Herman Melville
question of one and many, 63;
slavery and industrialism, 64;
intrusion of new habits of living, 64;
contrast of vital and mechanical, provincial and metropolitan, 66;
in 1860, 293;
loss of form, 293;
wastefulness of industrialism in, 294
Anglo-American Literature and Manners, 74
Anticipation of modern science, Melville’s, 99
Appletree Table, The, 236
Arrowhead, 136
Articles of War, 355
Arts, as means of salvation, 318
Attica, comparison with North Atlantic states, 65
Azzageddi, Melville’s demon, 102
Babbalanja, 95
Barney, 21
Bartleby the Scrivener, 236-239
Battle Pieces and Other Aspects of the War, 303-305
Beddoes, 179
Bell-Tower, 236
Benito Cereno, 244-246
Bentley, 123
Beowulf, 194
Berkshires, 135
Billson, James, 334
Billy Budd, 337, 353-356
Birth, 16
Bitterness of life, 309
Blackness, Melville’s, 233-235
Blake, William, 335
Boynton, Percy, 181, 194
Bridegroom Dick, 337
Broadhall, 135
Brooks, Van Wyck, 110, 194
Bryant, William Cullen, 12
Bullen, Frank, 147
Camoëns, 58
Captain Claret, 59
Captain Riga, 29, 36
Captains, The Two, 290
Centenary Committee, 333
Chapin, Henry, 369
Chaplain Mudge, 44
Charity, 249, 253
Chase, Jack, 57
Chasles, M. Philarète, 74
Children, Melville’s, plight of, 287;
fate of Malcolm and Stanwix, 288
Christianity, Melville’s respect for, 103;
his repugnance toward, 320
Chronometricals and Horologicals, 214
Civil War, the, a dividing point, 291;
attempt to preserve ideological framework by, 292;
symbolizes disruption, 293;
described by Whitman, 297
Claggart, causeless evil in, 354
Clarel, 307-324
Coan, Titus Munson, 259
Cock-a-doodle-do, 236
Cologne, 128
Colonel J. Bunkum, 337
Confidence, lack of, 248
Confidence Man, The, 247-255
Consular post, Melville’s efforts to secure, 235, 289
Contempt, Melville’s, for contemporaries, 233
Convictions, conflict of, 301
Cousins, their condescension and Melville’s resentment, 75
Critic, The, 3
Critics, their condemnation of Mardi, 105;
misconception of Melville, 106
Crystal Palace Exhibition, 188
Culture, new, 361
Customs Office, an asylum, 329
Daggoo, 165
Dana, Richard Henry, 40
Dark Ages of Democracy, 327
Death, biological terminus, 359;
spiritual significance, 359
Death, Herman Melville’s, 357
Democratic Press and Lansingburgh Advertiser, 36
De Quincey, 127
Derwent, 311
Dilemma as writer, 221
Dominora, 97
Dowden, quoted, 234
Duke of Rutland, 129
Duyckinck, Evert, 73;
expurgates Typee, 76;
introduces Melville to literary world, 79;
Lowell’s characterization of, 80;
correspondence with Melville, 140 ff.
Duyckinck, George, 79
Duyckincks, The, Whitman’s opinion of, 80
Edens, authentic, 339
Emerson, Lectures on the Times, 65;
defended by Melville, 140;
absence of shadows in, 141
Encantadas, The, or Enchanted Isles, 239-240
England, first impression of, 33;
return to, 119 ff.;
depth and triviality of, 124, 125
Enthusiast, The, 342
Eternity, 98
Ethan Brand, criticism of Melville in, 145
European observations, 273-274
Evil, discovery in Mardi, 96, 246
Fact, respect for in nineteenth-century literature, 192;
in Moby-Dick, 192
Faith, animal, 324
Fantasies, usable and unusable, 233
Father Mapple, 159-160
Father Taylor, prototype of Father Mapple, 44
Fayaway, Melville’s companion, 49, 52
Fiddler, The, 259
Flask, 164
Flogging, Melville’s influence on abolition of, 117
Forms, world of, 359
Forster, E. M., 209
Free verse, in Pierre, 181
Gansevoort Hotel, 329
Gansevoort Market, 329
Gansevoorts, 11
Glendinning, Mrs., 203
Golden Day, The, 141
Goodman, Frank, 250
Grand Armada, 171
Greene, Richard Tobias, 73
Haglets, The, 342
Harper’s, 135, 235
Hautia, symbol of sensual bliss, 51;
her attractiveness in Typee, 51
Hawthorne, Nathaniel, first effect on Melville, 137;
likeness to Rembrandt, 138,
to Shakespeare, 138;
first meeting with Melville, 142;
last meeting, 262-265
Hawthorne, Sophia, characterization of Melville, 143
Herzen, Alexander, 91, 315
Hiatus, in Melville’s emotional development, 218;
in his career, 291
Highlander, The, 28, 32
Human values, sweeping away of, 319
Humiliation, effect of, 31
Humour, of desperation, 169;
Melville’s perpetual sense of, 290
I and My Chimney, 236
Ideal life, fantastic notions of, 65
Ideality, embodied in animal instincts, 352
Illness, Melville’s, 224-225
Imaginative synthesis, Moby-Dick as, 170-171
Industrialism, as end in itself, 65;
wastefulness of, 294;
bleak efficiency and blindness to humane purpose, 319
Inheritance, 336
Innocents Abroad, 328
Insanity, looseness of term, 231;
biographer’s difficulty, 231;
Melville’s interpretation of, 231-232;
relationship with art, 232-233
Institutions, upheaval in 1848, 91;
savage parody of in Mardi, 91
Instrumentation of Moby-Dick, 182
Irving, Washington, 139
Isabel, 202
Israel Potter, 240-242
Jack Gentian, 337
Jackson, 29;
Melville pities, 235
Jehovah, birth of idea of, 271
Jewish literature, Melville’s sympathies with, 320
Jimmy Rose, 259
Jocularity, infirmity of, 283, 290-291
John Brown, 297
John Marr, 338
Jokes, family’s indifference to, 332
Journals, Melville’s, to England and the Continent, 119-131;
to Constantinople and the Holy Land, 261-273
Jung, 194
Juvenile Total Abstinence Association, 29
Kinship with Thoreau, 112
Kory-Kory, manservant, 47
Lake of Pontoosuce, The, 349-350
Lawrence, D. H., 194
Leisure, Melville’s high opinion of, 332
Lenin, 316
Life, implication of ideal ends, 189;
as more than living, 190;
stultification in vacuous dreams, 316
Life, naïve joy in, 49;
sinister meanings of, 124;
shadow of death on, 129
Libellous criticism, 106
Lightning Rod Man, The, 236
Literary method, Melville’s conception, 212
Literary World, The, 79
Lockhart, 125
Lombardo, 102
London, greyness of, 124;
depression of, 126
Londoners, 123
Lucy, 202
MacMechan, Archibald, 337
Man of the World, The, 290
Manhattan literati, 79
Mardi, characterization of, 93-101
Mark Twain, 328
Marquesas, 46-55
Marquis de Grandvin, 337
Masefield, John, 110
Material civilization, lopsidedness of, 361
Mather, F. J., Jr., 241
Mechanical arts, menace of their perfection, 318
Media, 95
Mehevi, King of Typees, 47
Melville, Allan, brother of Herman, 66
Melville, Allan, father of Herman Melville, characteristics, 13, 14;
knowledge of Europe, 15;
marriage, 14;
traveller, 21;
death, 23
Melville, Elizabeth (Shaw), marries Herman, 86;
as housekeeper, 136;
strain of relationship with Herman, 287;
receives affectionate dedication of Weeds and Wildings, 344
Melville, Gansevoort, 25, 67, 80
Melville, Herman, his family, 11-14;
birth, 17;
birthplace, 17;
early impressions, 17;
starved of affection, 18;
moved to Bleecker Street, 18;
melancholy situation, 19;
relatives, 20;
influence of Manhattan, 21;
ambitions, 22;
father’s death in 1832, 23;
fixation of father’s image, 24;
struggle for existence, 25-26;
Grand Tour, 27;
an infant Ishmael, 28;
bitterness of youth, 28;
disappointment in Liverpool, 33;
exploration of city, 34;
first view of misery and degradation, 34-35;
essential education, 35;
return to Lansingburgh, 36;
slow growth, 36;
early sexual life, 36-37;
first literary effusions, 37-38;
beginning of self-consciousness, 39;
preparation for literature, 38;
attraction to sea, 40;
departure from New Bedford, 41;
leaves ship at Nukuheva, 46;
lives among Typees, 47-52;
is rescued by the Julia, 52;
makes friends with Dr. Long Ghost, 52;
participates in mutiny, 53;
is confined in British jail, 54;
becomes a rover, 54-55;
enjoys idle life, 55;
works in Honolulu, 55;
becomes sick of adventure, 56;
ships on U. S. Frigate, United States, 56;
homeward bound, 56-62;
discovers abuses in Navy, 57;
makes friends with Jack Chase, 57;
is influenced in literary taste by ship’s library, 57-58;
is condemned to flogging, 58;
has impulse to assault Captain, 58;
resents “massacre of beards,” 59;
falls from yard-arm, 59-60;
beginning of manhood, 61;
lands at Boston, 62;
writes Typee, 67;
habit of documentation, 69;
accuracy, 70;
effect of censorship on, 77;
successful author, 78;
writes Omoo, 81;
marries Elizabeth Shaw, 86;
honeymoon, 87;
daily routine, 87-89;
has weak eyes, 88;
writes Mardi, 91;
tightening of domestic responsibility, 108;
necessity for potboilers, 108;
writes Redburn, 108;
writes White-Jacket, 114;
goes to Europe, 119;
becomes acquainted with English society, 122;
steady growth and development, 131;
return to America, 131;
moves to Arrowhead, 136;
meets Hawthorne, 142;
correspondence with, 144 ff.;
discovers Hawthorne’s sentiments, 147;
apprenticeship over, 150;
intensity of effort in Moby-Dick, 151;
ruin of eyesight, 152;
feeling of desolation, 154;
is damned by dollars, 155;
contempt of fame, 155;
swift development, 156;
exaltation and terror from Moby-Dick, 156;
situation after Moby-Dick, 196;
culmination of powers, 197;
disclosure of weaknesses, 196;
his wilful defiance, 199;
mood of defeat, 200;
betrays himself in Pierre, 218;
terrific pressure leads to retreat of, 220;
dilemmas as writer, 107, 220;
anticipation of defeat, 221;
failure to mature in marriage, 222;
draws near spiritual Cape Horn, 223;
alienation from humanity, 227;
scorn of critics, 228;
Timonism, 230;
meets successive misfortunes, 235, 236;
weakened health, 236;
writes Piazza Tales, 236;
Israel Potter, and The Confidence Man, 236-255;
recoils from painful experience, 259;
goes on voyage to Holy Land, 261;
visits Hawthorne in England, 261;
discusses withdrawal from literature, 263;
fails to renew friendship, 265;
sails for Near East, 265;
explores Constantinople, 267, and Cairo, 270;
has passionate encounter in Italy, 274-281;
returns home, 1857, 281;
seeks to gain living in lecture lyceum, 282;
voyage to San Francisco in 1860, 284;
longing for Elizabeth, 286;
commonplaceness as father, 287;
sells Arrowhead, meets carriage accident, moves to New York, 289;
interest in Civil War, 292-303;
eventual disillusion, 303;
withdraws from literary struggle, 306;
gets inspectorship in Customs House, 307;
writes Clarel, 307-308;
is indifferent to “recognition,” 333;
is released from Customs House, 336;
resumes literary work and writes Billy Budd, 337;
publishes John Marr, 338;
publishes Timoleon, 342;
writes Weeds and Wildings, 344;
expresses warmth of love for Elizabeth, 345;
finds peace, 351;
expresses ultimate resignation in Billy Budd, 357;
death, 357
Melville, Malcolm, 92