Main currents in American thought

Set down beside the austere Bryant and the plebeian Greeley, Herman Melville seems grotesquely out of company; and yet such proximities may suggest, better perhaps than words, an explanation of the futility of his dreams and the irony of the bitter penance of his days. Lifelong he was lacerated by the coldly moral in his environment, and harassed by the crudely practical; and without forcing the comparison, one may feel that Bryant and Greeley embodied in nobler form the twin forces that seized upon his bold and rich nature, and bound it to the rocks to be fed on by eagles. Like Jacob he wrestled all night with an angel, yet got no blessing from the touched thigh. Instead, his free spirit was tormented and his adventurous heart seared with fire. Far more truly than of De Quincey might one say of Melville: Eccovi, this little child has been in hell! All the powers of darkness fought over him, all the devils plagued him. They drove him down into the gloom of his tormented soul, and if they did not conquer, they left him maimed and stricken. The golden dreams of transcendental faith, that buoyed up Emerson and gave hope to Thoreau, turned to ashes in his mouth; the white gleams of mysticism that now and then lighted up his path died out and left him in darkness.

Life could not meet the demands he made on it, certainly not life in America in the eighteen-fifties; the malady lay deeper than Greeley thought—it lay in the futility of life itself; and so after pursuing his vain dreams to the ends of the seas, the rebellious transcendentalist withdrew within himself while awaiting annihilation. There is no other tragedy in American letters comparable to the tragedy of Herman Melville. Bryant’s melancholy is only the gentle pensiveness of twilight compared to the midnight of his pessimism. Hawthorne’s gloom is no more than the skeptical questioning of life by a nature that knew no fierce storms; Poe’s is only the atrabilious wretchedness of a dipsomaniac.

In the presence of a nature so tempestuous and fiercely honest, it is a rash critic who will dogmatize. There is no simple clue to his mystery, no common pass-key to unlock his mind. Raymond Weaver in his brilliantly creative study has perhaps done all that the critic can to light up the darkness, and later commentators can only follow in his footsteps. In so far as a simple explanation may suffice, the biographer finds it in certain frustrations that curdled the milk of his romance and turned it sour. Like Mark Twain in later years, he recoiled savagely from the smug conventions of society; but when he spoke out his views—instead of discreetly locking them up in his safe—and found himself fiercely assailed for unorthodoxy, he bade the world go to the devil and would have nothing more to do with its praise or blame. A proud sensitive nature, he took the world’s contumely au tragique, and suffered it to mortify him. Or perhaps he was more like James Branch Cabell than Mark Twain. An arch romantic, he vainly sought to erect his romantic dreams as a defense against reality, and suffered disaster. In love with the ideal, and pursuing it in a wild adventure into the South Seas—his magic realm of Poictesme—yet “not so much bound to any haven ahead as rushing from all havens astern,” he found there only disenchantment. Seeking his satisfactions in love of mother and wife, he came upon utter disillusion.

The austerely prim and coldly correct Maria Gansevoort, to whom his boyish heart yielded itself passionately, was clearly no woman to satisfy his need of intelligent sympathy, and he fled moodily from the pale negations of a stifling environment. Even the finely loyal Elizabeth Shaw whom he married seems only to have completed his disillusion, and he withdrew into his study, and falling into “Plato’s honied head,” like Tashtego into the whale’s head, “sweetly,” or wretchedly, “perished there.” It is the plague of the idealizing mind that is forever comparing a wife in her morning kimono with the Helen of his dreams. It is the curse of possession that plays havoc with romance; and because Melville’s dreams were passionately beautiful, because he made heavy demands on life, his disillusion was bitter. And so like Felix Kennaston in Cabell’s Cream of the Jest, and like Shelley in Epipsychidion, Melville fashioned his dream-figure to love. The elusive figure of Yillah in Mardi, whom he loves and loses and seeks, in a madly grotesque and satirical pursuit through all the civilizations of his land of Poictesme, is so suggestive of Cabell’s Domnei, that it perhaps may be accounted the latter’s prototype.

Remembering the mingled strains of Melville’s ancestry, the critic is tempted to discover in his New England blood the source of his transcendental visions. Yet the influence is not easy to trace. Half Dutch and half Yankee, he certainly got his vigorous physique and hot temper from the former. His maternal grandfather, Major General Peter Gansevoort, was a huge bulk of a man who achieved high distinction in the Revolutionary War, and whose traditional prowess filled the boy’s heart with pride. His mother, Maria Gansevoort, whom the son closely resembled in physique, was crossed in blood with that of the Van Rensselaers, the Ten Broecks, the Van Schaicks—the proudest families of the old Dutch régime—and was deeply imbued with the distinction of her patroon ancestry—“a cold, proud woman, arrogant in the sense of her name, her blood, and the affluence of her forebears” (Weaver, Herman Melville, p. 34). His debt to the New England strain is not so easily appraised. His paternal grandfather, Major Thomas Melville of Boston, a graduate of Princeton and wealthy in his own name and through his wife Priscilla Scollay, was not without his flashes of enthusiasm in early life, taking part with Joseph Story’s father in the Boston Tea Party. But his incipient radicalism was soon washed out of him; he turned rigidly conservative, and to his death in 1832 he lingered in the twilight of the eighteenth century. As Federal naval officer of the port of Boston, he was a familiar figure in his cocked hat and knee breeches; and it was of him that Holmes wrote the verses, The Last Leaf.

He was of Scotch descent, and Melville’s father traced the family line back to the thirteenth century, Herman Melville being twentieth in direct descent from Sir Richard Melvill, who in 1296 was forced to swear allegiance to Edward I of England. The blood seems to have run somewhat thin in Allan Melville, a conventional, pragmatic soul, who after making five trips to Europe, at the age of thirty-two, having carefully weighed the advantages, fixed his affections on Maria Gansevoort whom he met at Albany, and wooed with more propriety than passion. He entered business in New York city as an importer of French goods; but hard times descended on “the greatest universal mart in the world,” and in 1832, when Herman was thirteen, Allan Melville died leaving Maria Gansevoort and her eight children pretty nearly penniless. The struggle with poverty set its mark on the cold, proud woman whose ambitions centered about the success of affluence; and it left a mark of quite another sort on the son who was soon to measure her ideals with devastatingly critical eyes. The ways of mother and son were at the parting.

The volcanic passions pent up in Herman Melville’s heart, the ardent imagination that sent him forth on long quests and brought him home empty-handed, can scarcely be traced to any source in Maria Gansevoort or Allan Melville. A strange, incomprehensible child he seemed to his mother, and strange and incomprehensible he remained in the eyes of the family—an ugly duckling of another breed than theirs. A bitter sense of aloofness and alienation from the intimacies of family sympathy seems early to have taken possession of him, and he felt himself quietly thrust out of the circle of respectable contacts. Melville’s writings are filled with thinly veiled autobiography, and it is a careless reader who does not see in Pierre and Moby Dick confessions as frank as Rousseau’s. “Call me Ishmael,” is the opening injunction of the latter, and the book closes with a glimpse of “the devious cruising Rachel, that in retracing search after her missing children, only found another orphan” (Weaver, Herman Melville, p. 62). An Ishmael Melville unhappily conceived himself to be, an outcast and wanderer on the earth because man is an outcast and wanderer, to whom Nirvana is the only comfort and hope; and when he returned disillusioned from the South Seas, when he found no home by his own fireside, when he discovered his transcendental craftsmanship driving on the rocks of economic necessity, when the public rejected his mystical dreams and he was inexorably “damned by dollars,” he perforce turned in upon his own broodings and sought solace in Plato.

Driven by need from his hill farm in the Berkshires, he buried himself in the “Babylonish brick-kiln of New York,” to pass long years pottering about the customhouse. It was the vast futility of life as he experienced it, that sent him to his study to find there such compensation as he might.

The stages in Melville’s progress towards Nirvana are sufficiently marked by the four books, Typee, Mardi, Moby Dick, and Pierre. The first is his answer to the French romantic Utopia of man in a state of nature. That the rankling wounds in man’s heart are poisoned, if not originally inflicted, by social institutions, he was partly convinced, and he felt a lively concern lest western civilization should bring its futile restlessness to the simple island people. The kindliness and simplicity of life in the valley of Typee, the compensating virtues of the unsophisticated primitive, he found lovable; but as the unhappy heir of centuries of Christian conscience, as a child of Hebraic ideals of righteousness, he could not eradicate the deep roots of ethical unrest. With Fayaway it was different. “Civilization had given her no veils; Christianity had given her no compunctions. She was neither a mystery nor a sin” (ibid., p. 260). But he could not become a simple child of nature had he wanted to. He could never find his Nirvana in mere sensuousness; he could not sink into the mud of animal existence. Even while he bathed in the languorous calm of Typee, floating idly with Fayaway on the stream of being, his heart was beyond the narrow hills, and a cosmic nostalgia seized upon him. That chapter of his life ended in futility, and so he made his way back once more to the familiar places, with expectation still undaunted.

Certain of his experiences on that return journey he has recorded in White Jacket, the story of his cruise on a man-of-war; and how near it brought him to oblivion is told in the episode of the threatened flogging before the mast, when fate intervened to save Melville from flinging himself overboard, carrying with him the brutal captain of the Neversink.

Amidst the constrictions of the old world to which he had come back, a fresh vision of happiness opened to him in his love for Elizabeth Shaw, and he made a desperate plunge into marriage. The post-thalamion of that thwarted romance was Mardi—a far-ranging “pilgrimage for a lost glamour,” “a quest after some total and undivined possession of that holy and mysterious joy that touched Melville during the period of his courtship” (ibid., p. 279). Mardi is a vast welter of satire and idealism, formless and wild, which in turn was no more than prologue to Moby Dick. This colossal book, fierce as Gulliver, broad as Rabelais, with its saeva indignatio that laughs as it rends life, is the great confession of his defeat. “It is good to laugh,” he says in Mardi, “though the laugh be hollow. Women sob, and are rid of their grief; men laugh and retain it. Ha! ha! how demoniacs shout; how all skeletons grin; we all die with a rattle. Humor, thy laugh is divine.” And the conclusion to which the philosopher comes is this: “Beatitude there is none. And your only Mardian happiness is but exemption from great woes—no more. Great Love is sad; and heaven is Love. Sadness makes the silence throughout the realms of space; sadness is universal and eternal” (ibid., p. 279).

After Moby Dick, what remained but to put the external world of experience aside and turn in upon his own thwarted hopes to analyze them? Pierre, or the Ambiguities is his spiritual autobiography, the confession of a stricken soul. In the inconsequential matter of plot, a story of incest and murder and suicide, in its deeper purpose, it is a wild fierce tale of mortal passions, that traces the élan of mystical idealism to the buried depths of procreative instinct. It is the last bewildering attempt to understand the sources of the dream that had ridden him, and it is discovered in the passionate struggles of Enceladus, titanic offspring of the incestuous union between Heaven and Earth, to regain the kingdom from which he has been thrust. In Mardi the search for Yillah had been carried on under the watchful eye of Hautia, the temptress, whom “his whole heart abhorred,” yet to whom at last he went in her bower of Flozella-a-Nina—“The Last-Verse-of-the-Song”; for in “some mysterious way seemed Hautia and Yillah connected.” In Pierre Hautia reappears as Isabel, likewise a child of Heaven and Earth, who is set over against Lucy—the pure daughter of Heaven alone; and this dark Isabel robed in the midnight of her hair, by appealing unconsciously to Pierre’s noblest impulses, draws him from the safe orbit of the Gansevoort moralities, and makes of him “the fool of Truth, the fool of Virtue, the fool of Fate.”

Isabel is wild, unquestioning, mysterious passion, untouched by any Hebraisms; and this half-sister of his blood, this lovely embodiment of his star-crossed dreams, drives him unwittingly to destruction. Pierre learns at last that the vision brings poison in its kisses, for the divine in the heart of Enceladus is mingled with the clay of earth. The dream is man’s final ironical curse; Yillah and Hautia and Lucy and Isabel—changing embodiments of the same mystical idealism—bring death to their lovers—this is the conclusion of Pierre, a conclusion that Mr. Cabell would not take kindly to. It was a black and bitter book, like Moby Dick “broiled in hell-fire,” to fling at an easy-going public that cherished its Gansevoort conventions. With its fierce disillusions Pierre is the apogee and Nirvana of the spiritual romanticisms of the day.

That Melville was the spiritual child of Jean Jacques, that the consuming nostalgia he suffered from was mortal, the most casual acquaintance with his passionate rebellions should make clear; and that his pessimism was a natural end and outcome of his transcendental speculations, once those speculations had come to intimate contact with life, is perhaps equally clear. Transcendentalism in Concord village and at Walden pond, was one thing. Emerson’s infrequent anger at the folly of men was soothed by the perfect art with which he phrased it, and never seriously ruffled his temperamental placidity. Thoreau’s mystical communings were with the young god Pan; he was too wise to seek to domesticate a woodland nymph, and he was fortunate in escaping the dun twilight that gathers about the slow years of physical decay. But transcendentalism in the forecastle of the whaler Acushnet, transcendentalism that drove fiercely into the blood-red sunsets of dwarfing seas, transcendentalism in the hot and passionate heart of a man whose vast dreams outran his feet—this was something very different from the gentle mysticism of cooler natures and unembittered hearts where no Promethean fires were raging.

For Herman Melville, amidst the nameless obscenities of an alien environment, to keep his faith in the goodness of life strong and sweet, would have needed the boundless charity and simple paganism of Walt Whitman. But unfortunately for his peace of mind, though he might immerse himself in Plato, Melville was no Greek; he was Hebraic rather, out of Ecclesiastes, and Solomon and Jesus. “Away,” he cries in Pierre, “ye chattering apes of a sophomorean Spinoza and Plato, who once did all but delude me that the night was day, and pain only a tickle. Explain this darkness, exorcise this devil, ye cannot. Tell me not, thou inconceivable coxcomb of a Goethe, that the universe cannot spare thee and thy immortality.... Already the universe gets on without thee.... Thou wert but the pretentious, heartless part of a man. Lo! I hold thee in this hand, and thou art crushed in it like an egg from which the meat hath been sucked” (Chapter XXII—3). From the lips of the ancient Preacher he had learned that all is vanity—even Pan. “The truest of men was the Man of Sorrows,” he says, “and the truest of all books is Solomon’s, and Ecclesiastes is the fine hammered steel of woe. All is vanity. ALL.... He who ... calls Cowper, Young, Pascal, Rousseau, poor devils all of sick men; and throughout a care-free lifetime swears by Rabelais as passing wise, and therefore jolly;—not that man is fitted to sit down on tombstones, and break the green damp mould with unfathomably wondrous Solomon” (Weaver, Herman Melville, pp. 151–152).

After Pierre came Clarel—years later—in which the theological doubts and religious unrest that mark the poetry of Arnold and Clough in England came to expression in a world that was untouched by them.⁠[7] The abyss that lay between Melville and America had become deeper and wider.

Like all the transcendentalists Melville was a democrat, but his democracy sprang rather from his sympathies than from his philosophy. It was a democracy learned rather from Ecclesiastes than from Emerson; it sprang from his pessimism rather than from any transcendental faith in the divinity of man. He knew only too well how weak and foolish are the children of Adam; but in presence of the common fate to which the indifferent years hurry us, how stupid and callous are the social distinctions that society erects! Why should not life be a leveler, as well as death? His experience before the mast had taught him sympathy for the common man; he regarded quizzically the ways of the exploiting few and the sufferings of the exploited many; and he smiled ironically at the neat little classification that divides the human animal into sinners and saints. He was as comprehensive a democrat as Whitman, of the same all-embracing school that denied the common social and ethical categories of excellence; but alienated from his fellows, not drawn to them as Whitman was. It was not a sense of social aloofness that held him apart, but the isolation of loneliness. “When you see or hear of my ruthless democracy on all sides,” he wrote to Hawthorne, “you may possibly feel a touch of a shrink, or something of that sort. It is but nature to be shy of a mortal who boldly declares that a thief in jail is as honorable a personage as Gen. George Washington.... It seems an inconsistency to assert unconditioned democracy in all things, and yet confess a dislike to all mankind—in the mass.

But not so” (ibid., pp. 320–321). He then goes on: “But truth is the silliest thing under the sun,” and does not deign to explain. “Believe me,” he says of Pierre, “you will pronounce Pierre a thoroughgoing Democrat in time; perhaps a little too Radical altogether to your fancy” (ibid., p. 37).

Such a man would not so much turn critic as embody criticism. His life—even more than Emerson’s—laid upon America, was a yardstick to measure the shortcomings of a professed civilization. Cooper was a critic whom America could understand, and America hated him for his unpleasant frankness. Melville it could not understand, and it turned away and ignored him. Perhaps it was well enough that his generation could not comprehend his devastating speculations, and called him mad; or it would have cried out to crucify this maligner of all the tribal fetishes. He would level every barrier against the unpleasant that his age was erecting. He outran Thoreau in contempt for current material ideals. To turn scornfully away from the triumphs of his fellows—from the fruits of the industrial revolution and the romantic gospel of progress—this was incomprehensible blasphemy! Yet what had Herman Melville in common with middle-class America? Its hopes and fears were not his. He was troubled about life, and not about things. He was not concerned about politics or the political state. He was not concerned with trade, or money-getting, or romantic imperialisms. He was not even greatly concerned with political democracy, although in his time he had been as hot a republican as the best of them. The shoddy democracy of his time made his gorge rise; and to this shoddy democracy that shrilly proclaimed its excellence he paid his respects in words that suggest Lowell’s Cathedral, but with a depth of significance that Lowell was incapable of.