Philosophical Pessimists

"Maybe my favorite book in the world...I have never started a novel...without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing."

"It is fashionable among my friends to disparage [Conrad]. It is even necessary. Living in a world of literary politics where one wrong opinion often proves fatal, one writes carefully.... It is agreed by most of the people I know that Conrad is a bad writer, just as it is agreed that T. S. Eliot is a good writer. And now he is dead and I wish to God they would have taken some great, acknowledged technician of a literary figure and left him to write his bad stories."

"Melville doesn't sentimentalize the ocean and the sea's unfortunates. Snivel in a wet hanky like Lord Jim."

"I think some of the greatest writing has been also about writers like Conrad or Nabokov, who have illuminated and given us fresh views about the new countries they adopted."

"Only the essential is true; Joseph Conrad, in a letter of advice, drives this home by recommending deletions, explaining that these words are "not essential and therefore not true to the fact.""

"They are very fascinating and very terrible, these tales of Conrad's in which he brings civilisation to the judgment of nature, and causes it to shake like a withering tree."

"I had ambition not only to go farther than any man had ever been before, but as far as it was possible for a man to go."

"If possible, not to let the men so much as surmise that their officers anticipate aught amiss from them is the tacit rule in a military ship. And the more that some sort of trouble should really be apprehended the more do the officers keep that apprehension to themselves; tho' not the less unostentatious vigilance may be augmented. In the present instance the sentry placed over the prisoner had strict orders to let no one have communication with him but the Chaplain. And certain unobtrusive measures were taken absolutely to insure this point."

"Melville was a born romancer. One cannot account for the success of his early romances by saying that in the Great South Sea he had found and worked a new field for romance, since evidently it was not his experience in the South Sea that had led him to romance, but the irresistible attraction that romance had over him that led him to the South Sea. He was able not only to feel but to interpret that charm, as it never had been interpreted before, as it never has been interpreted since."

"In its kind this speedy oblivion by which a once famous man so long survived his fame is almost unique, and it is not easily explicable. Of course, there are writings that attain a great vogue and then fall entirely out of regard or notice. But this is almost always because either the interest of the subject matter is temporary, and the writings are in the nature of journalism, or else the workmanship to which they owe their temporary success is itself the produce or the product of a passing fashion. This was not the case with Herman Melville. Whoever, arrested for a moment by the tidings of the author's death, turns back now to the books that were so much read and so much talked about forty years ago has no difficulty in determining why they were then read and talked about. His difficulty will be rather to discover why they are read and talked about no longer. The total eclipse now of what was then a literary luminary seems like a wanton caprice of fame. At all events, it conveys a moral that is both bitter and wholesome to the popular novelists of our own day."

"There has died and been buried in this city, during the current week, at an advanced age, a man who is so little known, even by name, to the generation now in the vigor of life that only one newspaper contained an obituary account of him, and this was but of three or four lines. Yet forty years ago the appearance of a new book by Herman Melville was esteemed a literary event, not only throughout his own country, but so far as the English-speaking race extended. To the ponderous and quarterly British reviews of that time, the author of Typee was about the most interesting of literary Americans, and men who made few exceptions to the British rule of not reading an American book not only made Melville one of them, but paid him the further compliment of discussing him as an unquestionable literary force. Yet when a visiting British writer a few years ago inquired at a gathering in New-York of distinctly literary Americans what had become of Herman Melville, not only was there not one among them who was able to tell him, but there was scarcely one among them who had ever heard of the man concerning whom he inquired, albeit that man was then living within a half mile of the place of the conversation. Years ago the books by which Melville's reputation had been made had long been out of print and out of demand."

"I've had my career. I've had my success. God willing, it should have happened to Herman Melville who deserved it a great deal more, you know? Imagine him being on Bill Moyers' show. Nothing good happened to Herman Melville."

"Herman Melville is a god. … I cherish what he did. He was a genius. Wrote Moby-Dick. Wrote Pierre. Wrote The Confidence-Man, wrote Billy Budd. … Oh, yes — look at him. … Scares the bejesus out of people and makes them hate him. Because he's so good. Claggart has him killed in that book. Claggart has his eye on that boy. He will not tolerate such goodness, such blondeness, such blue eye. Goodness is scary. It's like you want to knock it. You want to hit it."

"if Herman Melville would have written "Moby Dick" in South Africa, it would be immediately taken for a fable about whites and blacks. In Latin America, they would read "Moby Dick" as a fable about macho and revolution. Some countries are probably doomed to have their literatures immediately interpreted in a general way."

"THE greatest seer and poet of the sea for me is Melville. His vision is more real than Swinburne's, because he doesn't personify the sea, and far sounder than Joseph Conrad's, because Melville doesn't sentimentalize the ocean and the sea's unfortunates. Melville at his best invariably wrote from a sort of dreamself, so that events which he relates as actual fact have indeed a far deeper reference to his own soul, his own inner life. Melville was, at the core, a mystic and an idealist."

"Herman Melville, whose work I loved"

"I was trying to describe a veteran of the Vietnam War, and I kept thinking of him as Billy Budd. I wondered, "Is this a correct comparison?" So I read it again today, and I realized that the book is about war. I didn't think about that before; I just thought it was about somebody good who was on a ship. I didn't remember the war. In those days they weren't drafted, they were impressed. The captain in the book even says, "Use the right word for it, it's impressment." Billy Budd is a draftee. And he goes along with it. The story is about mutiny within the military during wartime."

"Nobody had more class than Melville. To do what he did in Moby-Dick, to tell a story and to risk putting so much material into it. If you could weigh a book, I don’t know any book that would be more full. It’s more full than War and Peace or The Brothers Karamazov. It has Saint Elmo’s fire, and great whales, and grand arguments between heroes, and secret passions. It risks wandering far, far out into the globe. Melville took on the whole world, saw it all in a vision, and risked everything in prose that sings. You have a sense from the very beginning that Melville had a vision in his mind of what this book was going to look like, and he trusted himself to follow it through all the way."

"A man with true, warm heart, and a soul and an intellect, — with life to his fingerprints; earnest, sincere, and reverent; very tender and modest. And I am not sure that he is not a very great man. He has very keen perceptive power; but what astonishes me is, that his eyes are not large and deep. He seems to me to see everything accurately; and how he can do so with his small eyes, I cannot tell. They are not keen eyes, either, but quite undistinguished in any way. His nose is straight and handsome, his mouth expressive of sensibility and emotion. He is tall and erect, with an air free, brave, and manly. When conversing, he is full of gesture and force, and loses himself in his subject. There is no grace or polish. Once in a while, his animation gives place to a singularly quiet expression, out of those eyes to which I have objected; an indrawn, dim look, but which at the same time makes you feel that he is at that instant taking deepest note of what is before him. It is a strange, lazy glance, but with a power in it quite unique. It does not seem to penetrate through you, but to take you into itself."

"Melville, as he always does, began to reason of Providence and futurity, and of everything that lies beyond human ken, and informed me that he "pretty much made up his mind to be annihilated"; but still he does not seem to rest in that anticipation; and, I think, will never rest until he gets hold of a definite belief. It is strange how he persists — and has persisted ever since I knew him, and probably long before — in wandering to-and-fro over these deserts, as dismal and monotonous as the sand hills amid which we were sitting. He can neither believe, nor be comfortable in his unbelief; and he is too honest and courageous not to try to do one or the other. If he were a religious man, he would be one of the most truly religious and reverential; he has a very high and noble nature, and better worth immortality than most of us."

"Melville and I had a talk about time and eternity, things of this world and next, and books, and publishers, and all possible and impossible matters, that lasted pretty deep into the night."

"On one meeting Melville showed Hawthorne a draft of Moby-Dick. Hawthorne, himself currently completing The Scarlet Letter, persuaded his friend to rework it from a tale of the high seas to an epic allegory that told not only a tale, but probed the defeats and triumphs of the human spirit. Melville delayed his submission to his publishers until it could meet Hawthorne's exacting standards. When it did, Hawthorne at last pronounced that the tragic tale was "cooked in hellfire." It was the praise Melville had sought."

"It was during the 1820s-the beginning of the era of Jacksonian settler democracy-that the unique US origin myth evolved reconciling rhetoric with reality. Novelist James Fenimore Cooper was among its initial scribes. Cooper's reinvention of the birth of the United States in his novel The Last of the Mohicans has become the official US origin story. Herman Melville called Cooper "our national novelist.""

"Most of the books published during the five-year period leading up to, during, and after the invasion of Mexico were war-mongering tracts. Euro-American settlers were nearly all literate, and this was the period of the foundational "American literature," with writers James Fenimore Cooper, Walt Whitman, Edgar Allan Poe, John Greenleaf Whittier, Henry Wadsworth Longfellow, James Russell Lowell, Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne, and Herman Melville all active-each of whom remains read, revered, and studied in the twenty-first century, as national and nationalist writers, not as colonialists. Although some of the writers, like Melville and Longfellow, paid little attention to the war, most of the others either fiercely supported it or opposed it."

"Forty-four years ago, when his most famous tale, Typee, appeared, there was not a better known author than he, and he commanded his own prices. Publishers sought him, and editors considered themselves fortunate to secure his name as a literary star. And to-day? Busy New York has no idea he is even alive, and one of the best-informed literary men in this country laughed recently at my statement that Herman Melville was his neighbor by only two city blocks. "Nonsense," said he. "Why, Melville is dead these many years!" Talk about literary fame? There's a sample of it!"

"Writing is also a profession, and, at its best, an honourable one. It has been made honourable by those who have already been members of it. Whether you like it or not, every time you set pen to paper you’re staring at the same blank space that confronted Milton, Melville, Emily Bronte, Dostoevsky and George Eliot, George Orwell and William Faulkner and Virginia Woolf and William Carlos Williams, not to mention the latest hero, Gabriel Garcia Marquez."

"under certain circumstances violence-acting without argument or speech and without counting the consequences-is the only way to set the scales of justice right again. (Billy Budd is the classical example.) In this sense, rage and the violence that sometimes-not always-goes with it belong among the "natural" human emotions, and to cure man of them would mean nothing less than to dehumanize or emasculate him. That such acts, in which men take the law into their own hands for justice's sake, are in conflict with the constitutions of civilized communities is undeniable; but their antipolitical character, so manifest in Melville's great story, does not mean that they are inhuman or "merely" emotional."

"We cannot live only for ourselves. A thousand fibers connect us with our fellow men; and along these fibers, as sympathetic threads, our actions run as causes, and they come back to us as effects."

"But me they'll lash me in hammock, drop me deep. Fathoms down, fathoms down, how I'll dream fast asleep. I feel it stealing now. Sentry, are you there? Just ease this darbies at the wrist, and roll me over fair, I am sleepy, and the oozy weeds about me twist."

"The symmetry of form attainable in pure fiction can not so readily be achieved in a narration essentially having less to do with fable than with fact. Truth uncompromisingly told will always have its ragged edges..."

"At the penultimate moment, his words, his only ones, words wholly unobstructed in the utterance were these — "God bless Captain Vere!""

"Marvel not that having been made acquainted with the young sailor's essential innocence (an irruption of heretic thought hard to suppress) the worthy man lifted not a finger to avert the doom of such a martyr to martial discipline. So to do would not only have been as idle as invoking the desert, but would also have been an audacious transgression of the bounds of his function, one as exactly prescribed to him by military law as that of the boatswain or any other naval officer. Bluntly put, a chaplain is the minister of the Prince of Peace serving in the host of the God of War — Mars. As such, he is as incongruous as a musket would be on the altar at Christmas. Why then is he there? Because he indirectly subserves the purpose attested by the cannon; because too he lends the sanction of the religion of the meek to that which practically is the abrogation of everything but brute Force."

"Billy's agony, mainly proceeding from a generous young heart's virgin experience of the diabolical incarnate and effective in some men — the tension of that agony was over now."

"But are sailors, frequenters of fiddlers' greens, without vices? No; but less often than with landsmen do their vices, so called, partake of crookedness of heart, seeming less to proceed from viciousness than exuberance of vitality after long constraint: frank manifestations in accordance with natural law."

"Amity itself can only be maintained by reciprocal respect, and true friends are punctilious equals."

"For the future of the freed slaves we may well be concerned; but the future of the whole country, involving the future of the blacks, urges a paramount claim upon our anxiety. Effective benignity, like the Nile, is not narrow in its bounty, and true policy is always broad."

"Benevolence and policy—Christianity and Machiavelli—dissuade from penal severities toward the subdued. Abstinence here is as obligatory as considerate care for our unfortunate fellow-men late in bonds, and, if observed, would equally prove to be wise forecast. The great qualities of the South, those attested in the War, we can perilously alienate, or we may make them nationally available at need."

"Zeal is not of necessity religion, neither is it always of the same essence with poetry or patriotism."

"Patriotism is not baseness, neither is it inhumanity."

"There seems no reason why patriotism and narrowness should go together, or why intellectual impartiality should be confounded with political trimming, or why serviceable truth should keep cloistered be a cause not partisan. Yet the work of Reconstruction, if admitted to be feasible at all, demands little but common sense and Christian charity. Little but these? These are much."

"Let us be Christians toward our fellow-whites, as well as philanthropists toward the blacks our fellow-men. In all things, and toward all, we are enjoined to do as we would be done by."

"What troops Of generous boys in happiness thus bred — Saturnians through life's Tempe led, Went from the North and came from the South, With golden mottoes in the mouth, To lie down midway on a bloody bed."

"Youth is the time when hearts are large, And stirring wars Appeal to the spirit which appeals in turn To the blade it draws."

"At the height of their madness The night winds pause, Recollecting themselves; But no lull in these wars."

"The poor old Past, The Future's slave, She drudged through pain and crime To bring about the blissful Prime, Then — perished. There's a grave!"

"With shouts the torrents down the gorges go, And storms are formed behind the storm we feel: The hemlock shakes in the rafter, the oak in the driving keel."

"I cannot tell you how thankful I am for your reminding me about the apocrypha here. For the moment, its being such escaped me. Fact is, when all is bound up together, it's sometimes confusing. The uncanonical part should be bound distinct. And, now that I think of it, how well did those learned doctors who rejected for us this whole book of Sirach. I never read anything so calculated to destroy man's confidence in man. This son of Sirach even says — I saw it but just now: 'Take heed of thy friends'; not, observe, thy seeming friends, thy hypocritical friends, thy false friends, but thy friends, thy real friends — that is to say, not the truest friend in the world is to be implicitly trusted. Can Rochefoucault equal that? I should not wonder if his view of human nature, like Machiavelli's, was taken from this Son of Sirach. And to call it wisdom — the Wisdom of the Son of Sirach! Wisdom, indeed! What an ugly thing wisdom must be! Give me the folly that dimples the cheek, say I, rather than the wisdom that curdles the blood. But no, no; it ain't wisdom; it's apocrypha, as you say, sir. For how can that be trustworthy that teaches distrust?""

"Well, there is sorrow in the world, but goodness too; and goodness that is not greenness, either, no more than sorrow is."

"Of all the preposterous assumptions of humanity over humanity, nothing exceeds most of the criticisms made on the habits of the poor by the well-housed, well-warmed, and well-fed."

"If some books are deemed most baneful and their sale forbid, how, then, with deadlier facts, not dreams of doting men? Those whom books will hurt will not be proof against events. Events, not books, should be forbid."