Content area
Full Text
In Mike Mignola and Christopher Gulden's Baltimore, or, The Steadfast Tin Soldier and the Vampire, Mignola lists Herman Melville as one of the chief inspirations for his graphic novel. On the surface, the comparisons between Moby-Dick and Baltimore seem pretty straightforward: the cover of the book has the main character, Baltimore, holding a large harpoon next to his wooden leg and looking quite intimidating; however, within the graphic novel is somewhat of a more interesting parallel. Both Moby-Dick and Baltimore are essentially driven by the theme of all-consuming vengeance. Ahab and Baltimore share more in common than merely their noticeable physical aspects; they also share in the loss of their humanity and their inability to accept the Divine will.
Ahab is arguably the most epic figure in American literature. Few characters speak with such fervor and power, and even fewer speak with such poetical blasphemy; yet, what makes Ahab such a dynamic figure, and undoubtedly Melville sought Milton as his confidant in this matter, are the moments of pure humanity and conscience amidst his obsessive voyage. In the chapter titled 'The Symphony", we see one of these moments of true clarity. Ahab says to Starbuck, "old Ahab has furiously, foamingly chased his prey - more a demon than a man! - aye, aye! what a forty years' fool" (MD 476). Starbuck, of course, attempts to persuade Ahab to forget his quest, but the moment passes when Ahab comes to the conclusion that it is not by his own choice that he hunts the whale. "By heaven, man, we are turned round and round in this world, like yonder windlass, and Fate is the handspike" (MD All). Ahab is legitimately moved by the words of Starbuck, and yet he is so far removed from humanity, from his home, his wife and child, that he no longer believes that he can detach himself from this pursuit of Moby Dick. He has become like a machine, driven by revenge and at the mercy of fate. Even if he could...