Moby Dick ist ein nach dem gleichnamigen Roman von Herman Melville im Jahr entstandener und uraufgeführter US-amerikanischer Film des. Moby Dick von Herman Melville - Buch aus der Kategorie Vorlesebücher, Märchen, Sagen, Reime & Lieder günstig und portofrei bestellen im Online Shop von. Mit «Moby-Dick» hat Herman Melville ein ebenso emblematisches wie revolutionäres Werk geschaffen. Naturgewalt prallt auf menschliche.
Moby Dick (1956)MobyDick - Die weltweit führende Marke für Site Emission Control. Vor mehr als 30 Jahren hat FRUTIGER die Marke MobyDick ins Leben gerufen. Seither wurden. Moby Dick ist einer der berühmtesten Abenteuerromane. Die packende Jagd auf den weißen Wal symbolisiert den Kampf gegen das Böse schlechthin. Bevor. Moby-Dick; oder: Der Wal ist ein in London und New York erschienener Roman des amerikanischen Schriftstellers Herman Melville.
Mobydick Context and reception VideoThe Real Moby Dick Was So Much Worse
Peleg Joseph Tomelty Peter Coffin Francis De Wolff Gardiner Philip Stainton Bildad Royal Dano Flask Friedrich von Ledebur Edit Storyline This classic story by Herman Melville revolves around Captain Ahab and his obsession with a huge whale, Moby Dick.
Taglines: The Man- The Whale- The Vengeance- The Mightiest Adventure Ever Seen "Never such a sight! Never such a might! Edit Did You Know?
Trivia Although Ishmael is supposed to be in his twenties, Richard Basehart was actually forty when the film was made - two years older than Gregory Peck.
Goofs When the white whale rams the ship, the main mast breaks and comes down, crow's-nest and all, hitting the cabin boy.
The whale circles the ship creating a whirlpool; when we see wider shots of the ship spinning and sinking, the mast is back up.
Quotes [ first lines ] Ishmael : [ voiceover ] Call me Ishmael. Crazy Credits The film finishes with 'Finis' instead of the usual 'The End'.
User Reviews no remakes - - PUH-LEEZE!! Was this review helpful to you? Yes No Report this. Frequently Asked Questions Q: The wife of Stabuck, seen at church and at the pier, looks like Dorothy McGuire.
Given the close friendship with Gregory Peck is it possible that she made an uncredited cameo? Q: were actual whales harpooned and killed in the footage that appears to be from actual whaling hunts.
Q: The film does not look like other Technicolor films. Why is that? Edit Details Country: UK. Language: English. Production Co: Moulin Productions Inc.
Runtime: min min TCM print. Sound Mix: Mono RCA Sound Recording. Color: Color. Edit page. Clear your history. Captain Ahab. Ship's Carpenter.
There are a number of other Abrahamic names in the book as well, including Ahab —who, according to the Hebrew Bible , was an evil king who led the Israelites into a life of idolatry.
The ship that saves Ishmael, the Rachel , is named for the mother of Joseph , known for interceding to protect her children. It is Rachel, as depicted in the Book of Jeremiah , who convinced God to end the exile placed upon the Jewish tribes for idolatry.
The whale itself is perhaps the most striking symbol in Moby Dick , and interpretations of its meaning range from the Judeo-Christian God to atheism and everything in between.
Melville himself was well versed in whaling , as he had spent some time aboard the Acushnet , a whaling vessel, which gave him firsthand experience.
He also did tremendous amounts of research, consulting a number of scientific sources as well as accounts of historical events that he incorporated into Moby Dick.
In particular, the story of the Essex was one that fascinated Melville—and perhaps served as his primary inspiration for the novel.
The Essex , a whaling vessel, was attacked by a sperm whale in The ship sank, and many of the crew members were either lost immediately or died of starvation as they awaited rescue for nearly eight months.
Melville also consulted the story of Mocha Dick, a famed whale who was, like Moby Dick, very white and aggressive and whose name was clearly an inspiration to Melville.
Mocha Dick was often found off the coast of Chile in the Pacific Ocean , near Mocha Island. He lived during the early 19th century and became a legend among whalers.
Unlike Moby Dick, however, Mocha Dick was eventually killed and used for oil. Melville befriended fellow author Nathaniel Hawthorne during the writing of Moby Dick , which led to him dramatically revising the narrative to make it more complex.
The novel is dedicated to Hawthorne because of his impact on Melville and the novel. Once the novel was published, the public was unimpressed.
It sold fewer than 4, copies in total, with fewer than in the United Kingdom. It was not until the midth century that the novel became recognized as one of the most important novels in American literature.
Moby Dick Article Media Additional Info. Article Contents. Print print Print. Table Of Contents. The Pequod next gams with the Samuel Enderby of London , captained by Boomer, a down-to-earth fellow who lost his right arm to Moby Dick.
Nevertheless, he carries no ill will toward the whale, which he regards not as malicious, but as awkward. Ahab puts an end to the gam by rushing back to his ship.
The narrator now discusses the subjects of 1 whalers supply; 2 a glen in Tranque in the Arsacides islands full of carved whale bones, fossil whales, whale skeleton measurements; 3 the chance that the magnitude of the whale will diminish and that the leviathan might perish.
Leaving the Samuel Enderby , Ahab wrenches his ivory leg and orders the carpenter to fashion him another. Starbuck informs Ahab of oil leakage in the hold.
Reluctantly, Ahab orders the harpooneers to inspect the casks. Queequeg, sweating all day below decks, develops a chill and soon is almost mortally feverish.
The carpenter makes a coffin for Queequeg, who fears an ordinary burial at sea. Queequeg tries it for size, with Pip sobbing and beating his tambourine, standing by and calling himself a coward while he praises Queequeg for his gameness.
Yet Queequeg suddenly rallies, briefly convalesces, and leaps up, back in good health. Henceforth, he uses his coffin for a spare seachest, which is later caulked and pitched to replace the Pequod ' s life buoy.
The Pequod sails northeast toward Formosa and into the Pacific Ocean. Ahab, with one nostril, smells the musk from the Bashee isles, and with the other, the salt of the waters where Moby Dick swims.
Ahab goes to Perth, the blacksmith, with a bag of racehorse shoenail stubs to be forged into the shank of a special harpoon, and with his razors for Perth to melt and fashion into a harpoon barb.
Ahab tempers the barb in blood from Queequeg, Tashtego, and Daggoo. The Pequod gams next with the Bachelor , a Nantucket ship heading home full of sperm oil.
Every now and then, the Pequod lowers for whales with success. On one of those nights in the whaleboat, Fedallah prophesies that neither hearse nor coffin can be Ahab's, that before he dies, Ahab must see two hearses — one not made by mortal hands and the other made of American wood — that Fedallah will precede his captain in death, and finally that only hemp can kill Ahab.
As the Pequod approaches the Equator , Ahab scolds his quadrant for telling him only where he is and not where he will be. He dashes it to the deck.
That evening, an impressive typhoon attacks the ship. Lightning strikes the mast, setting the doubloon and Ahab's harpoon aglow. Ahab delivers a speech on the spirit of fire, seeing the lightning as a portent of Moby Dick.
Starbuck sees the lightning as a warning, and feels tempted to shoot the sleeping Ahab with a musket. The next morning, when he finds that the lightning disoriented the compass, Ahab makes a new one out of a lance, a maul, and a sailmaker's needle.
He orders the log be heaved, but the weathered line snaps, leaving the ship with no way to fix its location. The Pequod is now heading southeast toward Moby Dick.
A man falls overboard from the mast. The life buoy is thrown, but both sink. Now Queequeg proposes that his superfluous coffin be used as a new life buoy.
Starbuck orders the carpenter to seal and waterproof it. The next morning, the ship meets in another truncated gam with the Rachel , commanded by Captain Gardiner from Nantucket.
The Rachel is seeking survivors from one of her whaleboats which had gone after Moby Dick. Among the missing is Gardiner's young son.
Ahab refuses to join the search. Twenty-four hours a day, Ahab now stands and walks the deck, while Fedallah shadows him.
Suddenly, a sea hawk grabs Ahab's slouched hat and flies off with it. Next, the Pequod , in a ninth and final gam, meets the Delight , badly damaged and with five of her crew left dead by Moby Dick.
Her captain shouts that the harpoon which can kill the white whale has yet to be forged, but Ahab flourishes his special lance and once more orders the ship forward.
Ahab shares a moment of contemplation with Starbuck. Ahab speaks about his wife and child, calls himself a fool for spending 40 years on whaling, and claims he can see his own child in Starbuck's eye.
Starbuck tries to persuade Ahab to return to Nantucket to meet both their families, but Ahab simply crosses the deck and stands near Fedallah.
On the first day of the chase, Ahab smells the whale, climbs the mast, and sights Moby Dick. He claims the doubloon for himself, and orders all boats to lower except for Starbuck's.
The whale bites Ahab's boat in two, tosses the captain out of it, and scatters the crew. On the second day of the chase, Ahab leaves Starbuck in charge of the Pequod.
Moby Dick smashes the three boats that seek him into splinters and tangles their lines. Ahab is rescued, but his ivory leg and Fedallah are lost.
Starbuck begs Ahab to desist, but Ahab vows to slay the white whale, even if he would have to dive through the globe itself to get his revenge.
On the third day of the chase, Ahab sights Moby Dick at noon, and sharks appear, as well. Ahab lowers his boat for a final time, leaving Starbuck again on board.
Moby Dick breaches and destroys two boats. Fedallah's corpse, still entangled in the fouled lines, is lashed to the whale's back, so Moby Dick turns out to be the hearse Fedallah prophesied.
Moby Dick smites the whaleboat, tossing its men into the sea. Only Ishmael is unable to return to the boat.
He is left behind in the sea, and so is the only crewman of the Pequod to survive the final encounter. The whale now fatally attacks the Pequod.
Ahab then realizes that the destroyed ship is the hearse made of American wood in Fedallah's prophecy. The whale returns to Ahab, who stabs at him again.
As he does so, the line gets tangled, and Ahab bends over to free it. In doing so the line loops around Ahab's neck, and as the stricken whale swims away, the captain is drawn with him out of sight.
Queequeg's coffin comes to the surface, the only thing to escape the vortex when Pequod sank. For a day and a night, Ishmael floats on it, until the Rachel , still looking for its lost seamen, rescues him.
Ishmael is the narrator, shaping his story with use of many different genres including sermons, stage plays, soliloquies, and emblematical readings.
Narrator Ishmael, then, is "merely young Ishmael grown older. Bezanson warns readers to "resist any one-to-one equation of Melville and Ishmael.
According to critic Walter Bezanson, the chapter structure can be divided into "chapter sequences", "chapter clusters", and "balancing chapters".
The simplest sequences are of narrative progression, then sequences of theme such as the three chapters on whale painting, and sequences of structural similarity, such as the five dramatic chapters beginning with "The Quarter-Deck" or the four chapters beginning with "The Candles".
Chapter clusters are the chapters on the significance of the color white, and those on the meaning of fire. Balancing chapters are chapters of opposites, such as "Loomings" versus the "Epilogue," or similars, such as "The Quarter-Deck" and "The Candles".
Scholar Lawrence Buell describes the arrangement of the non-narrative chapters [note 1] as structured around three patterns: first, the nine meetings of the Pequod with ships that have encountered Moby Dick.
Each has been more and more severely damaged, foreshadowing the Pequod ' s own fate. Second, the increasingly impressive encounters with whales.
In the early encounters, the whaleboats hardly make contact; later there are false alarms and routine chases; finally, the massive assembling of whales at the edges of the China Sea in "The Grand Armada".
A typhoon near Japan sets the stage for Ahab's confrontation with Moby Dick. The third pattern is the cetological documentation, so lavish that it can be divided into two subpatterns.
These chapters start with the ancient history of whaling and a bibliographical classification of whales, getting closer with second-hand stories of the evil of whales in general and of Moby Dick in particular, a chronologically ordered commentary on pictures of whales.
The climax to this section is chapter 57, "Of whales in paint etc. The next chapter "Brit" , thus the other half of this pattern, begins with the book's first description of live whales, and next the anatomy of the sperm whale is studied, more or less from front to rear and from outer to inner parts, all the way down to the skeleton.
Two concluding chapters set forth the whale's evolution as a species and claim its eternal nature. Some "ten or more" of the chapters on whale killings, beginning at two-fifths of the book, are developed enough to be called "events".
As Bezanson writes, "in each case a killing provokes either a chapter sequence or a chapter cluster of cetological lore growing out of the circumstance of the particular killing," thus these killings are "structural occasions for ordering the whaling essays and sermons".
Bryant and Springer find that the book is structured around the two consciousnesses of Ahab and Ishmael, with Ahab as a force of linearity and Ishmael a force of digression.
And while the plot in Moby-Dick may be driven by Ahab's anger, Ishmael's desire to get a hold of the "ungraspable" accounts for the novel's lyricism.
One of the most distinctive features of the book is the variety of genres. Bezanson mentions sermons, dreams, travel account, autobiography, Elizabethan plays, and epic poetry.
A significant structural device is the series of nine meetings gams between the Pequod and other ships. These meetings are important in three ways.
First, their placement in the narrative. The initial two meetings and the last two are both close to each other. The central group of five gams are separated by about 12 chapters, more or less.
This pattern provides a structural element, remarks Bezanson, as if the encounters were "bones to the book's flesh".
Second, Ahab's developing responses to the meetings plot the "rising curve of his passion" and of his monomania. Third, in contrast to Ahab, Ishmael interprets the significance of each ship individually: "each ship is a scroll which the narrator unrolls and reads.
Bezanson sees no single way to account for the meaning of all of these ships. Instead, they may be interpreted as "a group of metaphysical parables, a series of biblical analogues, a masque of the situation confronting man, a pageant of the humors within men, a parade of the nations, and so forth, as well as concrete and symbolic ways of thinking about the White Whale".
Scholar Nathalia Wright sees the meetings and the significance of the vessels along other lines. She singles out the four vessels which have already encountered Moby Dick.
The first, the Jeroboam , is named after the predecessor of the biblical King Ahab. Her "prophetic" fate is "a message of warning to all who follow, articulated by Gabriel and vindicated by the Samuel Enderby , the Rachel , the Delight , and at last the Pequod ".
None of the other ships has been completely destroyed because none of their captains shared Ahab's monomania; the fate of the Jeroboam reinforces the structural parallel between Ahab and his biblical namesake: "Ahab did more to provoke the Lord God of Israel to anger than all the kings of Israel that were before him" I Kings An early enthusiast for the Melville Revival, British author E.
Forster , remarked in " Moby-Dick is full of meanings: its meaning is a different problem. Biographer Laurie Robertson-Lorant sees epistemology as the book's theme.
Ishmael's taxonomy of whales merely demonstrates "the limitations of scientific knowledge and the impossibility of achieving certainty". She also contrasts Ishmael and Ahab's attitudes toward life, with Ishmael's open-minded and meditative, "polypositional stance" as antithetical to Ahab's monomania, adhering to dogmatic rigidity.
Melville biographer Andrew Delbanco cites race as an example of this search for truth beneath surface differences. All races are represented among the crew members of the Pequod.
Although Ishmael initially is afraid of Queequeg as a tattooed cannibal, he soon decides, "Better sleep with a sober cannibal than a drunken Christian.
The theme of race is primarily carried by Pip, the diminutive black cabin boy. Reward for Pip! Editors Bryant and Springer suggest perception is a central theme, the difficulty of seeing and understanding, which makes deep reality hard to discover and truth hard to pin down.
Ahab explains that, like all things, the evil whale wears a disguise: "All visible objects, man, are but pasteboard masks" — and Ahab is determined to "strike through the mask!
How can the prisoner reach outside, except by thrusting through the wall? To me, the white whale is that wall" Ch. This theme pervades the novel, perhaps never so emphatically as in "The Doubloon" Ch.
Later, the American edition has Ahab "discover no sign" Ch. In fact, Moby Dick is then swimming up at him. In the British edition, Melville changed the word "discover" to "perceive", and with good reason, for "discovery" means finding what is already there, but "perceiving", or better still, perception, is "a matter of shaping what exists by the way in which we see it".
Yet Melville does not offer easy solutions. Ishmael and Queequeg's sensual friendship initiates a kind of racial harmony that is shattered when the crew's dancing erupts into racial conflict in "Midnight, Forecastle" Ch.
Commodified and brutalized, "Pip becomes the ship's conscience". In Chapter 89, Ishmael expounds the concept of the fast-fish and the loose-fish, which gives right of ownership to those who take possession of an abandoned fish or ship, and observes that the British Empire took possession of American Indian lands in colonial times in just the way that whalers take possession of an unclaimed whale.
The novel has also been read as being critical of the contemporary literary and philosophical movement Transcendentalism , attacking the thought of leading Transcendentalist  Ralph Waldo Emerson in particular.
Richard Chase writes that for Melville, 'Death—spiritual, emotional, physical—is the price of self-reliance when it is pushed to the point of solipsism , where the world has no existence apart from the all-sufficient self.
Emerson loved to do, [suggested] the vital possibilities of the self. Melville stretches grammar, quotes well-known or obscure sources, or swings from calm prose to high rhetoric, technical exposition, seaman's slang, mystic speculation, or wild prophetic archaism.
Perhaps the most striking example is the use of verbal nouns, mostly plural, such as allurings , coincidings , and leewardings. Equally abundant are unfamiliar adjectives and adverbs, including participial adjectives such as officered , omnitooled , and uncatastrophied ; participial adverbs such as intermixingly , postponedly , and uninterpenetratingly ; rarities such as the adjectives unsmoothable , spermy , and leviathanic , and adverbs such as sultanically , Spanishly , and Venetianly ; and adjectival compounds ranging from odd to magnificent, such as "the message-carrying air", "the circus-running sun", and " teeth-tiered sharks".
Later critics have expanded Arvin's categories. The superabundant vocabulary can be broken down into strategies used individually and in combination.
First, the original modification of words as "Leviathanism"  and the exaggerated repetition of modified words, as in the series "pitiable", "pity", "pitied" and "piteous" Ch.
Other characteristic stylistic elements are the echoes and overtones, both imitation of distinct styles and habitual use of sources to shape his own work.
His three most important sources, in order, are the Bible, Shakespeare, and Milton. The novel uses several levels of rhetoric.
The simplest is "a relatively straightforward expository style", such as in the cetological chapters, though they are "rarely sustained, and serve chiefly as transitions" between more sophisticated levels.
A second level is the " poetic ", such as in Ahab's quarter-deck monologue, to the point that it can be set as blank verse. Examples of this are "the consistently excellent idiom" of Stubb, such as in the way he encourages the rowing crew in a rhythm of speech that suggests "the beat of the oars takes the place of the metronomic meter".
The fourth and final level of rhetoric is the composite , "a magnificent blending" of the first three and possible other elements:.
The Nantucketer, he alone resides and riots on the sea; he alone, in Bible language, goes down to it in ships; to and fro ploughing it as his own special plantation.
There is his home; there lies his business, which a Noah's flood would not interrupt, though it overwhelmed all the millions in China. He lives on the sea, as prairie cocks in the prairie; he hides among the waves, he climbs them as chamois hunters climb the Alps.
For years he knows not the land; so that when he comes to it at last, it smells like another world, more strangely than the moon would to an Earthsman.
With the landless gull, that at sunset folds her wings and is rocked to sleep between billows; so at nightfall, the Nantucketer, out of sight of land, furls his sails, and lays him to his rest, while under his very pillow rush herds of walruses and whales.
Bezanson calls this chapter a comical "prose poem" that blends "high and low with a relaxed assurance". Similar passages include the "marvelous hymn to spiritual democracy" in the middle of "Knights and Squires".
The elaborate use of the Homeric simile may not have been learned from Homer himself, yet Matthiessen finds the writing "more consistently alive" on the Homeric than on the Shakespearean level, especially during the final chase the "controlled accumulation" of such similes emphasizes Ahab's hubris through a succession of land-images, for instance: "The ship tore on; leaving such a furrow in the sea as when a cannon-ball, missent, becomes a ploughshare and turns up the level field" "The Chase — Second Day," Ch.
For as the one ship that held them all; though it was put together of all contrasting things—oak, and maple, and pine wood; iron, and pitch, and hemp—yet all these ran into each other in the one concrete hull, which shot on its way, both balanced and directed by the long central keel; even so, all the individualities of the crew, this man's valor, that man's fear; guilt and guiltiness, all varieties were welded into oneness, and were all directed to that fatal goal which Ahab their one lord and keel did point to.
The final phrase fuses the two halves of the comparison; the men become identical with the ship, which follows Ahab's direction. The concentration only gives way to more imagery, with the "mastheads, like the tops of tall palms, were outspreadingly tufted with arms and legs".
All these images contribute their "startling energy" to the advance of the narrative. When the boats are lowered, the imagery serves to dwarf everything but Ahab's will in the presence of Moby Dick.
Matthiessen in declared that Melville's "possession by Shakespeare went far beyond all other influences" in that it made Melville discover his own full strength "through the challenge of the most abundant imagination in history".
The creation of Ahab, Melville biographer Leon Howard discovered, followed an observation by Coleridge in his lecture on Hamlet : "one of Shakespeare's modes of creating characters is to conceive any one intellectual or moral faculty in morbid excess, and then to place himself.
Ahab seemed to have "what seems a half-wilful over-ruling morbidness at the bottom of his nature", and "all men tragically great", Melville added, "are made so through a certain morbidness ; "all mortal greatness is but disease ".
In addition to this, in Howard's view, the self-references of Ishmael as a "tragic dramatist", and his defense of his choice of a hero who lacked "all outward majestical trappings" is evidence that Melville "consciously thought of his protagonist as a tragic hero of the sort found in Hamlet and King Lear ".This classic story by Herman Melville revolves around Captain Ahab and his obsession with a huge whale, Moby Dick. The whale caused the loss of Ahab's leg years before, leaving Ahab to stomp the boards of his ship on a peg leg. Moby Dick House of Kabob is giving back by feeding those in need of a warm meal during the holidays. Stepping up during this challenging time is part of the core value of Moby Dick House of Kabob. Giving back to the communities where they have established relationships over many years with the neighborhoods they serve. Moby Dick’s Super Combo A combination of one succulent Chengeh grilled tenderloin kabob and one Joojeh grilled chicken breast kabob OR a combination of one tender lamb kabob and one Joojeh grilled chicken breast kabob. Each kabob has been marinated in our Signature Moby Dick seasoning then slowly grilled to a succulent and tender finish. M oby-Dick is a novel by Herman Melville in which Ishmael tells the story of Captain Ahab and the white whale, Moby Dick. Ahab searches for Moby Dick in a single-minded pursuit. Ishmael joins the. With William Hurt, Ethan Hawke, Charlie Cox, Eddie Marsan. The sole survivor of a lost whaling ship relates the tale of his captain's self-destructive obsession to hunt the white whale, Moby Dick!.