{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://iastate.aviaryplatform.com/iiif/q23qv3cs6v/manifest","type":"Manifest","label":{"en":["Vaught, Carl G., The Quest for Wholeness"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/004/original/ISULogo.png?1601681107","metadata":[{"label":{"en":["Preferred Citation"]},"value":{"en":["The Quest for Wholeness. Iowa State University Lecture Series (RS 8/6/53). Special Collections and University Archives, Iowa State University Library, Ames, Iowa."]}},{"label":{"en":["Publisher"]},"value":{"en":["Iowa State University. Special Collections and University Archives"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["There are no restrictions on access. (access)","This item is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."]}},{"label":{"en":["Agent"]},"value":{"en":["Vaught, Carl G., 1939- (speaker)"]}},{"label":{"en":["Date"]},"value":{"en":["1978-03-30"]}},{"label":{"en":["Language"]},"value":{"en":["English (primary)"]}},{"label":{"en":["Description"]},"value":{"en":["The Quest for Wholeness is a March 30, 1978 event in the Iowa State University Lecture Series featuring Carl G. Vaught. Carl G. Vaught discusses Ishmael's quest in Moby Dick.","This item was captioned by Rev.com in conformance with WCAG 2.1 AA accessibility guidelines. 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Vaught discusses Ishmael's quest in Moby Dick.","This item was captioned by Rev.com in conformance with WCAG 2.1 AA accessibility guidelines."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["There are no restrictions on access.","This item is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s)."]}},"provider":[{"id":"https://iastate.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Iowa State University"]},"homepage":[{"id":"https://iastate.aviaryplatform.com/","type":"Text","label":{"en":["Iowa State University"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/004/original/ISULogo.png?1601681107","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/116/926/small/lecture.png?1623261251","type":"Image","format":"image/png"}],"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926","type":"Canvas","label":{"en":["Media File 1 of 2 - 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[Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Can you hear me?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=41.32,42.66"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"All right, okay.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=42.66,43.883"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's with a great deal of pleasure","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=46.04,47.45"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that I introduce our distinguished speaker for tonight,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=47.45,50.585"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Professor Carl Vaught.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=50.585,53.315"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Professor Vaught received his doctorate","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=53.315,56.42"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in philosophy at Yale University","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=56.42,58.3"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and he's currently associate head","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=59.27,61.2"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of the Department of Philosophy at Penn State.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=61.2,64.593"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He has numerous publications to his credit","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=66.39,68.42"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and his major areas of interest are metaphysics,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=68.42,73.33"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"philosophy of religion, and history of philosophy.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=73.33,76.203"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And in pursuing those interests, he's developed,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=77.93,80.92"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think a deep appreciation for the complex relations","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=80.92,84.93"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"among philosophy, religion, and art,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=84.93,88.63"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"especially in the novel as an artwork.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=88.63,90.53"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And that appreciation, I'm sure,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=92.22,93.77"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"will be evident to us in his topic tonight.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=93.77,95.69"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The topic is the quest for wholeness,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=95.69,98.36"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as it's found in Melville's \"Moby Dick.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=98.36,101.427"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There'll be an opportunity for raising questions","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=103.04,107.271"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"immediately following professor Vaught's lecture,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=107.271,112.27"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and for those of you who are still interested","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=112.27,115.47"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in pursuing the quest for wholeness further,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=115.47,118.116"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"beyond the proceedings here, there'll be a reception,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=118.116,123.116"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which I'd like to invite you all to,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=123.41,125.233"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"following what we do here in the Campanile Room.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=126.33,130.363"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think coffee and sherry will be available.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=131.3,134.3"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So for those of you who still feel incomplete","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=134.3,136.55"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"we can continue at that point.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=137.59,139.09"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=142.77,143.603"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that completes an introduction","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=149.61,153.0"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to a topic that really","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=153.0,155.09"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"can't have an introduction,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=155.09,156.465"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(chuckles) the quest for wholeness.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=156.465,158.56"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And with that I think I should terminate,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=158.56,161.896"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I'll turn the podium over to Professor Vaught.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=161.896,165.32"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience applauding)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=166.601,169.768"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e I'm very pleased to be at Iowa State,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=175.76,178.957"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'm especially pleased to see","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=178.957,181.04"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"friends of mine again, Jerry and Liz,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=181.04,183.263"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I wanna thank the Department of Philosophy,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=185.2,188.01"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the philosophy club, and the committee on lectures","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=188.01,191.54"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of the university for inviting me here.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=191.54,193.593"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This lecture is part of a larger project.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=195.75,197.873"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'll be happy in the question period to try","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=201.07,203.057"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and answer questions that might arise","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=203.057,205.9"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"about those larger 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Rachel,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=3565.677,3567.973"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/1137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"looking for her lost children,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926#t=3568.87,3570.693"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43863/file/116926/transcript/29148/annotation/1138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"nearly found another 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All right, okay. It's with a great deal of pleasure that I introduce our distinguished speaker for tonight, Professor Carl Vaught. Professor Vaught received his doctorate in philosophy at Yale University and he's currently associate head of the Department of Philosophy at Penn State. He has numerous publications to his credit and his major areas of interest are metaphysics, philosophy of religion, and history of philosophy. And in pursuing those interests, he's developed, I think a deep appreciation for the complex relations among philosophy, religion, and art, especially in the novel as an artwork. And that appreciation, I'm sure, will be evident to us in his topic tonight. The topic is the quest for wholeness, as it's found in Melville's \"Moby Dick.\" There'll be an opportunity for raising questions immediately following professor Vaught's lecture, and for those of you who are still interested in pursuing the quest for wholeness further, beyond the proceedings here, there'll be a reception, which I'd like to invite you all to, following what we do here in the Campanile Room. I think coffee and sherry will be available. So for those of you who still feel incomplete we can continue at that point. I think that completes an introduction to a topic that really can't have an introduction, the quest for wholeness. And with that I think I should terminate, and I'll turn the podium over to Professor Vaught.\r\n\r\n- I'm very pleased to be at Iowa State, I'm especially pleased to see friends of mine again, Jerry and Liz, I wanna thank the Department of Philosophy, the philosophy club, and the committee on lectures of the university for inviting me here. This lecture is part of a larger project. I'll be happy in the question period to try and answer questions that might arise about those larger issues. But my topic is focused, this evening, and the title again is, The Quest For Wholeness, Melville's \"Moby Dick.\" Melville's classic account of the quest for the white whale can be interpreted from a variety of perspectives. However, the opening line of the story suggested special relevance for the problems of religion and in more general terms for the fragmentation which often characterizes the human condition. The one who's to be the narrator of the drama and who also appears as a central participant in it identifies himself in the sentence, \"Call me Ishmael.\" Of course we were expected to understand the implicit reference to Ishmael, the son of Abraham. The son who was banished from his father's house to roam in the desert soon after Isaac was born. In the biblical account, in the circumstances surrounding the birth of Ishmael, we are told that Abraham had been promised a son. And that this child was to become the first member in the chain of descendants through them all the world would be blessed. But when the years passed and the promised child failed to appear, Abraham turned in desperation to the handmaiden his wife had given him. And it was through this union that Ishmael was conceived. When Ishmael was still a child, Abraham prayed on his behalf asking that he might become the child who had been promised. Abraham was convinced that his wife would never be able to bear him an offspring, and he wanted his own son to become his chosen descendant. However, the prayer was not answered in a positive way. Instead, his son was finally born to Abraham and his wife, Sarah, and there was soon no room for both descendants in the household. Because of the virtually inevitable conflict between Sarah and her handmaiden, Ishmael and his mother were banished from the family and were forced to wander in the desert. Isaac, the son of Sarah, displaced Ishmael as Abraham's chosen descendant, while Ishmael, the firstborn, was compelled to wander in the desert, separated from the tribal unity which gave meaning to his existence. Melville's implied reference to the wanderings of Ishmael suggest that the Ishmael of his own novel is also a wanderer. Having identified himself as second Ishmael indicates this fact explicitly at the beginning of his narrative. Some years ago, nevermind how long precisely, having little or no money in my purse and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. \"The trip\" he says, \"is a way I have of driving off the spleen and regulating the circulation.\" Then Ishmael continues, perhaps a bit more ontologically and in a fashion which reflects his eternal condition as a wanderer. \"Whenever I find myself growing grim about the mouth whenever it is a damp, drizzly November in my soul, whenever I find myself involuntarily pausing before coffin in warehouses, and bringing up the rear of every funeral I meet, and especially whenever my hypos get such an upper hand of me, that it requires a strong, moral principle to prevent me from deliberately stepping into the street and methodically knocking people's heads off. Then I counted high time to get to sea as soon as I can.\" Ishmael claims that there's nothing surprising, and this wished to turn toward the sea. He says that if we even knew it, almost all men cherish very nearly the same feelings toward the ocean with me. In giving us his reasons for turning toward the ocean, Ishmael points to the particularity of his own condition. He says that he has decided to undertake an ocean voyage in order to drive off the spleen, to regulate the circulation and to escape from the boredom and the poverty of life on shore. However, he also speaks of himself as an hypochondriac. And he calls our attention to the damp drizzly November in his soul. Apparently the illness with which he is afflicted is not merely one among many. It does not pertain simply to an aspect of his existence, nor is it subject to precise and determinate treatment. Accordingly, he does not confine his attention to the special character of his individual situation. The pervasive nature of his illness might seem to implicate us all in his quest in the name of him to suggest that the quest to which he is committed exhibits a universal range of reference. For example, he tells us that on Manhattan Island we find that right and left the streets take us toward the water. On the shore, we see the waves which a few hours previous were out of sight of land. He invites us to look at the crowds of water gazers there. The gazers are posted like silent symbols all around the town. Thousands upon thousands of mortal men fixed in ocean reveries. But Ishmael was not content to describe the water gazers in merely static terms. Some of the participants in the sketchy draws do not merely look in the water, they strain for it. And Ishmael indicates that nothing will contempt them but the extremist limit of the land. Loitering under the shady lee of yonder warehouses will not suffice. No, they must get just as nigh the water as they can without falling in. They come from lanes and allies, streets and avenues, northeast, southwest, yet here they all unite. Since the converge at the water it might seem appropriate for our focus to shift to the ocean itself. It might seem necessary that an account be given of this larger context, to which the crowds of watergazers seem to respond. Yet as ultimate and unlimited and as a symbol for the eternal dimension in the midst of the here and now, we should scarcely expect a bold direct unmediated description of its nature. Instead, Ishmael characterizes the role of the ocean by describing what the water has meant to a variety of those who had sought to confront its mysteries. First an ironic reference to metaphysics. Say you're in the country. Let the most absentminded of men be plunged in his deepest reveries. Stand that man on his legs, set his feet a-going, and he will infallibly lead you to water. If water there be little lake region. If there ever be a thirst in the great American desert, try this experiment if your caravan happened to be supplied with a metaphysical professor. As everyone knows, meditation and water are wedded forever. Somewhat higher on the chain of being stands the artist. Ishmael tells us of an instance in which the picture he draws would have been inviting under the shepherd's eye, who's form he sketches, or fixed upon the magic stream before him. He then makes reference to the poet, himself often drawn to the scene. Finally, Ishmael asked the questions which lead more directly to the heart of our inquiry. Why did the old Persians hold the sea holy? Why did the Greeks give it a separate deity and make him the own brother of Jove? Surely all this is not without meaning. And still, the meaning of that story of Narcissus, who, because he could not grasp the tormenting mild image he saw in the fountain, plunged in to it, and was drowned. At that same image, we see ourselves in all rivers and oceans. It is the image of the ungraspable phantom of life, and this is the key to it all. The sea becomes the mirror in which Ishmael finds the depths of his existence reflected. The problem with self-discovery, to which is referenced to Narcissus, calls our attention, defines the nature of Ishmael's quest. He undertakes the quest for wholeness in order to come to terms with his own nature and to replace the negativity implicit in his initial situation with the stability which often results from self-discovery. However, Ishmael knows that the boundlessness of the ocean, to which he turns for fulfillment, is reflected in the ungraspable mystery of the person. And he realize that this dimension of mystery can never be articulated fully. He suggests that the poet, the artist, and the metaphysician in descending order of richness all seek to articulate a common mystery. They attempt to focus our attention upon the ungraspable phantom of life in it's relation to the ocean which surrounds it. Ishmael also knows that if he is to respond to the lure of the ocean and to the depths of his own existence, he must not remain a mere observer. An adequate response to one's own alienation and to the longing for wholeness it generates, demands active participation. As a result, Ishmael contrasts himself with idle passengers and with the officials of the typical American sailing ship. Different from them, he goes to sea as an ordinary sailor. Right before the mast plumbed down into the Forecastle, a loft there to the masthead. Of course Ishmael's willingness to become an ordinary sailor does not imply that he is not resentful of his masters, and in this respect his irony is biting. \"What of it,\" he asks, \"if some old hunks of a sea captain orders me to get a broom and sweep down the decks. What does that indignity amount to, weighed, I mean, in the scales of the New Testament?\" Or he asserts, \"True, they rather order me about and make me jump from spar to spar like a grasshopper in a May meadow. And at first this sort of thing is unpleasant enough. It touches one sense of honor, particularly if you come from an old, established family in the land, the Van Rensselaers, or Randolphs, or Hardicanutes.\" On the other hand, Ishmael never suggests that he wishes to affect a radical change in his station. \"It is quite as much as I can do,\" he says, \"to take care of myself without taking care of ships, bards, brigs, spinners, and whatnot.\" Apparently his own active relation to the ocean remains the basic focus of Ishmael's concern. Yet, in spite of his intrinsic indeterminacy, Ishmael knows that the ocean toward which his response is directed must be brought to focus. For this reason, he is careful to indicate that it is a way of adventure in which he is soon to become engaged. In fact, in Melville's narrative, the whale himself becomes the chief object of Ishmael's interest. Such a portentous and mysterious monster roused all my curiosity. The wild and distant seas where he rolled his island bulk, the undeliverable nameless perils of the whale. These with all the attending marbles and thousand Patagonian sights and sounds helped to sway him to my wish. Ishmael's response to the whale now becomes more decisive, and his vision even clearer. The flood gates of the wonder world strung open. And the wild conceits that swayed me to my purpose, to and to their floated into my inmost soul, endless precessions of the whale, and men most of them all. One grand-hooded phantom, like a snow hill in the air. The grasp for the white whale is the guiding theme of Melville's novel, and I shall return to this theme presently. At this point, however, it might perhaps be instructive to compare Ishmael's response to his condition with other responses which also are possible. These alternative responses are defective because they fail to acknowledge the importance of one or more of the elements which constitute the quest for wholeness. For example, Ishmael himself mentions Narcissus. The legendary character who ruled himself into the water in the attempt to grasp his own essence. Narcissus was unwilling to construe the relationship between himself and the ungraspable mystery of life in rationalistic terms. And he sought to bring that relation to immediate closure, this annihilating himself. The fulfillment of the self was rendered impossible because Narcissus ignored the indispensable role to be played by his own particularity. The temptation to which Narcissus succumbed is an ever present possibility. At the middle stages in Melville's narrative, Ishmael warns us of the possibility the sailor at the top of the mast head who looks out across the water might easily topple into the sea. As Ishmael formulates the point, \"There is no life in thee now. Except that rocking life imparted by a gently rolling ship; by her, borrowed from the sea; by the sea, from the inscrutable tides of God. But while this sleep, this dream is on ye, move your foot or hand an inch; slip your hold at all and your identity comes back in horror. Over Descartian vortices you hover. And perhaps, at midday, in the fairest weather, with one half-throttled shriek you drop through that transparent air into the summer sea, no more to rise for ever. Heed it well, ye Pantheists!\" Ishmael also mentions Cato who threw himself upon his sword in response to his sickness and in response to the pervasive illness of his culture. Unlike the case of Narcissus, Cato's action was deliberate. He chose to resolve the problem of man's relationship to what is ultimate by canceling one of its terms. Ishmael contrasts his own intention to undertake an ocean voyage with this attempted resolution. Rather than destroying himself, he seeks to transform his own particularity into a quest for progressive fulfillment. Prior to the voyage which Ishmael undertakes, it was necessary for him to find a ship and to offer himself as a member of the crew. A few days before, he met Queequeg, a savage covered with tattoos. Queequeg decided to go with him on the ocean voyage, but was on the surface scarcely acceptable to the owners of the whaling ship. The owners of the ship upon which Ishmael and Queequeg finally sailed, in fact responded with great reluctance to the prospect of accepting Queequeg is a member of the crew. In this way, they sought to restrict the range of those who were to set out together on the whaling venture. Only when Queequeg demonstrated his competence with the harpoon did they agree to hire him. Had they refused to do so, they would have lost a man who became one of the harpooners in the quest for Moby Dick. Ishmael would also have not survived the chase. For at the end of the voyage, he was safe from destruction by clinging to a coffin, which the ship's carpenter made for Queequeg during the course of the journey. Finally, we might consider the case of Ahab. Perhaps the most dramatic example of those who fail to appreciate the indispensable role to be played, with all the elements reflected in our analysis. Ahab recognized his lack of wholeness. It was symbolized all too clearly by the fact that he lost his leg in an earlier encounter with Moby Dick. Ahab also recognized the part to be played on the voyage by a rich variety of men. He not only welcomed the participation of Queequeg, but also smuggled onto the ship his own harpooner, Fedallah, one far darker and more mysterious than Queequeg. Yet, Ahab's own response to the voyage did not consist in a progressive quest for self-discovery. Instead, he attempted to annihilate what he took to be the cause of his misery. As he cried at one dramatic moment on the deck, \"Death to Moby Dick.\" Cato sought to respond to the riddle of life through self-destruction, and Ahab attempts to respond by destroying the symbol of the eternal dimension of his own existence. Both attempts are inadequate. They finally issue in the destruction of the individual to whom the riddle of life is addressed. At the inception of a quest for wholeness, the lure of the goal, the particularity of the participants, and the universal call of the ultimate dimension of experience are present is equally fundamental. However, as man attempts to respond to what is ultimate, he soon discovers that his own particularity does not always appear as a positive aspect of his development. The characteristics which distinguish one individual from another often set him in radical contrast with others and merely serve to accentuate the alienation that compels him to undertake a quest for fulfillment. In addition, the individual who undertakes the press soon discovers that his own self-development will always remain incomplete. This process is directed toward a goal which is extraordinarily allusive and it occurs within a context whose infinite dimensions he cannot fully appreciate. The individual also encounters elements and experience which constitute a positive threat to his development. These elements reflect the initial alienation with which the quest for wholeness begins, and appear to disrupt the progress of the one that undertakes it. In the present context, this negative dimension can be illustrated in a striking fashion in terms of Ishmael's own self-development. The initial description of Ishmael's decision to set out on an ocean voyage contains only the slightest hint of negativity. The negative element is only present indirectly in Ishmael's ironical reference to his own lipochondria and in his strictures against the passengers and the officials in the typical American sailing ship. However, elements would suggest the possibility of discard are manifested more clearly when Ishmael begins to make active preparation for the journey. He first leaves Manhattan Island for New Bedford, and plans to sail from there to Nantucket in order to find the board a whaling ship. However, upon his arrival in New Bedford, he discovers that the ship on which he planned to book passage has already sailed, and finds that he must wait three days before he can hope to arrive at the port from which the whaling venture can be undertaken. Such a slight delay might seem to be negligible, but it is the first direct suggestion of a pervasive negativity which threatens to impede the progress of Ishmael's quest. Ishmael encounters further resistance in New Bedford when he searches for a place to spend the night. \"I now by instinct followed the streets that took me waterward, for there, doubtless, were the cheapest, if not the cheeriest inns.\" But then he exclaims, \"Such dreary streets! Blocks of blackness, not houses, on either hand, and here and there a candle, like a candle moving about in a tomb. At this hour of the night, of the last day of the week, that quarter of the town proved all but deserted.\" Earlier Ishmael had been drawn to the water as a framework in which his quest could be fulfilled. Now he turns toward it to find a lodging place, and on this occasion he encounters blackness at the water's edge. The image is sustained but Ishmael stumbles by mistake into a negro church. He first overturns a pot of ashes setting beside the door. Then he notices 100 black faces turned around in their rows to peer. Beyond he sees the black angel of doom beating a book in a pulpit. He tells us that the preacher's text is about the blackness of darkness, and the weeping and wailing and teeth-gnashing there. Ishmael rushes from the church and he makes his way to the place where he would eventually find lodging. However, the sign over the door of the establishment disturbs him. It reads, \"The Spouter Inn: Peter Coffin.\" The suggestion of a negative dimension, now all too obvious, is of course not lost on Ishmael. He says to himself, Coffin? Spouter? Rather ominous in that particular connection, thought I. I have referred already to Queequeg, the cannibal, who eventually became the harpooner on the Pequod and the shipmate of Ishmael. Ishmael first encountered Queequeg in the Spouter Inn. The owner of the inn had first informed him that all the rooms were taken. Somewhat later, he tells him that a place is available if he will share a room with another. Seeing the possibility of a joke at Ishmael's expense, he of course has Queequeg's room in mind. Ishmael offers a detailed description of him initial glimpse of Queequeg. \"I was all eagerness, says Ishmael, to see his face but he kept it averted for some time. Finally, however, he turned 'round when, good heavens, what a sight! Such a face! It was of a dark, purplish, yellow color, here and there stuck over with large blackish looking squares. Yes, it's just as I thought, he's a terrible bedfellow; he's been in a fight, got dreadfully cut, and here he is, just from the surgeon. But at that moment he chanced to turn his head so towards the light, that I plainly saw that they could not be sticking-plasters at all, those black squares on his cheeks. They were stains of some sort or other. At first I knew not what to make of this; but soon an inkling of the truth occurred to me. I remembered a story of a white man, a whaleman too, who, falling among the cannibals, had been tattooed by them. I concluded that this harpooneer, in the course of his distant voyages, must have met with a similar adventure. And what is it, thought I, after all! It's only his outside; a man can be honest in any sort of skin. But then, what to make of his unearthly complexion, that part of it, I mean, lying about and completely independent of the squares of tattooing. To be sure, it might be nothing but a good coat of tropical tanning; but I never heard of a hot sun's tanning a white man into a purplish yellow one. However, I had never been in the South Seas and perhaps the sun there produced these extraordinary effects upon the skin. Now, while all these ideas were passing through me like lightning, this harpooneer never noticed me at all. But, after some difficulty having opened his bag, he commenced fumbling in it, and presently pulled out a sort of tomahawk, and a seal-skin wallet with the hair on it. Placing these on the old chest in the middle of the room, he then took the New Zealand head, a ghastly thing enough, and crammed it down into the bag. He now took off his hat, a new beaver hat, when I came nigh singing out with fresh surprise. There was no hair on his head, none to speak of at least, nothing but a small scalp-knot twisted up on his forehead. His bald purplish head now looked for all the world like a mildewed skull. Had not the stranger stood between me and the door, I would have bolted out of it quicker than ever I bolted a dinner.\" Ishmael's initial response to Queequeg issues in an attempt to interpret his strangeness in familiar terms. Perhaps this harpooner was captured by cannibals and tattooed by them, as was the case with another sailor I once heard about. Perhaps the son of the South Seas tanned his skin a purple-ish hue. Despite outward appearances, it's the inside of a man that counts. He could be honest underneath. However, these initial interpretations are scarcity sufficient to mediate the strangeness of Queequeg. When he reaches for his tomahawk, takes off his hat, and stuffs a shrunken head into his pouch, Ishmael almost bolts to the door. The strangeness of Queequeg repulses Ishmael. He must share the bed of the cannibal whose strangeness is not to be mediated by familiar and reassuring interpretations. In fact, at every stage of his active preparation for the journey, Ishmael has encountered blackness, and in each case, the blackness fails to yield to comprehension. However, the presence of discord has, at this point, failed to infect Ishmael's conception of the goal of his quest. Though obstacles now seem to stand in the way of its realization. Only hints have been given to indicate that the goal itself is not to be understood in positive terms alone. Yet it soon becomes evident that a negative element also infects the goal of Ishmael's quest. Mystery is not to be confined to the initial stages of the quest for goalness, nor is it to be reduced to moments of resistance along the way. In fact, insofar as Moby Dick is the specification of the goal in question, Ishmael makes the presence of negativity explicit in his description of the white whale. For example, he claims that for some time past, though at intervals only, Moby Dick had haunted the seas most frequently by the sperm whale fishermen. He adds that not all of them knew of his existence, that only a few had knowingly seen him, and that the number had actually unknowingly given battle to him was small indeed. Yet Ishmael also tells us that the reputation of the white whale did not remain confined to narrow circles. In only a few encounters, wild rumors spread about the nature of Moby Dick. These rumors became the bearers of the initial mystery. And in the end, they incorporated all manner of morbid hints and half-formed fatal suggestions of supernatural agencies, which eventually invested Moby Dick with new terrors, unbarred from anything that visibly appears. Some sailors claimed that Moby Dick was ubiquitous, that he'd been encountered in opposite latitudes at one and the same time. Others maintained that he was not only ubiquitous, but also immortal. As the rumors spread, the mystery of the initial inaccessibility of the whale was reflected in the god-like qualities which the sailors attributed to him. However, in such explicit form. Ishmael tells us that even stripped of supernatural formulations, there was enough in the earthly make and incontestable character of the monster to strike the imagination with unwanted power. The white whale was larger than other whales of its kind, his brow was furred. And on his back, there appeared a high pyramidical white hump. Of all the whales' characteristics, Ishmael claims that his whiteness was the most fundamental source of this mystery. \"Whiteness\" says Ishmael, \"is itself a dumb blankness full of meaning.\" Ishmael also tells us that whiteness is particularly dreadful when it is embodied concretely in a being already terrible itself. In addition, he reminds us that the white whale does not remain inaccessible, but is to be present and manifest to captain Ahab's crew. In fact, they have encountered Moby Dick already for in an earlier battle, the monster had severed his leg. Apparently, the negativity to be found in the goal of Ishmael's quest manifests itself as active power. At least in the case of Ahab, the mystery of the white whale reveals itself as the active power of resistance itself. The accessibility of Moby Dick is due to the fact that the whale confronts the men who seek him as an individualized center of power. He stands forth as a distinct individual from the ocean context out of which he emerges. However, the accessibility of the whale also depends upon the fact that he swims in patterns, patterns which his pursuers attempt to trace. Ishmael describes in some detail Ahab's attempts to trace them. \"Had you followed Captain Ahab down into his cabin you would have seen him go to a locker in the transom. And bringing out a large wrinkled roll of yellowish sea charts, spread them before him on his screwed-down table. Then seating himself before it, you would have seen him intently study the various lines and shadings which there met his eye; and with slow but steady pencil trace additional courses over spaces that before were blank. Almost every night they were brought out. Almost every night, some pencil marks were effaced, and others substituted. For with the charts of all four oceans before him, Ahab was threading a maze of currents and eddies, with a view to the more certain accomplishment of that monomaniac thought of his soul.\" Ishmael is careful to note that the patterns they have traces are not in variant. And he reminds us that they will not exhaust the richness and the complexity of the whale's behavior. On the other hand, these patterns remain as clues to the one who seeks him. They comprise an irreducible dimension of his nature. Among the characters in Melville's novel, the one who most deliberately attempts to bring the whale to focus is Captain Ahab. Early in the voyage, he gathers the crew on deck and announces that the chief object of their concern would be the destruction of Moby Dick. \"He brandishes a gold coin which he promises to give to the first sailor who sights the white whale, and he nails the coin to the mass stead. He produces goblets filled with grog and passes them among the crew. The goblets go round and round. Drink and pass says Ahab.\" Ahab summons the harpooners and raise them before him, their lances crossed in solid phalanx. Then he shouts from their mist, \"Drink, you harpooners, drink and swear, you men that man the dreadful whale boats bow. Death to Moby Dick!\" Once again, the goblets are lifted and to cries of maledictions against the white whale. The spirits are quaffed down with a hiss. Once more, the replenished pewter goes the rounds among the frantic crew. Only then are they dispersed. Only then does Ahab retire into his cabin. During the initial stages of Ahab's first encounter with the crew, Starbuck, the first mate of the ship, objects in stringent terms to Ahab's wish for vengeance. He claims that to seek vengeance upon a dumb brute is a symptom of madness, that to be enraged with the dumb thing seems blasphemous. However Ahab replies by attempting to make clear his own conception of his relationship to Moby Dick. \"All visible objects,\" he says, \"are but as pasteboard masks. But in each event, in the living act, the undoubted deed, there, some unknown but still reasoning thing puts forth the mouldings of its features from behind the unreasoning mask. How can the prisoner reach outside except by thrusting through the wall? To me, the white whale is that wall, shoved near to me. Sometimes I think there's naught beyond. But 'tis enough. He tasks me; he heaps me; I see in him outrageous strength with an inscrutable malice sinewing it. That inscrutable thing is chiefly what I hate; and be the white whale agent, or principal, I will wreak my hate upon him.\" Ahab defines the whale as an inscrutable center of power. It is this inscrutability which he hates, and he responds to it by attempting to circumscribe the mystery which he encounters in Moby Dick in terms of the concept of power. Ahab wishes to strike the whale. It had once struck him. He seeks to thrust through the wall of mystery and to make living contact with the source of his misery. Ahab wishes to do this, whether the white whale be agent or principal. In either case, inscrutability must be overcome. A dyad thus comes to define the meaning of Ahab's existence. The raging power of Ahab is to be pitted against the power of the whale. Ahab's participation in the power that Moby Dick represents is reflected in the fact that he acquires some of the whales' characteristics. He exhibits these characteristics in the martyr, which is both increasingly dynamic and determined. In the early stages of the voyage, Ahab remains below the deck, inaccessible to the members of his crew. However, the mystery of inaccessibility is gradually replaced by the presence of Ahab. He takes his stand on deck with increasing frequency, placing his wooden leg with an indentation on the floor. Finally, in a peak of anger, incited by Stubb, the second mate, Ahab reveals himself directly. He calls the second mate a dog and threatens to kill him. He advances upon him with such overbearing power that Stubb retreats involuntarily. Unlike Ahab, Stubb does not strike back. However, that evening he dreams about Ahab and imagines that he's captain and is of a monstrous size, a great pyramid looming up before him. Later we find that Moby Dick is described as a great white monster with a peculiar wrinkled forehead and a high pyramidical white hump. The similarities between Ahab and Moby Dick are sustained by the fact that Ahab's power waxes and never wanes, and that it reaches a crescendo on the final days chased for the whale. On that final day, Ahab leaps into the whale boat to lead the chase himself. He hurls the final lance. He makes the final attempt to conquer his enemy. This developing power of Ahab reflects the infinite power of his own self-accentuation. With the final lunge, Ahab becomes one with his goal. In that final moment, Moby Dick snatches him up from his surrounding context. At this stage, however, there is a sense in which reference to a goal is both unnecessary and misleading. In fact, the termination of Ahab's quest may be understood as the end of a process of self-development which swells from within. Ahab seeks to develop his power to infinite proportions in response to his own incompleteness. He seeks to transcend this incompleteness at the point of its origin, and this origin does not lie outside himself, rather it is to be found at the point of intersection between man and what is ultimate. And in the human longing for wholeness, which man's awareness of what is ultimate often generates. As a consequence, the original dietetic relation in which Ahab stands to Moby Dick is finally internalized and given a poorly eminent reference. Ahab's hatred for Moby Dick is transformed into an instance of infinite power and turned back upon itself. His enemy becomes his own incompleteness and it is this incompleteness which he intends to concur. And if the power he accentuates in doing so cannot be bounded by other aspects of his nature. Finally, Ahab explodes. He identifies himself so completely with power alone that he loses his own identity. As a consequence, Ahab vanishes into the sea, and the dimension of the indeterminate finally reclaims him. One of the alternative modes of development which we find within the story is exhibited by Queequeg, the cannibal. Queequeg's way of life is in fact so rich and constant, that to speak about it in developmental terms is to overlook, from the beginning, its most fundamental characteristic. From the outset, Queequeg keeps the wooden idol close beside him. From the beginning, he appears to be at home within an alien environment. In New Bedford, he is oblivious of those about him who regard him as strange, concentrating, instead, upon whatever task is immediately at hand. In general terms, there is an easy and fluid relationship between Queequeg and what surrounds him, for he has related to the world in a fashion which is both natural and muted. Queequeg does not appear to be concerned to strive for fulfillment or to seek participation in a way of life which lies beyond his present mode of existence. Of course, this does not imply that Queequeg does not sometimes respond to those about him in fear or anger. Quite to the contrary. When he first discovered Ishmael sleeping in his bed he brandished his hatchet and demanded to know the reason for Ishmael's presence. Yet, this response was natural, and it was to be expected. The response was natural and fluid because it was called for by the situation in which he was involved. Queequeg's rather mild and balanced mode of life can perhaps be understood most adequately in terms of the concept of finite self-acceptance. Queequeg accepts himself and his place in nature, and for this reason, he's also able to accept the mysterious and unexpected dimensions of his immediate environment. At the same time, his openness and his self-acceptance are grounded in his relationship to the idol which he carries with him. The presence of the idol apparently makes a quest for wholeness necessary. It grounds his participation in the mode of life which makes human significance immediately accessible. As a consequence, Queequeg is unconcerned about which ship is to be chosen for the voyage he plans to undertake with Ishmael. Queequeg asks Ishmael to select the ship. He chooses, instead, to stay inside his room to fast before his wooden god. This extended fasting suggest the intensity of Queequeg's relationship to the primordial dimension of his own existence. It implies that the vertical relationship in which he stands is more fundamental than any process of development in which he might become engaged. The fact remains, however, that Queequeg becomes a member of the Pequod's crew. At least by implication, he comes to share the quest of Ishmael and Ahab. What then is the relationship between the quest in which he participates? And the primordial relationship in which he stands? Why does Queequeg participate in a voyage, the projected end of which, is accessible to him from the beginning in some measure of fullness. Part of the answer is suggested in Ishmael's brief account of Queequeg's early history. Ishmael tells us that Queequeg was the son of a king and that his uncle was a high priest. He implies that it was Queequeg's destiny to become a king himself. From his early days, however, there lurked within him the strong desire to visit Christendom. Queequeg wished to learn among the Christians the arts whereby to make his people still happier than they were, and more than that, still better than they were. For this reason, Queequeg came to the Western world. Unfortunately, he soon discovered that life was no better in Christendom than it was upon his native island. The practices of the whale man soon convinced him that even Christians could be both miserable and wicked. Infinitely more so, in fact, than all his father's . Moreover, Queequeg came to believe that association with Christians had made him unfit to ascend his father's throne. \"By and by,\" he said \"he would return as soon as he felt himself baptized again.\" For the knots however, he proposed to sail about and sow his wild oats in all four oceans. Christians had made a harpooner of him, and the harpoon served now as his scepter. Unlike Ahab, Queequeg does not formulate the ultimate object of his concern in determinate fashion. He accepts himself as a wanderer within the ocean at large, and does not fasten his attention exclusively upon the whale, rather the water through which it swims becomes the central focus of his existence. The meaning of Queequeg's life can be formulated in terms of his participation within the ocean taken as a whole. This relationship constitutes his rebaptism. The nature of Queequeg's rebaptism becomes explicit in the manner of his death. On the final day's chase for the whale, Queequeg does not take his accustomed place within the whale boat. Instead, he remains on board the Pequod, standing on the masthead. When Moby Dick attacks the crew and the ship begins to sink, Queequeg remains at his post. He looks out across the water and he vanishes into the sea. Self-acceptance and acceptance of the mystery of existence is Queequeg's final self-defining act. His rebaptism does not consist in a recovery of his tribal origins. Rather, it is enacted in relation to the ocean as a whole and is in this way elevated to eternal significance. Sometime prior to his death, when Queequeg was sick aboard the Pequod, he asked the ship's carpenter to build him a coffin. It was to be made after the fashion of the canoe and was to serve as his burial place, an imitation of the burial customs of the whale fishermen of Nantucket. However, before the voyage reached its culmination, Queequeg recovered from his illness. In fact, it soon becomes evident that he had regarded the illness from the beginning as a merely natural phenomenon. We thus come to understand it simply as a part within a larger hole. Presumably, Queequeg dies in a fashion which bears no positive relationship to the coffin, which had been constructed for him. And he does so, unfettered by the customs and the traditions to which the existence of coffins directs our attention. As the Pequod sank from view below the surface, the coffin of Queequeg vanished in the ocean. He was not buried, yet the coffin's role within the story is not so readily exhausted for it also has a positive bearing on the life of Ishmael. Ishmael tells us that as he was being drawn down with the others into the whirlpool created by the sinking ship, suddenly the coffin life buoy shot lift-wise from the sea, fell over and floated by my side. He adds that he was buoyed up by the coffin, that for almost one whole day and night, he floated on a soft and dirgelike main. The unharming sharks glided by as if with padlocks on their mouths. The savage sea hawks sailed with sheathed beaks. This unexpected and somewhat apocalyptic reference to the coffin as a symbol of life stands in stark contrast with our usual conceptions and in contrast with the earlier references to coffins which are interwoven in the story. At the beginning of his journey, Ishmael set out to sea in order to escape the coffin warehouses around him and in order to avoid the funeral processions, in his train he was always tempted to follow. He shuttered at the name of Peter Coffin displayed above the door of the Spouter Inn. And in the church, he stood before a series of plaques hanging on the wall commemorating the death of whale fishermen in foreign lands. Yet, in spite of his wish to escape from the symbols of death and illness, he embraced them and crossed the threshold of the doorway. He made friends with the cannibal. He became a member of a whaling crew. And he plunged actively into the ocean and participated fully in the quest for Moby Dick. At the terminus of this risk of participation, a coffin emerged unexpectedly from the ocean into which he had plunged. You might regard Ishmael's participation in the ocean venture as a kind of dying. When he became a member of the Pequod's crew, he plunged into a concrete context of encounter and interaction, and in doing so he laid aside his merely private standpoint. In the course of the voyage, Ishmael was able to participate both in the life and world of Queequeg and in the erotic quest of Ahab. In both cases, he was snatched up into a realm beyond his own. But though Ishmael transcends his merely private point of view, he does not die in the sense of Ahab and Queequeg. He is neither consumed by the quest nor simply resigned to a life and death of self-acceptance. To the contrary, Ishmael attempts to keep both the whale and the ocean in view. He seeks to bring Ahab's quest for the whale to focus within the ocean context, to which Queequeg returned in resignation. Ishmael abandons his merely private standpoint but he also attempts to keep his distance in order to bring those realms to focus within the context of articulate speech. Ishmael is the narrator of Melville's story, and the coffin which emerges from the whirlpool defines the ground for his speech. The story he tells reveals the essential structure of the quest for wholeness. His speech is the logos that holds together the power, which makes the quest possible, and the surrounding mystery, which makes it necessary. Yet Ishmael is not merely the narrator of the story but also a central participant in it. He could scarcely speak about the whale in the ocean and about their mystery and power had he not himself plunged into the context which these themes provide. However Ishmael is able to maintain the distance required for articulation because he realizes that he must also participate in the customs and traditions which provide the concrete context of his own existence. Ishmael knows that the quest for wholeness must not take place merely within their world as a whole, but that it must also enable the individual to recover his origins. He also knows that he can recover his own origins only if he recognizes the ultimate significance of origins in individuals other than himself. Ishmael finally sacrifices his own particularity in the attempt to acknowledge the origins and the integrity of his compatriots. And it is in this sense that the coffin provides the foundation for his speech. The coffin that emerges from the intersection of the whale in the ocean and from the interplay of power and mystery reflects the customs and the traditions of the whale men of Nantucket. Ishmael attends to these traditions as he attends to the customs and traditions of Queequeg and of the ship itself. In doing so, he paradoxically saves his own life and recovers his own grant. It is from the balance that Ishmael maintains among the power, the mystery, and the meaning of his own existence that his speech emerges. And it is upon this ground that the novel itself unfolds. Ishmael tells us that he is finally rescued by a ship named The Rachel. As we should remember, Rachel was the wife of Jacob, a direct descendant of Abraham and a product of the origins from which Ishmael himself had once been ejected. At the conclusion of his narrative, Ishmael says that The Rachel, looking for her lost children, nearly found another orphan. However, what is left unspoken in Ishmael's account is his cosmic readoption by his original family. 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