White, the color of absence and death, in flame

Throughout Moby-Dick, there has been a kind of attention to the number 3. There are 3 mates for the ships, 3 mast heads to the ship, and the 3 peaks featured on the doubloon, but there are also supernatural connections to 3 sprinkled through out the novel, such as the blood of 3 harpooners to temper Ahab’s barb, the 3 fires alight the top of the mast heads, as well as 3 people prophesizing Ahab’s demise: the prophet, Gabriel from the Jeroboam, and the Parsee.

This is a number present in the Bible – the holy trinity – and even Pythagoras, a great philosopher of Greek History that has been mentioned at least once in the novel, believed that the number three was special. One such reason was that it is the only number where the numbers that come before it add perfectly to it. Another reason, and one that I link more to this section of the novel than his other reasons, was that it seems to reflect our world on a conceptual level – beginning, middle, end; birth, life, death.

In the chapter, The Candles, this number is repeated and emphasized as the spectral lights cast brilliant shadows onto the ship below.

“All the yard arms were tipped with a pallid fire; and touched at each tri-pointed lightening-rod-end with three tapering white flames, each of the three tall masts was silently burning in that sulphurous air, like three gigantic wax tapers before an altar.” (549)

This all comes two chapters out from Parsee’s prediction of Ahab’s death by hemp rope, after Ahab calls it a strange sight the idea of a hearse and its plumes floating over the ocean. For reference, hearse plumes were ostrich feathers that would adorn hearse carriages at the time, signaling the departed’s wealth and status. Having 5-6 plumes meant you were wealthy, more meant that you were truly rich. In reference to this, the flames are described as pallid and tapering. What are the flames but Ahab’s own funeral plumes, floating atop the ocean he so desperately searches for his monomaniacal need for revenge?

Death by Spermaceti

One part of the reading for this week that I took interest with was the end of Cistern and Buckets. This whole chapter was action packed, detailed, a jump from the lull of Melville’s technical and historical chapters. Although Tashtego is saved by Queequeg (in a midwifery way), Melville still fantasizes about an alternate reality where this rebirth did not occur. “Now, had Tashtego perished in that head, it has been a very precious perishing; smothered in the very whitest and daintiest of fragrant spermaceti; coffined, hearsed, and tombed in the secret inner chamber and sanctum sanctorum of the whale. Only one sweeter end can be readily recalled” (p.377). This feels like a romanticization of death, one that contrasts strongly with the death of the whales in subsequent chapters. These deaths are violent, painful, pitiful, and blood baths, covered in red. Tashtego’s death, comparatively, would have been covered in white–the color of purity, honor, fear, existentialism. And maybe that is exactly what being smothered in this white would represent, the honor of dying in the whaling industry, of dying in a masculine way, yet also the fear and existentialism that comes with death, of the unknown of what follows when the biological functions cease. 

The language used in this passage is light for such a heavy topic. “Precious”, “daintiest”, “sweeter”, romanticize this death as if it is something to be desired. This romanticization is only possible because Ishmael (and other crew) would not have witnessed this death, would not have witnessed Tashtego’ fright and slow drowning in the spermaceti. When spared the details of seeing what happens, it is easy to romanticize the results–as Melville often argues about the landsmen who reap the rewards of the whaling industry with none of the suffering. 

This idea of Tashtego’s death is calm, slow, peaceful, unlike the thrashing the whales undergo. We can draw metaphors here to how we think about nature and animals in a hierarchical fashion, underneath us and allowed to suffer in death. Or we can draw a metaphor for slavery, for how the whales are allowed to die as slaves are, while the humans will die these white, painless, precious deaths.