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Chapter 55: Of the Monstrous Pictures of Whales.

	


I shall ere long paint to you as well as one can without canvas,
something like the true form of the whale as he actually appears to the
eye of the whaleman when in his own absolute body the whale is moored
alongside the whale-ship so that he can be fairly stepped upon there.
It may be worth while, therefore, previously to advert to those
curious imaginary portraits of him which even down to the present day
confidently challenge the faith of the landsman. It is time to set the
world right in this matter, by proving such pictures of the whale all
wrong.

It may be that the primal source of all those pictorial delusions will
be found among the oldest Hindoo, Egyptian, and Grecian sculptures. For
ever since those inventive but unscrupulous times when on the marble
panellings of temples, the pedestals of statues, and on shields,
medallions, cups, and coins, the dolphin was drawn in scales of
chain-armor like Saladin's, and a helmeted head like St. George's; ever
since then has something of the same sort of license prevailed, not
only in most popular pictures of the whale, but in many scientific
presentations of him.

Now, by all odds, the most ancient extant portrait anyways purporting to
be the whale's, is to be found in the famous cavern-pagoda of Elephanta,
in India. The Brahmins maintain that in the almost endless sculptures of
that immemorial pagoda, all the trades and pursuits, every conceivable
avocation of man, were prefigured ages before any of them actually came
into being. No wonder then, that in some sort our noble profession of
whaling should have been there shadowed forth. The Hindoo whale
referred to, occurs in a separate department of the wall, depicting the
incarnation of Vishnu in the form of leviathan, learnedly known as the
Matse Avatar. But though this sculpture is half man and half whale, so
as only to give the tail of the latter, yet that small section of him is
all wrong. It looks more like the tapering tail of an anaconda, than the
broad palms of the true whale's majestic flukes.

But go to the old Galleries, and look now at a great Christian painter's
portrait of this fish; for he succeeds no better than the antediluvian
Hindoo. It is Guido's picture of Perseus rescuing Andromeda from the
sea-monster or whale. Where did Guido get the model of such a strange
creature as that? Nor does Hogarth, in painting the same scene in his
own "Perseus Descending," make out one whit better. The huge corpulence
of that Hogarthian monster undulates on the surface, scarcely drawing
one inch of water. It has a sort of howdah on its back, and its
distended tusked mouth into which the billows are rolling, might be
taken for the Traitors' Gate leading from the Thames by water into the
Tower. Then, there are the Prodromus whales of old Scotch Sibbald, and
Jonah's whale, as depicted in the prints of old Bibles and the cuts of
old primers. What shall be said of these? As for the book-binder's whale
winding like a vine-stalk round the stock of a descending anchor--as
stamped and gilded on the backs and title-pages of many books both
old and new--that is a very picturesque but purely fabulous creature,
imitated, I take it, from the like figures on antique vases.
Though universally denominated a dolphin, I nevertheless call this
book-binder's fish an attempt at a whale; because it was so intended
when the device was first introduced. It was introduced by an old
Italian publisher somewhere about the 15th century, during the Revival
of Learning; and in those days, and even down to a comparatively
late period, dolphins were popularly supposed to be a species of the
Leviathan.

In the vignettes and other embellishments of some ancient books you will
at times meet with very curious touches at the whale, where all manner
of spouts, jets d'eau, hot springs and cold, Saratoga and Baden-Baden,
come bubbling up from his unexhausted brain. In the title-page of the
original edition of the "Advancement of Learning" you will find some
curious whales.

But quitting all these unprofessional attempts, let us glance at those
pictures of leviathan purporting to be sober, scientific delineations,
by those who know. In old Harris's collection of voyages there are some
plates of whales extracted from a Dutch book of voyages, A.D. 1671,
entitled "A Whaling Voyage to Spitzbergen in the ship Jonas in the
Whale, Peter Peterson of Friesland, master." In one of those plates the
whales, like great rafts of logs, are represented lying among ice-isles,
with white bears running over their living backs. In another plate, the
prodigious blunder is made of representing the whale with perpendicular
flukes.

Then again, there is an imposing quarto, written by one Captain Colnett,
a Post Captain in the English navy, entitled "A Voyage round Cape Horn
into the South Seas, for the purpose of extending the Spermaceti Whale
Fisheries." In this book is an outline purporting to be a "Picture of
a Physeter or Spermaceti whale, drawn by scale from one killed on the
coast of Mexico, August, 1793, and hoisted on deck." I doubt not the
captain had this veracious picture taken for the benefit of his marines.
To mention but one thing about it, let me say that it has an eye which
applied, according to the accompanying scale, to a full grown sperm
whale, would make the eye of that whale a bow-window some five feet
long. Ah, my gallant captain, why did ye not give us Jonah looking out
of that eye!

Nor are the most conscientious compilations of Natural History for
the benefit of the young and tender, free from the same heinousness of
mistake. Look at that popular work "Goldsmith's Animated Nature." In the
abridged London edition of 1807, there are plates of an alleged "whale"
and a "narwhale." I do not wish to seem inelegant, but this unsightly
whale looks much like an amputated sow; and, as for the narwhale, one
glimpse at it is enough to amaze one, that in this nineteenth century
such a hippogriff could be palmed for genuine upon any intelligent
public of schoolboys.

Then, again, in 1825, Bernard Germain, Count de Lacepede, a great
naturalist, published a scientific systemized whale book, wherein are
several pictures of the different species of the Leviathan. All these
are not only incorrect, but the picture of the Mysticetus or Greenland
whale (that is to say, the Right whale), even Scoresby, a long
experienced man as touching that species, declares not to have its
counterpart in nature.

But the placing of the cap-sheaf to all this blundering business was
reserved for the scientific Frederick Cuvier, brother to the famous
Baron. In 1836, he published a Natural History of Whales, in which he
gives what he calls a picture of the Sperm Whale. Before showing that
picture to any Nantucketer, you had best provide for your summary
retreat from Nantucket. In a word, Frederick Cuvier's Sperm Whale is not
a Sperm Whale, but a squash. Of course, he never had the benefit of
a whaling voyage (such men seldom have), but whence he derived that
picture, who can tell? Perhaps he got it as his scientific predecessor
in the same field, Desmarest, got one of his authentic abortions; that
is, from a Chinese drawing. And what sort of lively lads with the pencil
those Chinese are, many queer cups and saucers inform us.

As for the sign-painters' whales seen in the streets hanging over the
shops of oil-dealers, what shall be said of them? They are generally
Richard III. whales, with dromedary humps, and very savage; breakfasting
on three or four sailor tarts, that is whaleboats full of mariners:
their deformities floundering in seas of blood and blue paint.

But these manifold mistakes in depicting the whale are not so very
surprising after all. Consider! Most of the scientific drawings have
been taken from the stranded fish; and these are about as correct as a
drawing of a wrecked ship, with broken back, would correctly represent
the noble animal itself in all its undashed pride of hull and spars.
Though elephants have stood for their full-lengths, the living Leviathan
has never yet fairly floated himself for his portrait. The living whale,
in his full majesty and significance, is only to be seen at sea in
unfathomable waters; and afloat the vast bulk of him is out of sight,
like a launched line-of-battle ship; and out of that element it is a
thing eternally impossible for mortal man to hoist him bodily into the
air, so as to preserve all his mighty swells and undulations. And, not
to speak of the highly presumable difference of contour between a young
sucking whale and a full-grown Platonian Leviathan; yet, even in the
case of one of those young sucking whales hoisted to a ship's deck, such
is then the outlandish, eel-like, limbered, varying shape of him, that
his precise expression the devil himself could not catch.

But it may be fancied, that from the naked skeleton of the stranded
whale, accurate hints may be derived touching his true form. Not at all.
For it is one of the more curious things about this Leviathan, that
his skeleton gives very little idea of his general shape. Though Jeremy
Bentham's skeleton, which hangs for candelabra in the library of one of
his executors, correctly conveys the idea of a burly-browed utilitarian
old gentleman, with all Jeremy's other leading personal characteristics;
yet nothing of this kind could be inferred from any leviathan's
articulated bones. In fact, as the great Hunter says, the mere skeleton
of the whale bears the same relation to the fully invested and padded
animal as the insect does to the chrysalis that so roundingly envelopes
it. This peculiarity is strikingly evinced in the head, as in some
part of this book will be incidentally shown. It is also very curiously
displayed in the side fin, the bones of which almost exactly answer to
the bones of the human hand, minus only the thumb. This fin has four
regular bone-fingers, the index, middle, ring, and little finger. But
all these are permanently lodged in their fleshy covering, as the human
fingers in an artificial covering. "However recklessly the whale may
sometimes serve us," said humorous Stubb one day, "he can never be truly
said to handle us without mittens."

For all these reasons, then, any way you may look at it, you must needs
conclude that the great Leviathan is that one creature in the world
which must remain unpainted to the last. True, one portrait may hit
the mark much nearer than another, but none can hit it with any very
considerable degree of exactness. So there is no earthly way of finding
out precisely what the whale really looks like. And the only mode in
which you can derive even a tolerable idea of his living contour, is
by going a whaling yourself; but by so doing, you run no small risk of
being eternally stove and sunk by him. Wherefore, it seems to me you had
best not be too fastidious in your curiosity touching this Leviathan.