Defamiliarization in Moby-Dick

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Years at sea, however, took Herman Melville far out of the familiar world of New York and Albany. Melville was not the only writer of the time who found the sea a rich source of metaphor. His contemporary, Flaubert, said in 1846 that ¡°the three finest things in creation are the sea, Hamlet, and Mozart¡¯s Don Giovanni.¡± (Marcus Cuncliff, 175 10) Herman Melville just wrote several sea novels out of his own very experiences at sea. For Moby Dick he chose a South Sea voyage in a whaler. In so doing, and in sticking to the ship instead of roaming off among real or imagined islands, he provided himself with a firm social and occupational framework. Thus anchored to actuality, he could let his imagination run free. The novel has tremendous power. It moves grandly through alternations of excitement and ease to the almost intolerable tension of the three-day chase of the White whale, and the eventual, inevitable disaster when the whale kills Ahab, then smashes the Pequod. (Marcus, 107) Like so many American classics, Moby Dick, Or the whale is at once a natural outgrowth of its writer¡¯s themes and materials and a quantum leap in achievement. As Ishmael¡¯s story, the book is a narrative of education that follows its hero from his opening hypos through its conversion to brotherhood by the pagan Queequeg to his encounters with the sea, the whale, and the white whale, linked images of Creation and the powers that govern it. (Emory Elliott et al, 188 44)

When Moby Dick was first published in 1851 its critical reception ranged from indifference to hostility. Hawthorne, to whom Moby Dick is actually dedicated, was amongst the very early readers to discern its importance. Today Moby Dick is widely regarded as the summit not only of Melville¡¯s art but of American nineteenth-century fiction. (Ousby, 7)

But in the early 1880s, Moby Dick began receiving attention from a few English readers, mainly sea authors and social critics. By and large, the scant attention Moby Dick received during the late nineteenth and early twentieth century came from England, but there were a few Melville enthusiasts this side of the Atlantic. In 10, an American literary historian commented, ¡°an occasional admirer can still be found who will pronounce them [Melville¡¯s] superior to Cooper¡¯s.¡± (Kevin J. Hayes, 14 xix) The early twentieth-century Moby Dick revival began in England, but in 11, the centenary of Melville¡¯s birth, Americans, too, rediscovered Melville. Since the revival, Moby Dick has been the subject of three movies, the silent Sea Beast (15) with John Barrymore as Ahab; the talkie Moby Dick (10) with Barrymore recreating his role; and Moby Dick (156), directed by John Huston with a screenplay by Bay Bradbury. The work of the first half of the twentieth century culminated with Jay Leyda¡¯s Melville Log (151), a work which has set the standard for subsequent documentary histories of major American authors, and Leon Howard¡¯s Herman Melville A Biography (151). Moby Dick has attracted some of the brightest literary scholars of recent times and has been the subject of numerous critical articles and monographs. The most important recent efforts have been the biographical, bibliographical, and textual work of Hershel Parker, Harrison Hayford, and G. Thomas Tanselle. (Hayes, xx-xxiii) Discovered ¨C or rediscovered ¨C in the early decades of the twentieth century, Melville now more than ever seems the monumental writer of nineteenth-century America whose presence on the literary and cultural landscape is all but inescapable. (Robert S. Levine, 001 )

There are also some scholars investigated particularly the style of Moby Dick. In Herman Melville A Critical Study, Richard Chase holds that the style of Moby Dick is a rhythm of three basic styles the style of fact, the style of oratorical celebration of fact, the style of meditation moving toward mysticism. (Richard Chase, 14 86-4) In the same chapter, Richard Chase also indicates that in discussing Melville¡¯s style, writers like Matthiessen, Sedgwick, and Olson have pointed out several influences chiefly, Shakespeare, sir Thomas Browns, and the Bible. (Chase, 86)

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In this thesis, the theories of foregrounding and defamiliarization will be adopted to analyze the stylistic traits in Moby dick and to illustrate the literariness of Moby Dick. Literariness is a matter, as Roman Jakobson put it, ¡°that which makes a given work a literary work.¡±

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