Homeric Visions

I love hearing when someone can identify a favorite moment in Moby-Dick. My own is in "The Castaway" chapter, when Pip goes mad. Our favorite moments say much about each of us, and what attracts us to this unweildy, diverse, frolicking work. Favorites are personal moments, moments that seemingly have little to do with any objective assessment of the work.

Nathaniel Philbrick, in Why Read Moby-Dick, dwells on his favorite moment, in the first paragraph of Chapter 85, "The Fountain":

That for six thousand years—and no one knows how many millions of ages before—the great whales should have been spouting all over the sea, and sprinkling and mistifying the gardens of the deep, as with so many sprinkling or mistifying pots; and that for some centuries back, thousands of hunters should have been close by the fountain of the whale, watching these sprinklings and spoutings—that all this should be, and yet, that down to this blessed minute (fifteen and a quarter minutes past one o'clock P.M. of this sixteenth day of December, A.D. 1851), it should still remain a problem, whether these spoutings are, after all, really water, or nothing but vapour—this is surely a noteworthy thing.*

Melville writes down here the very moment of his writing, fifteen and a quarter minutes past one o'clock P.M. of this sixteenth day of December, A.D. 1851 (though the date of first writing was actually one year prior, and the year was changed prior to publication in 1851). Philbrick describes his reason for "favoriting" this passage of Moby-Dick: "Melville did something outrageous. He pulled back the fictive curtain and inserted a seemingly irrelevant glimpse of himself in the act of composition." In Philbrick's assessment, the "seemingly" in "seemingly irrelevant" is everything. This is not an irrelevant glimpse, but central to the work and one of the many engaging facets of what, in our discussions, we have called Melville's epistemology.

First, let us look at this passage, then, let us look back at another passage that pressages this one. You will find more.

Here, the narrator is pondering on the long length of our ignorance concerning the whale's spout. Look at the opening phrase: "That for six thousand years -- and no one knows how many millions of years before", and think on this contrast. The six thousand reference is Biblical, the approximate age of the world as calculated by Biblical sub-subs, and so reference's God's creation of the world; the millions of years could be geological, referencing then-common scientific thoughts about the possible world's age, or it could be a reference to the unformed world of welter and waste before Genesis, or to the Hindu cycles of prior worlds, or to something else before the dawn of human time. The phrase, like just about everything here, is half-satirical, but, still, our setting tells us that we are dealing with the ultimate of human time or divine time, and that, throughout this ultimate stretch, with regard to this topic, we have but ignorance. But we are as ignorant of what this time may be as we are ignorant of what the whale's spout truly is.

I have observed already that once at sea time becomes almost irrelevant; we cease to mark days or even weeks, references come only to where we have gotten, not how long we spend there or how long it has taken to get there. In the vast hundred chapter stretch of drifting timelessness, there are just two or three places where time suddenly and meaningfully errupts into the narrative, and, here, it erupts with overwhelming precision, down to a fraction of a minute. Yet, the time that matters is not of the story itself, but outside the story, and that is where Melville is pulling us. He wants to remove us at this point from the narrative, bring us into his library, and talk to us about what we are doing. Later in the chapter, he makes the conversation even plainer:

But why pester one with all this reasoning on the subject? Speak out! You have seen him spout; then declare what the spout is; can you not tell water from air? My dear sir, in this world it is not so easy to settle these plain things. I have ever found your plain things the knottiest of all. And as for this whale spout, you might almost stand in it, and yet be undecided as to what it is precisely.

Melville is pulling out out of the book to talk about the mistical spout of the whale, which is the whale's very life breath yet a thing that defies our attempts to understand it, whether through observation or divinitation. He pulls us out of the book to talk about the difficulty of knowing and the ultimate mystery of knowing the very things he is telling us. Melville's epistemology applies not just to the world of whales, but to the world of books and stories as well.

I am reminded here of the great Hindu bards, whose own stories interweave with the stories they tell, replete with protestations about their own ignorance and inadequacey to tell the story or explain its meaning. In these passages, the challenge of writing and telling and reading the story, the challenge of the hunt for the whale, and the challenge of perceiving, knowing or understanding anything all come together, no so much in an allegorical way as in a direct comparision of the underlying struggles we face in each endeavor. Melville is stepping out of the novel so as to avoid it becoming a mere allegory.

Now let us go back to the chapter "The Affadavit", where our narrator is discussing the unlikely occurance, in the near-infinite breadth of the world, that a sailor should not only meet but actually harpoon the same whale more than once. This is a chapter, or at least an opening of a chapter, about chance and determinism, about the extent to which the world itself avoids randomness. The chapter begins with a commentary on the proper way to read the book:

So far as what there may be of a narrative in this book; and, indeed, as indirectly touching one or two very interesting and curious particulars in the habits of sperm whales, the foregoing chapter, in its earlier part, is as important a one as will be found in this volume; but the leading matter of it requires to be still further and more familiarly enlarged upon, in order to be adequately understood, and moreover to take away any incredulity which a profound ignorance of the entire subject may induce in some minds, as to the natural verity of the main points of this affair.

The prior chapter was "The Chart",** where Ahab set to charting his course to seek to intersect the White Whale. In "The Affadavit" and "The Chart", again stepping into his book, Melville provides us with a series of underlying stories, all assertedly factual, that, regardless of the incredulousness of the proposition, show us that sailors do come upon and harpoon the same whale more than once. Like many a chapter, however, there is a mid-narrative pivot, where the discussion moves from the lack of randomness of these meetings to the extraordinary power of the whale upon a meeting. Throughout, however, the voice of the narrator is one that is concurrent with its reading, that steps out of the stream of the book and back into the narrative layer. It is in this tension, between the story, the telling of the story, and the interpretation or meaning of the telling of the story, that we lose Ishmael's voice and gain a narrator's voice -- and perhaps, in places, a narrator named Herman.

Philbrick rightfully revels in the outrageousness of Melville's approach. I look at it, and wonder, given Melville's own concern with the difficulties of knowing, perceiving, understanding, is this approach almost self-evident? Doesn't Melville's story and his approach to the story almost demand such that the Bard present himself to us to explain? Reading Moby-Dick, I come to more fully appreciate the blindness of Homer.

* An utter aside but an irresistable one: isn't Melville's use of the word "mistifying" wonderful? Those spouts, which so mystically adorn the horizon in "The Spirit-Spout", are but spreading mist. Their etymological roots differ, mist being a fractured part of compound words used in the Old English and Icelandic - misthleoðu "misty cliffs," wælmist "mist of death" - and mystic coming to English from Old French but going back to the Greek "mystikos"). So these words floated about for some thousand years before Melville found and married them.

**The Chart contains, in a footnote, another of the reference during the sea chapters to time. In commenting on the attempts to chart out migratory patterns of whales described in the body, the footnote cites to a circular, dated April 16th, 1851, released "since the above was written", another unveiling of the writer's work. The image above, by the way, is from Dalhousie University, and shows a current rendition of various marine animals' Pacific migratory patterns, including whales.

A Break

As Queequeg and I are now fairly embarked in this business of whaling; and as this business of whaling has somehow come to be regarded among landsmen as a rather unpoetical and disreputable pursuit; therefore, I am all anxiety to convince ye, ye landsmen, of the injustice hereby done to us hunters of whales.

So begins the chapter, "The Advocate", where Ishmael pauses the action in his story, much as Krishna on the fields of Kurukshetra, to lay before us his argument for treating whaling as both reputable and poetic. The argument is twofold: first, we are asked to pay attention to the honor and glory due to the whalesman, and, secondly but more subtly, that going to sea in search of whales has "aesthetically noble associations".

Up until now, this book has been a traditional narrative, at least on the surface. On a Saturday in December, Ishmael arrives in New Bedford and has his first night with Queequeg; on Monday, they are off to Nantucket, on Tuesday, Ishmael signs up for the Pequod while Ishmael has his Ramadan. Wednesday, Queequeg makes his mark, and a day or two, perhaps a bit more, passes before notice is given that the ship will sail. Sailing happens on a Christmas - they get to the ship just before six in the morning and are off about noon. There is a story and a pace to it.

Once at sea, however, change is afoot. The first thing we have is the six inch tombstone of a chapter titled the "Lee Shore" and the next thing is this multi-page "advocacy." I see Ishamel before the fire, pausing in his telling, pulling the pipe from his mouth, setting it aside, leaning it forward, and with great urgency telling us listeners to forget all that, we're about to get down the real thing, we're going to Sea! But, first, he has something to get off his chest. This chapter and those like it are addressed directly to the reader, and can forcefully pull us right into the discussion. We are asked to have an opinion on myriad strange things.

This break in the narrative, coupled with the Lee Shore chapter before it and the postscript chapter after it, tell us this shall not be an ordinary read. While this is not a radical departure in form, as shall come later, it is the inkling of a brewing rebellion.

This is also the place where grand philosophical themes are talked of free from association with the narrative or an image. Melville's images and tableaus in the other chapters will reinforce these discussions, and certainly he waxes philosophic often enough, particularly as some of those chapters move forward beyond their intitial setting, but in chapters like this, mini-essays of chapters, he brings the big themes together and makes them quite explicit. Let us look at some of his questions:

Why did the Dutch in DeWitt's time have admirals of their whaling fleets? Why did Louis XVI. of France, at his own personal expense, fit out whaling ships from Dunkirk, and politely invite to that town some score or two of families from our own island of Nantucket? Why did Britain between the years 1750 and 1788 pay to her whalemen in bounties upwards of lb. 1,000,000? And lastly, how comes it that we whalemen of America now outnumber all the rest of the banded whalemen in the world; sail a navy of upwards of seven hundred vessels; manned by eighteen thousand men; yearly consuming 4,000,000 of dollars; the ships worth, at the time of sailing, $20,000,000; and every year importing into our harbors a well reaped harvest of $7,000,000. How comes all this, if there be not something puissant in whaling?

The special role of American whalers will be a special theme, despite, I would note, American whalers most clearly including crew from all the world, the Isolatoes, as this ship does. Likewise, the economics of whaling are emphasized here; we are driven to these pursuits, we are driven to all the happenings on board, however far from commerce they may be, by fundamental economic forces, not just spiritual ones.

What other themes might we see:

True enough, but then whalemen themselves are poor devils; they have no good blood in their veins.

No good blood in their veins? They have something better than royal blood there...

Drive down your hat in presence of the Czar, and take it off to Queequeg!

There is an interesting tension here between the royal and the common (note, of course, that Queequeg, though royal in his own county, is a savage elsewhere). Ah, but we are just at the beginning of this trip; this chapter is just the first hint. But as you pass by it, look at the methods, the style, the approach: he builds the chapter out of questions and exclamations, leaving ample ambiguity. He maintains Ishmael's voice and persona, something that will not be true in all these chapters. Note particularly that Ishmael's history is often quite mediocre, but feeds the themes:

That great America on the other side of the sphere, Australia, was given to the enlightened world by the whaleman. After its first blunder-born discovery by a Dutchman, all other ships long shunned those shores as pestiferously barbarous; but the whale-ship touched there. The whale-ship is the true mother of that now mighty colony.

In addition, you will find the sense of time now becoming vastly more vague. When Peleg and Bildad leave the boat, they take with them the days of the week. Markers will be seasonal at best. For the rest of the book, there will be one or two mentions of the sabbath, a few mentions of the time of day, and several mentions of location, but no other way to pace the actions of the book with real precision. Our pacing will be set by the currents, the skies, and the appearance of whales and of other boats somewhere on the horizon.