version, is unimpeachable, so his definitions cannot be dismissed lightly. Melville somewhat famously asserts in the novel that the whale is a "spouting fish with a horizontal tail." His use of the word "fish" here, however, is not meant a denial of the mammalian characteristics of the order Cetacea, but rather simply as an ad hoc definition as an animal that dwells in the sea; however, he goes on to dismiss Linnaeus' classification as "humbug". He attempts a taxonomy of whales largely based on size, based on his assertion that other characteristics, such as the existence of a hump or baleen, make the classification too confusing. Borrowing an analogy from publishing and bookbinding, he divides whales into three "books", called the Folio Whale (largest), Octavo Whale, and the Duodecimo Whale (smaller), represented respectively by the sperm whale, the orca (which he calls the grampus), and the porpoise
sest tema sõna ja nõu on muutumatu. Aga kes siis teeb, mis te arvate? Inimene, inimene ainuüksi võib kuradi lunastada ja siis tuleb viimne päev, mitte enne. Aga kus on see inimene, kes võib lunastada kuradi? Teen seda mina või teete teie seda? Tahate teie kuradi lunastamise oma peale võtta? Ei? Mina ka mitte. Ja pange tähele: seda ei tee üldse igapäevane inimene, nagu mina või teie. Seda ei tee ka viimasel ajal moodi läinud üliinimene, sest see on farss ja humbug. Mõistate? Farss ja humbug! Nietzsche on keeleline köietantsija ning mõtteline taskukunstnik, ei muud midagi. Kuradi peab lunastama inimene kui niisugune, der Mensch an und für sich, mõistate? Inimene kui idee, kui mõtteliselt täiuslik konstruktsioon, see peab lunastama kuradi, et tuleks viimne päev, sest muidu on jumalasõna vale, nagu ma juba tähendasin. Inimene peab jumalasõnas peituva vale kummuli keerama, peab tegema, et valest
16 Mar. 1996. 5 E. S. Tüür. Cristallisatio. Booklet to the CD, ECM New Series, No. 1590. This illogical and unnatural comprehension has had, in my opinion, no positive outcome because there stand unsuitable polarised divergent means of expression and tremendous disparities of spiritual worlds behind them. Tüür has been called Estonia’s top composer by P. Kuusk in Eesti Päevaleht, December 1, 1997. Tüür replied: Bah, humbug! Such tales of whom to regard a genius in his lifetime and whom not to, bring along more harm than good. This is so much swampy ground that I would not fall into such a slough.1 The fifth generation of composers has produced some notable authors. Mari Vihmand (b. 1967) graduated from the Tallinn State Conservatoire in 1990 as a student of Professor Tamberg and completed her Master’s studies with Professor Sumera in 1997
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