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Copyright
William Collins
An imprint of HarperCollinsPublishers
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Hammersmith, London W6 8JB
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This eBook edition published by William Collins in 2014
Life & Times section © HarperCollinsPublishers Ltd Gerard Cheshire asserts his moral right as author of the Life & Times section Classic Literature: Words and Phrases adapted from Collins English Dictionary
Cover by e-Digital Design
Cover image: On deck of a Man-of-War, Eighteenth Century. Engraving, 1878 © duncan1890/iStock
A catalogue record for this book is available from the British Library
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Source ISBN: 9780007558193
Ebook Edition © August 2014 ISBN: 9780007558209
Version: 2014-07-31
History of Collins
In 1819, millworker William Collins from Glasgow, Scotland, set up a company for printing and publishing pamphlets, sermons, hymn books, and prayer books. That company was Collins and was to mark the birth of HarperCollins Publishers as we know it today. The long tradition of Collins dictionary publishing can be traced back to the first dictionary William published in 1824, Greek and English Lexicon. Indeed, from 1840 onwards, he began to produce illustrated dictionaries and even obtained a licence to print and publish the Bible.
Soon after, William published the first Collins novel, Ready Reckoner; however, it was the time of the Long Depression, where harvests were poor, prices were high, potato crops had failed, and violence was erupting in Europe. As a result, many factories across the country were forced to close down and William chose to retire in 1846, partly due to the hardships he was facing.
Aged 30, William’s son, William II, took over the business. A keen humanitarian with a warm heart and a generous spirit, William II was truly “Victorian” in his outlook. He introduced new, up-to-date steam presses and published affordable editions of Shakespeare’s works and The Pilgrim’s Progress, making them available to the masses for the first time. A new demand for educational books meant that success came with the publication of travel books, scientific books, encyclopedias, and dictionaries. This demand to be educated led to the later publication of atlases, and Collins also held the monopoly on scripture writing at the time.
In the 1860s Collins began to expand and diversify and the idea of “books for the millions” was developed. Affordable editions of classical literature were published, and in 1903 Collins introduced 10 titles in their Collins Handy Illustrated Pocket Novels. These proved so popular that a few years later this had increased to an output of 50 volumes, selling nearly half a million in their year of publication. In the same year, The Everyman’s Library was also instituted, with the idea of publishing an affordable library of the most important classical works, biographies, religious and philosophical treatments, plays, poems, travel, and adventure. This series eclipsed all competition at the time, and the introduction of paperback books in the 1950s helped to open that market and marked a high point in the industry.
HarperCollins is and has always been a champion of the classics, and the current Collins Classics series follows
in this tradition – publishing classical literature that is affordable and available to all. Beautifully packaged, highly collectible, and intended to be reread and enjoyed at every opportunity.
Life & Times
Moby Dick
On the face of it, Moby Dick is simply a story about a whaleboat captain intent on killing a white whale that had previously maimed him and destroyed his ship. As a result, Herman Melville’s masterpiece was underestimated when first published in 1851.
In truth, Melville was exploring themes relating to belief systems and moral and ethical topics; the story itself was merely a vehicle by which Melville could address his philosophy. To that extent, Melville viewed the novel as a means of accessing the minds of people who might not ordinarily pick up a book about the kinds of issues he felt driven to discuss. Ironically, those same people entirely missed the allegory, and Moby Dick was perceived as nothing more than an adventure novel.
As a consequence, Moby Dick, although initially successful, was quickly forgotten, and Melville reached old age an unsung talent. Today the novel is hailed as one of the greats, after the book was resurrected in the wake of World War I. The story was seen as timely and illustrated what can happen when desire for vengeance is allowed to take control. By the close of World War II, the book had become symbolic of the struggle for power between nations.
Melville is now described as a romantic novelist, because Moby Dick evokes a bygone and masculine age, when men risked their lives on the oceans in the procurement of whale products. The eponymous whale, Moby Dick, is an albino male sperm whale. Sperm whales are toothed whales specialized to feed on giant squid, making them extremely dangerous to harpoon and kill. To a whaler, the male sperm whale was the ultimate adversary. Sailors used to carve designs and pictures into sperm whale teeth as trophies, which were sold as pieces of scrimshaw.
Sperm whales were particularly prized by whalers because their heads contain reservoirs of a substance called spermaceti oil, creating their bulbous foreheads. This oil was used by humans as fuel oil and many other substances used in cosmetics and pharmaceuticals. The oil had a high value until similar substances were derived from crude oil instead, thereby sounding the death knell for whaling.
For the whales themselves, the oil assists with their ability to dive to great depths in search of prey. It was this behavior that made the confrontation scenes in Moby Dick so thrilling, as the whale would dive for long periods, leaving the whalers in tense anticipation of what might happen next. Then the whale would suddenly erupt from beneath to wreak havoc on the wretched humans.
The whale, of course, was in its own environment, while the people were entirely reliant on technology to remain alive. At that time in history, the high seas were the most challenging places for people to live, so Moby Dick was the ultimate “man against the elements” tale.
While the main characters in Moby Dick are Christian Americans, the others comprise a world population in microcosm, encompassing many races and creeds. This has been interpreted as Melville juxtaposing Christian mores alongside those of a non-Christian mindset.
In the end, the narrating voice Ishmael is the sole survivor, clinging to flotsam after the whale has gone. It becomes apparent that the whale is representative of Melville’s idea of the Christian God. It has punished those who do not believe, and it has punished those who believe too much, for the obsessive Captain Ahab has perished with his crew.
Ishmael is representative of the moderate Christian—the meek who inherits the Earth, one might say. He came along for the ride and remained unharmed while hell raged around him, protected by his faith.
This premise is largely the reason the book became a classic in the American canon, because it is interpreted as a cautionary tale and a fable. The moral of the story is that those who keep their heads down will triumph in the end.
Herman Melville
Herman Melville found inspiration for Moby Dick by sailing on a whaler to the Pacific Ocean in 1841–1842. He then went AWOL from his ship and lived among the natives on the Marquesas Islands. After a number of weeks he boarded another whaler and traveled to Honolulu, Hawaii. He eventually returned to the U.S. mainland in 1844.
Melville was displeased at witnessing Christian missionaries in Hawaii forcing their faith on the natives, who had their own beliefs. Although he was a Christian himself, he saw that extreme righteousness was ethically questionable. This was the seed for Moby Dick, which questions the virtues of extreme beliefs.
Before Moby Dick, Melville had published a number of novels alluding to his seagoing adventures, but he never made a great deal of money from any of his work. During the writing of Moby Dick, he became a friend of Nathaniel Hawthorne, to whom he dedicated the book.
Melville spent the remainder of his working life as a customs officer for New York City. By the time he retired, few people remembered his past as an adventurer and novelist. He became an alcoholic, but his wife stuck by him and helped him recover. In sobriety he struggled with bouts of depression until his death at the age of seventy-two. It had been almost forty years since his writing career had ceased, but that hadn’t stopped him from continuing to write for his own pleasure.
In a way Melville’s own journey from adventurer, to novelist, to obscurity is part of the legend. Because he never tasted real success in his own lifetime, it is tempting to wonder what he might now think about the literary legacy he left behind. After all, Moby Dick is now regarded by some as the best American novel ever written.
Billy Budd
Billy Budd was published posthumously in 1924, long after the death of Herman Melville in 1891. The author had left the unfinished manuscript among his papers but it wasn’t discovered until 1919, some thirty years after it was begun.
Set in the late eighteenth century, the eponymous central character, a sailor, finds himself subject to a court-martial after accidentally killing a fellow sailor whilst being questioned about a rumour of mutinous behaviour. Billy is a good man, and the one witness to the event can testify that it was an accident, but despite this there are disastrous consequences.
In the novel, Melville addresses the different ways in which a person is viewed by society, and how this can ultimately determine their fate. Initially Billy is presented to the reader as a mild-mannered and affable man. He even blesses the captain who orchestrated his downfall, being too naïve to realize that he always held the power to save him.
However, later in the book we read a published account of the court-martial, which paints Billy as a scoundrel who deserved his punishment. In addition, a ballad written by one of his shipmates suggests that he wasn’t quite as innocent as the reader has been led to believe. The end result is that the reader finishes the novel unsure of Billy’s true character. Was he an honest man who got caught up in unfortunate circumstances, or a rogue who was responsible for his own undoing?
In many ways it is an early prototype for courtroom drama, altering the reader’s perception of the main character based on the evidence as it is revealed. Melville’s tale is partly an analysis of the moral judgment of others—emphasizing that it is human nature to oscillate between contradictory opinions of a person, whether in a court of law or otherwise—and it is this that makes the tale so intriguing.
And Other Stories
After the publication of his epic masterpiece Moby Dick in 1851, Melville experimented in short fiction, a style that had been popularized in America by Edgar Allan Poe. A departure from the maritime settings of his previous novels, Bartleby, the Scrivener explores the mundane existence of Bartleby, a Wall Street pen pusher. In Las Encantadas Melville employs the short story form in ten philosophical sketches, narrated by an anonymous voice and each exploring a different, and increasingly darker, side of life on the enchanted Galapagos Islands. In Benito Cereno Melville is back in familiar territory as he examines the life of a sea captain in the midst of a slave rebellion. Encompassing a range of themes and characters, Melville’s novellas showcase his distinctive writing style in shorter form.
CONTENTS
Cover
Title Page
Copyright
History of Collins
Life & Times
BARTLEBY, THE SCRIVENER
BENITO CERENO
LAS ENCANTADAS OR, ENCHANTED ISLES
BILLY BUDD
Dedication
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter 27
Chapter 28
Chapter 29
Chapter 30
CLASSIC LITERATURE: WORDS AND PHRASES adapted from the Collins English Dictionary
About the Publisher
BARTLEBY, THE SCRIVENER
I am a rather elderly man. The nature of my avocations, for the last thirty years, has brought me into more than ordinary contact with what would seem an interesting and somewhat singular set of men, of whom, as yet, nothing, that I know of, has ever been written—I mean, the law-copyists, or scriveners. I have known very many of them, professionally and privately, and, if I pleased, could relate divers histories, at which good-natured gentlemen might smile, and sentimental souls might weep. But I waive the biographies of all other scriveners, for a few passages in the life of Bartleby, who was a scrivener, the strangest I ever saw, or heard of. While, of other law-copyists, I might write the complete life, of Bartleby nothing of that sort can be done. I believe that no materials exist, for a full and satisfactory biography of this man. It is an irreparable loss to literature. Bartleby was one of those beings of whom nothing is ascertainable, except from the original sources, and, in his case, those are very small. What my own astonished eyes saw of Bartleby, that is all I know of him, except, indeed, one vague report, which will appear in the sequel.
Ere introducing the scrivener, as he first appeared to me, it is fit I make some mention of myself, my employés, my business, my chambers, and general surroundings; because some such description is indispensable to an adequate understanding of the chief character about to be presented. Imprimis: I am a man who, from his youth upwards, has been filled with a profound conviction that the easiest way of life is the best. Hence, though I belong to a profession proverbially energetic and nervous, even to turbulence, at times, yet nothing of that sort have I ever suffered to invade my peace. I am one of those unambitious lawyers who never addresses a jury, or in any way draws down public applause; but, in the cool tranquillity of a snug retreat, do a snug business among rich men’s bonds, and mortgages, and title-deeds. All who know me, consider me an eminently safe man. The late John Jacob Astor, a personage little given to poetic enthusiasm, had no hesitation in pronouncing my first grand point to be prudence; my next, method. I do not speak it in vanity, but simply record the fact, that I was not unemployed in my profession by the late John Jacob Astor; a name which, I admit, I love to repeat; for it hath a rounded and orbicular sound to it, and rings like unto bullion. I will freely add, that I was not insensible to the late John Jacob Astor’s good opinion.
Some time prior to the period at which this little history begins, my avocations had been largely increased. The good old office, now extinct in the State of New York, of a Master in Chancery, had been conferred upon me. It was not a very arduous office, but very pleasantly remunerative. I seldom lose my temper; much more seldom indulge in dangerous indignation at wrongs and outrages; but, I must be permitted to be rash here, and declare, that I consider the sudden and violent abrogation of the office of Master in Chancery, by the new Constitution, as a —— premature act; inasmuch as I had counted upon a life-lease of the profits, whereas I only received those of a few short years. But this is by the way.
My chambers were up stairs, at No. —— Wall street. At one end, they looked upon the white wall of the interior of a spacious skylight shaft, penetrating the building from top to bottom.
This view might have been considered rather tame than otherwise, deficient in what landscape painters call “life.” But, if so, the view from the other end of my chambers offered, at least, a contrast, if nothing more. In that direction, my windows commanded an unobstructed view of a lofty brick wall, black by age and everlasting shade; which wall required no spy-glass to bring out its lurking beauties, but, for the benefit of all near-sighted spectators, was pushed up to within ten feet of my window panes. Owing to the great height of the surrounding buildings, and my chambers being on the second floor, the interval between this wall and mine not a little resembled a huge square cistern.
At the period just preceding the advent of Bartleby, I had two persons as copyists in my employment, and a promising lad as an office-boy. First, Turkey; second, Nippers; third, Ginger Nut. These may seem names, the like of which are not usually found in the Directory. In truth, they were nicknames, mutually conferred upon each other by my three clerks, and were deemed expressive of their respective persons or characters. Turkey was a short, pursy Englishman, of about my own age—that is, somewhere not far from sixty. In the morning, one might say, his face was of a fine florid hue, but after twelve o’clock, meridian—his dinner hour—it blazed like a grate full of Christmas coals; and continued blazing—but, as it were, with a gradual wane—till six o’clock, P.M., or thereabouts; after which, I saw no more of the proprietor of the face, which, gaining its meridian with the sun, seemed to set with it, to rise, culminate, and decline the following day, with the like regularity and undiminished glory. There are many singular coincidences I have known in the course of my life, not the least among which was the fact, that, exactly when Turkey displayed his fullest beams from his red and radiant countenance, just then, too, at that critical moment, began the daily period when I considered his business capacities as seriously disturbed for the remainder of the twenty-four hours. Not that he was absolutely idle, or averse to business, then; far from it. The difficulty was, he was apt to be altogether too energetic. There was a strange, inflamed, flurried, flighty recklessness of activity about him. He would be incautious in dipping his pen into his inkstand. All his blots upon my documents were dropped there after twelve o’clock, meridian. Indeed, not only would he be reckless, and sadly given to making blots in the afternoon, but, some days, he went further, and was rather noisy. At such times, too, his face flamed with augmented blazonry, as if cannel coal had been heaped on anthracite. He made an unpleasant racket with his chair; spilled his sand-box; in mending his pens, impatiently split them all to pieces, and threw them on the floor in a sudden passion; stood up, and leaned over his table, boxing his papers about in a most indecorous manner, very sad to behold in an elderly man like him. Nevertheless, as he was in many ways a most valuable person to me, and all the time before twelve o’clock, meridian, was the quickest, steadiest creature, too, accomplishing a great deal of work in a style not easily to be matched—for these reasons, I was willing to overlook his eccentricities, though, indeed, occasionally, I remonstrated with him. I did this very gently, however, because, though the civilest, nay, the blandest and most reverential of men in the morning, yet, in the afternoon, he was disposed, upon provocation, to be slightly rash with his tongue—in fact, insolent. Now, valuing his morning services as I did, and resolved not to lose them—yet, at the same time, made uncomfortable by his inflamed ways after twelve o’clock—and being a man of peace, unwilling by my admonitions to call forth unseemly retorts from him, I took upon me, one Saturday noon (he was always worse on Saturdays) to hint to him, very kindly, that, perhaps, now that he was growing old, it might be well to abridge his labors; in short, he need not come to my chambers after twelve o’clock, but, dinner over, had best go home to his lodgings, and rest himself till tea-time. But no; he insisted upon his afternoon devotions. His countenance became intolerably fervid, as he oratorically assured me—gesticulating with a long ruler at the other end of the room—that if his services in the morning were useful, how indispensable, then, in the afternoon?
“With submission, sir,” said Turkey, on this occasion, “I consider myself your right-hand man. In the morning I but marshal and deploy my columns; but in the afternoon I put myself at their head, and gallantly charge the foe, thus”—and he made a violent thrust with the ruler.
“But the blots, Turkey,” intimated I.
“True; but, with submission, sir, behold these hairs! I am getting old. Surely, sir, a blot or two of a warm afternoon is not to be severely urged against gray hairs. Old age—even if it blot the page—is honorable. With submission, sir, we both are getting old.”
This appeal to my fellow-feeling was hardly to be resisted. At all events, I saw that go he would not. So, I made up my mind to let him stay, resolving, nevertheless, to see to it that, during the afternoon, he had to do with my less important papers.
Nippers, the second on my list, was a whiskered, sallow, and, upon the whole, rather piratical-looking young man, of about five and twenty. I always deemed him the victim of two evil powers—ambition and indigestion. The ambition was evinced by a certain impatience of the duties of a mere copyist, an unwarrantable usurpation of strictly professional affairs, such as the original drawing up of legal documents. The indigestion seemed betokened in an occasional nervous testiness and grinning irritability, causing the teeth to audibly grind together over mistakes committed in copying; unnecessary maledictions, hissed, rather than spoken, in the heat of business; and especially by a continual discontent with the height of the table where he worked. Though of a very ingenious mechanical turn, Nippers could never get this table to suit him. He put chips under it, blocks of various sorts, bits of pasteboard, and at last went so far as to attempt an exquisite adjustment, by final pieces of folded blotting-paper. But no invention would answer. If, for the sake of easing his back, he brought the table lid at a sharp angle well up towards his chin, and wrote, there like a man using the steep roof of a Dutch house for his desk, then he declared that it stopped the circulation in his arms. If now he lowered the table to his waistbands, and stooped over it in writing, then there was a sore aching in his back. In short, the, truth of the matter was, Nippers knew not what he wanted. Or, if he wanted anything, it was to be rid of a scrivener’s table altogether. Among the manifestations of his diseased ambition was a fondness he had for receiving visits from certain ambiguous-looking fellows in seedy coats, whom he called his clients. Indeed, I was aware that not only was he, at times, considerable of a ward-politician, but he occasionally did a little business at the Justices’ courts, and was not unknown on the steps of the Tombs. I have good reason to believe, however, that one individual who called upon him at my chambers, and who, with a grand air, he insisted was his client, was no other than a dun, and the alleged title-deed, a bill. But, with all his failings, and the annoyances he caused me, Nippers, like his compatriot Turkey, was a very useful man to me; wrote a neat, swift hand; and, when he chose, was not deficient in a gentlemanly sort of deportment. Added to this, he always dressed in a gentlemanly sort of way; and so, incidentally, reflected credit upon my chambers. Whereas, with respect to Turkey, I had much ado to keep him from being a reproach to me. His clothes were apt to look oily, and smell of eating-houses. He wore his pantaloons very loose and baggy in summer. His coats were execrable; his hat not to be handled. But while the hat was a thing of indifference to me, inasmuch as his natural civility and deference, as a dependent Englishman, always led him to doff it the moment he entered the room, yet his coat was another matter. Concerning his coats, I reasoned with him; but with no effect. The truth was, I suppose, that a man with so small an income could not afford to sport such a lustrous face and a lustrous coat at one and the same time. As Nippers once observed, Turkey’s money went chiefly for red ink. One winter day, I presented Turkey with a highly respectable-looking coat of my own—a padded gray coat, of a most comfortable warmth, and which buttoned straight up from the knee to the neck. I thought Turkey would appreciate the favor, and abate his rashness and obstreperousness of afternoons. But no; I verily believe that buttoning himself up in so downy and blanket-like a coat had a pernicious effect upon him—upon the same principle that too much oats are bad for horses. In fact, precisely as a rash, restive horse is said to feel his oats, so Turkey felt his coat. It made him insolent. He was a man whom prosperity harmed.