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- the redeemed, and the four-and-twenty elders stand clothed in white
before the great white throne, and the Holy One that sitteth there
white like wool; yet for all these accumulated associations, with
whatever is sweet, and honorable, and sublime, there yet lurks an
elusive something in the innermost idea of this hue, which strikes more
of panic to the soul than that redness which affrights in blood.
This elusive quality it is, which causes the thought of whiteness, when
divorced from more kindly associations, and coupled with any object
terrible in itself, to heighten that terror to the furthest bounds.
Witness the white bear of the poles, and the white shark of the
tropics; what but their smooth, flaky whiteness makes them the
transcendent horrors they are? That ghastly whiteness it is which
imparts such an abhorrent mildness, even more loathsome than terrific,
to the dumb gloating of their aspect. So that not the fierce-fanged
tiger in his heraldic coat can so stagger courage as the white-shrouded
bear or shark.*
*With reference to the Polar bear, it may possibly be urged by him who
would fain go still deeper into this matter, that it is not the
whiteness, separately regarded, which heightens the intolerable
hideousness of that brute; for, analysed, that heightened hideousness,
it might be said, only rises from the circumstance, that the
irresponsible ferociousness of the creature stands invested in the
fleece of celestial innocence and love; and hence, by bringing together
two such opposite emotions in our minds, the Polar bear frightens us
with so unnatural a contrast. But even assuming all this to be true;
yet, were it not for the whiteness, you would not have that intensified
terror.
As for the white shark, the white gliding ghostliness of repose in that
creature, when beheld in his ordinary moods, strangely tallies with the
same quality in the Polar quadruped. This peculiarity is most vividly
hit by the French in the name they bestow upon that fish. The Romish
mass for the dead begins with “Requiem eternam” (eternal rest), whence
_Requiem_ denominating the mass itself, and any other funeral music.
Now, in allusion to the white, silent stillness of death in this shark,
and the mild deadliness of his habits, the French call him _Requin_.
Bethink thee of the albatross, whence come those clouds of spiritual
wonderment and pale dread, in which that white phantom sails in all
imaginations? Not Coleridge first threw that spell; but God’s great,
unflattering laureate, Nature.*
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