Feb 27 2010
“Queequeg in His Coffin”
Ishmael’s farewell to Queequeg in “Queequeg in His Coffin” is fascinating and revealing in our studying of their specific relationship and the relationships between men in Moby Dick. Melville’s writing in this chapter is beautiful, stirring, and emotional. Ishmael goes well beyond feeling mere sympathy for Queequeg in his weakened, feverish state, as he acknowledges the connection that has formed between him and his “poor pagan companion, and bosom friend, Queequeg” (425). I find Ishmael’s use of the expression “bosom friend” unusual, because, while fairly common in the nineteenth century, it was more traditionally applied to friendships between women. For instance, I recall Lucy Maud Montgomery’s Anne of Green Gables being a particular fan of the saying when she spoke of her relationship with Diana Barry. Then again, the dynamic between Ishmael and Queequeg has always defied traditional gender roles, as we can remember from their nights of sleeping together as if man and wife before even boarding the Pequod.
Yet, despite Ishmael’s undeniable closeness to and affection for Queequeg, he continues to describe his companion as a pagan, as a savage, as an “Other.” He again emphasizes the tattoos that cover the harpooner’s body; as his body shrinks away, Ishmael claims that “there seemed to be little left of him, but his frame and tattooing” (425). Going even further to Orientalize his friend and cast him outside traditional white culture, Ishmael compares the dying Queequeg to a slimy lizard!: “The tattooed savage was crawling about amid that dampness and slime, like a green spotted lizard at the bottom of a well” (425). However, as we have come to expect, Ishmael is often full of contradictions. He observes the softness and mildness that Queequeg exudes in his sickened state. Also, while some of these passages indicate that Ishmael continues to view his culture as superior, he exhibits at least some respect and reverence for the culture of the Other a bit deeper into the chapter: “[Queequeg] had learned that all whaleman who died in Nantucket, were laid in those same dark canoes, and that the fancy of being so laid had much pleased him; for it was not unlike the custom of his own race, who, after embalming a dead warrior, stretched him out in his canoe, and so left him to be floated away to the starry archipelagoes; for not only do they believe that the stars are isles, but that far beyond all visible horizons, their own mild, uncontinented seas, interflow with the blue heavens; and so form the white breakers of the milk way” (426). This is easily one of the most beautifully worded images in the entire novel. It proves that Ishmael does have it in him, perhaps more so than a typical white American, to treat the traditions and practices of a foreign culture with delicateness and understanding. He even bridges the cultures by correlating a custom held for dead whalers in Queequeg’s world and a custom held for dead whalers in Nantucket. Considering the intimacy of Ishmael and Queequeg, I would have expected more of this language from our narrator by this point in the novel. Despite the bonds of male-to-male friendship, some judgment, ignorance, and racism inevitably remain.
I also found it fitting that Queequeg wants to be buried alongside his harpoon in his coffin-like canoe. Even though the fever weakens him and brings him within an inch of death, he demands that it not emasculate him. Being buried with his weapon honors his hard work during life as a whaling harpooner and reaffirms his masculinity. This is interesting considering that Queequeg is often feminized and portrayed as crossing the typical gender divide more so than the other sailors on the Pequod. But again asserting his manliness, the harpooner immediately calls for his weapon when he recovers (out of nowhere, seemingly) from his fever. He practically returns from the dead and wants to rejoin the battle within seconds: “He suddenly leaped to his feet, threw out his arms and legs, gave himself a good stretching, yawned a little bit, and then springing into the head of his hoisted boat, and poising a harpoon, pronounced himself fit for a fit” (429). The harpooner is back!
2 Responses to ““Queequeg in His Coffin””
Leave a Reply
You must be logged in to post a comment.
I really enjoyed your exploration of the relationship between Queequeg and Ishmael. Int he beginning of the post you mentioned how Ishmael describes Queequeg as his “bosom” friend and how this term is usually used for female friend relationships. This also made me think back to the beginning of the book when Ishmael and Queequeg meet for the first time and share a bed and how their relationship often goes beyond the normal boundaries of masculine friendships. In fact, I was reminded of how during this beginning part of the book Ishmael describes he and Queequeg as swaying back and forth like and old couple in their “hearts’ honeymoon” and how this description is also unusual, as is the use of the word bosom at this point in the novel.
I really like you’re post, and as I was reading it, I remembered the relationship between George and Lenny in Steinbeck’s Of Mice and Men. Not to compare Queequeg with a mentally handicapped person, but their reliance on each other is touching. Lenny is very good with his hands, and everyone he meets acknowledges that he is the best worker they have ever seen. This surprises everyone, considering his condition. I think the crew was pleasantly surprised when they see Queequeg’s strength, first displayed when he jumps into the water to save Tashtego (or is is Daggoo? I can’t even remember). Ishmael narrates (mostly), the story, and his brotherhood with Queequeg is a touching theme throughout the entire story. In Of Mice and Men, George is the narrator and the reader identifies with him the most, therefore heavily sympathizing with Lenny.
Just a though.