees Moby Dick quite differently; the whale is a representation of nature from its beauty and wonders to the terror and fear it can bring. The color (White) of the whale is a symbol that can be interpreted differently. Ishmael begins his discussion of â€Å"whiteness† by noting its use as a symbol of ...

What Peasants and Laborers Wore in the Medieval Ages

What Peasants and Laborers Wore in the Medieval Ages While the fashions of the upper classes were changing with the decade (or at least the century), peasants and laborers stuck to the useful, modest garments their progenitors had been clad in for generations during the Middle Ages. Of course, as the centuries passed, minor variations in style and color were bound to appear; but, for the most part, medieval European peasants wore very similar clothing in most countries from the 8th to the 14th century. The Ubiquitous Tunic The basic garment worn by  men, women, and children alike was a tunic. This appears to have evolved from the Roman tunica of late antiquity. Such tunics are made either by folding over a long piece of fabric and cutting a hole in the center of the fold for the neck;  or by sewing two pieces of fabric together at the shoulders, leaving a gap for the neck. Sleeves, which werent always part of the garment, could be cut as part of the same piece of fabric and sewn closed  or added later. Tunics fell to at least the thighs. Though the garment might be called by different names at different times and places, the construction of the tunic was essentially the same throughout these centuries. At various times, men and, less often, women wore tunics with slits up the sides to afford more freedom of movement. An opening at the throat was fairly common to make it easier to put on over ones head; this might be a simple widening of the neck hole; or, it might be a slit that could be tied closed with cloth ties or left open with plain or decorative edging. Women wore their tunics long, usually to mid-calf, which made them, essentially, dresses. Some were even longer, with trailing trains that could be used in a variety of ways. If any of her chores required her to shorten her dress, the average peasant woman could tuck the ends of it up in her belt. Ingenious methods of tucking and folding could turn the excess fabric into a pouch for carrying picked fruit, chicken feed, etc.; or, she could wrap the train over her head to protect herself from the rain. Womens tunics were usually made of wool. Woolen fabric could be woven rather finely, though the quality of the cloth for working-class women was mediocre at best. Blue was the most common color for a womans tunic; though many different shades might be achieved, the blue dye made from the woad plant was used on a large percentage of manufactured cloth. Other colors were unusual, but not unknown: pale yellow, green, and a light shade of red or orange could all be made from less-expensive dyes. All these colors would fade in time; dyes that stayed fast over the years were too expensive for the average laborer. Men generally wore tunics that fell past their knees. If they needed them shorter, they could tuck the ends in their belts; or, they could hike up the garment and fold fabric from the middle of the tunic over their belts. Some men, particularly those engaged in heavy labor, might wear sleeveless tunics to help them deal with the heat. Most mens tunics were made of wool, but they were often coarser and not as brightly colored as womens wear. Mens tunics could be made from beige (undyed wool) or frieze (coarse wool with a heavy nap) as well as more finely woven wool. Undyed wool was sometimes brown or gray, from brown and gray sheep. Undergarments Realistically, there is no telling whether or not most members of the working classes wore anything between their skin and their woolen tunics until the 14th century. The contemporary artwork depicts peasants and laborers at work without revealing whats worn underneath their outer garments. But usually the nature of undergarments is that theyre worn under other garments and are therefore ordinarily unseen; so, the fact that there are no contemporary representations shouldnt hold much weight. In the 1300s, it became the fashion for people to wear shifts, or undertunics, that had longer sleeves and lower hemlines than their tunics, and therefore were plainly visible. Usually, among the working classes, these shifts would be woven from hemp and would remain undyed; after many wearings and washings, they would soften up and lighten in color. Field workers were known to wear shifts, hats, and little else in the heat of summer. More affluent people could afford linen undergarments. Linen could be fairly stiff, and unless bleached it wouldnt be perfectly white, though time, wear, and cleansing could make it lighter and more flexible. It was unusual for peasants and laborers to wear linen, but it wasnt altogether unknown; some of the clothing of the prosperous, including undergarments, were donated to the poor upon the wearers death. Men wore braes or loincloths for underpants. Whether or not women wore underpants remains a mystery. Shoes and Socks It was not at all uncommon for peasants to go about barefoot, especially in warmer weather. But in cooler weather and for work in the fields, fairly simple leather shoes were regularly worn. One of the most common styles was an ankle-high boot that laced up the front. Later styles were closed by a single strap and buckle. Shoes were known to have had wooden soles, but it was just as likely for soles to be constructed of thick or multi-layered leather. Felt was also used in shoes and slippers. Most shoes and boots had rounded toes; some shoes worn by the working class might have somewhat pointed toes, but workers didnt wear the extreme pointy styles that were at times the fashion of the upper classes. As with undergarments, its difficult to determine when stockings came into common use. Women probably didnt wear stockings any higher than the knee; they didnt have to  since their dresses were so long. But men, whose tunics were shorter and who were unlikely to have heard of trousers, let alone wear them, often wore hose up to the thighs. Hats, Hoods, and Other Head-Coverings For every member of society, a head-covering was an important part of ones attire, and the working class was no exception. Field workers often wore broad-brimmed straw hats to keep off the sun. A coif, a linen or hemp bonnet that fit close to the head and was tied under the chin,  was usually worn by men undertaking messy work such as pottery, painting, masonry,  or crushing grapes. Butchers and bakers wore kerchiefs over their hair; blacksmiths needed to protect their heads from flying sparks and might wear any of a variety of linen or felt caps. Women usually wore veils, a simple square, rectangle, or oval of linen kept in place by tying a ribbon or cord around the forehead. Some women also wore wimples, which attached to the veil and covered the throat and any exposed flesh above the tunics neckline. A barbette (chin strap) might be used to keep the veil and wimple in place, but for most working-class women, this extra piece of fabric may have seemed like an unnecessary expense. Headgear was very important for the respectable woman; only unmarried girls and prostitutes went without something covering their hair. Both men and women wore hoods, sometimes attached to capes or jackets. Some hoods had a length of fabric in the back that the wearer could wrap around his neck or his head. Men were known to wear hoods that were attached to a short cape that covered the shoulders, very often in colors that contrasted with their tunics. Both red and blue became popular colors for hoods. Outer Garments For men who worked outdoors, an additional protective garment would usually be worn in cold or rainy weather. This could be a simple sleeveless cape or a coat with sleeves. In the earlier Middle Ages, men wore fur capes and cloaks, but there was a general view among medieval people that fur was worn only by savages, and its use went out of vogue for all but garment linings for quite some time. Though they lacked todays plastic, rubber, and Scotch-Guard, medieval folk could still manufacture fabric that resisted water, at least to a degree. This could be done by fulling wool during the manufacturing process, or by waxing the garment once it was complete. Waxing was known to be done in England, but seldom elsewhere due to the scarcity and expense of wax. If wool was made without the stringent cleansing of professional manufacturing, it would retain some of the sheeps lanolin and would, therefore, be naturally somewhat water-resistant. Most women worked indoors and didnt often have need of a protective outer garment. When they went out in cold weather, they might wear a simple shawl, cape, or pelisse. This last was a fur-lined coat or jacket; the modest means of peasants and poor laborers limited the fur to cheaper varieties, such as goat or cat. The Laborers Apron Many jobs required protective gear to keep the laborers everyday wear clean enough to wear every day. The most common protective garment was the apron. Men would wear an apron whenever they performed a task that could cause a mess: filling barrels, butchering animals, mixing paint. Usually, the apron was a simple square or rectangular piece of cloth, often linen and sometimes hemp, which the wearer would tie around his waist by its corners. Men usually didnt wear their aprons until it was necessary and removed them when their messy tasks were done. Most chores that occupied the peasant housewifes time were potentially messy; cooking, cleaning, gardening, drawing water from the well, changing diapers. Thus, women typically wore aprons throughout the day. A womans apron often fell to her feet and sometimes covered her torso as well as her skirt. So common was the apron that it eventually became a standard part of the peasant womans costume. Throughout much of the Early and High Middle Ages, aprons were undyed hemp or linen, but in the later medieval period, they began to be dyed a variety of colors. Girdles Belts, also known as girdles, were common accouterments for men and women. They might be made from rope, fabric cords, or leather. Occasionally belts might have buckles, but it was more common for poorer folk to tie them instead. Laborers and peasants not only tucked up their clothing with their girdles, but they also attached tools, purses, and utility pouches to them. Gloves Gloves and mittens were also fairly common and were used to protect the hands from injury as well as for warmth in cold weather. Workers such as masons, blacksmiths, and even peasants cutting wood and making hay were known to use gloves. Gloves and mittens could be of virtually any material, depending on their specific purpose. One type of workers glove was made from sheepskin, with the wool on the inside, and had a thumb and two fingers to offer a little more manual dexterity than a mitten. Nightwear The idea that all medieval people slept naked is unlikely; in fact, some period artwork shows folk in bed wearing a simple shirt or gown. But due to the expense of clothing and the limited wardrobe of the working class, it is quite possible that many laborers and peasants slept naked, at least during warmer weather. On cooler nights, they could wear shifts to bed,  possibly even the same ones theyd worn that day under their clothes. Making and Buying Clothes All clothing was hand-sewn, of course, and was time-consuming to make compared to modern machine methods. Working-class folk couldnt afford to have a tailor make their clothes, but they could trade with or purchase from a neighborhood seamstress or make their outfits themselves, especially since fashion was not their foremost concern. While some made their own cloth, it was far more common to purchase or barter for finished cloth, either from a draper or peddler or from fellow villagers. Mass-produced items like hats, belts, shoes and other accessories were sold in specialty stores in big towns and cities, by peddlers in rural areas, and at markets everywhere. The Working-Class Wardrobe It was sadly all too common in a feudal system for the poorest folk to own nothing more than the clothes on their back. But most people, even peasants, werent quite that poor. People usually had at least two sets of clothes: everyday wear and the equivalent of Sunday best, which would not only be worn to church (at least once a week, often more frequently) but to social events as well. Virtually every woman, and many men, were capable of sewing, if only just a little, and garments were patched and mended for years. Garments and good linen undergarments were even bequeathed to heirs or donated to the poor when their owner died. More prosperous peasants and artisans would often have several suits of clothes and more than one pair of shoes, depending on their needs. But the amount of clothing in any medieval persons wardrobe, even a royal personage, couldnt come near what modern people usually have in their closets today. Sources Piponnier, Francoise, and Perrine Mane, Dress in the Middle Ages. New Haven: Yale University Press, 1997.Kà ¶hler, Carl, A History of Costume. George G. Harrap and Company, Limited, 1928; reprinted by Dover.Norris, Herbert, Medieval Costume and Fashion.: London: J.M. Dent and Sons, 1927; reprinted by Dover.Netherton, Robin, and Gale R. Owen-Crocker, Medieval Clothing and TextilesBoydell Press, 2007. Jenkins, D.T., editor. The Cambridge History of Western Textiles, vols. I and II. Cambridge: Cambridge University Press, 2003.