HISTORICAL APPROACH

            Historical approach, one of the five approaches advocated by Wilber Scott, is different from formalistic approach propounded by modern critics like I. A. Richards, F. R. Leavis, T. S. Eliot, etc., whereas formalistic criticism, otherwise known as ontological criticism or textual criticism or new criticism or moral criticism or aesthetic criticism or structural criticism insist on the text of an author, historical criticism makes the critic, trace out the age in which the work of art was written. These critics who focus on historical approach firmly believe that, a text of an author cannot be criticized sans people of the age with whom the author was living. Text and the age therefore remain inseparable.

            Daine, a French critic who belongs to 19^th century is one of the great exponents of historical approach. The plays of Shakespeare, if criticized devoid of the age in which the playwright was living may seem to be irrelevant to the readers of modern times. They are prone to give real sense if analysed in the light of historical approach. The plots of most of the historical plays of Shakespeare, it is true are borrowed from North’s translation, Plutarch’s Lives. Although these plays are spiced with the imagination of the playwright. Shakespeare has not completely deviated from history. Some of the minor characters are fictitious, the major character of theses historical plays remain unchanged. Shakespeare is, it is true the great playwright of Elizabethan age. For, the tragic vision of Shakespeare is totally different from that of other playwright of his time. It is the “tragic flaw” as A. C. Bradley rightly point out, which causes the fall of the hero. The tragedies of Shakespeare are therefore based on Human psychology. But, some of the plays of Shakespeare, to the great shock of modern readers, abound with vulgar jokes, obscene scenes, gaudy jokes, gory death, bloodsheds, suicides, murders, strange animals, ghosts, spirits and witches, etc,. The formalistic critic who analyses only the text of the author made find fault with Shakespeare the playwright. It is historical approach helps a reader or a critic to understand these plays in right perspective.

            While the rich and aristocratic audience where allowed to watch the play, the poor and illiterate people were provided no seats at all. They were forced to stand and watch the play. But they were the majority of the audience and these people only wanted to see scenes of battlefield, murder, suicide, spirits and ghosts, vulgar jokes and strange animals. Shakespeare the playwright was therefore forced to satisfy these audience by including such cheap and obscene scene which actually helps a reader to have a better understanding of the work of art.

            The Elizabethan age, it is true was very much influenced by both “Renaissance” and “Reformation”. Although, Henry VIII father of Queen Elizabeth favoured the Anglican church opposing Roman Catholism nor Puritanism. But the puritans were humiliated by the majority of the English. This can be seen in the works of Shakespeare.

            The Elizabethan age is known for sea voyagers and adventures also. Great mariners like Raleigh made colonies in different parts of the world. The natives of such colonies were mercilessly exploited by the Europeans. Shakespeare’s Caliban in the play Tempest represents a native of these colonies. Julius Caesar, Antony and Cleopatra, Coriolanus, the great Roman plays of Shakespeare cannot be judged without historical approach. The valour of Julius Caesar, the betrayal of Brutus, the passion of Antony and bewitchment of Cleopatra are clearly portrayed in his plays, strictly adhering to historical facts.

            The novels of Charles Dickens, if criticized in the absence of historical approach may not be applicable to modern days. It must therefore be criticized in the light of Victorian age. The work houses and public schools were notorious for ill-treating the inmates. The main characters Oliver Twist and Nicholas Nickleby are subject to such ill-treatment in the novels of Charles Dickens.

            Although  autobiographical, these novels of Dickens brings to light the sufferings of innumerable poor children at that time. Walter Scott’s novels can also be criticized with the help of historical approach. For instance, The Heart of Midlothian a famous novel of Scott may be analysed applying the tool of historical approach. The plot of the novel is based on the historical events which happened at the prison called Heart of Midlothian, in Edinburg, Scotland in the 1736. Porteous, the guard of the prison was responsible for the death of many innocent civilians who has gathered at the gate of the prison objecting the hanging of Wilson, a robber.

As Porteous caused the death of many civilians, he was also sentenced to death. But, later it was reprieved. Robertson one of the associate of Wilson forcibly hanged Porteus before the people. This incident which is true forms the main plots of the novel. The characters like Wilson, Robertson, Porteus like Queen Carolin are not fictitious. They are historical characters. But Scott has chosen to add some fictitious character also like Effe, Jeanaei, Whislet, etc., The novelist has thereby made the novel a “Historical Romance”. He has evenly mined reason with emotion, fact with fiction, history with romance. Although the historical event happened prior to the age of Caroline, the readers feel that it happens only during the time of novelist. Although, Scott does not give much importance to the plot construction which is loosely drawn, it is the historical characters and events which make the novel interesting one. When analysed in the light of historical approach bring to the readers a new dimension about the era and the real life of people of bygone years.  

FORMALISTIC APPROACH

            Formalistic criticism, one of the modern criticisms is also known as textual criticism or new criticism or modern criticism or ontological criticism or aesthetic criticism. For, the formalistic critics lay stress only on the text of an author. Text alone becomes be all and end all for them. Whereas, the traditional critic advocate many approaches like, i) Biographical approach ii) socialogial approach iii) Historical approach iv) Psychological approach v) Marxian approach.

            The formalistic critics focus only on the work of art. Biographical approach insist the critic to have a fair knowledge about the life of the author. Before, criticizing his work of art, as the life of the author becomes part of his work also. They remain inseparable. Sociological approach, it is which makes a critic trace out the culture and life the people of the author’s time. For, literature devoid of the society seem to be incomplete. A critic therefore must have a very good knowledge of the age of the people in which the work of art is written. But the modern critics are of the view that all these approaches are irrelevant to literary criticism. Because they are not oriented to literature at all. Critics like T. S. Eliot, I. A. Richards, F. R. Leavis are the great exponents of formalistic criticism.

            T. S. Eliot, in his Tradition and Individual Talent says that “a true poem is that which presents the extinction of the poet and not exposition of the poet’s life”. The poem in his opinion must not become the mouth piece of the poet. When a poem is published feels T. S. Eliot, the poet is dead. The umbilical cord between the author and his text is severed when the book is published.

            I. A. Richards in his Practical Criticism says that formalistic approach is but intrinsic while all other approaches are irrelevant for modern critic. A work of art therefore, in his opinion, must be analysed in the light of the text of the author. Although some of the modern critics called Chicago critics, vary a little from the formalistic approach, they also focus only on the work of art, they feel that the text should be criticized on the basis of its various aspects like metre, rhyme, simile, metaphor, structure, alliteration, assonance, oxymoron, grammatical pattern and its aesthetic sense.

           

James smith, a formalistic critic analyses Shakespeare play As You Like It a romantic comedy applying the tools of formalistic criticism. The play is generally called as a romantic comedy, in his opinion is totally unromantic in nature. To begin with, he starts criticizing the character melancholic Jaques. The melancholy of Jaques is not innate in nature. It is assumed, he compares Jaques with Macbeth and Hamlet. The melancholy of both Macbeth and Hamlet seems to be genuine while that of Jaques is unreal and artificial. Macbeth is rudely shaken when he is informed that lady Macbeth is dead. He loses interest in the worldly life. He says,

“Life is a tale

 told by an idiot

full of sound and fury

signifying nothing”.

            The pathetic cry of the villainous character elevates him to the level of a tragic hero. Hamelet is too young to commit the murder. He, therefore procrastinates, which snowballs into a great problem and results in his melancholy. He cries thus “To be or not to be..” the melancholy of Jaques is forced to him through his “wide travel”. Even Roselind finds out the nature of his grief. She therefore prefers, a clown like Jaques.

            Touchstone , the clown is no difference melancholic Jaques. He is unromantic. Although, he falls in love in Audrey the Shepherdess, his love for Audrey is nor sincere, neither genuine. He wants to marry her with the help of a bogus priest and dessert her later. His division of human life into seven stages is also unromantic. He seems to be more pessimistic than romantic. Rosalind the protagonist of the play also seems to be unromantic in nature. It is true that, she falls in love with Orlando. But the fact remains that she has not fallen headlong in love with him. She tries to cure the melody of her lover with wolves howling at the moon during night. Thus all the main characters of the romantic play As You Like It are in fact unromantic. It is therefore wrong to call it as a romantic comedy. Thus, James Smith, one of the great exponents of formalistic criticism analyses Shakesperean play As You Like It.

DEATH OF THE AUTHOR – ROLAND BARTHES

            The Death of the Author is a 1967 essay by the French literary critic and theorist Roland Barthes. Barthes’s essay argues against traditional literary criticism’s practice of incorporating the intentions and biographical context of an author in an interpretation of a text and instead argues that writing and creator are unrelated.

            The essay’s first English language publication was in the American journal Aspen in 1967; the French debut was in the magazine Manteia. The essay later appeared in an anthology of Barthes’s essays Image-Music-Text (1977).

            In his essay, Barthes argues against the method of reading and criticism that relies on aspects of the author’s identity – her/his political views, historical context, religion, ethnicity, psychology, or other biographical or personal attributes – to distill meaning from the author’s work. In this type of criticism, the experiences and biases of the author serves as a definitive “explanation” of the text. For Barthes, this method of reading may be apparently tidy and convenient but is actually sloppy and flawed: “To give a text an author” and assign a single, corresponding interpretation to it” is to impose a limit on the text”.

            Readers must thus separate a literary work from its creator in order to liberate the text from interpretive tyranny ( a notion similar to Erich Allerbach’s discussion of narrative tyranny in Biblical Parables). Each piece of writing contains multiple layer and meanings. In a well-known quotation, Barthes draws an analogy between text and textiles, declaring that a “text is a tissue or fabric of quotations”, drawn from “innumerable centres of cultures, rather than from one, individual experience. The essential meaning of a work depends on the impressions of the reader, rather than the ‘passions’ or ‘tastes’ of the writer, “ a text’s unity lies not in its origins’, or its creator, but in its destination”, or its audience.

            No longer the focus of creative influence, the author is merely a “scripter”. The scripter exists to produce but not to explain the work and is born simultaneously with the text, is in no way equipped with a being preceding or exceeding the writing, and is not the subject with the book as predicate. “Every work is eternally written here and now”, with each re-reading, because the “origin” of meaning lies exclusively in language itself” and its impressions on the reader.

            Barthes notes that the traditional critical approach to literature raises a thorny problem: how can we detect precisely what the writer intended? His answer is that we cannot. He introduces this notion in epigraph to the essay, taken from Honore de Balzae’s story Sarrasine in which a male protagonist mistakes a Castrato for a woman and falls in love with him. When, in the passage, the character dotes over his perceived womanliness. Barthes challenged his own readers to determine who is speaking, and about what. Is it Balzac the author professing ‘literary ideas on femininity? Is it universal wisdom? Romantic psychology?...... We can never know. 

“writing” – the destruction of every voice,” defies adherence to a single interpretation or perspective. 

            Acknowledging the presence of this idea or variations of it in the works of previous writers. Barthes cited in his essay the poet Stephane Mallarme who said that “it is language which speaks”. He also recognized Marcel Proust as being concerned with the task of inexorably blurring….the relation between the writer and his characters;” the surrealist movement for employing the practice of “automatic writing” to express “what the head itself is unaware of” and the field of linguistics as a discipline for “showing that the whole of enunciation is an empty process”. Barthes’s articulation of the death of the author is a radical and drastic recognition of this severing of authority and authorship. Instead of discovering a ‘single theological’ meaning ( the ‘message’ of the author-god) readers of a text discover that writing in reality, constitutes “a multi-dimensional space” which cannot be deciphered,” only disentangled, refusing to assign a secret, ultimate meaning to text liberates what may called an anti-theological activity, an activity that is truly revolutionary since to refuse meaning is, in the end, to refuse God and his hypostases – reason, science, law.  

SOCIOLOGICAL CRITICISM

            Sociological criticism is not a 20^th century development. It dates back to 18^th century. Adopting the sociological approach Vico, a perceptive critic of the 18^th century, made a thorough study of the Greek poet Homer’s epics. He highlighted the social conditions which went into the composition of Homer’s epics. During the 19^th century, the German Critic Herder and the French Critic Taine advocated the sociologica approach.

            Taine stressed the importance of three forces – the race, the milieu and the moment – which influence a writer.

           

By “race” Taine means the hereditary temperament and the disposition of a people. He asserts that people belonging to a particular race have in common a mental structure which makes them different from other races.

            By “milieu” Taine means the combined influence of surrounding, climate, physical environment, political institutions, social conditions and the like on man. Man is not alone in the world. Nature surrounds him and his fellowmen surround him. Climate too has an effect on man.

            By “moment” Taine means the spirit of the times or the period. A writer is influenced by the dominant ideas of his times or epoch.

            By using these three forces or sources a critic can interpret literary works in a proper light. This method advocated by Taine influenced the study of literature.

            Sociological theory regards the individual writer as a product of his race, milieu and epoch.

            Sociological criticism is based on the fact that there is a vita relationship between art and the society in which the artist lives. According to the advocates of sociological criticism “the time and space in which the artist is fixed shape his thinking and genius”. So a study of the relationship between art and society will deepen our aesthetic response to a work of art.

            “Art is not created in a vacuum. It is a work not simply of a person but of an author fixed in time and space, answering to a community of which he is an important articulate part”, says Wilbur Scott. A work of art can best be understood only with reference to its sociological background. Pope and Swift can never be understood without a basic knowledge of the controversies of their time. The relations between literature and society are reciprocal. The writer, in addition to reproducing life, sometimes shapes it, even changes it totally. In France people were influenced by the writings of Rousseau. His writings highlighted the human rights. It resulted in the French Revolution. The Romantic poets in England too were influenced by the writings of Rousseau and also by the French Revolution. Dickens wrote A Tale of Two Cities. Writers are influenced by the society and in turn they influence the society.

            A book appeals better when read against the society cultural background and widens the knowledge. The American writers respond to any problem existentially with the vein of rootlessness covering in it. Shakespeare’s plays are the consequences of his race and milieu yet universal in appeal.

            Sociological approach is wholly contradictory to the Formalistic Criticism or the Formalistic Approach to which everything is intrinsic. The external forces play a major role in sociological approach but the same become a limitation. As long as literature maintains its bond with society, the sociological approach will continue to be a vigorous force of criticism.

            Marxist approach is an offshoot of sociological criticism. Marxist criticism attaches primary importance to the economic conditions of society. It relegates to the background such factors as religion, culture, art, etc,. Marxist criticism values only those writers who either reflect or remedy the economic ills in society. Marxist criticism arose when the economy of Europe broke down on account of the First World War.

            According to Marxists, a work of art should portray social realism. Any literary work that ignores the sufferings of the working class people, the have-nots and the down trodden is not literature. Modern writers pay attention to solitariness of human beings and that does not constitute literature. Human beings are expected to establish good relationship among themselves. But most modern writers portray men as “asocial” living in ivory towers and looking down upon the have-nots.

            The Marxist critics attack all modernist writers because they portray men living in isolation. They attack James Joyce who gives importance to technique. These modernist writers pay attention to trivial things.

PSYCHOANALYTIC CRITICISM

            The Concise Oxford Dictionary defines “psychoanalysis” as a form of therapy which aims to cure mental disorders by investigating the interaction of Conscious and Unconscious elements in the mind. Psychoanalytic criticism uses some of the concepts and techniques of psychoanalysis in the interpretation of literature.

            Sigmund Freud, an Austrian psychologist, is the first to develop the techniques of psychoanalysis and his ideas, in turn, have greatly influenced various disciplines. According to Freud, all our activities are prompted by a wish for pleasure. This is what he calls pleasure principle. He divides the human mind into three psychic zones – Id, Ego and Super-ego.

Id is the source of all instinctive energy and is the great reservoir of libido. Libido is the sexual energy or the prime psychic force. It is the region of passions and instincts. It is dominated by the pleasure principle. It is amoral, asocial and illogical. It has neither plan nor unity of purpose. All repressed impulses become merged into it.

Ego stands for realistic principle. It is rational and of governing nature. It prompts a person to be tactful and pragmatic. The chief functions of the Ego are to allow harmless gratification of the urges of the Id and to induce the Id to renounce, modify or postpone such gratification if it seems necessary. Though it is in control of the Id, the Ego does not succeed in suppressing all urges emanating from the Id.

The Super-ego stands for a perfection principle or a moral principle. It will not allow anything that does not have moral or social sanction. The Super-ego tries to destroy the instincts of the Id. The primary function of Super-ego is criticism and it creates in the Ego an unconscious sense of guilt. It is also the depository of all previous experiences including the purely instinctive ones.

Freud has written elaborately on the connection between art and neurosis. According to him, the repressed impulses, desires and wishes which are the contents of the Id appear in dream of wish fulfillment. He says that every writer is a neurotic. He succeeds in resolving his complexes by works of creation and attains a sense of release. The value of his work lies in the fact that it helps other people to realize their own conflicts and deal with them. It is also possible that the artist reflects the neurosis of his age in his work.

Freud considers dreams as the main outlet for repressed desires. Literature is considered to be something like dreams because literature, like dreams, communicates symbolically. According to Freud, literature is the “return of the repressed”. A literary piece is taken as the conscious (or the overt) and the interpretation of the “covert” or the unconscious is the aim of the psychoanalytic criticism. The unconscious is that of the author or the characters in the work and unveiling the psycho drama is the function of psycho-analytic criticism.

For example, hakespeare’s Hamlet has been studied from the psycho-analytic point of view. It has been argued that Hamlet has an Oedipus complex, a repressed desire for his own mother and a wish to remove his father. Hamlet’s uncle has done what Hamlet himself wishes to do, and as a result he is unable to take revenge on his uncle. This accounts for Hamlet’s dilemma and delay.

MOBY DICK – OBJECTIVE QUESTIONS

1.      “Call me Ishmael” – this is  the opening line of ……….

2.      Who is the  narrator of the novel?

3.      Before becoming a Sailor, Ishmael was a …………..

4.      Who is the only survivor at the end of the novel?

5.      Moby Dick deals with………..

6.      the name of the ship on which Ishmael started his voyage is ………….

7.      The voyage of pequod started on ………

8.      Pequod was to undertake it’s voyage under the command of ………

9.      Who were owners of pequod?

10.  Ahab told the crews that any one who found the white whale will be given ………..

11.  The subtitle of Moby-Dick is ………..

12.  What is Gam?

13.  Who is nicknamed as King-post?

14.  Who is responsibility for the lose of Ahab’s one leg?

15.  Ahab had hidden five members of his private crew. Who was the head of the five?

16.  What is/are the prominent features of Moby-Dick?

17.  When Herman Melville explains about the monstrous picture of whales, he refers …….

18.  The most ancient extant portray of a whale is to be found in ………

19.  The name of the blacksmith on the pequod is …….

20.  Ishmael was rescued by the searching ship named ………

21.  Fedallah was a ……………

22.  The Pequod was…….. at the end of the novel.

23.  Sir Peter believed that his wife Lady Teazle had illicit love with ……..

24.  The owner of Souter Inn is ………

25.  In Spoute inn Ishmael shared his room with …………

26.  The name of ship pequod was derived from a well tribe of ……….

27.  The voyage was intended for at least………..

28.  Who was the chief mate among the three mates?

29.  The ship pequod was compared to ……….when it had sunk.

30.  Who wanted the carpenter to make a coffin for him when he was alive.

31.  In which inn does Ishmael stay while in New Bedford?

32.  Which character does Ishmael describe as “neither caterpillar not butterfly”?

33.  What is Ishmael’s reason for signing up for a whaling voyage?

34.  To which historical person does Ishmael compare Queequeg?

35.  What happens after Ahab kicks Stubb in the leg?

36.  Why is the hawk considered an ill omen?

37.  Write characters properly matched with his ethnicity?

38.  Which character chooses to rob the Rosebed of their whales for their ambergris?

39.  Which ship is a British whaling ship?

40.  Which character is the only survivor from the pequod?

41.  What is the importance of the color of the whale?

42.  What the terms does Ishmael use to describe Queequeg?

43.  Why does the Pequod pursue and kill a Right Whale?

44.  Which character leads a mutiny on his ship?

45.  Which character nearly dies when he falls into the whale’s tun?

46.  Who does Ishmael consider to be the first whaleman?

47.  Which character is described as having “drowned the infinite of his soul”?

48.  What does Ahab promise to whoever first spots Moby Dick?

49.  What reason does Queequeg give for his newfound good health?

50.  What is the significance of the epilogue?

51.  What is the significance of the picture in the Spouter Inn?

52.  From where does the Pequod first set sail?

53.  What is Ishmael’s opinion of Queequeg’s Ramadan?

54.  What little wooden idol does Queequeg worship?

55.  What is the pulpit of the Seaman’s Bethel shaped like in the book?

56.  Who are the owners of the pequod?

57.  Besides Starbuck, who are the other two mates?

58.  Who are Queequeg’s fellow harpooners?

59.  What other characters are black besides Dagoo?

60.  What is the first ship the pequod meets?

61.  Which leg of Ahab’s was lost to Moby?

62.  Who does Queequeg rescue from the head of a sperm whale?

63.  What does Stubb discover in the bowels of a killed whale?

64.  What was the French whaler the pequod visited?

65.  What unusual part of a whale’s anatomy is hauled up on the pequod?

66.  Where does the Samuel Enderby comes from?

67.  what does Ahab temper his new harpoon with?

68.  Which whaleship is looking for its captain’s lost son?

69.  What do Ahab and the crew see during a storm?

70.  Who first sees Moby Dick?

71.  After Moby Dick destroys the pequod and kills Ahab and the rest of the crew, what saves Ishmael?

72.  What was the ship that rescued Ishmael?

73.  Melville, like this character from his novel Typee jumped ship and lived with the cannibals.

74.  A one time school teacher, this sailor reasons that idol worship is in accord with the golden rule.

75.  “He was on the whole a clean, comely looking cannibal” who said?

76.  “He lived in the world as the last of the Grisly bears lived in settled Missouri”?

77.  He is pitiably respectable and intends no insolence, and yet he would prefer not”.

78.  This unblest foundling is a great artist wrapped in lofty schemes”.

79.  “He is cleanly cut as a Greek medallion and has silken jet curls and a foreign accent”.

80.  “He is blonde, with a rosy complexion, and looks like a statue of young Adam before the fall”.

81.  “This small, rude faced man in wide trousers asks, “From its skeleton, can you tell it is a white man’s?”

82.  What was Ahab’s false leg made of?

83.  What was the name of the ship that hunted The Whale to the end?

84.  Where did Ishmael and Queequeg share a room before their ship set sail?

85.  Who killed the first whale?

86.  How many survived the encounter with Moby Dick?

87.  The captain of The Rachel was searching for his lost son when he came upon a survivor. Who was rescued?

88.  Ishmael and Queequeg feasted on a warm Clam Chowder at which Restaurant?

89.  Melville wrote Moby Dick or The Whale in what year?

S. no	Answers
1.	Moby-Dick
2.	Ishmael
3.	School Master
4.	Ishmael
5.	Cetology (Study of whales)
6.	Pequod
7.	Christmas day
8.	Ahab
9.	Captain Bildad and Captain Peleg
10.	A gold coin (values 16 dollars)
11.	The White Whale
12.	Social meeting of two whaling ships
13.	Flasked, Starbuck
14.	The White Whale
15.	Fedallah
16.	He possessed a snow white wrinkled forehead
17.	Matse Avtar of Vishnu
18.	India
19.	Perth
20.	Rachel
21.	Parsee
22.	Sent to England
23.	Charles Surface
24.	Peter Coffin
25.	Queequeg
26.	Massachustts endian
27.	3 years
28.	Flask
29.	Satan
30.	Queequeg
31.	The Spouter
32.	Queequeg
33.	He thinks that going to sea provides fresh exercise
34.	George Washington
35.	Stubb has a strange dream about the incident.
36.	The hawk does not return Ahab’s hat.
37.	Fedallah: Persian, Daggoo: African, Tashtego: American Indian
38.	Starbuck
39.	The Samuel Enderby
40.	Ishmael
41.	It is not a colour, in fact, but is in fact the absence of colour.
42.	Agent
43.	It is good luck to have the head of a Right Whale and a sperm Whale on the sides of a ship.
44.	Gabriel
45.	Tashtego
46.	Perseus
47.	Pippin
48.	A Gold doubloon
49.	He makes up his mind to cure himself.
50.	It explains a seeming inconsistency in the narration.
51.	It illustrates a theme of the novel by blurring the line between the whale and the whaling boat.
52.	Nantucket
53.	He feels that it is nonsense and bad for health.
54.	Yojo
55.	A ship’s prow.
56.	Bildad and Peleg
57.	Stubb and Flask
58.	Daggo and Tashtego
59.	Pip and the cook
60.	Albatross
61.	Never specified.
62.	Tashtego
63.	Ambergris
64.	Rosebed
65.	Its penis
66.	England
67.	Blood
68.	The Rachel
69.	St. Elmo’s Fire
70.	Ahab
71.	Queequeg’s coffin
72.	Rachel
73.	Tommo
74.	Queequeg
75.	Queequeg
76.	Ahab
77.	Bartleby
78.	Bannadonna
79.	John Claggart
80.	Billy Budd
81.	Babo
82.	Whale Bone
83.	Pequod
84.	Spouter Inn
85.	Stubb
86.	1
87.	Ishmael
88.	The Try Pots
89.	1851