Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen, and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off — then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.—Herman Melville, Moby-Dick
On November 14, 1851, Herman Melville’s Moby-Dick; or, The Whale was published in America. (It was published a few weeks prior in Great Britain.) Though initially receiving mixed reviews—a reviewer in the London Literary Gazette wrote that parts of the book serve “only to try the patience of [Melville’s] readers, and to tempt them to wish both him and his whales at the bottom of an unfathomable sea”—it is considered to be among the very best of novels written in the English language.
Though the novel is really about the largest and most important themes we as humans experience—man’s place in this world, the existence of God, good and evil, to name a few—Melville sets his narrative on the whaling boat the Pequod, captained by Ahab, whose sole goal in life is to kill the giant white whale Moby Dick. (According to Melville, Ahab “piled upon the whale’s whit hump the sum of all the general rage and hate felt by his whole race from Adam down.”)
Accordingly, readers may be interested in learning more about the world that Ahab and his men inhabit as whalers. James Williford, writing in Humanities magazine, is here to help.
Reviewing the PBS documentary Into the Deep: America, Whaling, & the World, Williford writes:
“What do ye do when ye see a whale, men?”
“Sing out for him!” was the impulsive rejoinder from a score of clubbed voices. “Good!” cried Ahab, with a wild approval in his tones; observing the hearty animation into which his unexpected question had so magnetically thrown them.
“And what do ye next, men?”
“Lower away, and after him!”
“And what tune is it ye pull to, men?”
“A dead whale or a stove boat!”
The call-and-response of Ahab’s maniacal pep rally—a string of, as Ishmael puts it, “seemingly purposeless questions” with which the Pequod’s captain stirs his crew into a bloodthirsty furor for whale-killing—culminates in what one scholar of American folklore has called the “universal motto” of nineteenth-century whalemen: “A dead whale or a stove boat!” Like a seagoing version of the Depression-era bumper slogan “California or bust,” the phrase pithily evokes both the mariners’ desperate dedication to the pursuit and destruction of their prey and the extreme risks they incurred in the process. “A dead whale” was, of course, the desired outcome of the chase, but “a stove boat”—a wrecked mess of splintered timber, fouled tackle, and flailing bodies—was just as likely. For the fictional crew of the Pequod, as for the real whalemen of the day, whaling was more mortal combat than straightforward hunt: Six sailors in a flimsy, open whaleboat, armed with only handheld harpoons and lances, pitting themselves at every opportunity against the singular terror of a true sea monster, the sperm whale, an animal that, when fully grown, could measure sixty-two feet in length, weigh eighty tons, and wield, to deadly purpose, a eighteen-foot jaw studded with seven-inch teeth.
Into the Deep: America, Whaling & the World, a new American Experience documentary by Ric Burns, is alive with the all-or-nothing ethos of the nineteenth-century whaleman. Drawing its central narrative arc from two of the most famous man-versus-whale tales of the era—the true, though at the time unthinkable, story of the Essex, a whaleship sunk in the middle of the Pacific by an enraged sperm whale, and the dark masterpiece it partially inspired, Herman Melville’s Moby-Dick—the film follows the history of the American trade as it evolved from the colonial practice of “drift whaling” through the so-called Golden Age, which lasted from shortly after the War of 1812 until the commercialization of petroleum after it was successfully drilled in 1859. During that time, Nantucket, New Bedford, and other port towns sent hundreds of ships all over the globe in search of leviathans. This was before modern whaling technologies reduced the drama and heroics of the chase to mere assembly-line slaughter, when whaling still represented, in the words of several scholars interviewed in the film, a “primordial . . . epic hunt, . . . tap[ping] into something very basic about human existence and experience,” “a spiritual endeavor,” and a “peculiar combination of romance, . . . danger, and exoticism.” Those brave enough to ship out on a Yankee whaler could expect to hunt the biggest game, explore new corners of the ocean and faraway lands, dally with foreign women, and hack to pieces and boil down behemoth carcasses.
Wait. Hack and boil carcasses?
For all the antiquarian nostalgia that risks tinting our view of the fishery’s past, Into the Deep never loses sight of the simple fact that whaling was an industry—one of the largest, most profitable, and important businesses of its day, involving tens of thousands of workers at sea and on shore, and millions of dollars in annual investments and returns. It is a refreshingly clear perspective for those of us who may have thumbed quickly past the more technical chapters of Moby-Dick, or who imagine whaling through the narrow lens of those impressive painted and scrimshawed scenes of vicious whales smashing boats and tossing sailors in the air. Men went to sea for any number of reasons—to make a living, to escape the law, to find themselves—but once aboard a whaleship, their job was to supply the rapidly industrializing Western world with oil for its lamps, candles, and machinery, and baleen for its parasol ribs, horsewhips, and corsets. And as author Nathaniel Philbrick, one of the experts appearing in the film, said in a phone interview: “It’s not as though the harpoon hit the whale and—poof—magically it was turned into a profitable commodity.” To effect that transformation required some of the most difficult and disgusting labor of any industry of the time.
[…]
And yet, for all the hardships involved, men shipped with Yankee whalers in droves throughout the Golden Age. The experience of whaling was, it seems, something irreducible to the sum of its working parts. “At the end of the day,” Burns says, whaling in the nineteenth century was still “an extraordinarily primal, existential confrontation between human beings and what was really the last frontier of untamed nature, the oceans of the world.”
Indeed, Melville, Weir, Nordhoff, and countless other whalemen of the time didn’t just “work like horses and live like pigs”; they had adventures, too. They took on and dispatched the largest animals on the planet, lived as captives among cannibals, saw islands no one had ever seen before, plumbed the depths of their souls and psyches while scanning the ocean from the masthead.
Read more about whaling in the nineteenth century at Humanities. And for more on Melville, read his short story “Bartleby, the Scrivener.”
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