Rockwell Kent, Moby Dick: Volume I, page 273, 1930. linecut on paper.
Credit: Bequest of Sally Kent Gorton to Plattsburgh State University.
The novel is an encyclopedia of forms, a narrative chowder that combines dictionary, whaling manual, comedy, tragedy, epic, prophecy, sermon, soliloquy, drama, bawdy humor, and tales within tales. … Melville looks at the whale, with relish, from an exuberant assortment of literary angles, encompassing them all into one mighty compendium and in so doing breaking the boundaries of what it means to be a book. —Elizabeth Renker, Introduction to Moby-Dick
Moby-Dick, by Herman Melville, is widely recognized as one of the centerpieces of the American Renaissance. This text is more than a chronicle of Ahab’s quest for the great white whale, the novel offers insight into the whaling industry that shaped the New England seacoast in the 19th century. Melville himself spent time at sea and fashioned many of the details in Moby-Dick after his own experiences traveling aboard a whaling vessel in the South Pacific. Though seldom praised during Melville’s lifetime, Moby-Dick remains relevant today, as it helps builds our perceptions of America’s unique literary culture.
This unit is a study of the shifts in narrative voice and literary genres that Melville makes throughout Moby-Dick. It serves to introduce students to several unique features of the novel without demanding as much class time as would reading the entire text. The lessons comprise a series of close readings of passages from the novel.
Lesson 1 has students explore Melville’s development of his first person narrator Ishmael through a close reading of chapter 1. Students will consider Ishmael’s positioning of the Fates in the novel and the extent to which this positioning makes a narrative shift necessary to understand the perspective of other characters.
The next two lessons serve to orient students to several of the genres in this novel. Lesson 2 has students perform a close reading dramatic script as it surfaces in chapter 37 to examine Melville’s characterizations of Ahab as a foil to Ishmael. Students then analyze the shifting perspectives on character that this chapter elicits within the novel, and delve deeply into Melville’s complex protagonist—the multifarious character of Captain Ahab.
Lesson 3 guides students through examples of Melville’s seamless integration of several literary genres—hymn, sermon, scientific writing, and drama into the novel. It moves into an analytical discussion of Moby-Dick as a masterwork that goes above and beyond the appeal of its fictional genre.
Moby-Dick stands as a testament to Melville’s ingenuity and timelessness. The text remains relevant today, both in its characterization and its form. Melville brings us into the world of New England whaling, but he has us navigate more than just the high seas. Melville leads us through different literary genres in the same way as the Pequod chases the whale, bringing us on a literary journey to parallel the physical and psychological ones of his characters. This unit explores these characters and literary genres using several key excerpts from Moby-Dick selected to expose the variety and life of the text.
The two main characters of the novel, Ishmael and Ahab, represent different facets of Melville’s belief in the importance of freedom in American society. As Ishmael sets out to sea, and he joins up with a band of men to ease his land-bound troubles. Ahab sets out on a quest for revenge against the whale that stole his leg, which Ahab symbolically replaced with an ivory prosthesis. Ishmael is the democratic everyman foil to Ahab’s elite and dictatorial captaincy. The story of Moby-Dick—of Ahab’s hunt for the elusive whale—remains primarily Ishmael’s story because of his first-person narration. The shifts in point of view—a preacher’s sermon, scientific notes on whales, soliloquies, dramatic script—allow Melville to transcend the limitations of the novel, and even perhaps fiction.
Melville’s narrator, Ishmael, believes in the power of the sea and is drawn to it whenever his life on land depresses him. He believes in the power of the common man and does not want to be in an authoritative role. Melville creates a character with whom contemporary readers could easily relate: a humble man who does not position himself above the reader or as better than any man within the text. Melville’s references to Christianity and the Romans, the universal call to the sea, and a penchant for adventure combine to make Ishmael seem both educated and relatable to the reader. Ishmael also describes the sea as a panacea for his troubles as he idealizes its power. Though it would be dangerous to assume Ishmael is a mouthpiece of Melville, the narrator conveys aspects of the story that must have been personal to Melville, a common sailor in his day.
This unit introduces students to the expansiveness of the novel’s scope through the eyes of Melville’s most relatable sailor. They will also discover the ingenuity of his masterful narration and sample the variety of perspectives to be found throughout this maritime journey and hunt for whales.
The extended background provides additional context on topics covered in this unit: Melville’s Whaling World, Allusions and Literary Genres.
Have students write a short piece using the narrative voice of either Ahab or Ishmael. “Call Me Ahab” would be written from the perspective of the character Captain Ahab. “I, Ishmael” would be written from the perspective of the crew member Ishmael.
While students include the content about their character gleaned from one chapter, they should write in the style of the other chapter. Students will use evidence drawn from “Loomings,” chapter 1 or “Sunset,” chapter 37 as appropriate.
The “Call me Ahab” piece will draw on the content about Captain Ahab found in “Sunset,” chapter 37, but will be written in the style of “Loomings,”chapter 1 as a first-person narrative. The account will be narrated by Ahab.
The “I, Ishmael” scene will draw on the content about crew member Ishmael found in “Looming,” chapter 1, but will be written in the style of “Sunset,” chapter 37 as a dramatic soliloquy. The scene will be expressed from Ishmael’s perspective.
In a follow-up paragraph, students will then defend the choices they made regarding character traits in an explication using evidence from the text.
Have students take a different chapter in Moby-Dick, one not discussed in class, and analyze how well it operates as a literary genre. You may have students use genres already researched and discussed in Lesson 3 of this unit, or you may challenge them to tackle a chapter where Melville uses a literary genre you did not cover in class.
Have them use the questions posed in Worksheet 5 from Lesson 3 to build an understanding about their chapter and genre. Be sure to have them include what function the shift to a new literary genre has on the novel. Also have them discuss what impact it will have on the reader. Students must defend their choices in a follow-up explanation using evidence from the text.
A student assessment sheet and rubric has been provided to introduce students to the options for composition and offer self-evaluation opportunities using the assessment criteria. (A teacher version of the rubric is available for your own assessment of the students’ work.)
Lesson 3 guides students through Melville’s seamless integration of several literary genres—sermon, scientific writing, drama, and hymn—and moves into an analytical discussion of "Moby-Dick" as a masterwork that goes above and beyond the appeal of its fictional genre.
Lesson 2 has students perform a close reading of one genre, dramatic script, in Chapter 37, to examine Melville’s characterizations of Ahab as a foil to Ishmael. Students then analyze the shifting perspectives that this chapter provokes within the novel, and delve deeply into Melville’s complex protagonist – the multifarious character of Captain Ahab. Finally, this lesson addresses the impact this drastic shift has on the reader.
Lesson 1 has students explore Melville’s development of his first person narrator Ishmael through a close reading of Chapter 1. Students will consider Ishmael’s positioning of the Fates in the novel and the extent to which this positioning makes a narrative shift necessary to understanding the perspective of other characters.
Tennessee Williams at 20th anniversary of The Glass Menagerie opening.
Credit: Fernandez, Orlando, photographer, 1965. Library of Congress Prints and Photographs Division Washington, DC.
Everyone should know nowadays the unimportance of the photographic in art: that truth, life, or reality is an organic thing which the poetic imagination can represent or suggest, in essence, only through transformation, through changing into other forms than those which were merely present in appearance.
—Tennessee Williams’ production notes to The Glass Menagerie
Tennessee Williams’ classic play, The Glass Menagerie, was an extension of the expressionism that came out of Europe in the early 20th century. In essence, Expressionism interprets the world through the artist’s internal, subjective lens, not as an objective reflection of reality.
The expressionist movement was marked by certain characteristics: a rejection of realism in favor of dreamlike states; non-linear, often disjointed structures; a utilization of imagery and symbolism in the place of naturalism; a focus on abstract concepts and ideas. Artists in this movement paid witness to the alienation of the individual which they saw as a main characteristic of modern life. Expressionism conveys angst in the knowledge that our spiritual needs will not be met through modern societal constructs. It rails against the dehumanization of man in the modern, urban landscape.
In The Glass Menagerie, Williams used expressionistic techniques to develop several of the play’s themes:
In Lesson 1, students identify what Expressionism in theatre is and explicate Williams’ application of expressionist techniques in The Glass Menagerie. In Lesson 2, they analyze how those techniques create meaning in the play, i.e., how they help develop the play’s themes. And in Lesson 3, they express their evolving comprehension through a thesis-driven essay. In the summative assessment, students write and annotate an expressionist scene of their own based on the play.
Common Core State Standards English Language Arts and Literacy lists The Glass Menagerieas a Grades 9–10 Text Exemplar for Drama. (See Appendix B.)
The expressionist movement in literature had its roots in Germany in the 1910s and in the work of Swedish playwright August Strindberg. Unifying features included rebellion against artistic and social conventions of the day, and bold innovation. The overall aim of expressionism was to offer a total spiritual renewal by confronting the darkest aspects of reality. The movement influenced a number of artists, writers, and poets around the world, including James Joyce and T.S. Eliot. Among them were 20th-century American writers who questioned widely-accepted beliefs. They opened new psychological and emotional dimensions within their works. In the 1920s, expressionism found an outlet on the American stage through experimentalists from the Theatre Guild and Provincetown Players such as Susan Glaspell and Eugene O’Neill. Starting in the 1940s Tennessee Williams adopted expressionist techniques and incorporated them through dialogue, action, sound, setting, stage design, and lighting into his dramatic works such as The Glass Menagerie (1944), A Streetcar Named Desire (1947), and Camino Real (1953).
The Encyclopedia Britannica’s entry on Production Aspects for Expressionist Theatre provides background context on the movement related to theatre.
Certain theatrical techniques can be classified as expressionist. See Modern Theatre in Context: Expressionism from Canada Research Chair in Performance and Culture for a detailed description. A synopsis is noted below:
Tennessee Williams adopted such expressionistic techniques and integrated them into The Glass Menagerie as a way to present several of his themes. He used them to highlight reality as subjective, expose the dehumanization and grotesqueness effected by modern urban culture, and express the resulting angst over that condition. This drama is characterized by dreamlike states rather than realism, and imagery and symbolism rather than naturalism.
For more information on the Expressionist techniques of Tennessee Williams, click here (PDF).
Tennessee Williams’ oeuvre has always been difficult for critics to categorize. In the seven decades since The Glass Menagerie premiered on Broadway, this play has been diversely classified as idealist, naturalist, symbolic, poetic, and romantic, among others. Indeed, in this and other plays Williams often combines different elements in pursuit of what critic John Gassner calls “a fusion of naturalistic detail with symbolism and poetic sensibility.” According to drama critic Kenneth Tynan, Williams achieves a new kind of romanticism “not pale or scented but earthy and robust, the product of a mind vitally infected with the rhythms of human speech.” His subject is the often “terrifyingly ambiguous” human nature as he observed it—brilliantly rendered into dramatic form. Nancy Tischler sums it up:
This play, unique among Williams’ dramas, combines poetic and unrealistic techniques with grim naturalism to achieve a gossamer effect of compassion, fragility, and frustration typical of Tennessee Williams at his most sensitive and natural best.
A detailed biography of this author’s life and work is available from the EDSITEment-reviewed Poetry Foundation, which offers myriad assessments of Tennessee Williams’s dramatic techniques by lead scholars and critics.
Students compose and annotate an original, additional scene for The Glass Menagerie using expressionist techniques to advance one of the play’s themes. They will treat a theme from the play that they have traced through the unit’s activities. Students should annotate their work to clarify their intentions and illustrate their understanding of this theatrical technique and the rich themes Williams infuses into his drama.
Distribute and review the Summative Assessment Rubric document with students before they begin their compositions, as a guide to ensure that they understand the criteria and as a tool to assess their work.
Reviews of original productions:
The New York Times review of the play’s original 1944 production in Chicago;
The New York Times review of the play’s subsequent 1945 debut on Broadway.
Reviews of contemporary productions:
The review “Wounded by Broken Memories” of the 2013 Broadway production at the Booth Theater;
The review “The Shape of Memory, Both Fragile and Fierce” of the 2013 production at the American Repertory Theater in Cambridge, Massachusetts.
Slave narratives are a unique American literary genre in which former slaves tell about their lives in slavery and how they acquired their freedom. Henry “Box” Brown escaped from slavery by having himself shipped in a crate (hence, the nickname “Box”) from Richmond, Virginia, to Philadelphia, Pennsylvania, in 1849.
By Ed Marks and Dan Cummings, revised by Joe Phelan
In the spring of 1849, Russian novelist Fyodor Dostoyevsky (1821–1881) faced a Russian firing squad. He had been accused of the political crime of promoting utopian socialism, a popular ideology that threatened the deeply conservative government of Czar Nicholas I. Just as the order was being given to the firing squad to shoot, a messenger appeared with an edict from the Czar commuting the sentence to four years of hard labor in Siberia.
Students examine the theory Man vs. Superman as it is revealed in several scenes within the novel and tackle the larger questions it bring up: Are humans really divided into two distinct categories, the ordinary and the extraordinary? Is this division a figment created by an overactive intellect? What did Dostoevsky think? Then they learn the theory differs radically from Dostoyevsky’s fictional reality—and reader’s—uncover yet another split in the world of the novel, one between intellect and emotion/instinct.