CHAPTER 1: LITERATURE: WHAT IS IT?

The Value of Literature 

What is literature?

Literature is traditionally described as the body of writing that exists because of its inherent imaginative and artistic qualities. In Rosenblatt's term, writing that we live through as we read it and writing that is primarily scientific, intellectual, or philosophical often wavers; we read these different kinds of texts for different purposes, expecting to come away with different kinds of knowledge.

Louise Rosenblatt

https://en.wikipedia.org/wiki/Louise_Rosenblatt

Louise Michelle Rosenblatt (23 August 1904 in Atlantic City, New Jersey – 8 February 2005 in Arlington, Virginia) was an American university professor. She is best known as a researcher into the teaching of literature.

Research and contributions[edit]

When Rosenblatt began teaching English Literature at Barnard, she developed an intense interest in each reader's unique response to a given text. Her views regarding literacy were influenced by John Dewey,^[2] who was in the philosophy department at Columbia in the 1930s, as well as Charles Sanders Peirce and William James.

She is best known for her influential texts Literature as Exploration (1938) and The Reader, The Text, The Poem: The Transactional Theory of the Literary Work(1978), in which she argues that the act of reading literature involves a transaction between the reader and the text. She argued that the meaning of any text lay not in the work itself but in the reader's interaction with it, whether it was a play by Shakespeare or a novel by Toni Morrison. Her work made her a well-known reader-response theorist. In her view, each "transaction" is a unique experience in which the reader and text continuously act and are acted upon by each other. A written work (often referred to as a "poem" in her writing) does not have the same meaning for everyone, as each reader brings individual background knowledge, beliefs, and context into the reading act. Rosenblatt's idea of the reading process, however, does not lead to all readings being equally accurate. For the reader's part, he or she must pay close attention to every detail of the text and pay equal attention to his or her own responses. This process exemplifies not only reader-response criticism but also close reading.

Additionally, Rosenblatt distinguished between two kinds of reading, or "stances," which she viewed on a continuum between "efferent" and "aesthetic." Efferent reading is the most common kind, in which the reader seeks to derive information from the text. The reader is concerned mainly or totally with the gist, the message, the information, he or she can "carry away," which is what "efferent" means, conducting away. Such a reader does not care about how the text is worded. In contrast, if a reader approaches a text seeking to enjoy its formal characteristics--its rhythms, its word choices, its images, its connotations--then that person is reading "aesthetically." Such a reader hopes to participate in an aesthetic experience, much like listening to a great musical composition or viewing a beautiful painting. That is what "aesthetic" means, perceiving something beautiful.

Why do adults pick up and read a novel or a collection of poetry? 

First, from Literature of any kind, we seek pleasure - not to find a lesson in ecology, not to be taught about the natural habitat of the Louisiana brown pelican or about the perils of global warming. We choose literature that promises entertainment and, sometimes, escape. If other discoveries come to us, too, we are pleased and doubly rewarded.  

Literature provides a second reward: understanding. This understanding comes from the exploration of the human condition and the revelation of human nature. It is the province of literature to observe and comments, to open individuals and their society for our observation and understanding. Until we are aware of temperament, anxieties, joys, and ambitions, we do not know that person. 

Third, Literature shows human motives for what they are, inviting the reader to identify with or react to a character. Throughthewriter'scarefulchoiceofdetailswecometosee clearly the motivation for action. Seeing motives we disapprove of, we distrust, or seeing a reflection of our own mistakes, we forgive. 

Forth, Literature provides vicarious experiences. Yet literature makes it possible for us to experience different times, places, and lives.  The vicarious experience of literature entices and leads us into meeting an artist-creator whose medium, words or brush strokes, we know;  whose subject, human nature, we live with; whose vision, life's meaning, we hope to understand. The writer's skill with words, like the artist's ability with shape, color, and line, gives us a pleasure we want to share - and an understand we have an urge to spread. 

Literature for children and Young Adults 

Children's literature provides visual worlds to enter into. Texture, color, shape, and line, along with shading, contrast, perspective, and balance- these are some of the elements that accomplished children's artists of our time work and play with as they create wonderful new and familiar words for us in photographs or watercolors, pen or ink, acrylic or gouache, collage or cartoon. Charlotte'sWeb is a beautiful story, and the drawings of the great Garth Williams enhance they way we understand Wilbur. 

Charlotte's Web

Plot summary

After her father spares the life of a piglet from slaughtering it as runt of the litter, a little girl named Fern Arable nurtures the piglet lovingly, naming him Wilbur. On greater maturity, Wilbur is sold to Fern's uncle, Homer Zuckerman, in whose barnyard he is left yearning for companionship but is snubbed by other barn animals, until befriended by a barn spider named Charlotte, living on a web overlooking Wilbur's enclosure. Upon Wilbur's discovery that he is intended for slaughter, she promises to hatch a plan guaranteed to spare his life. Accordingly, she secretly weaves praise of him into her web, attracting publicity among Zuckerman's neighbors who attribute the praise to divine intervention. As time passes, more inscriptions appear on Charlotte's webs, increasing his renown. Therefore, Wilbur is entered in the county fair, accompanied by Charlotte and the rat Templeton, whom she employs in gathering inspiration for her messages. There, Charlotte spins an egg sac containing her unborn offspring, and Wilbur, despite winning no prizes, is later celebrated by the fair's staff and visitors (thus made too prestigious alive to justify killing him). Exhausted apparently by laying eggs, Charlotte remains at the fair and dies shortly after Wilbur's departure. Having returned to Zuckerman's farm, Wilbur guards Charlotte's egg sac and is saddened further when the new spiders depart shortly after hatching. The three smallest remain, however. Pleased at finding new friends, Wilbur names the spiderlings Joy, Nellie, and Aranea, and the book concludes by mentioning that more generations of spiders kept him company in subsequent years.

Characters

• Wilbur is a rambunctious pig, the runt of his litter. He is often strongly emotional.

• Charlotte A. Cavatica, or simply Charlotte, is a spider who befriends Wilbur. In some passages, she is the heroine of the story.^[2]

• John Arable: Wilbur's first owner.

• Fern Arable, John's daughter, who adopts Wilbur in his infancy, and later visits him. She is the only human in the story capable of understanding nonhuman conversation.

• Templeton is a rat who helps Charlotte and Wilbur only when offered food. He serves as a somewhat caustic, self-serving comic relief to the plot.

• Avery Arable is the elder brother of Fern. Like Templeton, he is a source of comic relief.

• Homer Zuckerman is Fern’s uncle who keeps Wilbur in his barn. He has a wife, Edith, and an assistant named Lurvy.

• Other animals in Zuckerman’s barn, with whom Wilbur converses, are a disdainful lamb, a talkative goose, and an intelligent "old sheep".

• Henry Fussy is a boy of Fern’s age, of whom Fern becomes fond of.

• Dr. Dorian is the family physician/psychologist consulted by Fern's mother and something of a wise old man character.

• Uncle is a large pig whom Charlotte disdains for coarse manners and Wilbur’s rival at the fair.

New Books Depend on Old Books 

We plan to group classic books of both kinds - books that have worn well, attracting reader from on generation to the next, as well as books that have broken new ground, influencing other writers and artists of children's literature - in textsets of related children's book.  

Summary

Literature provides both pleasure and understanding.

–What are people like?

–Why are they like that?

–Why do they need?

–What makes them do what they do?

INTRODUCTION

Moby-Dick

https://en.wikipedia.org/wiki/Moby-Dick

Moby-Dick; or, The Whale is a novel by American writer Herman Melville, published in 1851 during the period of the American Renaissance. Sailor Ishmael tells the story of the obsessive quest of Ahab, captain of the whaler the Pequod, for revenge on Moby Dick, the white whale that on the previous whaling voyage bit off Ahab's leg at the knee. The novel was a commercial failure and out of print at the time of the author's death in 1891, but during the 20th century, its reputation as a Great American Novel was established. William Faulkner confessed he wished he had written it himself,^[1] and D. H. Lawrence called it "one of the strangest and most wonderful books in the world", and "the greatest book of the sea ever written".^[2] "Call me Ishmael" is among world literature's most famous opening sentences.^[3]

The product of a year and a half of writing, the book draws on Melville's experience at sea, on his reading in whaling literature, and on literary inspirations such as Shakespeare and the Bible. The white whale is modeled on the notoriously hard to catch actual albino whale Mocha Dick, and the ending is based on the sinking of the whaler Essex by a whale. The detailed and realistic descriptions of whale hunting and of extracting whale oil, as well as life aboard ship among a culturally diverse crew, are mixed with exploration of class and social status, good and evil, and the existence of God. In addition to narrative prose, Melville uses styles and literary devices ranging from songs, poetry, and catalogs to Shakespearean stage directions, soliloquies, and asides.

Dedicated to Nathaniel Hawthorne, "in token of my admiration for his genius", the work was first published as The Whale in London in October 1851, and under its definitive title in New York in November. Hundreds of differences, mostly slight and some important, are seen between the two editions. The London publisher censored or changed sensitive passages and Melville made revisions, as well, including the last-minute change in the title for the New York edition. The whale, however, appears in both editions as "Moby Dick", with no hyphen.^[4]

Because the British edition lacked the Epilogue, which accounts for Ishmael's survival, it seemed that the story was told by someone who was supposed to have perished. Many reviewers in British magazines recognized a violation of the rules of fiction and criticized the author for a serious flaw. Other reviewers, however, found the book too fascinating to dismiss it for these reasons. Some of the scornful British reviews were either reprinted or quoted in American periodicals, wrongfooting the American readers though the Epilogue was present in Moby-Dick. About 3,200 copies were sold during the author's life.

Plot[edit]

Voyage of the Pequod (illustrated by Everett Henry)

Ishmael travels in December from Manhattan Island to New Bedford with plans to sign up for a whaling voyage. The inn where he arrives is so crowded, he must share a bed with the tattooed Polynesian Queequeg, a harpooneer whose father was king of the (fictional) island of Rokovoko. The next morning, Ishmael and Queequeg attend Father Mapple's sermon on Jonah, then head for Nantucket. Ishmael signs up with the Quaker ship-owners Bildad and Peleg for a voyage on their whaler Pequod. Peleg describes Captain Ahab: "He's a grand, ungodly, god-like man" who nevertheless "has his humanities". They hire Queequeg the following morning. A man named Elijah prophesies a dire fate should Ishmael and Queequeg join Ahab. While provisions are loaded, shadowy figures board the ship. On a cold Christmas Day, the Pequod leaves the harbor.

Ishmael discusses cetology (the zoological classification and natural history of the whale), and describes the crew members. The chief mate is 30-year-old Starbuck, a Nantucket Quaker with a realist mentality, whose harpooneer is Queequeg; second mate is Stubb, from Cape Cod, happy-go-lucky and cheerful, whose harpooneer is Tashtego, a proud, pure-blooded Indian from Gay Head, and the third mate is Flask, from Martha's Vineyard, short, stout, whose harpooneer is Daggoo, a tall African, now a resident of Nantucket.

When Ahab finally appears on the quarterdeck, he announces he is out for revenge on the white whale which took one leg from the knee down and left him with a prosthesis fashioned from a whale's jawbone. Ahab will give the first man to sight Moby Dick a doubloon, a gold coin, which he nails to the mast. Starbuck objects that he has not come for vengeance but for profit. Ahab's purpose exercises a mysterious spell on Ishmael: "Ahab's quenchless feud seemed mine". Instead of rounding Cape Horn, Ahab heads for the equatorial Pacific Ocean via southern Africa. One afternoon, as Ishmael and Queequeg are weaving a mat — "its warp seemed necessity, his hand free will, and Queequeg's sword chance" — Tashtego sights a sperm whale. Immediately, five hidden figures appear whom Ahab has brought as his own boat crew. Their leader, Fedallah, a Parsee, is Ahab's harpooneer. The pursuit is unsuccessful.

Moby Dick

Southeast of the Cape of Good Hope, the Pequod makes the first of nine sea-encounters, or "gams", with other ships: Ahab hails the Goney (Albatross) to ask whether they have seen the White Whale, but the trumpet through which her captain tries to speak falls into the sea before he can answer. Ishmael explains that because of Ahab's absorption with Moby Dick, he sails on without the customary "gam", which defines as a "social meeting of two (or more) Whale-ships", in which the two captains remain on one ship and the chief mates on the other. In the second gam off the Cape of Good Hope, with the Town-Ho, a Nantucket whaler, the concealed story of a "judgment of God" is revealed, but only to the crew: a defiant sailor who struck an oppressive officer is flogged, and when that officer led the chase for Moby Dick, he fell from the boat and was killed by the whale.

Ishmael digresses on pictures of whales, brit (microscopic sea creatures on which whales feed), squid and — after four boats lowered in vain because Daggoo mistook a giant squid for the white whale — whale-lines. The next day, in the Indian Ocean, Stubb kills a sperm whale, and that night Fleece, the Pequod's black cook, prepares him a rare whale steak. Fleece delivers a sermon to the sharks that fight each other to feast on the whale's carcass, tied to the ship, saying that their nature is to be voracious, but they must overcome it. The whale is prepared, beheaded, and barrels of oil are tried out. Standing at the head of the whale, Ahab begs it to speak of the depths of the sea. The Pequod next encounters the Jeroboam, which not only lost its chief mate to Moby Dick, but also is now plagued by an epidemic.

The whale carcass still lies in the water. Queequeg mounts it, tied to Ishmael's belt by a monkey-rope as if they were Siamese twins. Stubb and Flask kill a right whale whose head is fastened to a yardarm opposite the sperm whale's head. Ishmael compares the two heads in a philosophical way: the right whale is Lockean, stoic, and the sperm whale as Kantean, platonic. Tashtego cuts into the head of the sperm whale and retrieves buckets of oil. He falls into the head, and the head falls off the yardarm into the sea. Queequeg dives after him and frees his mate with his sword.

The Pequod next gams with the Jungfrau from Bremen. Both ships sight whales simultaneously, with the Pequod winning the contest. The three harpooneers dart their harpoons, and Flask delivers the mortal strike with a lance. The carcass sinks, and Queequeg barely manages to escape. The Pequod's next gam is with the French whaler Bouton de Rose, whose crew is ignorant of the ambergris in the gut of the diseased whale in their possession. Stubb talks them out of it, but Ahab orders him away. Days later, an encounter with a harpooned whale prompts Pip, a little black cabin-boy from Alabama, to jump out of his whale boat. The whale must be cut loose, because the line has Pip so entangled in it. Furious, Stubb orders Pip to stay in the whale boat, but Pip later jumps again, and is left alone in the immense sea and has gone insane by the time he is picked up.

Cooled sperm oil congeals and must be squeezed back into liquid state; blubber is boiled in the try-pots on deck; the warm oil is decanted into casks, and then stowed in the ship. After the operation, the decks are scrubbed. The coin hammered to the main mast shows three Andes summits, one with a flame, one with a tower, and one a crowing cock. Ahab stops to look at the doubloon and interprets the coin as signs of his firmness, volcanic energy, and victory; Starbuck takes the high peaks as evidence of the Trinity; Stubb focuses on the zodiacal arch over the mountains; and Flask sees nothing of any symbolic value at all. The Manxman mutters in front of the mast, and Pip declines the verb "look".

Queequeg

The Pequod next gams with the Samuel Enderby of London, captained by Boomer, a down-to-earth fellow who lost his right arm to Moby Dick. Nevertheless, he carries no ill will toward the whale, which he regards not as malicious, but as awkward. Ahab puts an end to the gam by rushing back to his ship. The narrator now discusses the subjects of 1) whalers supply; 2) a glen in Tranque in the Arsacides islands full of carved whale bones, fossil whales, whale skeleton measurements; 3) the chance that the magnitude of the whale will diminish and that the leviathan might perish.

Leaving the Samuel Enderby, Ahab wrenches his ivory leg and orders the carpenter to fashion him another. Starbuck informs Ahab of oil leakage in the hold. Reluctantly, Ahab orders the harpooneers to inspect the casks. Queequeg, sweating all day below decks, develops a chill and soon is almost mortally feverish. The carpenter makes a coffin for Queequeg, who fears an ordinary burial at sea. Queequeg tries it for size, with Pip sobbing and beating his tambourine, standing by and calling himself a coward while he praises Queequeg for his gameness. Yet Queequeg suddenly rallies, briefly convalesces, and leaps up, back in good health. Henceforth, he uses his coffin for a spare seachest, which is later caulked and pitched to replace the Pequod's life buoy.

The Pequod sails northeast toward Formosa and into the Pacific Ocean. Ahab, with one nostril, smells the musk from the Bashee isles, and with the other, the salt of the waters where Moby Dick swims. Ahab goes to Perth, the blacksmith, with bag of racehorse shoenail stubs to be forged into the shank of a special harpoon, and with his razors for Perth to melt and fashion into a harpoon barb. Ahab tempers the barb in blood from Queequeg, Tashtego, and Daggoo.

The Pequod gams next with the Bachelor, a Nantucket ship heading home full of sperm oil. Every now and then, the Pequod lowers for whales with success. On one of those nights in the whaleboat, Fedallah prophesies that neither hearse nor coffin can be Ahab's, that before he dies, Ahab must see two hearses — one not made by mortal hands and the other made of American wood — that Fedallah will precede his captain in death, and finally that only hemp can kill Ahab.

As the Pequod approaches the Equator, Ahab scolds his quadrant for telling him only where he is and not where he will be. He dashes it to the deck. That evening, an impressive typhoon attacks the ship. Lightning strikes the mast, setting the doubloon and Ahab's harpoon aglow. Ahab delivers a speech on the spirit of fire, seeing the lightning as a portent of Moby Dick. Starbuck sees the lightning as a warning, and feels tempted to shoot the sleeping Ahab with a musket. Next morning, when he finds that the lightning disoriented the compass, Ahab makes a new one out of a lance, a maul, and a sailmaker's needle. He orders the log be heaved, but the weathered line snaps, leaving the ship with no way to fix its location.

The Pequod is now heading southeast toward Moby Dick. A man falls overboard from the mast. The life buoy is thrown, but both sink. Now Queequeg proposes that his superfluous coffin be used as a new life buoy. Starbuck orders the carpenter take care it is lidded and caulked. Next morning, the ship meets in another truncated gam with the Rachel, commanded by Captain Gardiner from Nantucket. The Rachel is seeking survivors from one of her whaleboats which had gone after Moby Dick. Among the missing is Gardiner's young son. Ahab refuses to join the search. Twenty-four hours a day, Ahab now stands and walks the deck, while Fedallah shadows him. Suddenly, a sea hawk grabs Ahab's slouched hat and flies off with it. Next, the Pequod, in a ninth and final gam, meets the Delight, badly damaged and with five of her crew left dead by Moby Dick. Her captain shouts that the harpoon which can kill the white whale has yet to be forged, but Ahab flourishes his special lance and once more orders the ship forward. Ahab shares a moment of contemplation with Starbuck. Ahab speaks about his wife and child, calls himself a fool for spending 40 years on whaling, and claims he can see his own child in Starbuck's eye. Starbuck tries to persuade Ahab to return to Nantucket to meet both their families, but Ahab simply crosses the deck and stands near Fedallah.

On the first day of the chase, Ahab smells the whale, climbs the mast, and sights Moby Dick. He claims the doubloon for himself, and orders all boats to lower except for Starbuck's. The whale bites Ahab's boat in two, tosses the captain out of it, and scatters the crew. On the second day of the chase, Ahab leaves Starbuck in charge of the Pequod. Moby Dick smashes the three boats that seek him into splinters and tangles their lines. Ahab is rescued, but his ivory leg and Fedallah are lost. Starbuck begs Ahab to desist, but Ahab vows to slay the white whale, even if he would have to dive through the globe itself to get his revenge.

Moby Dick

On the third day of the chase, Ahab sights Moby Dick at noon, and sharks appear, as well. Ahab lowers his boat for a final time, leaving Starbuck again on board. Moby Dick breaches and destroys two boats. Fedallah's corpse, still entangled in the fouled lines, is lashed to the whale's back, so Moby Dick turns out to be the hearse Fedallah prophesied. "Possessed by all the fallen angels", Ahab plants his harpoon in the whale's flank. Moby Dick smites the whaleboat, tossing its men into the sea. Only Ishmael is unable to return to the boat. He is left behind in the sea, and so is the only crewman of the Pequod to survive the final encounter. The whale now fatally attacks the Pequod. Ahab then realizes that the destroyed ship is the hearse made of American wood in Fedallah's prophesy. The whale returns to Ahab, who stabs at him again. The line loops around Ahab's neck, and as the stricken whale swims away, the captain is drawn with him out of sight. Queequeg's coffin comes to the surface, the only thing to escape the vortex when Pequod sank. For an entire day, Ishmael floats on it, and then the Rachel, still looking for its lost seamen, rescues him.

Structure[edit]

Point of view[edit]

Ishmael is the narrator, shaping his story with use of many different genres including sermons, stage plays, soliloquies, and emblematical readings.^[5] Repeatedly, Ishmael refers to his writing of the book: "'But how can I hope to explain myself here; and yet, in some dim, random way, explain myself I must, else all these chapters might be naught.'"^[6] Scholar John Bryant calls him the novel's "central consciousness and narrative voice."^[7] Bezanson first distinguishes Ishmael as narrator from Ishmael as character, whom he calls "forecastle Ishmael", and who is the younger Ishmael of some years ago. Narrator Ishmael, then, is "merely young Ishmael grown older."^[5] A second distinction avoids confusion of either of both Ishmaels with the author Herman Melville. Bezanson warns readers to "resist any one-to-one equation of Melville and Ishmael."^[8]

Chapter structure[edit]

According to critic Walter Bezanson, the chapter structure can be divided into "chapter sequences", "chapter clusters", and "balancing chapters". The simplest sequences are of narrative progression, then sequences of theme such as the three chapters on whale painting, and sequences of structural similarity, such as the five dramatic chapters beginning with "The Quarter-Deck" or the four chapters beginning with "The Candles". Chapter clusters are the chapters on the significance of the colour white, and those on the meaning of fire. Balancing chapters are chapters of opposites, such as "Loomings" versus the "Epilogue," or similars, such as "The Quarter-Deck" and "The Candles".^[9]

Scholar Lawrence Buell describes the arrangement of the non-narrative chapters as structured around three patterns: first, the nine meetings of the Pequod with ships that have encountered Moby Dick. Each has been more and more severely damaged, foreshadowing the Pequod's own fate. Second, the increasingly impressive encounters with whales. In the early encounters, the whaleboats hardly make contact; later there are false alarms and routine chases; finally, the massive assembling of whales at the edges of the China Sea in "The Grand Armada". A typhoon near Japan sets the stage for Ahab's confrontation with Moby Dick. The third pattern is the cetological documentation, so lavish that it can be divided into two subpatterns. These chapters start with the ancient history of whaling and a bibliographical classification of whales, getting closer with second-hand stories of the evil of whales in general and of Moby Dick in particular, a chronologically ordered commentary on pictures of whales. The climax to this section is chapter 57, "Of whales in paint etc.", which begins with the humble (a beggar in London) and ends with the sublime (the constellation Cetus). The next chapter ("Brit"), thus the other half of this pattern, begins with the book's first description of live whales, and next the anatomy of the sperm whale is studied, more or less from front to rear and from outer to inner parts, all the way down to the skeleton. Two concluding chapters set forth the whale's evolution as a species and claim its eternal nature.^[3]

Some "ten or more" of the chapters on whale killings, beginning at two-fifths of the book, are developed enough to be called "events". As Bezanson writes, "in each case a killing provokes either a chapter sequence or a chapter cluster of cetological lore growing out of the circumstance of the particular killing," thus these killings are "structural occasions for ordering the whaling essays and sermons".^[10]

Buell observes that the "narrative architecture" is an "idiosyncratic variant of the bipolar observer/hero narrative", that is, the novel is structured around the two main characters, Ahab and Ishmael, who are intertwined and contrasted with each other, with Ishmael the observer and narrator.^[11] As the story of Ishmael, remarks Robert Milder, it is a "narrative of education".^[12]

Bryant and Springer find that the book is structured around the two consciousnesses of Ahab and Ishmael, with Ahab as a force of linearity and Ishmael a force of digression.^[13] While both have an angry sense of being orphaned, they try to come to terms with this hole in their beings in different ways: Ahab with violence, Ishmael with meditation. And while the plot in Moby-Dick may be driven by Ahab's anger, Ishmael's desire to get a hold of the "ungraspable" accounts for the novel's lyricism.^[14]Buell sees a double quest in the book: Ahab's is to hunt Moby Dick, Ishmael's is "to understand what to make of both whale and hunt".^[11]

One of the most distinctive features of the book is the variety of genres. Bezanson mentions sermons, dreams, travel account, autobiography, Elizabethan plays, and epic poetry.^[15] He calls Ishmael's explanatory footnotes to establish the documentary genre "a Nabokovian touch".^[16]

Themes[edit]

An early enthusiast for the Melville Revival, British author E. M. Forster, remarked in 1927: "Moby-Dick is full of meanings: its meaning is a different problem."^[19] Yet he saw as "the essential" in the book "its prophetic song", which flows "like an undercurrent" beneath the surface action and morality.^[20]

Editors Bryant and Springer suggest perception is a central theme, the difficulty of seeing and understanding, which makes deep reality hard to discover and truth hard to pin down. Ahab explains that, like all things, the evil whale wears a disguise: "All visible objects, man, are but pasteboard masks" — and Ahab is determined to "strike through the mask! How can the prisoner reach outside, except by thrusting through the wall? To me, the white whale is that wall" (Ch. 36, "The Quarter-Deck"). This theme pervades the novel, perhaps never so emphatically as in "The Doubloon" (Ch. 99), where each crewmember perceives the coin in a way shaped by his own personality. Later, the American edition has Ahab "discover no sign" (Ch. 133) of the whale when he is staring into the deep. In fact, Moby Dick is then swimming up at him. In the British edition, Melville changed the word "discover" to "perceive", and with good reason, for "discovery" means finding what is already there, but "perceiving", or better still, perception, is "a matter of shaping what exists by the way in which we see it".^[21] The point is not that Ahab would discover the whale as an object, but that he would perceive it as a symbol of his making.^[21]

Melville biographer Delbanco cites race as an example of this search for truth beneath surface differences. All races are represented among the crew members of the Pequod. Although Ishmael initially is afraid of Queequeg as a tattooed cannibal, he soon decides, "Better sleep with a sober cannibal than a drunken Christian."^[22]While it may be rare for a mid-19th century American book to feature black characters in a nonslavery context, slavery is frequently mentioned. The theme of race is primarily carried by Pip, the diminutive black cabin boy.^[23] When Pip has almost drowned, Ahab, genuinely touched by Pip's suffering, questions him gently, Pip "can only parrot the language of an advertisement for the return of a fugitive slave: 'Pip! Reward for Pip!'".^[24]

Yet Melville does not offer easy solutions. Ishmael and Queequeg's sensual friendship initiates a kind of racial harmony that is shattered when the crew's dancing erupts into racial conflict in "Midnight, Forecastle" (Ch. 40).^[13] Fifty chapters later, Pip suffers mental disintegration after he is reminded that as a slave he would be worth less money than a whale. Commodified and brutalized, "Pip becomes the ship's conscience."^[25] His views of property are another example of wrestling with moral choice. In Chapter 89, Ishmael expounds the concept of the fast-fish and the loose-fish, which gives right of ownership to those who take possession of an abandoned fish or ship, and observes that the British Empire took possession of American Indian lands in colonial times in just the way that whalers take possession of an unclaimed whale.^[26]

Style[edit]

An incomplete inventory of the language of Moby-Dick by editors Bryant and Springer includes "nautical, biblical, Homeric, Shakespearean, Miltonic, cetological" influences, and his style is "alliterative, fanciful, colloquial, archaic, and unceasingly allusive": Melville tests and exhausts the possibilities of grammar, quotes from a range of well-known or obscure sources, and swings from calm prose to high rhetoric, technical exposition, seaman's slang, mystic speculation, or wild prophetic archaism.^[27]

The superabundant vocabulary of the work can be broken down into strategies used individually and in combination. First, the original modification of words as "Leviathanism"^[28] and the exaggerated repetition of modified words, as in the series "pitiable", "pity", "pitied" and "piteous" (Ch. 81, "The Pequod Meets the Virgin"),^[29]Second, the use of existing words in new ways, as when the whale "heaps" and "tasks".^[28] Third, words lifted from specialized fields, as "fossiliferous".^[28] Fourth, the use of unusual adjective-noun combinations, as in "concentrating brow" and "immaculate manliness" (Ch. 26, "Knights and Squires").^[30] Fifth, using the participial modifier to emphasize and to reinforce the already established expectations of the reader, as the words "preluding" and "foreshadowing" ("so still and subdued and yet somehow preluding was all the scene ...", "In this foreshadowing interval ...").^[29]

Characteristic stylistic elements of another kind are the echoes and overtones.^[31] Responsible for this are both Melville's imitation of certain distinct styles and his habitual use of sources to shape his own work. His three most important sources, in order, are the Bible, Shakespeare, and Milton.^[32]

Another notable stylistic element are the several levels of rhetoric, the simplest of which is "a relatively straightfoward expository style" that is evident of many passages in the cetological chapters, though they are "rarely sustained, and serve chiefly as transitions" between more sophisticated levels. One of these is the "poetic" level of rhetoric, which Bezanson sees "well exemplified" in Ahab's quarter-deck soliloquy, to the point that it can be set as blank verse.^[33] Set over a metrical patern, the rhythms are "evenly controlled--too evenly perhaps for prose," Bezanson suggests.^[34] A third level of rhetoric is the idiomatic, and just as the poetic it hardly is present in pure form. Examples of this are "the consistently excellent idiom" of Stubb, such as in the way he encourages the rowing crew in a rhythm of speech that suggests "the beat of the oars takes the place of the metronomic meter". The fourth and final level of rhetoric is the composite, "a magnificent blending" of the first three and possible other elements:

The Nantucketer, he alone resides and riots on the sea; he alone, in Bible language, goes down to it in ships; to and fro ploughing it as his own special plantation. There is his home; there lies his buisiness, which a Noah's flood would not interrupt, though it overwhelmed all the millions in China. He lives on the sea, as prairie cocks in the prairie; he hides among the waves, he climbs them as chamois hunters climb the Alps. For years he knows not the land; so that when he comes to it at last, it smells like another world, more strangely than the moon would to an Earthsman. With the landless gull, that at sunset folds her wings and is rocked to sleep between billows; so at nightfall, the Nantucketer, out of sight of land, furls his sails, and lays him to his rest, while under his very pillow rush herds of walruses and whales.
("Nantucket," Ch. 14).

This passage, from a chapter that Bezanson calls a comical "prose poem", blends "high and low with a relaxed assurance". Similar great passages include the "marvelous hymn to spiritual democracy" that can be found in the middle of "Knights and Squires".^[35]

The elaborate use of the Homeric simile may not have been learned from Homer himself, yet Matthiessen finds the writing "more consistently alive" on the Homeric than on the Shakespearean level, especially during the final chase the "controlled accumulation" of such similes emphasizes Ahab's hubris through a succession of land-images, for instance: "The ship tore on; leaving such a furrow in the sea as when a cannon-ball, missent, becomes a ploughshare and turns up the level field" ("The Chase - Second Day," Ch. 134).^[36] One paragraph-long simile describes how the 30 men of the crew became a single unit:

For as the one ship that held them all; though it was put together of all contrasting things--oak, and maple, and pine wood; iron, and pitch, and hemp--yet all these ran into each other in the one concrete hull, which shot on its way, both balanced and directed by the long central keel; even so, all the individualities of the crew, this man's valor, that man's fear; guilt and guiltiness, all varieties were welded into oneness, and were all directed to that fatal goal which Ahab their one lord and keel did point to.
("The Chase - Second Day," Ch. 134).

The final phrase fuses the two halves of the comparison, the men become identical with the ship, which follows Ahab's direction. The concentration only gives way to more imagery, with the "mastheads, like the tops of tall palms, were outspreadingly tufted with arms and legs". All these images contribute their "startling energy" to the advance of the narrative. When the boats are lowered, the imagery serves to dwarf everything but Ahab's will in the presence of Moby Dick.^[36] These similes, with their astonishing "imaginative abundance," are not only invaluable in creating the dramatic movement, Matthiessen observes: "They are no less notable for breadth; and the more sustained among them, for an heroic dignity."^[37]

Background[edit]

Autobiographical elements[edit]

Moby-Dick is based on Melville's actual experience on a whaler. On December 30, 1840, he signed on as a green hand for the maiden voyage of the Acushnet, planned to last for 52 months. Its owner, Melvin O. Bradford, resembled Bildad, who signed on Ishmael, in that he was a Quaker: on several instances when he signed documents, he erased the word "swear" and replaced it with "affirm".^[50] Its captain was Valentine Pease, Jr., who was 43 years old at the start of the voyage.^[51]Although 26 men signed up as crew members, two did not show up for the ship's departure and were replaced by one new crew member. Five of the crew were foreigners, four of them Portuguese. The Scottish carpenter was one of the two who did not show for the ship's departure. Three black men were in the crew, two seamen and the cook. Fleece, the cook of the Pequod, was also black, so probably modeled on this Philadelphia-born William Maiden, who was 38 years old when he signed for the Acushnet.^[52]

Only 11 of the 26 original crew members completed the voyage. The others either deserted or were regularly discharged.^[53] The First Officer, Frederic Raymond, left the ship after a "fight" with the captain.^[54] A first mate, actually called Edward C. Starbuck, was on an earlier voyage with Captain Pease, in the early 1830s, and was discharged at Tahiti under mysterious circumstances.^[55] The second mate on the Acushnet was John Hall, English-born but a naturalized American.^[56] He is identified as Stubb in an annotation in the book's copy of crew member Henry Hubbard, who, like Melville, had joined the voyage as a green hand. Hubbard also identified the model for Pip: John Backus, a little black man added to the crew during the voyage.^[57] Hubbard's annotation appears in the chapter "The Castaway" and reveals that Pip's falling into the water was authentic; Hubbard was with him in the same boat when the incident occurred.

Ahab seems to have had no model in real life, though his death may have been based on an actual event. On May 18, 1843, Melville was aboard The Star, which sailed for Honolulu. Aboard were two sailors from the Nantucket who could have told him that they had seen their second mate "taken out of a whaleboat by a foul line and drowned".^[58] The model for the Whaleman's Chapel of chapter 7 is the Seamen's Bethel on Johnny Cake Hill. Melville attended a service there shortly before he shipped out on the Acushnet, and he heard a sermon by the chaplain, 63-year-old Reverend Enoch Mudge, who is at least in part the model for Father Mapple. Even the topic of Jonah and the Whale may be authentic, for Mudge was a contributor to Sailor's Magazine, which printed in December 1840 the ninth of a series of sermons on Jonah.^[59]

Melville's sources[edit]

Melville's copy of The History of the Sperm Whale, 1839

In addition to his own experience on the whaling ship Acushnet, two actual events served as the genesis for Melville's tale. One was the sinking of the Nantucket ship Essex in 1820, after a sperm whale rammed her 2,000 miles (3,200 km) from the western coast of South America. First mate Owen Chase, one of eight survivors, recorded the events in his 1821 Narrative of the Most Extraordinary and Distressing Shipwreck of the Whale-Ship Essex.^[60][61]

The other event was the alleged killing in the late 1830s of the albino sperm whale Mocha Dick, in the waters off the Chilean island of Mocha. Mocha Dick was rumored to have 20 or so harpoons in his back from other whalers, and appeared to attack ships with premeditated ferocity. One of his battles with a whaler served as subject for an article by explorer Jeremiah N. Reynolds in the May 1839 issue of The Knickerbocker or New-York Monthly Magazine.^[62] Melville was familiar with the article, which described:

This renowned monster, who had come off victorious in a hundred fights with his pursuers, was an old bull whale, of prodigious size and strength. From the effect of age, or more probably from a freak of nature... a singular consequence had resulted — he was white as wool!^[62]

Significantly, Reynolds writes a first-person narration that serves as a frame for the story of a whaling captain he meets. The captain resembles Ahab and suggests a similar symbolism and single-minded motivation in hunting this whale, in that when his crew first encounters Mocha Dick and cowers from him, the captain rallies them:

As he drew near, with his long curved back looming occasionally above the surface of the billows, we perceived that it was white as the surf around him; and the men stared aghast at each other, as they uttered, in a suppressed tone, the terrible name of MOCHA DICK!

"Mocha Dick or the d----l [devil]', said I, 'this boat never sheers off from any thing that wears the shape of a whale."^[62]

Mocha Dick had over 100 encounters with whalers in the decades between 1810 and the 1830s. He was described as being gigantic and covered in barnacles. Although he was the most famous, Mocha Dick was not the only white whale in the sea, nor the only whale to attack hunters.^[63]

While an accidental collision with a sperm whale at night accounted for sinking of the Union in 1807,^[64] it was not until August 1851 that the whaler Ann Alexander, while hunting in the Pacific off the Galápagos Islands, became the second vessel since the Essex to be attacked, holed, and sunk by a whale. Melville remarked, "Ye Gods! What a commentator is this Ann Alexander whale. What he has to say is short & pithy & very much to the point. I wonder if my evil art has raised this monster."^[65]

While Melville had already drawn on his different sailing experiences in his previous novels, such as Mardi, he had never focused specifically on whaling. The 18 months he spent as an ordinary seaman aboard the whaler Acushnet in 1841–42, and one incident in particular, now served as inspiration. During a mid-ocean "gam" (rendezvous at sea between ships), he met Chase's son William, who lent him his father's book. Melville later wrote:

I questioned him concerning his father's adventure; [...] he went to his chest & handed me a complete copy [...] of the Narrative [of the Essex catastrophe]. This was the first printed account of it I had ever seen. The reading of this wondrous story on the landless sea, and so close to the very latitude of the shipwreck, had a surprising effect upon me.^[66]

The book was out of print, and rare. Melville let his interest in the book be known to his father-in-law, Lemuel Shaw, whose friend in Nantucket procured an imperfect but clean copy which Shaw gave to Melville in April 1851. Melville read this copy avidly, made copious notes in it, and had it bound, keeping it in his library for the rest of his life. ^[67]

Herman Melville

Moby-Dick contains large sections—most of them narrated by Ishmael—that seemingly have nothing to do with the plot, but describe aspects of the whaling business. Although a successful earlier novel about Nantucket whalers had been written, Miriam Coffin or The Whale-Fisherman (1835) by Joseph C. Hart,^[68] which is credited with influencing elements of Melville's work, most accounts of whaling tended to be sensational tales of bloody mutiny, and Melville believed that no book up to that time had portrayed the whaling industry in as fascinating or immediate a way as he had experienced it.

Melville found the bulk of his data on whales and whaling in five books, the most important of which is Thomas Beale's Natural History of the Sperm Whale (1839), a book of reputed authority which Melville bought on July 10, 1850.^[69] "In scale and complexity," scholar Steven Olsen-Smith writes, "the significance of [this source] to the composition of Moby-Dick surpasses that of any other source book from which Melville is known to have drawn."^[70] According to scholar Howard P. Vincent, the general influence of this source is to supply the arrangement of whaling data in chapter groupings.^[71] Melville followed Beale's grouping closely, yet adapted it to what art demanded, and he changed the original's prosaic phrases into graphic figures of speech.^[72]The second most important whaling book is Frederick Debell Bennett, A Whaling Voyage Round the Globe, from the Year 1833 to 1836 (1840).^[72]

The third book was the one Melville reviewed for the Literary World in 1847, J. Ross Browne's Etchings of a Whaling Cruise (1846), which may have given Melville the first thought for a whaling book, and in any case contains passages embarrassingly similar to passages in Moby-Dick.^[73] The fourth book, Reverend Henry T. Cheever's The Whale and His Captors (1850), was used for two episodes in Moby-Dick but probably appeared too late in the writing of the novel to be of much more use.^[73]Melville did plunder a fifth book, William Scoresby, Jr., An Account of the Arctic Regions with a History and Description of the Northern Whale Fishery (1820), although the book became the standard whaling reference soon after publication, Melville satirized and parodied it on several occasions—for instance in the description of narwhales in the chapter "Cetology", where he called Scoresby "Charley Coffin" and gave his account "a humorous twist of fact": "Scoresby will help out Melville several times, and on each occasion Melville will satirize him under a pseudonym."^[74]

Johannes Gutenberg

https://en.wikipedia.org/wiki/Johannes_Gutenberg

Johannes Gensfleisch zur Laden zum Gutenberg (/joʊˌhɑːnᵻs ˈɡuːtənbɛrɡ/ yoh-hah-nəs goo-tən-behrɡ; c. 1398 – February 3, 1468) was a German blacksmith, goldsmith, printer, and publisher who introduced printing to Europe. His introduction of mechanical movable type printing to Europe started the Printing Revolution and is widely regarded as the most important invention of the second millennium, the seminal event which ushered in the modern period of human history.^[1] It played a key role in the development of the Renaissance, Reformation, the Age of Enlightenment, and the scientific revolution and laid the material basis for the modern knowledge-based economy and the spread of learning to the masses.^[2]

Gutenberg in 1439 was the first European to use the printing press and movable type in Europe. Among his many contributions to printing are: the invention of a process for mass-producing movable type;^{[citation needed]} the use of oil-based ink for printing books;^[3] adjustable molds;^[4] mechanical movable type; and the use of a wooden printing press similar to the agricultural screw presses of the period.^[5] His truly epochal invention was the combination of these elements into a practical system that allowed the mass production of printed books and was economically viable for printers and readers alike. Gutenberg's method for making type is traditionally considered to have included a type metal alloy and a hand mould for casting type. The alloy was a mixture of lead, tin, and antimony that melted at a relatively low temperature for faster and more economical casting, cast well, and created a durable type.

In Renaissance Europe, the arrival of mechanical movable type printing introduced the era of mass communication which permanently altered the structure of society. The relatively unrestricted circulation of information—including revolutionary ideas—transcended borders, captured the masses in the Reformation and threatened the power of political and religious authorities; the sharp increase in literacy broke the monopoly of the literate elite on education and learning and bolstered the emerging middle class. Across Europe, the increasing cultural self-awareness of its people led to the rise of proto-nationalism, accelerated by the flowering of the European vernacular languages to the detriment of Latin's status as lingua franca. In the 19th century, the replacement of the hand-operated Gutenberg-style press by steam-powered rotary presses allowed printing on an industrial scale, while Western-style printing was adopted all over the world, becoming practically the sole medium for modern bulk printing.^[6]

The use of movable type was a marked improvement on the handwritten manuscript, which was the existing method of book production in Europe, and upon woodblock printing, and revolutionized European book-making. Gutenberg's printing technology spread rapidly throughout Europe and later the world.

His major work, the Gutenberg Bible (also known as the 42-line Bible), has been acclaimed for its high aesthetic and technical quality.

Printing press

Early wooden printing press, depicted in 1568. Such presses could produce up to 240 impressions per hour.^[14]

Main articles: Printing press and Spread of the printing press

Around 1439, Gutenberg was involved in a financial misadventure making polished metal mirrors (which were believed to capture holy light from religious relics) for sale to pilgrims to Aachen: in 1439 the city was planning to exhibit its collection of relics from Emperor Charlemagne but the event was delayed by one year due to a severe flood and the capital already spent could not be repaid. When the question of satisfying the investors came up, Gutenberg is said to have promised to share a "secret". It has been widely speculated that this secret may have been the idea of printing with movable type. Also around 1439–40, the Dutch Laurens Janszoon Coster came up with the idea of printing.^[15] Legend has it that the idea came to him "like a ray of light".^[16]

Until at least 1444 Gutenberg lived in Strasbourg, most likely in the St. Arbogast parish. It was in Strasbourg in 1440 that he is said to have perfected and unveiled the secret of printing based on his research, mysteriously entitled Aventur und Kunst (enterprise and art). It is not clear what work he was engaged in, or whether some early trials with printing from movable type may have been conducted there. After this, there is a gap of four years in the record. In 1448, he was back in Mainz, where he took out a loan from his brother-in-law Arnold Gelthus, quite possibly for a printing press or related paraphernalia. By this date, Gutenberg may have been familiar with intaglio printing; it is claimed that he had worked on copper engravings with an artist known as the Master of Playing Cards.^[17]

"All that has been written to me about that marvelous man seen at Frankfurt [sic] is true. I have not seen complete Bibles but only a number of quires of various books of the Bible. The script was very neat and legible, not at all difficult to follow—your grace would be able to read it without effort, and indeed without glasses."

Future pope Pius II in a letter to Cardinal Carvajal, March 1455^[18]

By 1450, the press was in operation, and a German poem had been printed, possibly the first item to be printed there.^[19] Gutenberg was able to convince the wealthy moneylender Johann Fust for a loan of 800 guilders. Peter Schöffer, who became Fust's son-in-law, also joined the enterprise. Schöffer had worked as a scribe in Paris and is believed to have designed some of the first typefaces.

Gutenberg's workshop was set up at Hof Humbrecht, a property belonging to a distant relative. It is not clear when Gutenberg conceived the Bible project, but for this he borrowed another 800 guilders from Fust, and work commenced in 1452. At the same time, the press was also printing other, more lucrative texts (possibly Latin grammars). There is also some speculation that there may have been two presses, one for the pedestrian texts, and one for the Bible. One of the profit-making enterprises of the new press was the printing of thousands of indulgences for the church, documented from 1454 to 1455.^[20]

In 1455 Gutenberg completed his 42-line Bible, known as the Gutenberg Bible. About 180 copies were printed, most on paper and some on vellum.

Printed books

Main article: Gutenberg Bible

Gutenberg Bible, Library of Congress, Washington, D.C.

Between 1450 and 1455, Gutenberg printed several texts, some of which remain unidentified; his texts did not bear the printer's name or date, so attribution is possible only from typographical evidence and external references. Certainly several church documents including a papal letter and two indulgences were printed, one of which was issued in Mainz. Realizing the value of printing in quantity, seven editions in two styles were ordered, resulting in several thousand copies being printed.^[22] Some printed editions of Ars Minor, a schoolbook on Latin grammar by Aelius Donatus may have been printed by Gutenberg; these have been dated either 1451–52 or 1455.

In 1455, Gutenberg completed copies of a beautifully executed folio Bible (Biblia Sacra), with 42 lines on each page. Copies sold for 30 florins each,^[23] which was roughly three years' wages for an average clerk. Nonetheless, it was significantly cheaper than a manuscript Bible that could take a single scribe over a year to prepare. After printing, some copies were rubricated or hand-illuminated in the same elegant way as manuscript Bibles from the same period.

48 substantially complete copies are known to survive, including two at the British Library that can be viewed and compared online.^[24] The text lacks modern features such as pagination, indentations, and paragraph breaks.

An undated 36-line edition of the Bible was printed, probably in Bamberg in 1458–60, possibly by Gutenberg. A large part of it was shown to have been set from a copy of Gutenberg's Bible, thus disproving earlier speculation that it may have been the earlier of the two.^[25]

Printing method with moveable type

Movable metal type, and composing stick, descended from Gutenberg's press.

European output of books printed with movable types from Gutenberg to 1800^[26]

Martin Luther's 95 Theses which sparked off the Reformation in a print edition from 1522. Within the span of only two years, Luther's tracts were distributed in 300,000 printed copies throughout Germany and Europe.^[27]

Gutenberg's early printing process, and what tests he may have made with movable type, are not known in great detail. His later Bibles were printed in such a way as to have required large quantities of type, some estimates suggesting as many as 100,000 individual sorts.^[28] Setting each page would take, perhaps, half a day, and considering all the work in loading the press, inking the type, pulling the impressions, hanging up the sheets, distributing the type, etc., it is thought that the Gutenberg–Fust shop might have employed as many as 25 craftsmen.

Gutenberg's technique of making movable type remains unclear. In the following decades, punches and copper matrices became standardized in the rapidly disseminating printing presses across Europe. Whether Gutenberg used this sophisticated technique or a somewhat primitive version has been the subject of considerable debate.

In the standard process of making type, a hard metal punch (made by punchcutting, with the letter carved back to front) is hammered into a softer copper bar, creating a matrix. This is then placed into a hand-held mould and a piece of type, or "sort", is cast by filling the mould with molten type-metal; this cools almost at once, and the resulting piece of type can be removed from the mould. The matrix can be reused to create hundreds, or thousands, of identical sorts so that the same character appearing anywhere within the book will appear very uniform, giving rise, over time, to the development of distinct styles of typefaces or fonts. After casting, the sorts are arranged into type-cases, and used to make up pages which are inked and printed, a procedure which can be repeated hundreds, or thousands, of times. The sorts can be reused in any combination, earning the process the name of "movable type". (For details, see Typography.)

"Modern Book Printing" − sculpture commemorating its inventor Gutenberg

The invention of the making of types with punch, matrix and mold has been widely attributed to Gutenberg. However, recent evidence suggests that Gutenberg's process was somewhat different. If he used the punch and matrix approach, all his letters should have been nearly identical, with some variations due to miscasting and inking. However, the type used in Gutenberg's earliest work shows other variations.^{[citation needed]}

In 2001, the physicist Blaise Agüera y Arcas and Princeton librarian Paul Needham, used digital scans of a Papal bull in the Scheide Library, Princeton, to carefully compare the same letters (types) appearing in different parts of the printed text.^[29][30]The irregularities in Gutenberg's type, particularly in simple characters such as the hyphen, suggested that the variations could not have come from either ink smear or from wear and damage on the pieces of metal on the types themselves. While some identical types are clearly used on other pages, other variations, subjected to detailed image analysis, suggested that they could not have been produced from the same matrix. Transmitted light pictures of the page also appeared to reveal substructures in the type that could not arise from traditional punchcutting techniques. They hypothesized that the method may have involved impressing simple shapes to create alphabets in "cuneiform" style in a matrix made of some soft material, perhaps sand. Casting the type would destroy the mould, and the matrix would need to be recreated to make each additional sort. This could explain the variations in the type, as well as the substructures observed in the printed images.

Thus, they feel that "the decisive factor for the birth of typography", the use of reusable moulds for casting type, might have been a more progressive process than was previously thought.^[31] They suggest that the additional step of using the punch to create a mould that could be reused many times was not taken until twenty years later, in the 1470s. Others have not accepted some or all of their suggestions, and have interpreted the evidence in other ways, and the truth of the matter remains very uncertain.^[32]

A 1568 history by Hadrianus Junius of Holland claims that the basic idea of the movable type came to Gutenberg from Laurens Janszoon Coster via Fust, who was apprenticed to Coster in the 1430s and may have brought some of his equipment from Haarlem to Mainz. While Coster appears to have experimented with moulds and castable metal type, there is no evidence that he had actually printed anything with this technology. He was an inventor and a goldsmith. However, there is one indirect supporter of the claim that Coster might be the inventor. The author of the Cologne Chronicle of 1499 quotes Ulrich Zell, the first printer of Cologne, that printing was performed in Mainz in 1450, but that some type of printing of lower quality had previously occurred in the Netherlands. However, the chronicle does not mention the name of Coster,^[25][33] while it actually credits Gutenberg as the "first inventor of printing" in the very same passage (fol. 312). The first securely dated book by Dutch printers is from 1471,^[33] and the Coster connection is today regarded as a mere legend.^[34]

Page-setting room - c. 1920

The 19th-century printer and typefounder Fournier Le Jeune suggested that Gutenberg might not have been using type cast with a reusable matrix, but possibly wooden types that were carved individually. A similar suggestion was made by Nash in 2004.^[35] This remains possible, albeit entirely unproven.

It has also been questioned whether Gutenberg used movable types at all. In 2004, Italian professor Bruno Fabbiani claimed that examination of the 42-line Bible revealed an overlapping of letters, suggesting that Gutenberg did not in fact use movable type (individual cast characters) but rather used whole plates made from a system somewhat like a modern typewriter, whereby the letters were stamped successively into the plate and then printed. However, most specialists regard the occasional overlapping of type as caused by paper movement over pieces of type of slightly unequal height.