The cover page is adapted from The Flying Dutchman, a painting completed in 1887 by Albert Pinkham Ryder. The cover and title pages feature the League Spartan and Sorts Mill Goudy typefaces created in 2014 and 2009 by The League of Moveable Type. en.wikipedia.org/wiki/Albert_Pinkham_Ryderwww.theleagueofmoveabletype.com/
Moby Dick
Chapitres (139)
- Dedication 0:00
- Etymology 0:10
- Extracts 1:24
- I: Loomings 25:56
- II: The Carpetbag 40:55
- III: The Spouter-Inn 50:26
- IV: The Counterpane 1:28:18
- V: Breakfast 1:39:29
- VI: The Street 1:44:34
- VII: The Chapel 1:50:08
- VIII: The Pulpit 1:56:59
- IX: The Sermon 2:03:18
- X: A Bosom Friend 2:28:08
- XI: Nightgown 2:38:38
- XII: Biographical 2:43:25
- XIII: Wheelbarrow 2:49:21
- XIV: Nantucket 3:00:51
- XV: Chowder 3:06:00
- XVI: The Ship 3:13:41
- XVII: The Ramadan 3:51:22
- XVIII: His Mark 4:06:30
- XIX: The Prophet 4:16:11
- XX: All Astir 4:24:06
- XXI: Going Aboard 4:29:55
- XXII: Merry Christmas 4:37:41
- XXIII: The Lee Shore 4:49:03
- XXIV: The Advocate 4:52:11
- XXV: Postscript 5:03:35
- XXVI: Knights and Squires 5:05:42
- XXVII: Knights and Squires 5:14:32
- XXVIII: Ahab 5:25:44
- XXIX: Enter Ahab; To Him, Stubb 5:35:28
- XXX: The Pipe 5:43:54
- XXXI: Queen Mab 5:46:02
- XXXII: Cetology 5:51:57
- XXXIII: The Specksnyder 6:27:38
- XXXIV: The Cabin-Table 6:34:27
- XXXV: The Masthead 6:49:24
- XXXVI: The Quarterdeck 7:07:02
- XXXVII: Sunset 7:26:50
- XXXVIII: Dusk 7:31:07
- XXXIX: First Night-Watch 7:34:05
- XL: Midnight, Forecastle 7:36:05
- XLI: Moby Dick 7:49:02
- XLII: The Whiteness of the Whale 8:15:39
- XLIII: Hark! 8:37:03
- XLIV: The Chart 8:39:09
- XLV: The Affidavit 8:52:27
- XLVI: Surmises 9:13:49
- XLVII: The Mat-Maker 9:20:54
- XLVIII: The First Lowering 9:27:23
- XLIX: The Hyena 9:54:23
- L: Ahab’s Boat and Crew. Fedallah 10:00:16
- LI: The Spirit-Spout 10:07:04
- LII: The Albatross 10:17:40
- LIII: The Gam 10:22:37
- LIV: The Town-Ho’s Story 10:33:51
- LV: Of the Monstrous Pictures of Whales 11:26:17
- LVI: Of the Less Erroneous Pictures of Whales, and the True Pictures of Whaling Scenes 11:39:14
- LVII: Of Whales in Paint; in Teeth; in Wood; in Sheet-Iron; in Stone; in Mountains; in Stars 11:48:02
- LVIII: Brit 11:54:41
- LIX: Squid 12:01:30
- LX: The Line 12:08:07
- LXI: Stubb Kills a Whale 12:17:48
- LXII: The Dart 12:30:19
- LXIII: The Crotch 12:34:02
- LXIV: Stubb’s Supper 12:37:20
- LXV: The Whale as a Dish 12:56:14
- LXVI: The Shark Massacre 13:02:55
- LXVII: Cutting In 13:06:41
- LXVIII: The Blanket 13:11:41
- LXIX: The Funeral 13:19:54
- LXX: The Sphynx 13:23:14
- LXXI: The Jeroboam’s Story 13:29:30
- LXXII: The Monkey-Rope 13:44:57
- LXXIII: Stubb and Flask Kill a Right Whale; and Then Have a Talk Over Him 13:55:44
- LXXIV: The Sperm Whale’s Head—Contrasted View 14:09:15
- LXXV: The Right Whale’s Head—Contrasted View 14:20:14
- LXXVI: The Battering-Ram 14:27:50
- LXXVII: The Great Heidelburgh Tun 14:33:51
- LXXVIII: Cistern and Buckets 14:38:00
- LXXIX: The Prairie 14:48:56
- LXXX: The Nut 14:55:41
- LXXXI: The Pequod Meets the Virgin 15:01:46
- LXXXII: The Honor and Glory of Whaling 15:30:44
- LXXXIII: Jonah Historically Regarded 15:38:39
- LXXXIV: Pitchpoling 15:43:57
- LXXXV: The Fountain 15:49:32
- LXXXVI: The Tail 16:03:14
- LXXXVII: The Grand Armada 16:14:56
- LXXXVIII: Schools and Schoolmasters 16:46:21
- LXXXIX: Fast-Fish and Loose-Fish 16:54:48
- XC: Heads or Tails 17:04:24
- XCI: The Pequod Meets the Rose-Bud 17:11:22
- XCII: Ambergris 17:27:58
- XCIII: The Castaway 17:34:39
- XCIV: A Squeeze of the Hand 17:46:00
- XCV: The Cassock 17:55:00
- XCVI: The Try-Works 17:57:57
- XCVII: The Lamp 18:10:36
- XCVIII: Stowing Down and Clearing Up 18:12:21
- XCIX: The Doubloon 18:19:49
- C: Leg and Arm 18:37:33
- CI: The Decanter 18:55:29
- CII: A Bower in the Arsacides 19:06:50
- CIII: Measurement of the Whale’s Skeleton 19:17:55
- CIV: The Fossil Whale 19:24:10
- CV: Does the Whale’s Magnitude Diminish?—Will He Perish? 19:34:22
- CVI: Ahab’s Leg 19:45:05
- CVII: The Carpenter 19:51:37
- CVIII: Ahab and the Carpenter 19:59:20
- CIX: Ahab and Starbuck in the Cabin 20:10:46
- CX: Queequeg in His Coffin 20:16:36
- CXI: The Pacific 20:32:12
- CXII: The Blacksmith 20:35:29
- CXIII: The Forge 20:42:24
- CXIV: The Gilder 20:51:21
- CXV: The Pequod Meets the Bachelor 20:56:36
- CXVI: The Dying Whale 21:02:43
- CXVII: The Whale Watch 21:07:11
- CXVIII: The Quadrant 21:10:24
- CXIX: The Candles 21:16:51
- CXX: The Deck Towards the End of the First Night Watch 21:34:59
- CXXI: Midnight.—The Forecastle Bulwarks 21:36:16
- CXXII: Midnight Aloft.—Thunder and Lightning 21:40:50
- CXXIII: The Musket 21:41:18
- CXXIV: The Needle 21:50:12
- CXXV: The Log and Line 21:58:52
- CXXVI: The Life-Buoy 22:07:08
- CXXVII: The Deck 22:16:15
- CXXVIII: The Pequod Meets the Rachel 22:21:35
- CXXIX: The Cabin 22:31:30
- CXXX: The Hat 22:35:57
- CXXXI: The Pequod Meets the Delight 22:48:04
- CXXXII: The Symphony 22:51:10
- CXXXIII: The Chase—First Day 23:03:21
- CXXXIV: The Chase—Second Day 23:28:31
- CXXXV: The Chase—Third Day 23:51:43
- Epilogue 24:24:04
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“Call me Ishmael” says Moby Dick’s protagonist, and with this famous first line launches one of the acclaimed great American novels. Part adventure story, part quest for vengeance, part biological textbook, and part whaling manual, Moby Dick was first published in 1851. The story follows Ishmael as he abandons his humdrum life on shore for an adventure on the waves. Finding the whaler Pequod at harbor in Nantucket, he signs up for a three-year term without meeting the captain of the ship, a mysterious figure called Ahab. It’s only well into the voyage that Ahab’s thirst for vengeance against the eponymous white whale Moby Dick—and the consequences—become clear.
The novel is semi-autobiographical: Herman Melville had had his own experience of whaling, having spent a year and a half aboard a whaling ship and further years traveling the world in the early 1840s. Melville used the knowledge gained from his experiences and wide reading on the subject to furnish Moby Dick with an almost encyclopedic quality. The literary style varies widely, veering from soliloquies and staged scenes to dream sequences to comprehensive lists of ships’ provisions, but everything serves to further detail the world that’s being painted.
Presented here is the New York edition, which was published later than the London edition and reverted numerous changes the original publishers had made, as well as including the initially omitted epilogue.