Mardi

Last updated
Mardi
Mardi, and a Voyage Thither.jpg
First edition title page
Author Herman Melville
CountryUnited States, England
LanguageEnglish
Genre Romance literature
Published
  • 1849 (New York: Harper & Brothers)
  • 1849 (London: Richard Bentley)
Media typePrint
Preceded by Omoo  
Followed by Redburn  

Mardi: and a Voyage Thither is the third book by American writer Herman Melville, first published in London in 1849. Beginning as a travelogue in the vein of the author's two previous efforts, the adventure story gives way to a romance story, which in its turn gives way to a philosophical quest.

Contents

Overview

Mardi is Melville's first purely fictional work. Although Melville and his publishers presented his first two books, Typee and Omoo , as nonfiction, enough critics were able to identify plagiarism in them (especially Typee) from other works, both fiction and nonfiction, that their veracity and Melville's integrity were always points of contention. As a preface to Mardi, Melville wrote somewhat ironically that his first two books were nonfiction but disbelieved; by the same pattern he hoped the fiction book would be accepted as fact.

Much as did Typee and Omoo, Mardi details the travels of an American sailor who abandons a whaling vessel to explore the South Pacific. Unlike the first two books, however, Mardi is highly philosophical and said to be the first work to show Melville's true potential. Although not as cohesive or lengthy as Moby-Dick , it is much longer than Typee and Omoo and has much more in common stylistically and thematically with Moby-Dick and other works of his maturity.

The tale begins as a fairly simple escape and survival narrative. It briefly becomes romance when the narrator falls in love with a mysterious woman he has questionably rescued from a difficult situation. After the woman mysteriously disappears, the novel presumably becomes a quest for her among the innumerable isles of the newly "discovered" archipelago of Mardi, isles with many different symbolic and allegorical meanings. As the main characters continue their search for the woman, the novel switches again, now focusing on more than travelogue-style reporting of the sights, sounds, tastes, and smells to be experienced in Mardi. The social conventions, political structures, religious practices, odd histories, and other aspects of each isle and its inhabitants spark philosophical discourses between four main characters, with two previously main characters no longer in the story and the narrator receding so far into the background that he does not even participate in the philosophical discussions. The quest for the woman continues but is barely mentioned, serving at least to get the main characters traveling through Mardi faster.

Style

Influence of Rabelais and Swift

The voyage from island to island echoes Rabelais's Gargantua and Pantagruel , especially the last two books. According to scholar Newton Arvin:

The praise of eating and drinking is highly Rabelaisian in intention, and so in general is all the satire on bigotry, dogmatism, and pedantry. Taji and his friends wandering about on the island of Maramma, which stands for ecclesiastical tyranny and dogmatism, are bound to recall Pantagruel and his companions wandering among the superstitious inhabitants of Papimany; and the pedantic, pseudo-philosophy of Melville's Doxodox is surely, for a reader of Rabelais, an echo of the style of Master Janotus de Bragmardo holding forth polysyllabically to Gargantua in Book I. [1]

Arvin also recognizes the influence of Gulliver's Travels by Jonathan Swift:

... there is something very Swiftian in Melville's Hooloomooloo, the Isle of Cripples, the inhabitants of which are all twisted and deformed, and whose shapeless king is horrified at the straight, strong figures of his visitors from over sea. [2]

Structure

The emotional center of the book, Arvin writes, is the relation between Taji and Yillah, the "I" and the mysterious blonde who disappears as suddenly as she appeared. Taji begins a quest for her throughout the islands without finding her. Though Arvin finds the allegory of Yillah "too tenuous and too pretty to be anything but an artistic miscarriage" in the poetic sense, he also finds it "extremely revealing" in connection with the whole Melville canon. Yillah, associated with the lily in the language of flowers, is "an embodiment of the pure, innocent, essentially sexless happiness", and Hautia, "symbolized by the dahlia", embodies "the sensual, the carnal, the engrossingly sexual". The middle portion of the book is taken up by "a series of forays in social and political satire, and by quasi-metaphysical speculations" that are, if at all, at best "only loosely and uncertainly related to the quest for Yillah". The only way to perceive any fabric holding the book together, Arvin feels, is by recognizing "a certain congruity among the various more or less frustrated quests it dramatizes--the quest for an emotional security once possessed, the quest for a just and happy sociality once too easily assumed possible, and the quest for an absolute and transcendent Truth once imagined to exist and still longed for." [3]

Themes

For Arvin, in Mardi Melville rejects not "the profounder moralities of democracy" so much as "a cluster of delusions and inessentials" that Americans have come to regard as somehow connected to the idea of democracy. Arvin recognizes three delusions to the cluster:

The philosophical plot, Arvin believes, is furnished by the interaction between the intense longing for certainty, and the suspicion that on the great fundamental questions, "final, last thoughts you mortals have none; nor can have." [4] And even while one of the characters says, "Faith is to the thoughtless, doubts to the thinker", Arvin feels that Melville struggles to avoid a brutality of what Melville himself calls "indiscriminate skepticism", and he got closest to expressing "his basic thought" in Babbalanja's speech in the dark: "Be it enough for us to know that Oro"—God--"indubitably is. My lord! my lord! sick with the spectacle of the madness of men, and broken with spontaneous doubts, I sometimes see but two things in all Mardi to believe:--that I myself exist, and that I can most happily, or least miserably exist, by the practice of righteousness." [4]

Reception

Contemporary reviews

Mardi was a critical failure. One reviewer said the book contained "ideas in so thick a haze that we are unable to perceive distinctly which is which". [5] Nevertheless, Nathaniel Parker Willis found the work "exquisite". [5]

Nathaniel Hawthorne found Mardi a rich book "with depths here and there that compel a man to swim for his life... so good that one scarcely pardons the writer for not having brooded long over it, so as to make it a great deal better." [6]

The widespread disappointment of the critics hurt Melville yet he chose to view the book's reception philosophically, as the requisite growing pains of any author with high literary ambitions. "These attacks are matters of course, and are essential to the building up of any permanent reputation—if such would ever prove to be mine... But Time, which is the solver of all riddles, will solve Mardi." [7]

Later critical history

In the description of Arvin:

[T]he thoughts and feelings he was attempting to express in Mardi were too disparate among themselves and often too incongruous with his South Sea imagery to be capable of fusion into a satisfying artistic whole. In the rush and press of creative excitement that swept upon him in these months, Melville was trying to compose three or four books simultaneously: he failed, in the strict sense, to compose even one. Mardi has several centers, and the result is not a balanced design. There is an emotional center, an intellectual center, a social and political center, and though they are by no means utterly unrelated to each other, they do not occupy the same point in space. [2]

Sources

Giordano Lahaderne has proposed that Mardi may have been influenced in part by the Book of Mormon (1830). The opening sequence of each is an "Old Testament in reverse" and Mardi's second volume includes a discourse on "an illustrious prophet, and teacher divine" named Alma, a name shared by Alma, one of the major prophets and missionaries within the Book of Mormon. [8]

Related Research Articles

<span class="mw-page-title-main">Herman Melville</span> American writer and poet (1819–1891)

Herman Melville was an American novelist, short story writer, and poet of the American Renaissance period. Among his best-known works are Moby-Dick (1851); Typee (1846), a romanticized account of his experiences in Polynesia; and Billy Budd, Sailor, a posthumously published novella. At the time of his death, Melville was no longer well known to the public, but the 1919 centennial of his birth was the starting point of a Melville revival. Moby-Dick eventually would be considered one of the great American novels.

<i>Moby-Dick</i> 1851 novel by Herman Melville

Moby-Dick; or, The Whale is an 1851 novel by American writer Herman Melville. The book is the sailor Ishmael's narrative of the maniacal quest of Ahab, captain of the whaling ship Pequod, for vengeance against Moby Dick, the giant white sperm whale that bit off his leg on the ship's previous voyage. A contribution to the literature of the American Renaissance, Moby-Dick was published to mixed reviews, was a commercial failure, and was out of print at the time of the author's death in 1891. Its reputation as a Great American Novel was established only in the 20th century, after the 1919 centennial of its author's birth. William Faulkner said he wished he had written the book himself, and D. H. Lawrence called it "one of the strangest and most wonderful books in the world" and "the greatest book of the sea ever written". Its opening sentence, "Call me Ishmael", is among world literature's most famous.

<i>Typee</i> First book by American writer Herman Melville, 1846

Typee: A Peep at Polynesian Life is American writer Herman Melville's first book, published in 1846, when Melville was 26 years old. Considered a classic in travel and adventure literature, the narrative is based on Melville's experiences on the island Nuku Hiva in the South Pacific Marquesas Islands in 1842, supplemented with imaginative reconstruction and research from other books. The title comes from the valley of Taipivai, once known as Taipi.

<span class="mw-page-title-main">François Rabelais</span> French writer and humanist (died 1553)

François Rabelais was a French writer who has been called the first great French prose author. A humanist of the French Renaissance and Greek scholar, he attracted opposition from both John Calvin and the hierarchy of the Catholic Church. Though in his day he was best known as a physician, scholar, diplomat, and Catholic priest, later he became better known as a satirist, for his depictions of the grotesque, and for his larger-than-life characters.

<i>Gargantua and Pantagruel</i> 16th-century novels by François Rabelais

The Five Books of the Lives and Deeds of Gargantua and Pantagruel, often shortened to Gargantua and Pantagruel or the Cinq Livres, is a pentalogy of novels written in the 16th century by François Rabelais. It tells the adventures of two giants, Gargantua and his son Pantagruel. The work is written in an amusing, extravagant, and satirical vein, features much erudition, vulgarity, and wordplay, and is regularly compared with the works of William Shakespeare and James Joyce. Rabelais was a polyglot, and the work introduced "a great number of new and difficult words ... into the French language".

<i>Omoo</i> Second book by American writer Herman Melville, 1847

Omoo: A Narrative of Adventures in the South Seas is the second book by American writer Herman Melville, first published in London in 1847, and a sequel to his first South Sea narrative Typee, also based on the author's experiences in the South Pacific. After leaving the island of Nuku Hiva, the main character ships aboard a whaling vessel that makes its way to Tahiti, after which there is a mutiny and a third of the crew are imprisoned on Tahiti. In 1949, the novel was adapted into the exploitation film Omoo-Omoo, the Shark God.

<span class="mw-page-title-main">Self-insertion</span> Literary device where the author writes themself into their fictional story

Self-insertion is a literary device in which the author writes themselves into the story under the guise of, or from the perspective of, a fictional character. The character, overtly or otherwise, behaves like, has the personality of, and may even be described as physically resembling the author of the work.

<span class="mw-page-title-main">Newton Arvin</span> American literary critic and academic

Fredrick Newton Arvin was an American literary critic and academic. He achieved national recognition for his studies of individual nineteenth-century American authors.

<i>Redburn</i>

Redburn: His First Voyage is the fourth book by the American writer Herman Melville, first published in London in 1849. The book is semi-autobiographical and recounts the adventures of a refined youth among coarse and brutal sailors and the seedier areas of Liverpool. Melville wrote Redburn in less than ten weeks. While one scholar describes it as "arguably his funniest work", scholar F. O. Matthiessen calls it "the most moving of its author's books before Moby-Dick".

<span class="mw-page-title-main">Panurge</span> Character from Gargantua and Pantagruel by François Rabelais

Panurge is one of the principal characters in Gargantua and Pantagruel, a series of five novels by François Rabelais. Especially important in the third and fourth books, he is an exceedingly crafty knave, libertine and coward.

<span class="mw-page-title-main">Flatulence humor</span> Humor with flatulence

Flatulence humor, refers to any type of joke, practical joke device, or other off-color humor related to flatulence.

<span class="mw-page-title-main">Cornelius Mathews</span> American dramatist

Cornelius Mathews was an American writer, best known for his crucial role in the formation of a literary group known as Young America in the late 1830s, with editor Evert Duyckinck and author William Gilmore Simms. He is most well known for believing Adam and Eve to be microbes.

"The Encantadas, or Enchanted Isles", is a novella by American author Herman Melville. First published in Putnam's Magazine in 1854, it consists of eleven philosophical "Sketches" on the Galápagos Islands, then frequently known as the "Enchanted Islands" from the treacherous winds and currents around them. It was collected in The Piazza Tales in 1856. The Encantadas was a success with the critics and contains some of Melville's "most memorable prose".

<i>The Search for Roots</i>

The Search for Roots: A Personal Anthology is a compilation of thirty pieces of prose and poetry selected by Italian-Jewish author and Holocaust survivor Primo Levi as part of an abortive project by his original Italian publisher Einaudi to identify the texts which most influenced major Italian writers.

Tai Pī is a province of Nuku Hiva, in the Marquesas Islands, an administrative subdivision of French Polynesia. The settlement follows the line of the valley and the stream that passes from its mountainous island surroundings.

<span class="mw-page-title-main">Mead Schaeffer</span>

Mead Schaeffer was an American illustrator active from the early to middle twentieth century.

<i>Rabelais and His World</i>

Rabelais and His World is a scholarly work by the 20th century Russian philosopher and literary critic Mikhail Bakhtin. It is considered to be a classic of Renaissance studies, and an important work in literary studies and cultural interpretation.

<span class="mw-page-title-main">Herman Melville bibliography</span>

The bibliography of Herman Melville includes magazine articles, book reviews, other occasional writings, and 15 books. Of these, seven books were published between 1846 and 1853, seven more between 1853 and 1891, and one in 1924. Melville was 26 when his first book was published, and his last book was not released until 33 years after his death. At the time of his death he was on the verge of completing the manuscript for his first novel in three decades, Billy Budd, and had accumulated several large folders of unpublished verse.

<span class="mw-page-title-main">Gogmagog (giant)</span> Giant in Welsh and English mythology

Gogmagog was a legendary giant in Welsh and later English mythology. According to Geoffrey of Monmouth's Historia Regum Britanniae, he was a giant inhabitant of Albion, thrown off a cliff during a wrestling match with Corineus. Gogmagog was the last of the Giants found by Brutus and his men inhabiting the land of Albion.

<i>Trois petites pièces montées</i> 1920 suite by Erik Satie

The Trois petites pièces montées is a suite for small orchestra by Erik Satie, inspired by themes from the novel series Gargantua and Pantagruel by François Rabelais. It was premiered at the Comédie des Champs-Élysées in Paris on February 21, 1920, conducted by Vladimir Golschmann. Satie later arranged it for piano four hands and today it is more frequently heard in this version. A typical performance lasts about five minutes.

References

  1. Arvin (1950), chapter "The Enviable Isles", online, [no page numbers]
  2. 1 2 3 Arvin (1950), online
  3. Arvin (1950), online [chapter "The Enviable Isles"]
  4. 1 2 Quoted in Arvin (1950), online
  5. 1 2 Miller, Perry. The Raven and the Whale: The War of Words and Wits in the Era of Poe and Melville. New York: Harvest Book, 1956: 246.
  6. Parker, Hershel (1996). Herman Melville: A Biography, 1819-1851. Johns Hopkins University Press. p. 768. ISBN   0-8018-5428-8.
  7. "Melville's Reflections." The Life and Works of Herman Melville. Accessed July 29, 2021.
  8. Mardi and the Book of Mormon by Giordano Lahaderne. 2015.

Sources

Online versions