Moby-Dick

f the Less Erroneous Pictures of Whales, and the True

Pictures of Whaling Scenes.

In connexion with the monstrous pictures of whales, I am strongly
tempted here to enter upon those still more monstrous stories of them
which are to be found in certain books, both ancient and modern,
especially in Pliny, Purchas, Hackluyt, Harris, Cuvier, etc. But I pass
that matter by.

I know of only four published outlines of the great Sperm Whale;
Colnett’s, Huggins’s, Frederick Cuvier’s, and Beale’s. In the previous
chapter Colnett and Cuvier have been referred to. Huggins’s is far
better than theirs; but, by great odds, Beale’s is the best. All
Beale’s drawings of this whale are good, excepting the middle figure in
the picture of three whales in various attitudes, capping his second
chapter. His frontispiece, boats attacking Sperm Whales, though no
doubt calculated to excite the civil scepticism of some parlor men, is
admirably correct and life-like in its general effect. Some of the
Sperm Whale drawings in J. Ross Browne are pretty correct in contour;
but they are wretchedly engraved. That is not his fault though.

Of the Right Whale, the best outline pictures are in Scoresby; but they
are drawn on too small a scale to convey a desirable impression. He has
but one picture of whaling scenes, and this is a sad deficiency,
because it is by such pictures only, when at all well done, that you
can derive anything like a truthful idea of the living whale as seen by
his living hunters.

But, taken for all in all, by far the finest, though in some details
not the most correct, presentations of whales and whaling scenes to be
anywhere found, are two large French engravings, well executed, and
taken from paintings by one Garnery. Respectively, they represent
attacks on the Sperm and Right Whale. In the first engraving a noble
Sperm Whale is depicted in full majesty of might, just risen beneath
the boat from the profundities of the ocean, and bearing high in the
air upon his back the terrific wreck of the stoven planks. The prow of
the boat is partially unbroken, and is drawn just balancing upon the
monster’s spine; and standing in that prow, for that one single
incomputable flash of time, you behold an oarsman, half shrouded by the
incensed boiling spout of the whale, and in the act of leaping, as if
from a precipice. The action of the whole thing is wonderfully good and
true. The half-emptied line-tub floats on the whitened sea; the wooden
poles of the spilled harpoons obliquely bob in it; the heads of the
swimming crew are scattered about the whale in contrasting expressions
of affright; while in the black stormy distance the ship is bearing
down upon the scene. Serious fault might be found with the anatomical
details of this whale, but let that pass; since, for the life of me, I
could not draw so good a one.

In the second engraving, the boat is in the act of drawing alongside
the barnacled flank of a large running Right Whale, that rolls his
black weedy bulk in the sea like some mossy rock-slide from the
Patagonian cliffs. His jets are erect, full, and black like soot; so
that from so abounding a smoke in the chimney, you would think there
must be a brave supper cooking in the great bowels below. Sea fowls are
pecking at the small crabs, shell-fish, and other sea candies and
maccaroni, which the Right Whale sometimes carries on his pestilent
back. And all the while the thick-lipped leviathan is rushing through
the deep, leaving tons of tumultuous white curds in his wake, and
causing the slight boat to rock in the swells like a skiff caught nigh
the paddle-wheels of an ocean steamer. Thus, the foreground is all
raging commotion; but behind, in admirable artistic contrast, is the
glassy level of a sea becalmed, the drooping unstarched sails of the
powerless ship, and the inert mass of a dead whale, a conquered
fortress, with the flag of capture lazily hanging from the whale-pole
inserted into his spout-hole.

Who Garnery the painter is, or was, I know not. But my life for it he
was either practically conversant with his subject, or else
marvellously tutored by some experienced whaleman. The French are the
lads for painting action. Go and gaze upon all the paintings of Europe,
and where will you find such a gallery of living and breathing
commotion on canvas, as in that triumphal hall at Versailles; where the
beholder fights his way, pell-mell, through the consecutive great
battles of France; where every sword seems a flash of the Northern
Lights, and the successive armed kings and Emperors dash by, like a
charge of crowned centaurs? Not wholly unworthy of a place in that
gallery, are these sea battle-pieces of Garnery.

The natural aptitude of the French for seizing the picturesqueness of
things seems to be peculiarly evinced in what paintings and engravings
they have of their whaling scenes. With not one tenth of England’s
experience in the fishery, and not the thousandth part of that of the
Americans, they have nevertheless furnished both nations with the only
finished sketches at all capable of conveying the real spirit of the
whale hunt. For the most part, the English and American whale
draughtsmen seem entirely content with presenting the mechanical
outline of things, such as the vacant profile of the whale; which, so
far as picturesqueness of effect is concerned, is about tantamount to
sketching the profile of a pyramid. Even Scoresby, the justly renowned
Right whaleman, after giving us a stiff full length of the Greenland
whale, and three or four delicate miniatures of narwhales and
porpoises, treats us to a series of classical engravings of boat hooks,
chopping knives, and grapnels; and with the microscopic diligence of a
Leuwenhoeck submits to the inspection of a shivering world ninety-six
fac-similes of magnified Arctic snow crystals. I mean no disparagement
to the excellent voyager (I honor him for a veteran), but in so
important a matter it was certainly an oversight not to have procured
for every crystal a sworn affidavit taken before a Greenland Justice of
the Peace.

In addition to those fine engravings from Garnery, there are two other
French engravings worthy of note, by some one who subscribes himself
“H. Durand.” One of them, though not precisely adapted to our present
purpose, nevertheless deserves mention on other accounts. It is a quiet
noon-scene among the isles of the Pacific; a French whaler anchored,
inshore, in a calm, and lazily taking water on board; the loosened
sails of the ship, and the long leaves of the palms in the background,
both drooping together in the breezeless air. The effect is very fine,
when considered with reference to its presenting the hardy fishermen
under one of their few aspects of oriental repose. The other engraving
is quite a different affair: the ship hove-to upon the open sea, and in
the very heart of the Leviathanic life, with a Right Whale alongside;
the vessel (in the act of cutting-in) hove over to the monster as if to
a quay; and a boat, hurriedly pushing off from this scene of activity,
is about giving chase to whales in the distance. The harpoons and
lances lie levelled for use; three oarsmen are just setting the mast in
its hole; while from a sudden roll of the sea, the little craft stands
half-erect out of the water, like a rearing horse. From the ship, the
smoke of the torments of the boiling whale is going up like the smoke
over a village of smithies; and to windward, a black cloud, rising up
with earnest of squalls and rains, seems to quicken the activity of the
excited seamen.