Moby Dick

In class we were reminded not to view “gender” as solely “female” and I think it is particularly important in this novel, given how there are simply no women on board this three year journey, to try and pull out the subtle and complex composition of gender aboard the Pequod. We have already explored in part the interesting interplay of feminine and masculine characteristics that exist within individual characters, such as Queequeg, but this presence of both genders co-existing within a crew of all men only seems to grow as the story progresses. It seems that the crew, who left their wives at home and ventured out, brave and daring into a task made only for the strongest of men, are now forced to shift over in time into a balance that requires the effeminate, the nurturing and even the homoerotic to come into view. A Squeeze of the Hand is one of the best and most entertaining examples of this, however as we discussed the chapter extensively I don’t feel the need to go into detail. I would just add to our discussion the somewhat obvious idea that while the chapter is clearly homoerotic, it seems a clear expression not of repressed homosexuality but of the pure sense of desire and sexual need that exists in humanity which here is coming forth despite the absence of women (the acceptable outlet for such desires of these men), and is directed without question or hindrance towards other men. In this way, though Melville for the most part appears to blend gender not into a neutral state but rather by incorporating pure elements of each into a constant tug-of-war, here appears to allow gender to be removed almost and human nature to be simply human nature.

There are many ways to read a novel and I have found myself in reading moments that appear to be primarily a commentary on race as suggesting something equally bold as gender roles or perhaps simply masculinity. Take, for instance, the moment in The First Lowering when Daggoo hoists Flask up upon his shoulders:

“…the gigantic negro, presented his flat palm to Flask’s foot, and…landed the little man high and dry on his shoulders…[T]he noble negro to every roll of the sea harmoniously rolled his fine form. On his broad back, flaxen-haired Flask seemed a snow flake” (p. 214)

This description, and others, seem to place Daggoo, Queequeg and the other non-white crew members on a level of higher masculinity in their physical forms and intense strength and skill; Flask is clearly both weaker and more effeminate here, described as “flaxen-haired” and resembling a snowflake. Of course this assignment of masculinity is not purely flattering – Daggoo is almost animalistic here, being ridden by the white man, but the measly quality of Flask’s size and manly presence is hardly flattering either and is clearly evident.

This idea of a hierarchy that creates elements of masculinity and effeminacy is not only present in the distinction between the races aboard, of course, but exists as well in the assertion of power and control in the established ranks on the ship. We can see this actually in the story of the Town-Ho when Radney tries to assert his authority by demanding Steelkilt sweep the deck – a job that is “the prescriptive province of the boys” (p. 240), and which is a “trivial business not connected with truly nautical duties”. Sweeping in a very stereotypical manner is seen classically as a woman’s chore and here on the deck is considered similarly a sort of “tidying of the house” kind of job. This, coupled with the idea that it is removed from the true duties of the ship and of whaling (which we already know are the duties of men) suggests a real blow to ones masculinity; this is clear also in the fact that while I won’t argue boys are seen as a feminine presence, they certainly are less masculine given they have not passed through puberty. In this way, gender and masculinity is a constant push and pull within the hierarchies both racially and through authoritative position.

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