Commentary on Transcendentalism Throughout Moby Dick Essay

It is rather possible that absolutely nothing runs deeper through the veins of Herman Melville than his disdain for anything transcendental. Melville’s belittling of the entire transcendentalist motion is far from sparsely shown throughout the pages of Moby-Dick, in which he tactically explains the intrinsic existence of evil, the asperity of nature and the wrath of the almighty God. To Melville, transcendentalists ended up being a “guild of self-impostors, with an unbelievable rabble of Muggletonian Scots and Yankees, whose vile brogue still the more bestreaks the stripedness of their Greek or German Neoplatonic originals” (“Herman Melville” 2350).

Transcendentalists went beyond rejecting the doleful possibilities of human mistake and suffering, and it is this oblivious selflessness of transcendentalism in its looser grasps which prompted Melville’s refuse. Within the Emersonian school of idea lies the belief that” [the] destroy or the blank that we see when we take a look at nature, remains in our own eye” (Emerson et al.

81) and that “the evils of the world are such just to the evil eye” (Emerson et al. 174). Melville, nevertheless, thinks that on our world lies a fundamental evil, reaching to state, “A perfectly excellent being … would see no evil.– However what did Christ see?– He saw what made him weep” (Thompson 2350), explaining that not just does wicked exist, however it exists within Christ, the supreme sign of good. Moby Dick, the white whale itself, is the prosopopeia of evil and malevolence in the universe. All that a lot of maddens and tortures; all that stirs up the lees of things; all fact with malice in it; all that fractures the sinews and cakes the brain; all the subtle demonisms of life and thought; all wicked, to crazy Ahab, were visibly personified, and made almost assailable in Moby Cock.

(Melville 154) Moby Cock is likewise a depiction of Leviathan, Task’s whale developed by God as a harmful sign of God; Ahab “… sees in Him outrageous strength, with an inscrutable malice sinewing it” (Melville 138), and if God is a representation of the spirit of the world, then within the world must exist “an inscrutable malice.” Transcendentalists made nature out to be this marvelous, breathtaking development of God which– seeing as he believed God to be more wicked than good– is an idea Melville blatantly declines as a misconception.

Where Emerson says, “… Nature satisfies by its loveliness, and without any mixture of corporeal benefit” (Emerson et al. 107), Melville says, … all other earthly colors– every majestic or charming emblazoning– the sweet tints of sundown skies and woods; yea, and the gilded velvets of butterflies, and the butterfly cheeks of girls; all these are but the subtle deceits, not actually inherent in compounds, however laid on from without; so that all deified Nature definitely paints like the harlot, whose allurements cover nothing but the charnel-house within.

(Melville 164) When sent out to sea, the Pequod and its crew were faced by the nature of which Melville speaks– a nature that, sometimes, seems to “gild the surface area of the water with magic, and causes even the careful hunter to have a land-like feeling towards the sea” (“Herman Melville” 2351), but is actually veils behind which God hides and continuously threatens to release his uncertain displeasure. It is the whale, a product of God and nature, that has enjoyed the leg of Ahab, that lashes out with the force of a thousand guys.

It is the seductive call of nature that lulls the absent minded youth into an opium-like reverie by the blending cadence of waves with thoughts until he loses his identity and takes it upon himself to take the ocean at his feet for the deep, blue bottom that pervades humanity (Melville 134-135); calms are crossed by storms, a storm for every single calm. In addition, Melville mocks the transcendentalists for their loss of sight to the remainder of the world. The transcendentalists saw only the world through the “dimensions of a strong window in Concord” (“Herman Melville” 2394).

Melville might depict the real characteristics of nature in a more scrupulous way, for he had actually left his house in New England and sailed worldwide. When Emerson declared that the poet “disposes really easily of the most disagreeable truths,” it triggered Melville to react, “So it would seem. In this sense, Mr. E is a fantastic poet” (Thompson 443). Though a seemingly of a seemingly different nature, passions, desires, cravings, and senses of the flesh belong of nature nonetheless: they are impulses, a natural part behind the drive of guy. “…

[All] deep, earnest thinking [that] is but the intrepid effort of the soul to keep the open self-reliance of her sea; while the wildest winds of paradise and earth conspire to cast her upon the slavish coast” (Melville 95). It is this natural drive that keeps man from falling under the spiritual drive, this tyrannous and brutal enslavement of this wrathful God, for “natural or carnal guys lack God worldwide” (Alma 41:11). It seems as though Melville has an everlasting quarrel with God. Throughout Ahab’s quest for the white whale, Melville has shown his own individual self-reliance from the authoritarianism of Christian dogma.

It is apparent that religious conventionalism was Melville’s favourite target for satire, but largely due to the fact that he saw himself in competitors with it. His own genius was deeply spiritual and the Bible seemed to serve the deepest purpose in Moby-Dick. Melville was captured in a vicious fight that he developed and could not win. He began by loving God, then transferred to hating God, progressed into a complete detachment from God– feeling neither love nor hate. He grew to dislike his detachment and decided that God may indeed be adorable, therefore the vicious cycle repeats (Thompson 148-149).

Thompson concludes, “The underlying style in Moby-Dick correlates the concepts that– God in his limitless malice asserts a sovereign tyranny over male which the majority of men are seduced into the mistaken view that this divine tyranny is good-hearted and therefore acceptable” (242 ). Melville concurred with the transcendentalists that the spirit is substance, however he started to diverge from the transcendental conclusion that its impact on man was benevolent. Moby-Dick informs not only the story of the endeavors of the Pequod and its crew, but likewise of Melville himself.

It records all of Melville’s individual contempt toward the entire transcendentalist movement, and shows his sensible acknowledgment of evil through the importance of the whale, his battle with religious beliefs through using ontological heroics, and his less-than-altruistic concepts of nature through using large reasoning. It is the ideal emblem for his thankfulness for rationalism and respect for realism. “Oh, the rare old Whale, mid storm and gale In his ocean house will be A giant in might, where might is right, And King of the Limitless sea.” WHALE TUNE Functions Cited.

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