Typee: A Romance of the South Sea Page 2

  I have been told by Dr. Coan that his father, the Rev. Titus Coan, of the Hawaiian Islands, personally visited the Marquesas group, found the Typee Valley, and verified in all respects the statements made in 'Typee.' It is known that Mr. Melville from early manhood indulged deeply in philosophical studies, and his fondness for discussing such matters is pointed out by Hawthorne also, in the 'English Note Books.' This habit increased as he advanced in years, if possible.

  The chief event of the residence in Pittsfield was the completion and publication of 'Moby Dick; or, the Whale,' in 1851. How many young men have been drawn to sea by this book is a question of interest. Meeting with Mr. Charles Henry Webb ('John Paul') the day after Mr. Melville's death, I asked him if he were not familiar with that author's writings. He replied that 'Moby Dick' was responsible for his three years of life before the mast when a lad, and added that while 'gamming' on board another vessel he had once fallen in with a member of the boat's crew which rescued Melville from his friendly imprisonment among the Typees.

  While at Pittsfield, besides his own family, Mr. Melville's mother and sisters resided with him. As his four children grew up he found it necessary to obtain for them better facilities for study than the village school afforded; and so, several years after, the household was broken up, and he removed with his wife and children to the New York house that was afterwards his home. This house belonged to his brother Allan, and was exchanged for the estate at Pittsfield. In December, 1866, he was appointed by Mr. H. A. Smyth, a former travelling companion in Europe, a district officer in the New York Custom House. He held the position until 1886, preferring it to in-door clerical work, and then resigned, the duties becoming too arduous for his failing strength.

  In addition to his philosophical studies, Mr. Melville was much interested in all matters relating to the fine arts, and devoted most of his leisure hours to the two subjects. A notable collection of etchings and engravings from the old masters was gradually made by him, those from Claude's paintings being a specialty. After he retired from the Custom House, his tall, stalwart figure could be seen almost daily tramping through the Fort George district or Central Park, his roving inclination leading him to obtain as much out-door life as possible. His evenings were spent at home with his books, his pictures, and his family, and usually with them alone; for, in spite of the melodramatic declarations of various English gentlemen, Melville's seclusion in his latter years, and in fact throughout his life, was a matter of personal choice. More and more, as he grew older, he avoided every action on his part, and on the part of his family, that might tend to keep his name and writings before the public. A few friends felt at liberty to visit the recluse, and were kindly welcomed, but he himself sought no one. His favorite companions were his grandchildren, with whom he delighted to pass his time, and his devoted wife, who was a constant assistant and adviser in his literary work, chiefly done at this period for his own amusement. To her he addressed his last little poem, the touching 'Return of the Sire de Nesle.' Various efforts were made by the New York literary colony to draw him from his retirement, but without success. It has been suggested that he might have accepted a magazine editorship, but this is doubtful, as he could not bear business details or routine work of any sort. His brother Allan was a New York lawyer, and until his death, in 1872, managed Melville's affairs with ability, particularly the literary accounts.

  During these later years he took great pleasure in a friendly correspondence with Mr. W. Clark Russell. Mr. Russell had taken many occasions to mention Melville's sea-tales, his interest in them, and his indebtedness to them. The latter felt impelled to write Mr. Russell in regard to one of his newly published novels, and received in answer the following letter: July 21, 1886.

  MY DEAR Mr. MELVILLE, Your letter has given me a very great and singular pleasure. Your delightful books carry the imagination into a maritime period so remote that, often as you have been in my mind, I could never satisfy myself that you were still amongst the living. I am glad, indeed, to learn from Mr. Toft that you are still hale and hearty, and I do most heartily wish you many years yet of health and vigour.

  Your books I have in the American edition. I have 'Typee, 'Omoo,' 'Redburn,' and that noble piece 'Moby Dick.' These are all I have been able to obtain. There have been many editions of your works in this country, particularly the lovely South Sea sketches; but the editions are not equal to those of the American publishers. Your reputation here is very great. It is hard to meet a man whose opinion as a reader is worth leaving who does not speak of your works in such terms as he might hesitate to employ, with all his patriotism, toward many renowned English writers.

  Dana is, indeed, great. There is nothing in literature more remarkable than the impression produced by Dana's portraiture of the homely inner life of a little brig's forecastle.

  I beg that you will accept my thanks for the kindly spirit in which you have read my books. I wish it were in my power to cross the Atlantic, for you assuredly would be the first whom it would be my happiness to visit.

  The condition of my right hand obliges me to dictate this to my son; but painful as it is to me to hold a pen, I cannot suffer this letter to reach the hands of a man of so admirable genitis as Herman Melville without begging him to believe me to be, with my own hand, his most respectful and hearty admirer, W. Clark Russell.

  It should be noted here that Melville's increased reputation in England at the period of this letter was chiefly owing to a series of articles on his work written by Mr. Russell. I am sorry to say that few English papers made more than a passing reference to Melville's death. The American press discussed his life and work in numerous and lengthy reviews. At the same time, there always has been a steady sale of his books in England, and some of them never have been out of print in that country since the publication of 'Typee.' One result of this friendship between the two authors was the dedication of new volumes to each other in highly complimentary terms-Mr. Melville's 'John Marr and Other Sailors,' of which twenty-five copies only were printed, on the one hand, and Mr. Russell's 'An Ocean Tragedy,' on the other, of which many thousand have been printed, not to mention unnumbered pirated copies.

  Beside Hawthorne, Mr. Richard Henry Stoddard, of American writers, specially knew and appreciated Herman Melville. Mr. Stoddard was connected with the New York dock department at the time of Mr. Melville's appointment to a custom-house position, and they at once became acquainted. For a good many years, during the period in which our author remained in seclusion, much that appeared in print in America concerning Melville came from the pen of Mr. Stoddard. Nevertheless, the sailor author's presence in New York was well known to the literary guild. He was invited to join in all new movements, but as often felt obliged to excuse himself from doing so. The present writer lived for some time within a short distance of his house, but found no opportunity to meet him until it became necessary to obtain his portrait for an anthology in course of publication. The interview was brief, and the interviewer could not help feeling although treated with pleasant courtesy, that more important matters were in hand than the perpetuation of a romancer's countenance to future generations; but a friendly family acquaintance grew up from the incident, and will remain an abiding memory.

  Mr. Melville died at his home in New York City early on the morning of September 28, 1891. His serious illness had lasted a number of months, so that the end came as a release. True to his ruling passion, philosophy had claimed him to the last, a set of Schopenhauer's works receiving his attention when able to study; but this was varied with readings in the 'Mermaid Series' of old plays, in which he took much pleasure. His library, in addition to numerous works on philosophy and the fine arts, was composed of standard books of all classes, including, of course, a proportion of nautical literature. Especially interesting are fifteen or twenty first editions of Hawthorne's books inscribed to Mr. and Mrs. Melville by the author and his wife.

  The immediate acceptance of 'Typee' by John Murray was followed by
an arrangement with the London agent of an American publisher, for its simultaneous publication in the United States. I understand that Murray did not then publish fiction. At any rate, the book was accepted by him on the assurance of Gansevoort Melville that it contained nothing not actually experienced by his brother. Murray brought it out early in 1846, in his Colonial and Home Library, as 'A Narrative of a Four Months' Residence among the Natives of a Valley of the Marquesas Islands; or, a Peep at Polynesian Life,' or, more briefly, 'Melville's Marquesas Islands.' It was issued in America with the author's own title, 'Typee,' and in the outward shape of a work of fiction. Mr. Melville found himself famous at once. Many discussions were carried on as to the genuineness of the author's name and the reality of the events portrayed, but English and American critics alike recognised the book's importance as a contribution to literature.

  Melville, in a letter to Hawthorne, speaks of himself as having no development at all until his twenty-fifth year, the time of his return from the Pacific; but surely the process of development must have been well advanced to permit of so virile and artistic a creation as 'Typee.' While the narrative does not always run smoothly, yet the style for the most part is graceful and alluring, so that we pass from one scene of Pacific enchantment to another quite oblivious of the vast amount of descriptive detail which is being poured out upon us. It is the varying fortune of the hero which engrosses our attention. We follow his adventures with breathless interest, or luxuriate with him in the leafy bowers of the 'Happy Valley,' surrounded by joyous children of nature. When all is ended, we then for the first time realise that we know these people and their ways as if we too had dwelt among them.

  I do not believe that 'Typee' will ever lose its position as a classic of American Literature. The pioneer in South Sea romance-for the mechanical descriptions of earlier voyagers are not worthy of comparison-this book has as yet met with no superior, even in French literature; nor has it met with a rival in any other language than the French. The character of 'Fayaway,' and, no less, William S. Mayo's 'Kaloolah,' the enchanting dreams of many a youthful heart, will retain their charm; and this in spite of endless variations by modern explorers in the same domain. A faint type of both characters may be found in the Surinam Yarico of Captain John Gabriel Stedman, whose 'Narrative of a Five Years' Expedition' appeared in 1796.

  'Typee,' as written, contained passages reflecting with considerable severity on the methods pursued by missionaries in the South Seas. The manuscript was printed in a complete form in England, and created much discussion on this account, Melville being accused of bitterness; but he asserted his lack of prejudice. The passages referred to were omitted in the first and all subsequent American editions. They have been restored in the present issue, which is complete save for a few paragraphs excluded by written direction of the author. I have, with the consent of his family, changed the long and cumbersome sub-title of the book, calling it a 'Real-Romance of the South Seas,' as best expressing its nature.

  The success of his first volume encouraged Melville to proceed in his work, and 'Omoo,' the sequel to 'Typee,' appeared in England and America in 1847. Here we leave, for the most part, the dreamy pictures of island life, and find ourselves sharing the extremely realistic discomforts of a Sydney whaler in the early forties. The rebellious crew's experiences in the Society Islands are quite as realistic as events on board ship and very entertaining, while the whimsical character, Dr. Long Ghost, next to Captain Ahab in 'Moby Dick,' is Melville's most striking delineation. The errors of the South Sea missions are pointed out with even more force than in 'Typee,' and it is a fact that both these books have ever since been of the greatest value to outgoing missionaries on account of the exact information contained in them with respect to the islanders.

  Melville's power in describing and investing with romance scenes and incidents witnessed and participated in by himself, and his frequent failure of success as an inventor of characters and situations, were early pointed out by his critics. More recently Mr. Henry S. Salt has drawn the same distinction very carefully in an excellent article contributed to the Scottish Art Review. In a prefatory note to 'Mardi' (1849), Melville declares that, as his former books have been received as romance instead of reality, he will now try his hand at pure fiction. 'Mardi' may be called a splendid failure. It must have been soon after the completion of 'Omoo' that Melville began to study the writings of Sir Thomas Browne. Heretofore our author's style was rough in places, but marvellously simple and direct. 'Mardi' is burdened with an over-rich diction, which Melville never entirely outgrew. The scene of this romance, which opens well, is laid in the South Seas, but everything soon becomes overdrawn and fantastical, and the thread of the story loses itself in a mystical allegory.

  'Redburn,' already mentioned, succeeded 'Mardi' in the same year, and was a partial return to the author's earlier style. In 'White-Jacket; or, the World in a Man-of-War' (1850), Melville almost regained it. This book has no equal as a picture of life aboard a sailing man-of-war, the lights and shadows of naval existence being well contrasted.

  With 'Moby Dick; or, the Whale' (1851), Melville reached the topmost notch of his fame. The book represents, to a certain extent, the conflict between the author's earlier and later methods of composition, but the gigantic conception of the 'White Whale,' as Hawthorne expressed it, permeates the whole work, and lifts it bodily into the highest domain of romance. 'Moby Dick' contains an immense amount of information concerning the habits of the whale and the methods of its capture, but this is characteristically introduced in a way not to interfere with the narrative. The chapter entitled 'Stubb Kills a Whale' ranks with the choicest examples of descriptive literature.

  'Moby Dick' appeared, and Melville enjoyed to the full the enhanced reputation it brought him. He did not, however, take warning from 'Mardi,' but allowed himself to plunge more deeply into the sea of philosophy and fantasy.

  'Pierre; or, the Ambiguities' (1852) was published, and there ensued a long series of hostile criticisms, ending with a severe, though impartial, article by Fitz-James O'Brien in Putnam's Monthly. About the same time the whole stock of the author's books was destroyed by fire, keeping them out of print at a critical moment; and public interest, which until then had been on the increase, gradually began to diminish.

  After this Mr. Melville contributed several short stories to Putnam's Monthly and Harper's Magazine. Those in the former periodical were collected in a volume as Piazza Tales (1856); and of these 'Benito Cereno' and 'The Bell Tower' are equal to his best previous efforts.

  'Israel Potter: His Fifty Years of Exile' (1855), first printed as a serial in Putnam's, is an historical romance of the American Revolution, based on the hero's own account of his adventures, as given in a little volume picked up by Mr. Melville at a book-stall. The story is well told, but the book is hardly worthy of the author of 'Typee.' 'The Confidence Man' (1857), his last serious effort in prose fiction, does not seem to require criticism.

  Mr. Melville's pen had rested for nearly ten years, when it was again taken up to celebrate the events of the Civil War. 'Battle Pieces and Aspects of the War' appeared in 1866. Most of these poems originated, according to the author, in an impulse imparted by the fall of Richmond; but they have as subjects all the chief incidents of the struggle. The best of them are 'The Stone Fleet,' 'In the Prison Pen,' 'The College Colonel,' 'The March to the Sea,' 'Running the Batteries,' and 'Sheridan at Cedar Creek.' Some of these had a wide circulation in the press, and were preserved in various anthologies. 'Clarel, a Poem and Pilgrimage in the Holy Land' (1876), is a long mystical poem requiring, as some one has said, a dictionary, a cyclopaedia, and a copy of the Bible for its elucidation. In the two privately printed volumes, the arrangement of which occupied Mr. Melville during his last illness, there are several fine lyrics. The titles of these books are, 'John Marr and Other Sailors' (1888), and 'Timoleon' (1891).

  There is no question that Mr. Melville's absorption in philosophical studies was quite a
s responsible as the failure of his later books for his cessation from literary productiveness. That he sometimes realised the situation will be seen by a passage in 'Moby Dick':-

  'Didn't I tell you so?' said Flask. 'Yes, you'll soon see this right whale's head hoisted up opposite that parmacetti's.'

  'In good time Flask's saying proved true. As before, the Pequod steeply leaned over towards the sperm whale's head, now, by the counterpoise of both heads, she regained her own keel, though sorely strained, you may well believe. So, when on one side you hoist in Locke's head, you go over that way; but now, on the other side, hoist in Kant's and you come back again; but in very poor plight. Thus, some minds forever keep trimming boat. Oh, ye foolish! throw all these thunderheads overboard, and then you will float right and light.'

  Mr. Melville would have been more than mortal if he had been indifferent to his loss of popularity. Yet he seemed contented to preserve an entirely independent attitude, and to trust to the verdict of the future. The smallest amount of activity would have kept him before the public; but his reserve would not permit this. That reinstatement of his reputation cannot be doubted.

  In the editing of this reissue of 'Melville's Works,' I have been much indebted to the scholarly aid of Dr. Titus Munson Coan, whose familiarity with the languages of the Pacific has enabled me to harmonise the spelling of foreign words in 'Typee' and 'Omoo,' though without changing the phonetic method of printing adopted by Mr. Melville. Dr. Coan has also been most helpful with suggestions in other directions. Finally, the delicate fancy of La Fargehas supplemented the immortal pen-portrait of the Typee maiden with a speaking impersonation of her beauty.