Index of the Project Gutenberg Works of Herman Melville — Story, Setting & Ideas
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CHAPTER I. A LAND-SICK SHIP The sea—Longings for shore—A land-sick ship—Destination of the voyagers
CHAPTER II. TO THE MARQUESAS Passage from the cruising ground to the Marquesas—Sleepy times aboard ship—South Sea scenery—Land ho!—The French squadron discovered at anchor in the bay of Nukuheva—Strange pilot—Escort of canoes—A flotilla of cocoa-nuts—Swimming visitors—The _Dolly_ boarded by them—State of affairs that ensue.
CHAPTER III. AFFAIRS ABOARD State of affairs aboard the ship—Contents of her larder—Length of South Seamen’s voyages—Account of a flying whale-man—Determination to leave the vessel—The bay of Nukuheva—The Typees.
CHAPTER IV. LAST NIGHT ABOARD Thoughts previous to attempting an escape—Toby, a fellow-sailor, agrees to share the adventure—Last night aboard the ship.
CHAPTER V. THE ESCAPE A specimen of nautical oratory—Criticisms of the sailors—The starboard watch are given a holiday—The escape to the mountains.
CHAPTER VI. DISAPPOINTMENT The other side of the mountain—Disappointment—Inventory of articles brought from the ship—Division of the stock of bread—Appearance of the interior of the island—A discovery—A ravine and waterfalls—A sleepless night—Further discoveries—My illness—A Marquesan landscape.
CHAPTER VII. A WILD-GOOSE CHASE The important question, Typee or Happar?—A wild-goose chase—My sufferings—Disheartening situation—A night in the ravine—Morning meal—Happy idea of Toby—Journey towards the valley.
CHAPTER VIII. INTO THE VALLEY Perilous passage of the ravine—Descent into the valley.
CHAPTER IX. CAUTIOUS ADVANCE The head of the valley—Cautious advance—A path—Fruit—Discovery of two of the natives—Their singular conduct—Approach towards the inhabited parts of the vale—Sensation produced by our appearance—Reception at the house of one of the natives.
CHAPTER X. MORNING VISITORS Midnight reflections—Morning visitors—A warrior in costume—A savage Æsculapius—Practice of the healing art—Body-servant—A dwelling-house of the valley described—Portraits of its inmates.
CHAPTER XI. ADVENTURE IN THE DARK Officiousness of Kory-Kory—His devotion—A bath in the stream—Want of refinement of the Typee damsels—Stroll with Mehevi—A Typee highway—The Taboo groves—The hoolah hoolah ground—The Ti—Timeworn savages—Hospitality of Mehevi—Midnight musings—Adventure in the dark—Distinguished honours paid to the visitors—Strange procession, and return to the house of Marheyo.
CHAPTER XII. ADVENTURE OF TOBY Attempt to procure relief from Nukuheva—Perilous adventure of Toby in the Happar Mountains—Eloquence of Kory-Kory.
CHAPTER XIII. A GREAT EVENT A great event happens in the valley—The island telegraph—Something befalls Toby—Fayaway displays a tender heart—Melancholy reflections—Mysterious conduct of the islanders—Devotion of Kory-Kory—A rural couch—A luxury—Kory-Kory strikes a light _à la_ Typee.
CHAPTER XIV. KINDNESS OF THE ISLANDERS Kindness of Marheyo and the rest of the islanders—A full description of the bread-fruit tree—Different modes of preparing the fruit.
CHAPTER XV. MELANCHOLY CONDITION Melancholy condition—Occurrence at the Ti—Anecdote of Marheyo—Shaving the head of a warrior.
CHAPTER XVI. IMPROVEMENT Improvement in health and spirits—Felicity of the Typees—A skirmish in the mountain with the warriors of Happar.
CHAPTER XVII. A STRANGER ARRIVES Swimming in company with the girls of the valley—A canoe—Effects of the taboo—A pleasure excursion on the pond—Beautiful freak of Fayaway—Mantua-making—A stranger arrives in the valley—His mysterious conduct—Native oratory—The interview—Its results—Departure of the stranger.
CHAPTER XVIII. BATTLE OF THE POP-GUNS Reflection after Marnoo’s departure—Battle of the pop-guns—Strange conceit of Marheyo—Process of making tappa.
CHAPTER XIX. DANCES History of a day as usually spent in the Typee valley—Dances of the Marquesan girls.
CHAPTER XX. MONUMENTS The spring of Arva Wai—Remarkable monumental remains—Some ideas with regard to the history of the pi-pis found in the valley.
CHAPTER XXI. A FESTIVAL Preparations for a grand festival in the valley—Strange doings in the Taboo Groves—Monument of Calabashes—Gala costume of the Typee damsels—Departure for the festival.
CHAPTER XXII. THE FEAST OF CALABASHES The Feast of Calabashes.
CHAPTER XXIII. RELIGION OF THE TYPEES Ideas suggested by the Feast of Calabashes—Effigy of a dead warrior—A singular superstition—The priest Kolory and the god Moa Artua—Amazing religious observance—A dilapidated shrine—Kory-Kory and the idol—An inference.
CHAPTER XXIV. BEAUTY OF THE TYPEES General information gathered at the festival—Personal beauty of the Typees—Their superiority over the inhabitants of the other islands—Diversity of complexion—A vegetable cosmetic and ointment—Testimony of voyagers to the uncommon beauty of the Marquesans—Few evidences of intercourse with civilized beings—Dilapidated musket—Primitive simplicity of government—Regal dignity of Mehevi.
The Index of the Project Gutenberg Works of Herman Melville is a reference tool that organizes Melville's major writings—from Typee and Omoo to Moby-Dick and Billy Budd—into a single browsable list. Compiled by David Widger, the index provides clickable links to each work's full text and its detailed table of contents, allowing readers to navigate chapter titles such as “Loomings” or “The Carpet-Bag” without opening the book itself.
Navigating the Index Structure
The index is divided into two main parts: a master list of works and individual tables of contents for each volume. The master list presents titles in a straightforward sequence, often with multiple editions (e.g., Typee and Typee, Illustrated). Each entry is preceded by a double hash mark (##) that links to the work's own table of contents. This design lets a reader jump directly to a specific chapter—such as “The Sea-Longings for Shore” in Typee or “The Quarter-Deck” in Moby-Dick—without scrolling through the entire text.
Recurring Patterns in Melville's Chapter Titles
Across the indexed works, certain structural habits emerge. Many chapter titles begin with a definite article and a noun phrase: “The Sea-Longings for Shore,” “The Other Side of the Mountain,” “The Pitch of the Cape.” Others use a colon to pair a general topic with a specific scene, as in “Mardi I. and a Voyage Thither.” The White-Jacket table of contents shows a particularly dense sequence of ninety-three chapters, many of which describe shipboard routines (“A Flogging,” “The Night-Watches”) or institutional critiques (“Flogging Not Lawful”). This pattern suggests Melville’s interest in both narrative momentum and systematic observation.
Movement Between Sea and Shore
The index reveals a consistent oscillation between maritime and land-based settings. Typee moves from a ship at sea to a valley on Nukuheva; Omoo follows a similar trajectory. Moby-Dick remains largely at sea, but its chapters include shore-leave episodes like “The Carpet-Bag.” Pierre; or, The Ambiguities and The Confidence-Man are set entirely on land, while Israel Potter shifts between continents. This back-and-forth is not merely geographic—it often mirrors a thematic tension between civilization and the wild, or between duty and escape.
The Editor's Role in the Index
David Widger, the editor, has compiled the index without commentary or annotation. His presence is felt only in the structural choices: the consistent formatting of chapter lists, the inclusion of illustrated editions, and the addition of a clickable table of contents for each work. The index does not evaluate or summarize the texts; it simply organizes them. For a reader exploring Melville’s oeuvre, this neutral arrangement allows the works themselves to suggest connections—for instance, the recurrence of the word “confidence” in The Confidence-Man and elsewhere.
This index is best used as a starting point for comparative reading. By scanning the chapter titles across multiple works, one can trace Melville’s evolving concerns—from the exoticism of the South Seas to the metaphysical depths of whaling. The index does not interpret, but it invites the reader to make those connections.
Some evenings, I wander through Melville’s index the way one revisits a familiar shore—each title a stone worn smooth by retelling. His restless sea-words make me think of another shelf-companion, A Desk-Book of Errors in English Including Notes on Colloquialisms and Slang to be Avoided in Conversation — Themes and Context, which fusses over words the way old sailors fret over knots. Both love language’s firmness. Quiet companionship, that.
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