In Ahab and in his beatnik, quasi-criminal prototype, Jackson (in 'Redburn'), Melville gave expression both to the megatechnic 'Khans' of the global … - Lewis Mumford

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In Ahab and in his beatnik, quasi-criminal prototype, Jackson (in 'Redburn'), Melville gave expression both to the megatechnic 'Khans' of the global Pentagon and to the counter-forces they had brought into being. And the fact that Ahab's torment and hatred had gone so far that he had lost control of himself and, through his own mad reliance upon power, had become dominated completely by the creature that had disabled him, only makes Melville's story a central parable in the interpretation of modern man's destiny. In Ahab's throwing away compass and sextant at the height of the chase, Melville even anticipated the casting out of the orderly instruments of intelligence, so characteristic of the counter-culture and anti-life happenings of today. Similarly, by his maniacal concentration, Ahab rejects the inner change that might have saved the ship and the crew, when he turns a deaf ear to the pleas of love uttered by sober Starbuck in words and by Pip, a fright-shocked child and an African primitive, in dumb gesture.

Outwardly mankind is still committed tot he grim chase Melville described, lured by the adventure, the prospect of oil and whalebone, the promptings of pride, an above all by a love-rejecting pursuit of power. But it has also begun consciously to face the prospect of total annihilation, which may be brought about by the captains who now have command of the ship.

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About Lewis Mumford

Lewis Mumford (19 October 1895 – 26 January 1990) was an American historian of technology and science, also noted for his study of cities.

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Additional quotes by Lewis Mumford

Because of their origin and purpose, the meanings of art are of a different order from the operational meanings of science and technics: they relate, not to external means and consequences, but to internal transformations, and unless it produce these internal transformations the work of art is either perfunctory or dead.

In the working of this parallel and in the tracing of the archetypal machine through later Western history, I found that many obscure irrational manifestations in our own highly mechanized and supposedly rational culture became strangely clarified. For in both cases, immense gains in valuable knowledge and usable productivity were cancelled out by equally great increases in ostentatious waste, paranoid hostility, insensate destructiveness, hideous random extermination.

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"Now compare this mechanical world view, with its exclusive emphasis on the quantitative, the measurable, the external, with that of one of the most primitive of known races and cultures, the Australian aborigines. According to a recent interpreter, Kaj Birket-Smith, "The fundamental idea in the Australian's concept of life is that there is no sharp division between man and nature, between the quick and the dead, nor even a gap between past, present, and future. Nature can as little exist without man as man without nature, and yesterday and tomorrow, in a manner inexplicable to us, merge into today.

Whatever the deficiencies in the Australian aborigine's habits of observation or in his symbolic formulation of his experience, it will become plain, as the theme of this book develops, that the Australian's 'primitive' view is in fact far less primitive, biologically and culturally speaking, than that of the mechanical world picture,f or it includes those many dimensions of life that Kepler, Galileo, and their successors intentionally excluded, as spoiling the accuracy of their observations and the elegance of their descriptions.

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