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Some chapters of Moby-Dick are no more than two pages in standard editions, and an extreme example is Chapter 122, consisting of a single paragraph of 36 words. The skillful handling of chapters in Moby-Dick is one of the most fully developed Melvillean signatures, and is a measure of his masterly writing style. Individual chapters have become “a touchstone for appreciation of Melville’s art and for explanation” of his themes. In contrast, the chapters in Pierre, called Books, are divided into short numbered sections, seemingly an “odd formal compromise” between Melville’s natural length and his purpose to write a regular romance that called for longer chapters. As satirical elements were introduced, the chapter arrangement restores “some degree of organization and pace from the chaos”. The usual chapter unit then reappears for Israel Potter, The Confidence-Man and even Clarel, but only becomes “a vital part in the whole creative achievement” again in the juxtaposition of accents and of topics in Billy Budd.

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Melville’s mastering of Shakespeare, Matthiessen finds, supplied him with verbal resources that enabled him to create dramatic language through three essential techniques. First, the use of verbs of action creates a sense of movement and meaning. The effective tension caused by the contrast of “thou launchest navies of full-freighted worlds” and “there’s that in here that still remains indifferent” in “The Candles” makes the last clause lead to a “compulsion to strike the breast,” which suggests “how thoroughly the drama has come to inhere in the words Second, Melville took advantage of the Shakespearean energy of verbal compounds, as in “full-freighted”. Third, Melville employed the device of making one part of speech act as another, for example, ‘earthquake’ as an adjective, or turning an adjective into a noun, as in “placeless”.

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