Moby Dick

A while back I marked a quote (we might have looked at it in class) that struck me at the time, but it wasn’t until I just returned to it that I realized how significant and meaningful this quote really is. It comes to us from Ishmael, in a seemingly unremarkable part of the novel, just after we meet the crew of the Pequod. Chapter 57: Of Whales in Paint; In Teeth, In Wood; In Sheet-Iron; In Stone; In Mountains; In Stars, page two of the chapter (289 in my Bantam Classics Edition):

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.

What a remarkable and revealing statement of Melville’s feelings on race (and more). You’ll notice I posed this blog to race, but I may just as well posted it to a half dozen other categories. Ishmael portrays these savage whalers as a different race–a group of men restored to that condition in which God placed them. Melville views these savage whalers as a somewhat divine and natural race, men not of civilization and Christendom, but of God, nature, and the environment.

How can Ishmael characterize a whale-hunter as as much of a savage as an Iroquois? Because a whaler, though bound by the rules and regulations of the ship, is otherwise a wholly free and simple man. A man–at least temporarily–without allegiance to a nation, religion, or profession other than hunting–taking what he needs for himself from the earth.

Ishmael almost (or does he?) goes as far as to call himself a cannibal, a lawless animal without principle, as one would have taken the term to mean in the 19th century. But even to this he would be ready to rebel at any moment, because like a cannibal he has no allegiance to anyone or any institution and would devour his own brother or leader if need be (a stretch, but stay with me).

With this insight into the nature of these savage whalers, it is now no wonder to me that the savages have always had pratical control of the ship, because in essence all of the crew are savages. Compared to a landlubber, the whitest man among them may as well be a tattooed, bloodthirsty cannibal. But what I do wonder at, what now seems so impressive to me, is how Ahab could have gained the allegiance and cooperation of a ship of 35 savages. What a feat he pulled off on the quarter-deck to manage to guide the focus of all these free natives towards a doomed plot to kill an albino monster. Perhaps Ahab is this King of Cannibals, the only man who could ever hope to gain the imprudent obedience of a crew of seafaring barbarians.

In this post I decided to recall the class discussion of race as an ideology in Moby Dick. After finishing the novel I am still left with numerous overarching questions regarding Melville’s stance on race and how he intended to portray and critique the racism of his time, but in looking through the various posts and in trying to sort through my personal interpretations, I have come to the conclusion that Melville is not a racist. He frequently makes the point to give the ‘non white’ races positions of power and influence and in this may very well be trying to use Moby Dick to communicate anti-slavery sentiments.

More specifically I wanted to examine Toni Morrison’s assertions in her essay, ‘Unspeakable Things Unspoken’ regarding Melville’ s race related intent in Moby Dick. As highlighted in class, Morrison is claiming that Melville isn’t merely anti-slavery or supportive of slave revolts, but trying to overthrow the existing ideology of whiteness. Morrison states that

“he [Melville] was overwhelmed by the philosophical and metaphysical inconsistencies of an extraordinary and unprecedented idea that had its fullest manifestation in his on time in his on country, and that that idea as the successful assertion of whiteness as ideology” (Morrison 22).

In reading more of Morrison’s analysis of Moby Dick, her arguments became increasingly convincing. She explores Ahab’s character and his madness in his quest to destroy Moby Dick. I found her analytical viewpoint very interesting and persuasive and have come to agree that Melville very probably could’ve intended for the white whale, Moby Dick, to represent the ideology of race. Morrison makes numerous intriguing points involving this metaphor and how it plays out with Ahab’s psychosis and the concept of whiteness vs. savagery, or rather, the “white racial ideology that is savage” (Morrison 21).

Although I find Morrison’s discussion of Moby Dick very convincing, I think that Moby Dick, being a complex novel with countless symbols, metaphors, themes, and social commentaries, I don’t think it can be read purely as a racial narrative. Perhaps where Morrison loses me is in her analysis of Ahab’s psychosis and how in fact, his racism as represented by his intent to triumph over Moby Dick, has caused and perpetuated his madness.

With no surprise, Morrison highlights a few sections in the chapter, The Whiteness of the Whale, in order to bolster her argument. I definitely agree with her analysis in that Melville is not exploring white people, but whiteness idealized. I don’t want to go into analyzing this chapter too much because it has obviously been done repeatedly in class and on the blog. However, in my reevaluation of the novel it continues to resurface as one of the most powerful and intellectually challenging and confusing chapters. I think that in discussing both beautiful and dangerous sinister images of whiteness Melville is attempting to explore the evolution of whiteness as an ideology. But, to openly question the very notion of white racial superiority would have been very bold and risky in his time, so Melville indirectly critiques and questions whiteness and in the end leaves it to the readers to extrapolate their own conclusions. This is made obvious in the last sentence of the chapter, “…and of all these things the Albino Whale was the symbol. Wonder ye then at the fiery hunt?” (Melville 189).

Works Cited

Melville, Herman. Moby Dick. New York: Signet Classic, 1998.

Morrison, Toni. “Unspeakable Things Unspoken: The Afro-American Presence in American Literature.” The Tanner Lectures on Human Values. The University of Michigan, Ann Arbor, MI. 07 Oct 1988. Lecture.

The symbolic hierarchy that allows the Pequod to function as a successful whaling ship with three physically powerful non-white harpooners bolstering the administrative power of the three white mates, Starbuck, Stubb, and Flask is a constant reminder of the racial diversity, stereotypes, and divides of the time. In this hierarchy all of the non-white characters are naturally subordinate to the whites and tend to function as caricatures of their cultures. In chapter 48, The First Lowering, Melville presents the reader with a unique scene that poses an interesting and ironic reminder of the racial hierarchy that embeds itself in every aspect of the novel’s progression. On page 214 Daggoo offers his body as a platform for Flask to more fully scan the ocean for whales,

“The sight of little flask mounted upon gigantic Daggoo was yet more curious; for sustaining himself with a cool, indifferent, easy, unthought of, barbaric majesty, the noble negro to every roll of the sea harmoniously rolled his fine form. On his broad back, flaxen-haired Flask seemed a snow-flake. The bearer looked nobler than the rider. Though truly vivacious, tumultuous, ostentatious little Flask would now and then stamp with impatience; but not one added heave did he thereby give to the negro’s lordly chest. So have I seen Passion and Vanity stamping the living magnanimous earth, but the earth did not alter her tines and her seasons for that.”

In this scene Flask standing on Daggoo’s shoulders becomes a physical reminder of the structure created by the three white mates and the three non-white harpooners on board the Pequod. In each case, the non-white man, whether Native American, Pacific Islander, or African, becomes merely a tool in the hands – or even under the feet – of the white man. However, it is interesting to point out that this passage applauds the physical wonders of Daggoo, noting him as superior to Flask as that ‘the bearer looked nobler than the rider’. Although Melville uses this passage to portray the power and superiority of white men of ‘inferior races’, he also uses it to display the unrelenting physical strength and important physical superiority of the non-white races. Additionally, this passage comments on the actual color contrast between the two races. The way in which Melville describes Flask’s Anglo appearance; ‘flaxen-haired Flask’, and in his reference to Flask as a ‘snow flake’ invokes a feeling of stark contrast between the ‘whiteness’ of Flask and the ‘blackness’ of Daggoo.

Melville’s portrayal of Daggoo’s unquestionable willingness to function as a physical tool just as a pedestal would serves as a blatant commentary on the voluntary submission of the non-white men to the white men both on board the Pequod and in 19^th century America. Melville is using the somewhat laughable scene of little Flask mounted on Daggoo’s shoulders to comment on the ridiculous nature of racial hierarchies that existed in 19^th century America.

Pip, as the only major African-American character in the novel, provides a unique commentary on racial issues of 19^th century America. Melville, or rather, Ishmael presents Pip as “the most insignificant of the Pequod’s crew” who merely serves as the Pequod’s ship-keeper, a sailor who stays on the ship while the whaleboats go out (Melville 398). However, from the moment Pip enters the novel his race plays a significant role in dictating his interactions and relationship with the other crew members.

Pip’s first soliloquy reveals to the reader all of the dangers he faces as a young African American boy on board the ship. Although he is evidently afraid of the storm and the inevitable encounter with Moby Dick, he is also afraid of the actions of the white sailors. It is apparent that his racial difference affects both his relationships with men and, in a larger sense, with God. In chapter 40, Midnight, Forecastle, Melville allows Pip to belittle himself and his race by submitting to the religious customs of the white Americans as an inferior ‘black’ being.

“Oh, though big white God aloft there somewhere in yon darkness, have mercy on this small black boy down here; preserve him from all men that have no bowels to feel fear!” (Melville 171).

In chapter 93, Castaways, Ishmael highlights Pip’s immense fear of the sea, his unique relationship with the white men on the ship, and his symbolic role as the African American slave. In the beginning of the chapter when Melville compares Pip to the ship’s steward, Dough-Boy, he simultaneously elevates African-Americans while blatantly portraying racial stereotypes.  Ishmael describes Pip as “over tender-hearted, but at the bottom very bright, with that pleasant, genial, jolly brightness peculiar to his tribe; a tribe which ever enjoys all holidays and festivities with finer, freer relish than any other race” Ishmael goes so far as to instruct the reader: “Nor smile so, while I write that this little black was brilliant, for even blackness has its brilliancy; behold yon lustrous ebony, paneled in king’s cabinets” (Melville 399). Ishmael’s depiction of Pip represents the 19^th century white man’s skewed view of the black race. Although the recognition of Pip’s ‘brilliance’ and his superiority to Dough-Boy reveals the greater humanity and more developed character of the black man in contrast to his white counterpart, the very nature of Ishamael’s description of Pip’s ‘tribe’  presents an extremely cliché racial representation. For example; the idea that African-Americans are constantly jolly and that they all play the tambourine.

Chapter 93 also contains a critical turning plot piece regarding Pip’s role in the novel. However, I won’t be addressing Pip’s dramatic shift to an integral symbol of insanity as a result of  being left to drift alone in the open sea, but rather his interactions with the other crew members during this fiasco.  In this Chapter Pip has been temporarily reassigned to Stubb’s whaleboat crew. The first time out he jumps from the boat, causing Stubb and Tashtego to lose their already harpooned whale. Upon this discretion Stubb forcefully lectures Pip on the importance of ‘sticking to the boat’. Interestingly, Stubb makes an obvious allusion to slavery in saying that “a whale would sell for thirty times what you would, Pip, in Alabama” (Melville 400).  This reference emphasizes the presence of slavery in 19^th century America and reveals the social acceptance of a statement such as this. After Stubb attempts to use this statement to control Pip’s actions Ishmael interjects with insightful commentary regarding human tendencies of slavery, “Perhaps Stubb indirectly hinted, that though man loved his fellow, yet man is a money-making animal , which propensity too often interferes with is benevolence” (Melville 400). It can be read that Melville intended this segment to be a critique of slavery and a broader commentary on human’s innate tendencies to ignore morality for self gain and, more specifically, monetary profit. This chapter is one of the many in Moby Dick that Melville has utilized to interject his negative feelings towards slavery in America.

Preface: I’m really interested in the characterization of Captain Ahab through rumors both before and after chapter 28, and how he is depicted as a mystery and a legend. In reading Ishmael’s first full description of the man I became particularly interested in the phrase “barbaric white leg” when our narrator first notices the whale jaw peg leg. I thought it had a bit of an interesting connection to race in the novel, so here I am, trying to combine race and characterization.

When the surreptitious Captain Ahab finally appears before the crew of the Pequod, his grim air overwhelms Ishmael — so much so, our narrator tells us, that it took him a moment to realize that much of the grimness came from the captain’s “barbaric white leg” (117).

The phrase struck me because of the juxtaposition between “barbaric” and “white.” Ishmael most often uses the word “barbaric” to describe men of other races, much like his use of the word “savage.” The contrast between the two words sums up Ishmael’s first impression of Captain Ahab quite well. The captain, though a white man, is “wild” (117) and is in many ways depicted as superhuman, even mythical.

Before chapter 28, in which we meet Ahab, we learn about him through what others tell Ishmael. The rumors construct Ahab’s reputation, and the man becomes the subject of a myth. Ahab’s mythical characterization continues in Ishmael’s initial description of the mighty man. When he first lays eyes on his captain, Ishmael notes that “his whole high, broad form, seemed made of solid bronze,” likening the man to a statue (117). Who gets statues made of them? Certainly not whaling captains. Ancient, brave, mythical heroes get made into statues. Ishamel continues to glorify Ahab by comparing him to a “great tree” (117). This further separates Ahab from the other characters, from humans, and makes him more of a god-like figure.

Let’s go back to the phrase “barbaric white leg.” What makes the leg “barbaric” is its inhumanness. The leg, made from the jaw of a Sperm Whale, is by definition not human. While Captain Ahab’s being inhuman is what makes him great, we must note that therefore the use of the word “barbaric” in describing the non-white characters in Moby Dick is racist.

Ishmael often uses the word to describe the harpooneers, as much as he uses the words “savage” and “heathen.” We know, as modern readers, that these terms are politically incorrect and just plain rude. Ishmael’s use of “barbaric” in his description of Ahab reveals why. In Ahab’s characterization, to be inhuman is to be different from everyone else. However, that does not mean that to be different is to be inhuman. Regardless, Ishmael uses the same adjective to describe both the inhuman Ahab and the different harpooneers.

“Barbaric” and “white” is a suitable description of Ahab, the mysterious, wild captain. He is the least human character of the novel. But the presence of the word “barbaric” and its synonymity to “inhuman” makes us reflect on its use in other parts of the work, and its racist implications.

Melville courageously and yet tactfully utilizes the adventures of Ishmael to insert his own commentary regarding issues surrounding race in the 19^th century. He highlights common racial divides, scrutinizes widely accepted racial prejudices of the time, and proposes a renewed meaning of racial coexistence. However, Melville’s seemingly modern perception of race doesn’t fully escape the grasp of numerous race related social constructions.

Within the first 21 chapters of Moby Dick, Melville focuses his racial commentary around the budding friendship between Ishmael and his ‘peddler of heads’ bedfellow, Queequeg. A passage on page 48 from the chapter ‘A Bosom Friend’ in which Ishmael consciously commits to befriending Queequeg, highlights Ishmael’s ironic acceptance and to a certain extent curious appraisal of Queequeg as a racially dissimilar friend.

“Savage though he was, and hideously marred about the face—at least to my taste—his countenance yet had a something in it which was by no means disagreeable. You cannot hide the soul. Through all his unearthly tattooings, I thought I saw the traces of a simple honest heart…”

This passage exemplifies the fact that Melville’s notion of racial serenity doesn’t come without burdensome obstacles. In this passage Ishmael recognizes Queequeg as something beyond the color of his skin. He is able to identify ‘traces of a simple honest heart’ among other commendable traits. However, Ishmael persistently uses prejudicial labels such as ‘savage’, ‘unearthly’, and ‘pagan’ that prevent him from leveling with Queequeg as a human being. It is in this way that Melville conveys a conflicted message in terms of promoting racial equality.

The most interesting component of this passage is the surprising comparison Ishmael makes between Queequeg and George Washington.

“…but certain it was his head was phrenologically an excellent one. It may seem ridiculous, but it reminded me of General Washington’s head, as seen in the popular busts of him. It had the same long regularly graded retreating slope from above the brows, which were likewise very projecting, like two long promontories thickly wooded on top. Queequeg was George Washington cannibalistically developed.”

As a reader, the reference to George Washington came as a surprise to me. I didn’t expect Ishmael to be willing to liken a ‘savage’ such as Queequeg to a man of such great historical and symbolic importance. However, this comparison remains confined to a physical similarity and not one that functions to elevate Queequeg to George Washington’s level of fame or respect. Additionally, Melville allows Ishmael to revert to his prejudicial tendencies by using the term ‘cannibalistically developed’, whatever that means, to define Queequeg.

As the book progresses and Ishmael and Queequeg’s friendship blossoms it will be interesting to see if Ishmael will be influenced to shed his seemingly natural racial discriminations and fully embrace Queequeg as a companion at sea.

Works Cited

Melville, Herman. Moby Dick. New York: Signet Classic, 1998.