Tag Archives: week 6

Country-bred dandies

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In Chapter 6, “The Street,” Melville introduces us to the microcosm of New Bedford through the eyes of Ishmael. Right off the bat, he draws a parallel between Queequeg’s perceived savageness and the strange sight he encounters on the street (pg. 16). He turns his focus, however, to a specific category of men; to this group, he refers in the following way: “…scores of green Vermonters and New Hampshire men, all athirst for gain and glory in the fishery. They are mostly young, of stalwart frames; fellows who have felled forests and now seek to drop the axe and snatch the wale-lance.” (16). The visual element of the description is key to representing the naiveness, frivolity, and recklessness of these men. They are green, inexperienced, and scrawny, but also money hungry and air headed. In their hometowns they kill trees, now they are looking to kill whales. He later identifies them as “bumpkin dandies,” a new breed of spoiled brat that surpasses even city dandies in their insufferableness. Then he turns our attention toward New Bedford itself, a seemingly unremarkable piece of land that has nevertheless prospered immensely. To answer where this wealth came from he says, “Go and gaze upon the iron emblematical harpoons round yonder lofty mansion, and your question will be answered. Yes; all these brave houses and flowery gardens came from the Atlantic, Pacific, and Indian oceans. One and all, they were harpooned and dragged up hither from the bottom of the sea…You must go to New Bedford to see a brilliant wedding; for, they say, they have reservoirs of oil in every house, and every night recklessly burn their lengths in spermaceti candles” (17). The description of the New Bedford community is starkly similar to that of the bumpkin dandies. Maybe dandies are out of their depth in this new town, but they are just as greedy and irresponsible as the locals. The local wealth comes from the exploitation of the ocean, just as the country people’s wealth comes from the exploitation of the earth. Although Melville doesn’t directly compare the two, it’s not coincidental that he writes of one right after the other. In reality, these bumpkin dandies come to continue the cycle of exploitation already set before them, so really, how out of place are they? I would say they are right at home, and though Ishmael doesn’t seem to notice, Melville is fully aware of it. He once again employs imagery as his strongest resource, because, by giving the reader a visual representation of wealth (the dandies and their clothes, New Bedford weddings), and contrasting it with a mental image of exploitation (“emblematical harpoons,” the axe that cuts down forests), he highlights the imminent link between them.

And they were roommates- Chapter 10 and 11

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While reading chapters 10 and 11, Melville uses the shared room between Ishmael and Queequeg as a space where they can act without judgment, and as a place where companionship transcends into romance. In chapter 10, Melville writes “Man and wife, they say, there open the very bottom of their souls to each other; and some old couples often lie and chat over old times till nearly morning. Thus, then, in our hearts’ honeymoon, lay I and Queequeg— a cosy, loving pair” (Melville 58). Here, Ishmael compares his and Queequeg’s relationship to a couple, saying that couples  can chat till the morning and enjoy each other’s company. Ishmael is now getting used to Queequeg and even enjoys his company, so much to the point of romantic feelings. The “romance” between the two men can also be seen in chapter 11. Melville writes on page 59, “Queequeg now and then affectionately throwing his brown tattooed legs over mine…” and “…so entirely sociable and free and easy were we”. In their room, where it’s just them two, they can do whatever they want without judgment. They are able to live freely- like a couple does. Queequeg is growing on Ishmael, and their relationship is very romantic. They are not only sleeping with each other but they are cuddling with each other. Ishmael feels so close to Queequeg that he feels “free” in their shared room. 

Another thing I want to add is, I feel Melville included the relationship between Ishmael and Queequeg as a way to explore his own sexuality and his relationship with Nathaniel Hawthorne. From week 4’s slides, it seems like Hawthorne and Melville had a serious relationship. And on page 57, Ishmael says he ”began to be sensible of strange feelings.” And also goes on to say he  “began to feel myself mysteriously drawn towards him.” This magnetic pull towards Queequeg is making Ishmael confused, and this can be seen as a reflection for Melville being confused about his own sexuality. One thing for certain is, this most definitely can be seen as Ishamel questioning his sexuality and his feelings for his roommate- Queequeg. 

Week 6 – The Ocean and Her Children: Lost or Home?

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            Reading through Moby-Dick, I can’t help but remember my own childhood. My mother dated a fisherman for ten years and I was raised with this reverence for the sea, a deep love and respect for the ocean, and an overwhelming fear in the water. A boat is only as sturdy or strong as you’re willing to believe it to be as you roll from end to end in the cabin above the bunks. Sleep is as guaranteed as the fish caught and food, if it stays down, is typically whatever is smallest and easiest to make, not necessarily what is healthiest.

            In these chapters, chapter seven in particular, I remember the fear I had every night, wondering if my mother’s boyfriend would be coming home or if he would be lost to the seas he loved more than anything. As he stares at the plaques commemorating those lost to the sea, Ishmael reflects on his own mortality, telling himself, “Yes, Ishmael, the same fate may be thine” (Melville 42). In this self-reflection, Ishmael shares with the audience a quick window into his vulnerability. Ishmael does not often give us a view into himself so vulnerably, at least never purposefully. When he speaks of the melding of blankets and hands when he was younger, he is trying to find the words to speak what it was that happened to him rather than him sharing a memory for the sole aspect of shared vulnerability, writing, “My sensations were strange. Let me try to explain them” (Melville 28). He feels compelled to explain what it was that reminded him of this peculiar experience, but ultimately not finding the right words to fully convey the sensation, only restating what the moment was.

This quick window into Ishmael, despite how vulnerable or accidental it may be, is over just as quickly as he bares it, writing, “…fine chance for a promotion, it seems—aye, a stove boat will make me an immortal by brevet” (Melville 42). Ishmael, and like many seaman before and after him, including my mother’s now ex-boyfriend, he becomes giddy at this idea, this romanticised death by the thing they loved doing most; for Ishmael, whaling, for we know how honourable he views whaling to be; for my mother’s ex, it was about the mutual respect, about dedicating your entire life to something and, at the end, being admired and taken in, rather than being taken out; being accepting and becoming one with the waters he sailed and worked on all his life, never to be seen as lost at sea, lost to her icy grip, a man who has “…placelessly perished without a grave” (Melville 41).

Chapter 10: A Bosom Friend

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Ishmael, who at once seemed so afraid of the foreignness of Queequeg, has over the course of these chapters become his ‘bosom friend’. I was, at once, astounded at the way Melville wrote the blossoming friendship between these two. Although it could be argued that their relationship is that of a very close friendship between two men, the tropes (like sharing a single bed) felt akin to the romance novels I love to read. Those who also enjoy reading romance novels might have also felt a click of awareness at the familiarity of this trope, and the romantic connotations of being thrust into the space of a total stranger, and the intimacy that results from this forced proximity. Ishmael’s growing positive regard for Queequeg also does little to stifle the feeling that his fondness does not strictly stem from friendliness, but rather a deeper appreciation and attraction. Although he at first considers Queequeg to be ugly and severe, Ishmael begins to warm up to his features and regular presence, regarding him as “by no means disagreeable(p.55),” his eyes as “fiery black and bold, there seemed tokens of a spirit that would have dared a thousand devils,(p.56)” and his head as “phrenologically” excellent. I am left in total shambles at this not-so-shy and growing affection within Ishmael.

This fascination and blossoming romantic interest, is also reciprocated by Queequeg who is “pleased, perhaps a little complimented,(57)” at Ishmael returning as his bedfellow, and proclaims them “married(57),” which supposedly means “bosom friend.” However, I wonder if, through Ishmael’s naïvety and innocence, Melville means to push the boundaries between the prescribed ideals of marriage, between man and woman, by having Ishmael and Queequeg partake in each other’s space, friendship, and religions and questioning “But what is Worship – to do the will of god – that is worship. And what is the will of God? – to do to my fellow man what I would have my fellow man do to me– that is the will of God.” 

Through this internal questioning of the overarching goal of worship and the will of God, Ishmael decides to “turn Idolater (58),” in order to unite with Queeqeg. The steps that he goes through with Queeqeg, and the intimacy that grows between them in this scene, is also reminiscent of a marriage ceremony, an official union that occurs between lovers, which makes me question how Ishmael could possibly see this ceremony as an act simply between “bosom friends”, and not one of lovers. Of course, there is much I don’t understand about queer romance and the expression of coded homoeroticism during this era, but I can not deny that the relationship between Ishmael and Queequeg is a romantic one, insofar as we have read in these chapters. I hope to read much more of their relationship, and hope that it lasts into the days of their voyage!

Week 6: The Sublime and Mystery Behind Queequeg’s Character.

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“You cannot hide the soul” (pg 55).

These are my favourite chapters of the book. In this chunk of reading, we begin to see Queequeg’s character develop through Ishmael’s eyes. Queequeg, a Pagan covered in tattoos, who shaves with his harpoon, and spears the rarest steak from himself at breakfast, is quite the oxymoron. At face value you wouldn’t agree, but as Ishmael learns more about his shipmates earnest and sweet nature, you could begin to see what I’m talking about. Despite Queequeg’s outward appearance, Ishmael becomes increasingly aware of Queequeg’s generosity and good heart. When talking of Queequeg’s manners and desires, Ishmael says that there was something almost “sublime” in it. We often use this word when describing nature’s beauty or destruction, not someone’s character. I found this fascinating as this is considered a strong word. For something to be “sublime”, it can be grand, magnificent, or even awe-inspiring. Upon looking the word up, this “sublime” can also be used to describe someone’s attitude as “extreme” or “unparalleled”.

The Necessity of Death

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Moby Dick is a tale about the struggle of survival in the darkest periods of one’s life. Whether this is exemplified by Ahab’s fight for vengeance to honor the part of himself he lost, or Ishmael himself with the loss of his naive innocence during this time on the Pequod. Faith is essential to this story, not exactly in hopes of a brighter future, but faith serves as an engine to live past the internal struggles that one faces, existing only out of our doubts.

In Chapter 5, The Chapel, Ishmael describes the loss and wandering grief around a room full of widows whose husbands were lost to a violent mass they cannot come to peace with. The husbands are continuously lost/dying after their initial death, this chapel is the only place that serves as a controlled outlet for their grief. Their murderer (the ocean) is the permanent keeper of their bodies. 

In Ishmael’s mediations, he brings up how faith is perpetuated by doubt, “But Faith, like a jackal, feeds among the tombs, and even from these dead doubts she gathers her most vital hope.” (pp. 42). There is hope that is born out of fear, doubt is the bearer of hope. In this chapel full of mourning women, Ishmael sees faith being rejuvenated over and over out of the crushed hopes for a life with their husbands. One cannot exist without the other, and in our fight to survive our struggles comes faith. Melville also writes “Why all the living so strive to hush all the dead” (pp. 42), calling forward this hope in the darkest times. Death should serve as a constant reminder of the hope all around us, and those who have died are where we find this hope, not in our idealized afterlives but in our struggle itself, to have hope in its alleviation. 

This chapter was really powerful for me to read, it took me a few days to completely think about some of the things written in this chapter because it felt a little overwhelming. I connected with these quotes but it was hard to understand why immediately. I still don’t feel like I completely get it, and maybe I never will, but I felt its impact anyways whether there was a logical/literary explanation for why.

The Sea and Life

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There is literally so much that I could analyze from these chapters, but I keep finding this connection between the sea and how it provides a sense of life for seaborne characters. When Ismael sits down for breakfast in chapter 5, he describes the silence and quiet, awkward embarrassment of the table full of sailors, stating that:

“Yes, here were a set of seadogs, many of whom without the slightest bashfulness had boarded great whales on the high seas – entire strangers to them – and duelled them dead without winking; and yet, here they sat at a social breakfast table – all of the same calling, all of kindred tastes – looking round sheepishly at each other as though they had never been out of sight of some sheepfold among the Green Mountains.” (pg. 34).

This reminded me of the very first chapter, where Melville, or even Ismael, describes why he is writing about the sea and the human connection to the ocean. For me, the quote above paints a picture of burly, sea-roughed men who have seen some shit, comfortable on the seas and vocal about what needs to be done. However, when all sat together at a “social breakfast table,” there seemed to be nothing urgently to talk about, despite their shared experiences. In many ways, the sea brings life to these people in ways that common, daily happenings bring awkwardness. Water and sea life bring out aspects of living that normal life simply cannot, which connects back to Ismael’s introduction to the audience, where he declares that he goes to the sea when he feels depressed with his life. Melville even directly states this relation between life and the sea on page 5, where he says:

“It is the image of the ungraspable phantom of life; and this is the key to it all.” (pg. 5).

It’s in these small moments that Melville connects the role that the ocean plays in bringing forth one’s humanity, personality, and the very essence of life. When on the water, these men have to be vocal and social and themselves because they are surrounded by both nothing and everything else. However, when sitting on a social breakfast table on land, the whalers are at an awkward, silent loss.

Queequeg: King of the Sea [Chapter 4-12]

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Throughout the course of this week’s reading, I couldn’t help but be drawn to the similarities to the way they describe Queequeg to important abstract qualities of ocean fair, and to the whale itself. 

We’re first introduced to Queequeg in chapter three in a very comical way. His personality is very purposefully outlandish, and as our main character continues to develop a relationship with him, he’s able to learn more about Queequeg’s other character qualities. 

Queequeg is not like other characters. He does not look the same, he worships his own deities instead of Christianity, and he acts in a way that’s very outside of the mainstream culture norms—even in small, seemingly unimportant ways, as Ishmeal observes. 

“At that time in the morning, any Christain would have washed his face; but Queequeg, to my amazement, contented himself with restricting his ablution to his chest, arms and hands” (31). 

This characterization of Queequeg is very reminiscent of the Carnivalesque, which can be seen as a break away from traditional ideals and can be used to challenge the current system of power. Queequeg is set up to be seen as an outsider in this town, but making Queequeg a likeable character that Ishmeal is drawn to, indirectly symbolizes Ishmael’s urge to pull away from society by ways of going out to the sea. Queequeg is therefore used to represent the aspects of life at sea that are or can be desirable.  

Queequeg is also used to represent the whale itself, and that couldn’t be any more evident in how he goes about being on the ocean. 

“When a ship was gliding by, like a flash, he darted out; gained her side; with one backward dash of his food capsized and sank his cameo; climbed up the chains; and throwing himself at full length upon the deck” (61).  

Without proper context, this excerpt could easily be describing a ship attack involving a whale. The story purposely portrays Queequeg in this way to both demonstrate the animalistic qualities of man and as a means of humanizing the whale. By relating its qualities to a likeable human character, it creates a more intimate connection between man and beast through demonstrating our stark similarities. 

Queequeg has been my favorite character so far, and I’m excited to dive deeper into these aspects of his characterization as we continue our readings.

Why include the gravestones?

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From the intimate relationships developments to the religious context of Jonah and the Whale, what stood out like a sore thumb was the mention of the chapel’s cemetery, “…there these silent islands of men and women sat steadfastly eyeing several marble tablets, with black borders, masoned into the wall on either side the pulpit.” (pp. 40-41) I wondered why Ishmael even read the content engraved on the stones. This early in the story and it’s already foreshadowing one of the worst possible fates… and so far we only have two characters. It’s not difficult to wonder what their future holds, but there’s always a tinge of hope that they wouldn’t. The narrator even included, “Yes, Ishmael, the same fate may be thine,” (page 42) which doesn’t help with the “hope” part.

Overall, I can see Ishmael, Queepeg, or both dying in some way, shape, or form, just because of the mention of the graves and Ishmael’s morbid curiosity. It would be a surprise if neither of them died, though I’d expect some shipmates’ deaths.

Jonah and the Whale – Potential Foreshadowing? – Chapter 9

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This week I stumbled upon the following passage in Chapter 9, on page 47. “Yet what depths of the soul does Jonah’s deep sea-line sound! What a pregnant lesson to us is this prophet! What a noble thing is that canticle on the fish’s belly!”

For those who don’t know, or struggled to understand how Melville framed the story, the Book of Jonah in the Bible is that Jonah, a prophet, disobey’s God by not going to the City of Niniveah. Jonah attempts to escape from God on a boat, and when the boat is being overwhelmed by a storm, her relives that it is his fault, and asks the shipmates to throw him overboard. The storm stops, and he is swallowed by a “big fish”, and then is thrown up after 3 days, after which he goes to the city of Nineveh.

Why do I bring this up? Because I believe this is an instance of foreshadowing. My guess is that Ahab will either be mutinied against, like Jonah being thrown overboard, or eaten by the “Big Fish” that is Moby Dick, just like Jonah.

Now, I don’t remember much of my first read-through, but I do remember that Melville is brilliant at foreshadowing. (If you were paying attention in the first 3 chapters, you will be rewarded later on). I do not remember, however, if this pays off or not. I guess I’ll just have to read and find out.

This Chapter within Moby Dick is riddled with quotes that feed into that theory as well, not just the one I shared. In fact, pretty much the entire Chapter supports this. I believe that this is a clear instance of Chekov’s Gun. And, while Melville does tend to go on philosophical tangents, which this can also be perceived as, I believe it will directly relate to the plot.

If you want to do your own research, I highly recommend reading Jonah. As Mapple says, it is only 4 chapters. It’ll put into context a lot of what the sailors, most of whom are Christian or grew up son, act and think the way they do about and around whales.