Герман Мелвилл
Moby Dick
CHAPTER 55. Of the Monstrous Pictures of Whales.
I shall ere long paint to you as well as one can without canvas, something like the true form of the whale as he actually appears to the eye of the whaleman when in his own absolute body the whale is moored alongside the whale-ship so that he can be fairly stepped upon there. It may be worth while, therefore, previously to advert to those curious imaginary portraits of him which even down to the present day confidently challenge the faith of the landsman. It is time to set the world right in this matter, by proving such pictures of the whale all wrong.
It may be that the primal source of all those pictorial delusions will be found among the oldest Hindoo, Egyptian, and Grecian sculptures. For ever since those inventive but unscrupulous times when on the marble panellings of temples, the pedestals of statues, and on shields, medallions, cups, and coins, the dolphin was drawn in scales of chain-armor like Saladin's, and a helmeted head like St. George's; ever since then has something of the same sort of license prevailed, not only in most popular pictures of the whale, but in many scientific presentations of him.
Now, by all odds, the most ancient extant portrait anyways purporting to be the whale's, is to be found in the famous cavern-pagoda of Elephanta, in India. The Brahmins maintain that in the almost endless sculptures of that immemorial pagoda, all the trades and pursuits, every conceivable avocation of man, were prefigured ages before any of them actually came into being. No wonder then, that in some sort our noble profession of whaling should have been there shadowed forth. The Hindoo whale referred to, occurs in a separate department of the wall, depicting the incarnation of Vishnu in the form of leviathan, learnedly known as the Matse Avatar. But though this sculpture is half man and half whale, so as only to give the tail of the latter, yet that small section of him is all wrong. It looks more like the tapering tail of an anaconda, than the broad palms of the true whale's majestic flukes.
But go to the old Galleries, and look now at a great Christian painter's portrait of this fish; for he succeeds no better than the antediluvian Hindoo. It is Guido's picture of Perseus rescuing Andromeda from the sea-monster or whale. Where did Guido get the model of such a strange creature as that? Nor does Hogarth, in painting the same scene in his own "Perseus Descending," make out one whit better. The huge corpulence of that Hogarthian monster undulates on the surface, scarcely drawing one inch of water. It has a sort of howdah on its back, and its distended tusked mouth into which the billows are rolling, might be taken for the Traitors' Gate leading from the Thames by water into the Tower. Then, there are the Prodromus whales of old Scotch Sibbald, and Jonah's whale, as depicted in the prints of old Bibles and the cuts of old primers. What shall be said of these? As for the book-binder's whale winding like a vine-stalk round the stock of a descending anchor-as stamped and gilded on the backs and title-pages of many books both old and new-that is a very picturesque but purely fabulous creature, imitated, I take it, from the like figures on antique vases. Though universally denominated a dolphin, I nevertheless call this book-binder's fish an attempt at a whale; because it was so intended when the device was first introduced. It was introduced by an old Italian publisher somewhere about the 15th century, during the Revival of Learning; and in those days, and even down to a comparatively late period, dolphins were popularly supposed to be a species of the Leviathan.
In the vignettes and other embellishments of some ancient books you will at times meet with very curious touches at the whale, where all manner of spouts, jets d'eau, hot springs and cold, Saratoga and Baden-Baden, come bubbling up from his unexhausted brain. In the title-page of the original edition of the "Advancement of Learning" you will find some curious whales.
But quitting all these unprofessional attempts, let us glance at those pictures of leviathan purporting to be sober, scientific delineations, by those who know. In old Harris's collection of voyages there are some plates of whales extracted from a Dutch book of voyages, A.D. 1671, entitled "A Whaling Voyage to Spitzbergen in the ship Jonas in the Whale, Peter Peterson of Friesland, master." In one of those plates the whales, like great rafts of logs, are represented lying among ice-isles, with white bears running over their living backs. In another plate, the prodigious blunder is made of representing the whale with perpendicular flukes.
Then again, there is an imposing quarto, written by one Captain Colnett, a Post Captain in the English navy, entitled "A Voyage round Cape Horn into the South Seas, for the purpose of extending the Spermaceti Whale Fisheries." In this book is an outline purporting to be a "Picture of a Physeter or Spermaceti whale, drawn by scale from one killed on the coast of Mexico, August, 1793, and hoisted on deck." I doubt not the captain had this veracious picture taken for the benefit of his marines. To mention but one thing about it, let me say that it has an eye which applied, according to the accompanying scale, to a full grown sperm whale, would make the eye of that whale a bow-window some five feet long. Ah, my gallant captain, why did ye not give us Jonah looking out of that eye!
Nor are the most conscientious compilations of Natural History for the benefit of the young and tender, free from the same heinousness of mistake. Look at that popular work "Goldsmith's Animated Nature." In the abridged London edition of 1807, there are plates of an alleged "whale" and a "narwhale." I do not wish to seem inelegant, but this unsightly whale looks much like an amputated sow; and, as for the narwhale, one glimpse at it is enough to amaze one, that in this nineteenth century such a hippogriff could be palmed for genuine upon any intelligent public of schoolboys.
Then, again, in 1825, Bernard Germain, Count de Lacepede, a great naturalist, published a scientific systemized whale book, wherein are several pictures of the different species of the Leviathan. All these are not only incorrect, but the picture of the Mysticetus or Greenland whale (that is to say, the Right whale), even Scoresby, a long experienced man as touching that species, declares not to have its counterpart in nature.
But the placing of the cap-sheaf to all this blundering business was reserved for the scientific Frederick Cuvier, brother to the famous Baron. In 1836, he published a Natural History of Whales, in which he gives what he calls a picture of the Sperm Whale. Before showing that picture to any Nantucketer, you had best provide for your summary retreat from Nantucket. In a word, Frederick Cuvier's Sperm Whale is not a Sperm Whale, but a squash. Of course, he never had the benefit of a whaling voyage (such men seldom have), but whence he derived that picture, who can tell? Perhaps he got it as his scientific predecessor in the same field, Desmarest, got one of his authentic abortions; that is, from a Chinese drawing. And what sort of lively lads with the pencil those Chinese are, many queer cups and saucers inform us.
As for the sign-painters' whales seen in the streets hanging over the shops of oil-dealers, what shall be said of them? They are generally Richard III. whales, with dromedary humps, and very savage; breakfasting on three or four sailor tarts, that is whaleboats full of mariners: their deformities floundering in seas of blood and blue paint.
But these manifold mistakes in depicting the whale are not so very surprising after all. Consider! Most of the scientific drawings have been taken from the stranded fish; and these are about as correct as a drawing of a wrecked ship, with broken back, would correctly represent the noble animal itself in all its undashed pride of hull and spars. Though elephants have stood for their full-lengths, the living Leviathan has never yet fairly floated himself for his portrait. The living whale, in his full majesty and significance, is only to be seen at sea in unfathomable waters; and afloat the vast bulk of him is out of sight, like a launched line-of-battle ship; and out of that element it is a thing eternally impossible for mortal man to hoist him bodily into the air, so as to preserve all his mighty swells and undulations. And, not to speak of the highly presumable difference of contour between a young sucking whale and a full-grown Platonian Leviathan; yet, even in the case of one of those young sucking whales hoisted to a ship's deck, such is then the outlandish, eel-like, limbered, varying shape of him, that his precise expression the devil himself could not catch.
But it may be fancied, that from the naked skeleton of the stranded whale, accurate hints may be derived touching his true form. Not at all. For it is one of the more curious things about this Leviathan, that his skeleton gives very little idea of his general shape. Though Jeremy Bentham's skeleton, which hangs for candelabra in the library of one of his executors, correctly conveys the idea of a burly-browed utilitarian old gentleman, with all Jeremy's other leading personal characteristics; yet nothing of this kind could be inferred from any leviathan's articulated bones. In fact, as the great Hunter says, the mere skeleton of the whale bears the same relation to the fully invested and padded animal as the insect does to the chrysalis that so roundingly envelopes it. This peculiarity is strikingly evinced in the head, as in some part of this book will be incidentally shown. It is also very curiously displayed in the side fin, the bones of which almost exactly answer to the bones of the human hand, minus only the thumb. This fin has four regular bone-fingers, the index, middle, ring, and little finger. But all these are permanently lodged in their fleshy covering, as the human fingers in an artificial covering. "However recklessly the whale may sometimes serve us," said humorous Stubb one day, "he can never be truly said to handle us without mittens."
For all these reasons, then, any way you may look at it, you must needs conclude that the great Leviathan is that one creature in the world which must remain unpainted to the last. True, one portrait may hit the mark much nearer than another, but none can hit it with any very considerable degree of exactness. So there is no earthly way of finding out precisely what the whale really looks like. And the only mode in which you can derive even a tolerable idea of his living contour, is by going a whaling yourself; but by so doing, you run no small risk of being eternally stove and sunk by him. Wherefore, it seems to me you had best not be too fastidious in your curiosity touching this Leviathan.
CHAPTER 56. Of the Less Erroneous Pictures of Whales, and the True Pictures of Whaling Scenes.
In connexion with the monstrous pictures of whales, I am strongly tempted here to enter upon those still more monstrous stories of them which are to be found in certain books, both ancient and modern, especially in Pliny, Purchas, Hackluyt, Harris, Cuvier, etc. But I pass that matter by.
I know of only four published outlines of the great Sperm Whale; Colnett's, Huggins's, Frederick Cuvier's, and Beale's. In the previous chapter Colnett and Cuvier have been referred to. Huggins's is far better than theirs; but, by great odds, Beale's is the best. All Beale's drawings of this whale are good, excepting the middle figure in the picture of three whales in various attitudes, capping his second chapter. His frontispiece, boats attacking Sperm Whales, though no doubt calculated to excite the civil scepticism of some parlor men, is admirably correct and life-like in its general effect. Some of the Sperm Whale drawings in J. Ross Browne are pretty correct in contour; but they are wretchedly engraved. That is not his fault though.
Of the Right Whale, the best outline pictures are in Scoresby; but they are drawn on too small a scale to convey a desirable impression. He has but one picture of whaling scenes, and this is a sad deficiency, because it is by such pictures only, when at all well done, that you can derive anything like a truthful idea of the living whale as seen by his living hunters.
But, taken for all in all, by far the finest, though in some details not the most correct, presentations of whales and whaling scenes to be anywhere found, are two large French engravings, well executed, and taken from paintings by one Garnery. Respectively, they represent attacks on the Sperm and Right Whale. In the first engraving a noble Sperm Whale is depicted in full majesty of might, just risen beneath the boat from the profundities of the ocean, and bearing high in the air upon his back the terrific wreck of the stoven planks. The prow of the boat is partially unbroken, and is drawn just balancing upon the monster's spine; and standing in that prow, for that one single incomputable flash of time, you behold an oarsman, half shrouded by the incensed boiling spout of the whale, and in the act of leaping, as if from a precipice. The action of the whole thing is wonderfully good and true. The half-emptied line-tub floats on the whitened sea; the wooden poles of the spilled harpoons obliquely bob in it; the heads of the swimming crew are scattered about the whale in contrasting expressions of affright; while in the black stormy distance the ship is bearing down upon the scene. Serious fault might be found with the anatomical details of this whale, but let that pass; since, for the life of me, I could not draw so good a one.
In the second engraving, the boat is in the act of drawing alongside the barnacled flank of a large running Right Whale, that rolls his black weedy bulk in the sea like some mossy rock-slide from the Patagonian cliffs. His jets are erect, full, and black like soot; so that from so abounding a smoke in the chimney, you would think there must be a brave supper cooking in the great bowels below. Sea fowls are pecking at the small crabs, shell-fish, and other sea candies and maccaroni, which the Right Whale sometimes carries on his pestilent back. And all the while the thick-lipped leviathan is rushing through the deep, leaving tons of tumultuous white curds in his wake, and causing the slight boat to rock in the swells like a skiff caught nigh the paddle-wheels of an ocean steamer. Thus, the foreground is all raging commotion; but behind, in admirable artistic contrast, is the glassy level of a sea becalmed, the drooping unstarched sails of the powerless ship, and the inert mass of a dead whale, a conquered fortress, with the flag of capture lazily hanging from the whale-pole inserted into his spout-hole.
Who Garnery the painter is, or was, I know not. But my life for it he was either practically conversant with his subject, or else marvellously tutored by some experienced whaleman. The French are the lads for painting action. Go and gaze upon all the paintings of Europe, and where will you find such a gallery of living and breathing commotion on canvas, as in that triumphal hall at Versailles; where the beholder fights his way, pell-mell, through the consecutive great battles of France; where every sword seems a flash of the Northern Lights, and the successive armed kings and Emperors dash by, like a charge of crowned centaurs? Not wholly unworthy of a place in that gallery, are these sea battle-pieces of Garnery.
The natural aptitude of the French for seizing the picturesqueness of things seems to be peculiarly evinced in what paintings and engravings they have of their whaling scenes. With not one tenth of England's experience in the fishery, and not the thousandth part of that of the Americans, they have nevertheless furnished both nations with the only finished sketches at all capable of conveying the real spirit of the whale hunt. For the most part, the English and American whale draughtsmen seem entirely content with presenting the mechanical outline of things, such as the vacant profile of the whale; which, so far as picturesqueness of effect is concerned, is about tantamount to sketching the profile of a pyramid. Even Scoresby, the justly renowned Right whaleman, after giving us a stiff full length of the Greenland whale, and three or four delicate miniatures of narwhales and porpoises, treats us to a series of classical engravings of boat hooks, chopping knives, and grapnels; and with the microscopic diligence of a Leuwenhoeck submits to the inspection of a shivering world ninety-six fac-similes of magnified Arctic snow crystals. I mean no disparagement to the excellent voyager (I honour him for a veteran), but in so important a matter it was certainly an oversight not to have procured for every crystal a sworn affidavit taken before a Greenland Justice of the Peace.
In addition to those fine engravings from Garnery, there are two other French engravings worthy of note, by some one who subscribes himself "H. Durand." One of them, though not precisely adapted to our present purpose, nevertheless deserves mention on other accounts. It is a quiet noon-scene among the isles of the Pacific; a French whaler anchored, inshore, in a calm, and lazily taking water on board; the loosened sails of the ship, and the long leaves of the palms in the background, both drooping together in the breezeless air. The effect is very fine, when considered with reference to its presenting the hardy fishermen under one of their few aspects of oriental repose. The other engraving is quite a different affair: the ship hove-to upon the open sea, and in the very heart of the Leviathanic life, with a Right Whale alongside; the vessel (in the act of cutting-in) hove over to the monster as if to a quay; and a boat, hurriedly pushing off from this scene of activity, is about giving chase to whales in the distance. The harpoons and lances lie levelled for use; three oarsmen are just setting the mast in its hole; while from a sudden roll of the sea, the little craft stands half-erect out of the water, like a rearing horse. From the ship, the smoke of the torments of the boiling whale is going up like the smoke over a village of smithies; and to windward, a black cloud, rising up with earnest of squalls and rains, seems to quicken the activity of the excited seamen.
CHAPTER 57. Of Whales in Paint; in Teeth; in Wood; in Sheet-Iron; in Stone; in Mountains; in Stars.
On Tower-hill, as you go down to the London docks, you may have seen a crippled beggar (or KEDGER, as the sailors say) holding a painted board before him, representing the tragic scene in which he lost his leg. There are three whales and three boats; and one of the boats (presumed to contain the missing leg in all its original integrity) is being crunched by the jaws of the foremost whale. Any time these ten years, they tell me, has that man held up that picture, and exhibited that stump to an incredulous world. But the time of his justification has now come. His three whales are as good whales as were ever published in Wapping, at any rate; and his stump as unquestionable a stump as any you will find in the western clearings. But, though for ever mounted on that stump, never a stump-speech does the poor whaleman make; but, with downcast eyes, stands ruefully contemplating his own amputation.
Throughout the Pacific, and also in Nantucket, and New Bedford, and Sag Harbor, you will come across lively sketches of whales and whaling-scenes, graven by the fishermen themselves on Sperm Whale-teeth, or ladies' busks wrought out of the Right Whale-bone, and other like skrimshander articles, as the whalemen call the numerous little ingenious contrivances they elaborately carve out of the rough material, in their hours of ocean leisure. Some of them have little boxes of dentistical-looking implements, specially intended for the skrimshandering business. But, in general, they toil with their jack-knives alone; and, with that almost omnipotent tool of the sailor, they will turn you out anything you please, in the way of a mariner's fancy.
Long exile from Christendom and civilization inevitably restores a man to that condition in which God placed him, i.e. what is called savagery. Your true whale-hunter is as much a savage as an Iroquois. I myself am a savage, owning no allegiance but to the King of the Cannibals; and ready at any moment to rebel against him.
Now, one of the peculiar characteristics of the savage in his domestic hours, is his wonderful patience of industry. An ancient Hawaiian war-club or spear-paddle, in its full multiplicity and elaboration of carving, is as great a trophy of human perseverance as a Latin lexicon. For, with but a bit of broken sea-shell or a shark's tooth, that miraculous intricacy of wooden net-work has been achieved; and it has cost steady years of steady application.
As with the Hawaiian savage, so with the white sailor-savage. With the same marvellous patience, and with the same single shark's tooth, of his one poor jack-knife, he will carve you a bit of bone sculpture, not quite as workmanlike, but as close packed in its maziness of design, as the Greek savage, Achilles's shield; and full of barbaric spirit and suggestiveness, as the prints of that fine old Dutch savage, Albert Durer.
Wooden whales, or whales cut in profile out of the small dark slabs of the noble South Sea war-wood, are frequently met with in the forecastles of American whalers. Some of them are done with much accuracy.
At some old gable-roofed country houses you will see brass whales hung by the tail for knockers to the road-side door. When the porter is sleepy, the anvil-headed whale would be best. But these knocking whales are seldom remarkable as faithful essays. On the spires of some old-fashioned churches you will see sheet-iron whales placed there for weather-cocks; but they are so elevated, and besides that are to all intents and purposes so labelled with "HANDS OFF!" you cannot examine them closely enough to decide upon their merit.
In bony, ribby regions of the earth, where at the base of high broken cliffs masses of rock lie strewn in fantastic groupings upon the plain, you will often discover images as of the petrified forms of the Leviathan partly merged in grass, which of a windy day breaks against them in a surf of green surges.
Then, again, in mountainous countries where the traveller is continually girdled by amphitheatrical heights; here and there from some lucky point of view you will catch passing glimpses of the profiles of whales defined along the undulating ridges. But you must be a thorough whaleman, to see these sights; and not only that, but if you wish to return to such a sight again, you must be sure and take the exact intersecting latitude and longitude of your first stand-point, else so chance-like are such observations of the hills, that your precise, previous stand-point would require a laborious re-discovery; like the Soloma Islands, which still remain incognita, though once high-ruffed Mendanna trod them and old Figuera chronicled them.
Nor when expandingly lifted by your subject, can you fail to trace out great whales in the starry heavens, and boats in pursuit of them; as when long filled with thoughts of war the Eastern nations saw armies locked in battle among the clouds. Thus at the North have I chased Leviathan round and round the Pole with the revolutions of the bright points that first defined him to me. And beneath the effulgent Antarctic skies I have boarded the Argo-Navis, and joined the chase against the starry Cetus far beyond the utmost stretch of Hydrus and the Flying Fish.
With a frigate's anchors for my bridle-bitts and fasces of harpoons for spurs, would I could mount that whale and leap the topmost skies, to see whether the fabled heavens with all their countless tents really lie encamped beyond my mortal sight!
