Author Archives: Athena Chenot

The Apex Predators: Great White Sharks & Great White Aristocrats

Posted on by
79

In Herman Melville’s Moby Dick, a unique relationship takes forms between the crew, the captain and the ship itself out on the vast sea. In this lawless landless place, the Pequod becomes their new “homeland,” with the captain functioning as a form of ruler of this new “estate” and the crew functioning as the workers. By viewing the interactions of different characters on the ship in relation to the role they play in the hierarchy, we are able to understand the society of the 19th century on a more intimate level. 

In this essay I will argue that Melville intentionally intended for the Pequod to symbolize the state of America during the 19th century in order to critique the capitalist system of consumerism whose primary industry relied on exploiting the working class—who were typically members of minority races—in order to supply luxuries products to the upper-class members of society.

Through analyzing specific relationship dynamics, Melville is able to characterize aspects that are intended to represent consumerist society as violent, lazy and cruel in contrast to the working class whose characterization stresses the importance and value of workers in the hopes of sparking change in the social hierarchy. 

Additionally, I will demonstrate this argument through an illustration titled The Fruit of Thy Labor, that will symbolize this capitalist society in the scope of violent exploits of this consumerism system. 

However, to fully grasp the extent of this metaphorical state and its critique of the current system, we need to firstly understand the historical context of the time period in which it was written, and its direct influence on the narrative. 

During the 1800s, as the United States was emerging with a newly formed government, there were contrasting political debates on how to run the country after being newly separated from the British Empire. The United States system of government decided to shift away from the monarchy to form a democratic party and build a new empire resulting in the transpiring of Manifest Destiny with the purpose of expanding democracy and capitalism. 

To prevail they needed the means of industry to further this expansion—which led to the debate over the state of labor leading to the eventual Compromise of 1850. Prohibiting the expansion of slave labor in the new states and the integrating the Fugitive Slave Act (Heimert, 1963).

In Melville’s novel, Manifest Destiny is constantly brought to the forefront of the narrative’s journey as a direct result of Melville’s awareness of the moral dilemmas of 19th century politics. These often involved divided debates that questioned the power structure of the system of the states in terms of, class, labor, and race.  

In chapter 64 of Moby Dick, titled “Stubb’s Supper,” class, labor, and race are represented through the interactions and dynamics of the characters; Stubb, Daggo’s Fleece, and the sharks—with each playing a specific and intention role in relation to each other in order to represent the current state of society and demonstrate why it should change. 

In this part of the novel, the Pequod had just made their first whaling kill and were in the process of hulling in the exploits from their venture. During the transportation of these various items, Stubb specifically requests Daggo to cut a piece from the whale, then he has Fleece cook him up an individual steak. As Stubb finishes ordering him men around, he eats his meal in the midst of night, while thousands of sharks can be heard simultaneously attacking what remains of the whale below him in the water. In this particular scene, the sharks play an interesting dual role of representing and criticizing both aspects of consumerism culture of the upper class while also simultaneously the middle-class work force. 

Initially, there is a distinct power-dynamic being enacted by Stubb that is mirrored through the actions of the sharks. The sharks in this scene are currently ravaging the remains of the Whale they had nothing to do with—reaping the benefits of a free meal from the labor of the crew on the ship. Similarly in the way that Stubb has Daggo fetch the meat while having Fleece be the one to cook it for him. In no significant way did Stubb contribute to the work besides giving the orders and dishing out critics—yet he still is the only one who ends up with a stake. 

The sharks are purposefully in juxtaposition to Stubb’s while doing this same action in order to represent the competitive and unstable state of consumerism culture itself—framing Stubb’s consumption of meat as something that is simultaneously violent, and lazy, inadvertently framing consumerism as being such qualities. 

By having Stubbs literally consume a product [the whale] and correlating it to the shark frenzy created a gruesome visual that represents the brutal nature of the society they are a part of and their roles in the hierarchy [as consumers]. By making the idea of consumerism “undesirable,” Melville is indirectly asking for change from the current rhetoric characterized by this laziness and violence. 

However, the sharks don’t just represent the consumers of society, but also the workforce as well, creating a unique relationship between the two by bringing them into the conversation.

“Cook…Don’t you think this steak is rather undone?…Don’t I always say to be good, a whale steak must be tough? There are those sharks now over the side, don’t you see they prefer it tough and rare? What a shindy they are kicking up! Cook, go and talk to ‘em they are welcome to help themselves civilly and in moderation, but must keep quiet” (Melville, pg. 320).  

In this excerpt, Stubb directly compares himself to the sharks, by indicating that he prefers his steak in the same manner “tough and rare,” however he does something even more interesting when he asks Fleece [Cook] to literally talk to the sharks. Now, the sharks in this scene are no longer simply a background but actual characters in conversation with both characters. The significance of having both Stubbs, and Fleece in conversation with the shark, is because it situations the consumer [Stubb] and the workforce [Fleece] in conversation with each other—connecting and revealing the truth of their current society. With the consumer having more power in the hierarchy over the workforce regardless of if they can be in conversation with each other. 

This is further reinforced by the context of the conversation in itself. Although Stubb is talking to Fleece, it seems more like he is talking at him—not allowing him to get a word in and then making demands and orders for Fleece to follow. The way he talks establishes a relationship whose dynamic is more reflective of an employer and worker dynamic. The specific word choice of “welcome” and if they are “civil and in moderation,” was also to reiterate this dynamic in the hierarchy by reiterating the limits and restraints of workers in this system. Being “welcome” implies that they can easily be unwelcomed and “civil and in moderation” means there is a specific way one must act in order to successfully participate in this system and there is only a certain level they can aspire to or “moderate”. 

This dynamic between Stubbs, Fleece and the Sharks can be interpreted as how the effects of capitalism can be dehumanizing for not only the workforce but also for the consumer itself. In this situation, they both may be able to be represented by sharks, but only one is a Great white and the other is a pygmy.

However, despite this distinction, there seems to be a sort of necessity for Stubbs to belittle him in order to reinforce his higher status in the hierarchy. This is tied directly to their class distinction but also exhibits larger racial connotations. 

After the Compromise of 1850—that divided the nation on the issue of slavery, conflict arose about the status of new territory on how to go about capitalist adventures in a newly free-market. It was during this era that the term “wage slavery” gained traction which “suggest a permanent condition of wage labor from which there was no chance of rising to economic independence…where, in Eric Foner’s words, “slavery was an immediate reality … the small producer still a powerful element in the social order, and the idea still widespread that the wage-earner was somehow less than fully free.” (McGuire, 2003). 

Although slavery was now illegal under law, the effects and conditions of slavery were still present and lingering on the people of these communities. The linger effect situating them in a state of disadvantage [poverty]—which puts them in the terrible position to be exploited. The condition of poverty, albeit an improvement, is still just another form of oppression in the form of exploitative labor. 

In the context of Moby Dick, Melville is writing this novel at the same time the nation is shifting and trying to reform their structure of government in terms of race, class, and labor. As a result, certain characters become representative of this society through their role and dynamic relationships on the ship. The most prevalent example is the organization of roles on the ship, in relation to their status and their pay. 

On the Pequod, there is a main established hierarchy according to the workstation that goes as following; The Captain, the 1st, 2nd & 3rd mate who function as officers commanding their own whale boat, the harpooners and the sailors. In terms of whaling, the harpooners have the riskiest job—having to actually pursue and kill the whale—yet they get significantly less money than that of the officers who are just supervising. As high-ranking officers, they receive a substantial amount of the profits for their ability to control their subordinates and reinforce this balance of the hierarchy they established. However, Melville does something incredibly clever, situating the different cultural and racial background of the characters in tandem with their positionality on the boat’s hierarchy, to show a direct reflection of 19th century society and the inequalities of this system on a smaller, more understandable scale. 

“The harpooneers…who so “generously” supply “the muscles… are representatives of the three races on which each of the American sections…had built its prosperity in the early nineteenth century. Stubb’s squire is an Indian; Star-buck’s comes from the Pacific islands. And Flask, perched precariously on Daggoo’s shoulders, seems, like the southern economy itself, sustained only by the strength of the “imperial negro” (Heimert 1963).

In the wake of free labor in the new free-market economy brought growth to the American people—including the minority population. Although they now have better opportunities, these opportunities are still not equal or substantial in the same way the dominant race and culture receive them. Going back to the concept of wage slavery—there is a lack of upward mobility for people of color during this time period. This is reflected in Melville’s work by having all the hard labor jobs being represented by a person of color. Not only are the jobs hard but Melville makes it a point for these jobs to be essential and to highlight the importance of the working class who have a history of being oppressed and exploited and continue to be. Just like how Flask was held up by Daggo, Stubb uses Daggo and Fleece to make a meal—exploiting their labor for consumption of different kinds but with similar results showing that even though some change has been made to fix the system, there is room for improvement.

 This scene describes the interactions between Stubb, Fleece, and the Sharks functions as a hopeful and positive critic towards future changes to reflect and create equality in our society.

Having the sharks reflect different qualities of both sides of the capitalist society goes to show how despite the hierarchy of race, class, and labor—-essentially, we are the same. Just like how there are many different types of sharks but at the end of the day—-they’re all still sharks. 

“through amid all the smoking horror and diabolism of a seafight, sharks will be seen longingly gazing up to the ship decks, like hungry dogs round a table where red meat is being carved…while the valiant butchers over the deck-table are thus cannibal carving each other’s live meat…the sharks, also, with their jewel-hilted mouths are quarrelsomely carving away under the table at the dead meat; and though, were you to turn the whole affair upside down, it would still be pretty much the same thing” (Melville, pg. 319).

In this excerpt, the butchers [or consumers] are described as cannibals feasting on live meat which functions as a metaphor for how consumerism culture thrives off the exploitation of others. In order for the butcher to feast, someone must die, which is a very morbid analogy to the sacrifices of the working class for the upper-class commodities. In contrast, the sharks [workers] are feasting on dead meat from under the table—-essentially scraps from the butcher’s feast. Another morbid analogy about how the rich get richer while the poor remain poor, working to merely survive in such a cutthroat society. 

However Melville then subverts the hierarchy….yet….everything looks the same?

For in this imagined proposed society of butchers and sharks, despite the different categories that individual roles seemed to be assigned to—under one system they are all the same, hence the lack of change regardless of the subversion.

Melville doesn’t want to simply switch the positions of the roles in the hierarchy but to dismantle the system itself that perpetuates this sort of exploitative capitalist consumer society. Using the Pequod as a metaphor for 19th century America, Melville is expressing his desire for changes to the capitalist system of consumerism that addresses these issues of race, class, and labor. Through these interactions and dynamics of the characters in the narrative, we were able to grasp a better understanding of Moby Dick in the historical context of its time period and its criticism of the governmental systems in place. 

References: 

 Heimert, Alan. “Moby-Dick and American Political Symbolism.” American Quarterly, vol. 15, no. 4, 1963, pp. 498–534. JSTOR, https://doi.org/10.2307/2710971. Accessed 17 Dec. 2025.

McGuire, Ian. “‘Who Ain’t a Slave?’: ‘Moby Dick’ and the Ideology of Free Labor.” Journal of American Studies, vol. 37, no. 2, 2003, pp. 287–305. JSTOR, http://www.jstor.org/stable/27557332. Accessed 17 Dec. 2025.

Illustration: The Fruit of Thy Labor

For my illustration, I chose to draw my interpretation of consumerism in order to visualize the violence behind the action that society deems “normal.” Subversion the idea of normalcy by bringing that brutality to the forefront—or in this case, the dinner table. I wanted to showcase how even the minimalist pleasures and commodities enjoyed by the upper class are built upon the blood sweat and tears of the working class—having her wine literally being made up of the blood of the whale that’s been slain by the whaling ship in the cup. As the whale bleeds out and dies, it supplies products for the upper class. Similarly to how sperm oil was commonly used during this time as the primary light source or the ivory that makes up the very corset aristocrat’s wear. I wanted to take this idea of the whaling industry and compress it into a scene at home. I chose to showcase the whale bleeding out to bring this violence that isn’t often seen to the forefront. Jarring the image of esteem and class portrayed by the aristocrat by having death and labor being at the center of it all. The Whale dies a gruesome death, meanwhile she indulges herself in overconsumption of wine to the point where she’s spilling it from the cup. 

Her features are obscured yet prominent, with her skin tone matching the background to bring intentionality to the overwhelming whiteness on the page—meant to symbolize the dominant imperialist white culture of the time period. I also had her nails exaggeratedly sharp to dehumanize her and make her ambiguous and less sympathetic.

In contrast, the whale and ship itself are much smaller and additionally, are contained in the wine glass in the palm of her hand. Using the juxtaposition of the size difference and positionality on the page to show the differing power dynamics, portraying the wealthy holding the power over the working class. With the aristocrat in this picture notably staying out of frame so the main focal point in the scene will be the contents of her wine glass.

The center of the frame portrays the ship, but most glaringly the dead whale in its own giant pool of blood. I wanted this image to be both provoking and sad—hoping to garner sympathy towards the whale itself and those trapped under the command of the aristocrat’s hand. 

A picture of consumerism in a capitalist society—where the rich feed off the labor of the poor and more. 

Final Project Proposal

Posted on by
1

Final Project proposal: I will be elaborating and extending my second essay regarding chapter 64 of Moby Dick, titled “Stubb’s Supper”, during which Stubb begins making his meal of their whale while thousands of sharks can be heard simultaneously attacking what remains of the whale below him in the water.

 My thesis is going to argue that this scene is meant to symbolize the consumerist society they live in and what becomes necessary to survive in this capitalist system. In order to participate in this capitalist society, it becomes necessary for an individual in the workforce to become violent themselves in order to survive this type of system.

I will be demonstrating this through an essay accompanied with an illustration or poem [still deciding] that symbolizes and demonstrates this violent relationship in regard to capitalist adventures. 

Power. Intention. Madness 

Posted on by
1

In the chapter leading up to the chase, it’s evident that Ahab is slowly becoming more and more maddening as time passes and they have yet to complete their mission. However, at the very sight of the whale, the object of his desire, he seems almost more insane than before. 

“And did none of ye see it before?” cried Ahab, hailing the perched men all around him. “I saw him almost that same instant, sir, that Captain Ahab did, and I cried out,” said Tashtego. “Not the same instant; not the same—no, the doubloon is mine, Fate reserved the doubloon for me. I only; none of ye could have raised the White Whale first. There she blows! there she blows!—there she blows! There again!-—there again!” he cried, in long-drawn, lingering, methodic tones, attuned to the gradual prolong-ings of the whale’s visible jets.

In this sentiment, Ahab displays his erratic behavior in the manner that he speaks, continuously repeating himself in tandem with the whale. Almost as if he’s formed a parasite-like relationship to the whale itself, even claiming that “Fate” had a hand in their coming together again. This one-sided connection he feels to the beast shows the depth of his obsession. Leaving the world of the physical all together, when attributing this mission to “Fate.” 

In addition to this madness, there is also Ahab’s power and intentions to consider. At the beginning of the ship’s departure of their original mission to Ahab’s–the appeal in such a turn in monetary terms. Ahab offers them money and glory in return for their service, using this driving competition to fuel their mission.

However, once they finally come upon the beast, Ahab claims the find as his own, with the intention of keeping the doubloon for himself, claiming “fate” as the result of this action. In this scene it’s clear that Ahab never really did have the intention to pay someone to kill the Whale, instead it was utilized as a ruse in order to get them to follow his order. Using the promise of money as power, but in this scene that is unraveled by this confession. Through the illusion of power, Ahab was able to trick them into doing his own bidding and effectively leading them to their deaths. 

Essay #2: Shark Tank

Posted on by
Reply

In chapter 64 of Moby Dick, titled “Stubb’s Supper”, the Pequod had just made their first whaling kill and were in the process of hulling in the exploits from their venture. During the transportation of these various items, Stubb specifically requests Daggo to cut a piece from the whale so he can cook a steak. As Stubb begins making his meal in the midst of night, thousands of sharks can be heard simultaneously attacking what remains of the whale below him in the water. 

In this scene, the sharks are purposefully in juxtaposition to Stubb to demonstrate how they are both participating in the same action for the same purpose—survival in their respective worlds. 

“About midnight that steak was cut and cooked; and lighted by two lanterns of sperm oil, Stubb stoutly stood up to his spermaceti supper at the capstan-head, as if that capstan were a sideboard. Nor was Stubb the only banqueter on whale’s flesh that night. Mingling their mumblings with his own mastication’s, thousands on thousands of sharks, swarming round the dead leviathan, smackingly feasted on its fatness.” (319). 

This scene is meant to symbolize the consumerist society they live in and what becomes necessary to survive in this capitalist system. In order to participate in this capitalist society, it becomes necessary for an individual in the workforce to become violent themselves in order to survive this type of system.

The whaling industry during this time period was very integrated into everyday society as indicated by the everyday items people were using and consuming. Even in this very scene, Stubb is only able to cook his food from the whale during midnight because he has light from “lanterns of sperm oil.” Although Stubb is the only living character, the whale’s presence dominates the atmosphere because of how integral and necessary it is in society and specifically to Stubb’s survival—as he is literally feeding off the whale. The whale becomes both sustenance of survival [food] and a commodity for consumer consumption [lantern oil].

 The importance of the whale cannot be overlooked in these scenes despite not even being alive anymore. The whale is instead transformed through acts of violence to become “useful” in our society—and there is no other way to procure these materials without the means of violence  

However, the way Stubb goes about preparing his meal isn’t particularly visualized as “violent” in the scene as to how it was portrayed in the previous chapter. Instead, the sharks are utilized in comparison to Stubb in order to visualize the violence behind this everyday act of simply preparing a meal. As Stubb feasts, the violence festers below him over the same exact thing in a much more cruder description. Depicting thousands of sharks and using descriptors such as “mastication” and “smackingly” to show the brutalization of the whale during this process and the sheer number of sharks that depend on this feast for their own survival.

 In comparison to a capitalist society, it can also represent the overwhelming number of people who depend on the whaling industry to provide for these commodities. Much like the sharks, a large number of people need the whaling industry, and depend on it to survive. It not only provides products, but also provides a job and purpose for an individual—if they can adapt to the violence necessary for such a task. 

Stubbs is the perfect character to display this adaptation because he operates on logic and knows what he needs to do to maintain his station. Although Stubbs isn’t actually feasting with the sharks, in a sense, the sharks and Stubbs are one in the same—the work force in their society, and much like in our capitalist society, the procurement of products and the consumption of exploits is built on a system of violent expenditures. This characterizes the capitalist whaling industry as an institution of violence. With the work force in the society adapting to be more like sharks in order to survive and thrive. 

However, that’s not to say that all sharks [workers] are created equal. For it’s not Stubb’s that procures the steak for his meal, but it’s his subordinate Daggo—and Stubb’s does not share with anyone. This solitary act of eating what others provide and reinforces the power-dynamics between characters and how violence and influence is seen as power. Stubb is not only representing the work-force at this moment but also the consumers who don’t realize the work of others to produce their items. The work behind the carnage is unseen–out of sight out of mind. However, the sharks bring that carnage back to the forefront. 

 In the previous chapter, the whalers crudely killed the whale, but this act was framed in the sense of accomplishment of their goals, rather than what it actually is—-the act of killing a living creature in order to benefit from what we can use from it. That’s why the scene depicting both Stubbs and the sharks acting in the same manner allows us to make these comparisons on our own volition.

 The sharks were acting erratically, manically tearing apart the beast—-but so were all the men in the previous chapter and the beginning of this chapter. Man and beast become one in the same through their mutual violent acts against the whale. The sharks become necessary to displaying the raw brutality in the act of a killing—regardless of the general motivation. The sharks did it to eat, the whalers did it because it’s their job and that’s what’s necessary in the society they live in. 

However, that begs the bigger question of if the means of procuring these items justifies the violence in their retrieval—-why is the violence necessary? 

This is because violence becomes necessary due to capitalism. The whalers live in a capitalist society that thrives for continuous economic growth and competitive markets, and as a result, they are pushed to be better than their competitors. For whoever has the most money in this society, holds the most power. This individualistic and competitive mindset are what leads to the pursuit of power through any means necessary and this typically manifests into a particular type of violence. In whaling, it has manifested in the overhunting of whales in the pursuit of profit and to just survive in general. Just like the sharks, many people are just trying to survive in the world that they live in. If violence becomes a means of survival, then we must be violent. This is what this scene depicts, how because of the capitalist society they live in, the work force has had to adapt to violence. For in order to survive in a cruel world, we must become violent—we must become sharks.

The Bachelor and the Concept of Freedom

Posted on by
2

In chapter 115, the Pequod gets an interesting interaction with the ship called “The Bachelor.” This ship is characterized as joyous and lucky—as they have an abundance of materials and spoils from whaling as they return home. This ship is particularly important in this moment because it is meant to contrast against the mood of the Pequod. Whereas the Bachelor has been able to fulfill its purpose as a whaling ship, the Pequod has yet to achieve their goal in killing the White whale. The Pequod is still bound by their mission, in contrast to the Bachelor who is sailing for home. In this scene, the ship they encounter is meant to be a representation of freedom, hence the name “The Bachelor.” A Bachelor, by definition, is someone who has not been married and is therefore “free” or available, in regard to dating. In the context of whaling, the Bachelor ship represents freedom in the sense that they are not bound by a particular mission—they achieved their goals, and they get to go home. 

And thus, while the one ship went cheerily before the breeze, the other stubbornly fought against it; and so the two vessels parted; the crew of the Pequod looking with grave, lingering glances towards the receding Bachelor; but the Bachelor’s men never heeding their gaze for the lively revelry they were in.” (538). 

In this moment, we witness the fleeting freedom of the Bachelor and the longingness of the crew. However, unlike the Bachelor, they are bound by Ahab’s continued obsession that prohibits them from the same type of freedom. The captain of the Bachelor even beckons Ahab to board his ship, yet Ahab rejects this, insisting on hunting the whale and asking the other captain if he’s seen it. Despite this generous offer, Ahab is blinded by his pursuit, and rejects this offer, and in a sense, he metaphorically forgoing freedom of any kind—imprisoning himself in his mad obsession. He doesn’t want freedom; he wants the White Whale by any means necessary. The brief encounter with the Bachelor shows us the current sanity of the current characters. With the crew slowly sinking into despair and their captain quickly descending into madness.  

Ambergris & Power Dynamics

Posted on by
4

In the previous chapters we are introduced to the product “ambergris”—a rare wax-like substance that is used in a multitude of different luxury items such as perfumes and hair products. The rarity of this material being that it is sourced specifically and only from the digestive tract of a deceased whale. 

This process of obtaining this substance is both grotesque and strenuous, highlighting the importance and power of the labor force in acquiring these essential elements. Drawing attention specifically to the class structure of the society by contrasting between showing the labor used vs. the final products. 

How hard these items are to obtain versus their mundane use in everyday life demonstrates the disparities between the working class and the upper class while also showcasing the upper classes’ intrinsic necessity and connectivity to the working class.  

“Who would think, then, that such fine ladies and gentlemen should regale themselves with an essence found in the inglorious bowels of a sick whale! Yet so it is.” (447). 

This quote encapsulates the upper-class need for the working class while also demonstrating their disconnection to this very fact. The items they use—are attributed to the work of others, and without that–they cannot have their luxuries. This quote frames the so-called “fine ladies and gentlemen” as ignorant to the fact of where their items come from. However, this disconnect or ignorance is purposeful, as to not acknowledge the necessity of the working class. The upper class is built on their labor, and to acknowledge it would mean to expose it and potentially alter their station or the very structure of the social order. The upper class do not want the lower class to know how much they depend on them or how powerful they truly are in maintaining their society. However, the desire for ambergris shatters this allusion of power—for only the whalers are capable of such feats, and therefore—capable of so much more.

With God as My Witness…[Essay #1]

Posted on by
Reply

In chapter 34 of Moby Dick, Melville uses biblical allusions and the relation of royalty to God to describe Captain Ahab in order to emphasize the importance and power this character will have on the direction of the narrative. 

The power of God is one that is built upon faith, and in many aspects, this is similar to the role of a ship captain—with the crew putting their faith in the captain’s ability to lead them during their time on the ocean. If we consider the Ocean as a sort of religious experience, it opens the possibility for those who are conduits of this experience to guide this journey.

Ahab’s mysterious characterization not only suggests his importance to the narrative but also frames him as a representative of a prophet of God. In this case the captain becomes a prophet dedicated to the water, and much like Jesus Christ guiding the religious experience of his disciples—Captain Ahab will guide the crew on their journey through the ocean. 

This characterization of Ahab as a prophet is evident in the first dinner scene with his crew, which was intended to allude to the biblical scene of Jesus and the Last Supper. 

“Over his ivory inlaid table, Ahab presided like a mute maned sea-lion on the white coral beach, surrounded by his war like but still deferential cubs…They were little children before Ahab; and yet in Ahab, there seemed not to lurk the smallest social arrogance.” (162).  

Using this biblical allusion the scene paints a picture of regality and unity among a common leader situated amongst them. 

The particular language used is purposeful to elevate Ahab above his crew without necessarily demeaning them. Comparing Ahab to a sea-lion surrounded by cubs positions him in a place of not only power but of protection. Demonstrating the captain’s obligations to the crew and the seriousness and which he takes this position The second sentiment, which compares the crew to his children also echoes this idea of protection but brings in a more religious aspect. In the bible, those who follow the word of the Lord are considered “children of God.” This specific use of the word “children” in this phrase, is meant to emulate that same sort of spiritual presence of unity under one God. For the shipmates—that unity is under Ahab.

His character is positioned as someone with a power and status likened to Godhood. Therefore, he has the precedent of ultimate authority on his ship. In addition, the status of a ship captain being positioned as a prophet of God, indirectly frames ship captains above regal authority. 

“To have been Belshazzar, King of Babylon…therein certainly must have been some touch of mundane grandeur. But he who is the rightly regal and intelligent spirit presides over his own private dinner table of invited guests, that man’s unchallenged power and dominion of individual influences for the time; that man’s royalty of state transcends Belshazzar’s” (162). 

This sentiment encapsulates the idea of the captain holding a higher rank than even that of royalty due to the prestige and respect he has gained from those whom he presides over. 

Considering that royalty is a God given state, it positions God above the royals, and in this context, the captain is above them as well. 

The language used to describe this state is also specifically biblical, showing that the power is that of a spiritual nature as well as the hierarchy of roles. Although there may be social equality on the ship, there is still a hierarchy that is maintained by the roles of crew. The “unchallenged power” of Ahab as captain is what reinforces his power on top of the hierarchy. The reference to the idea of a “dominion” also comes from the biblical sense of authority that has been given by God to govern or steward over the land or in this case, to govern the ship on the ocean. This directly links the role of captain to that of a prophet of religion, governing its own individual dominion. Situating the status of captain as being that of something godly but not all power. 

As the story progresses, Ahab will be the one to lead them on the hunt—with the power to steer the direction of their destinies. The question now is whether he’ll lead them towards glory and heaven or hardship and hell. 

In the original story of Jesus Christ, his unwavering beliefs are what lead the people of Bethlehem, and one of his own disciples to turn on him—resulting in his horrific drawn-out death in the end. 

If Ahab is to continue mirroring Jesus Christ the prophet, there is a good chance that Ahab’s obsessive mission to kill the White Whale will be a death sentence. This reflection also hints at the possibility of a mutiny on the ship, since Jesus Christ was also betrayed by his fellow disciple, Judas. So far in the novel, the only opposition we’ve had against Ahab’s mission has been Starbuck. This detail could possibly foreshadow escalating tensions on the ship that can potentially lead to this mutiny. However, as of now, Ahab is the titular character who possesses the most power over the narrative. He is literally driving the direction of our characters’ fates by guiding the ship towards its destiny. 

However, considering that the biblical allusion seems to be comparing Ahab to the likes of Jesus, this ultimately leads me to believe that his fate, and that of his crew will end in the same tragic style of the death of Jesus.

Ahab & Prometheus

Posted on by
2

As our characters continue to pursue their mission to hunt down Moby Dick, Ahab’s seemingly vengeful quest slowly reveals his obsessive state of mind that gradually affects his leadership.

This charismatic leader is becoming more maddening over time as his quest for his personal revenge stretches on, jeopardizing the mission and the lives of his men. The more time that passes on the Pequod, the more Ahab is driven further into his obsession, leaving him feeling like he is lacking.

“What trances of torment does that man endure who is consumed with one unachieved revengeful desire. He sleeps with clenched hands; and wakes with his own bloody nails in his palms.” (219). 

This uneventfulness to him is described as torment and his lack of achievements are causing his low morale and deteriorating mindset. This feeling is then manifested in a physicality when it describes him inflicting self-harm—a clear sign of his extreme emotional distress. 

To encapsulate this emotional state, Ahab is then compared to the Greek God Prometheus to reflect on how his continued obsession will eventually lead to godly punishment.

 In the story of Prometheus, the Greek God of striving, he is characterized as having a particular reputation for being a trickster with the fallibility of favoring the humans. His obsession of gaining humanity’s favor leads him to steal fire from the Gods and give it to the humans as a gift. As a result of stealing he was punished by Zeus, who forced him to be chained to a rock for all times and ensured that everyday a vulture would eat his liver that continuously grew back. 

Prometheus’ story can be considered a lesson about the risk of overreaching achievements resulting in unintended consequences. In the context of Ahab, it becomes a metaphor for how Ahab’s obsession will become his undoing.

“God help thee, old man, thy thoughts have created a creature in thee; and he whose intense thinking thus makes him a Prometheus; a vulture feeds upon that heart for ever; that vulture the very creature he creates.” (220).

 In the line, “that vulture is the very creature he creates,” the vulture is Ahab’s obsession, a feeling that he has made up as a response to losing his leg and blaming the whale for it. Pointing out that the vulture is of his own making, shows that the way Ahab is feeling is simply a construct he made for himself. He chooses to feel this way and project these emotions onto the whale and the idea of taking revenge. So, when he’s unable to attain that, his obsession becomes self-inflicted punishment of the mind. 

 The story of Prometheus is meant to reflect the direction that Ahab’s obsession with the White Whale will take the narrative. It’s clear from Ahab’s recent actions that he isn’t in the right state of mind despite being the captain of the ship. He is not leading with purpose but by obsession that is border-lining madness. If he continues this pursuit of revenge, there will be Godly retribution, most likely in the form of a whale.  His non-stop chase of the White Whale will make him grow increasingly mad, transforming this previously charismatic leader into a chaotic, unhinged force that will lead the crew with erratic passion rather than a captain’s logic. When facing a Leviathan such as the White Whale, one has to be in a clear state of mind or they will die. If the Pequod maintains their pursuit, Moby Dick will be the God that will bring upon Ahab’s death. 

Jesus and the Last Supper (Week 8: 34-42)

Posted on by
1

As our main characters, Ishmeal and Queequeg finally board the ship, we eagerly await the reveal of the mystical captain Ahab. Thus far in the novel, Ahab has only been introduced through the perspective of other characters—but has yet to be witnessed in person.

 His character not being seen but only speculated about, creates a mysterious and intriguing aura that suggests the importance of Ahab as a character to the story’s ultimate driving direction. I would even go as far as to say Ahab is a representation of the Prophet that will guide the crew to their destiny on their journey through the ocean. Much like Jesus Christ guiding the direction of the religious experience for his disciples. However, this ultimately leads me to believe that his fate, and that of his crew will end in the same tragic style of the death of Jesus.   

This is hinted at in the subtle allusion to biblical text and the relation to his status and royalty. The power of God is built upon faith, and in many aspects, this is similar to the role of a ship captain—the crew must put their faith in the captain’s ability to lead them. 

IF we consider the Ocean as a sort of religious experience, it opens the possibility for those who are conduits of this experience to guide this journey. In this case the captain becomes a prophet dedicated to the ocean, a status that is indirectly above regality. 

“He who is the rightly regal and intelligent spirits presides over his own private dinner table of invited guests, that man’s unchallenged power and dominion of individual influences for the time; that man’s royalty of state transcends Beshazzar’s [King of Bablyon]” (162). 

This sentiment encapsulates the idea of the captain holding a higher rank than even that of royalty. Considering that royalty is a God given state, it positions God above the royals—and in this sentiment, the captain is above them as well. The language used to describe this state is also specifically biblical, showing that the power is that of a spiritual nature as well as the hierarchy of roles. This situates the status of captain as being that of something godly but not all power. As the story progresses, Ahab will be the one to lead them on the hunt—with the power to steer the direction of their destinies. The question now, is whether he’ll lead them towards glory and heaven or hardship and hell.

The Innocent Nature of the Whale 

Posted on by
1

One of the most interesting aspects of this book is the ever changing relationship between man and the whale. In my last post, I discussed Queequeg as being symbolic of the whale because of how he’s described with animalistic qualities. However, this statement goes both ways, meaning that the whale has humanistic qualities. It’s hard to hate something for simply being, especially if there is an innate relatability, connection, or understanding towards the creature. So far in the narrative, the whale has been depicted as a fearsome foe, a monstrous beast, but in the later chapters, this notion is challenged. Instead of viewing the whale as a malicious beast, the main character calls to question the innocent nature of the animal. This point is emphasis when he is talking to the ship’s captain, who retells the story of how he lost his leg, and in response he says;

“What you say is no doubt true enough sir; but how could I know there was any peculiar ferocity in that particular whale, though indeed I might have inferred as much from the simple fact of the accident” (80).  

 This vocalized plea of the whale’s innocence shifts the whale’s actions from being the perpetrator of evil to a victim of self-defense against capitalistic ventures. The whale did not attack without provocation, it was being hunted by whalers and responded accordingly to its survival. It’s in all our nature to have self-preservation. By having Ishmeal point this out to the captain shows that he doesn’t share these same opinions about the whale. He is recognizing that this is a living being, much like himself. Ishmeal’s ability to empathize with the whale humanizes the creature. Expanding our precious preconceived notions about the whale. Whereas in the previous chapters he’s a leviathan, in this particular moment, the whale is just an innocent animal trying to survive.