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 more rich and sultry than the Marquesas, which becomes, as the story proceeds, a crazy chaos of adventure and satirical allegory. In Mardi for the first time appear those qualities which made a French critic call Melville “un Rabelais americain,” his welter of language, his fantastic laughter, his tumultuous philosophies. He had turned, contemporaries said, from the plain though witty style of his first works to the gorgeous manner of Sir Thomas Browne; he had been infected, say later critics, with Carlylese. Whatever the process, he had surely shifted his interest from the actual to the abstruse and symbolical, and he never recovered from the dive into metaphysics which proved fatal to him as a novelist. It was, however, while on this perilous border that he produced the best of his, and one of the best of American, romances; it is the peculiar mingling of speculation and experience which lends Moby Dick (1851) its special power. The time was propitious for such a book. The golden age of the whalers was drawing to a close, though no decline had yet set in, and the native imagination had been stirred by tales of deeds done on remote oceans by the most heroic Yankees of the age in the arduous calling in which New England, and especially the hard little island of Nantucket, led and taught the world. A small literature of whaling had grown up, chiefly the records of actual voyages or novels like those of Cooper in which whaling was an incident of the nautical life. But the whalers still lacked any such romantic record as the frontier had. Melville brought to the task a sound knowledge of actual whaling, much curious learning in the literature of the subject, and, above all, an imagination which worked with great power upon the facts of his own experience. Moby Dick, the strange, fierce white whale that Captain Ahab pursues with such relentless fury, was already a legend among the whalers, who knew him as “Mocha Dick.” 1 It remained for Melville to lend some kind of poetic or moral significance to a struggle ordinarily conducted for no cause but profit. As he handles the story, Ahab, who has lost a leg in the jaws of the whale, is driven by a wild desire for revenge which has maddened him and which makes him identify Moby Dick with the very spirit of evil and hatred. Ahab, not Melville, is to blame if the story seems an allegory,
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