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- 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.
CHAPTER 57. Of Whales in Paint; in Teeth; in Wood; in Sheet-Iron; in
Stone; in Mountains; in Stars.
On Tower-hill, as you go down to the London docks, you may have seen a
crippled beggar (or _kedger_, as the sailors say) holding a painted
board before him, representing the tragic scene in which he lost his
leg. There are three whales and three boats; and one of the boats
(presumed to contain the missing leg in all its original integrity) is
being crunched by the jaws of the foremost whale. Any time these ten
years, they tell me, has that man held up that picture, and exhibited
that stump to an incredulous world. But the time of his justification
has now come. His three whales are as good whales as were ever
published in Wapping, at any rate; and his stump as unquestionable a
stump as any you will find in the western clearings. But, though for
ever mounted on that stump, never a stump-speech does the poor whaleman
make; but, with downcast eyes, stands ruefully contemplating his own
amputation.
Throughout the Pacific, and also in Nantucket, and New Bedford, and Sag
Harbor, you will come across lively sketches of whales and
whaling-scenes, graven by the fishermen themselves on Sperm
Whale-teeth, or ladies’ busks wrought out of the Right Whale-bone, and
other like skrimshander articles, as the whalemen call the numerous
little ingenious contrivances they elaborately carve out of the rough
material, in their hours of ocean leisure. Some of them have little
boxes of dentistical-looking implements, specially intended for the
skrimshandering business. But, in general, they toil with their
jack-knives alone; and, with that almost omnipotent tool of the sailor,
they will turn you out anything you please, in the way of a mariner’s
fancy.
Long exile from Christendom and civilization inevitably restores a man
to that condition in which God placed him, _i.e._ what is called
savagery. Your true whale-hunter is as much a savage as an Iroquois. I
myself am a savage, owning no allegiance but to the King of the
Cannibals; and ready at any moment to rebel against him.
Now, one of the peculiar characteristics of the savage in his domestic
hours, is his wonderful patience of industry. An ancient Hawaiian
war-club or spear-paddle, in its full multiplicity and elaboration of
carving, is as great a trophy of human perseverance as a Latin lexicon.
For, with but a bit of broken sea-shell or a shark’s tooth, that
miraculous intricacy of wooden net-work has been achieved; and it has
cost steady years of steady application.
As with the Hawaiian savage, so with the white sailor-savage. With the
same marvellous patience, and with the same single shark’s tooth, of
his one poor jack-knife, he will carve you a bit of bone sculpture, not
quite as workmanlike, but as close packed in its maziness of design, as
the Greek savage, Achilles’s shield; and full of barbaric spirit and
suggestiveness, as the prints of that fine old Dutch savage, Albert
Durer.
Wooden whales, or whales cut in profile out of the small dark slabs of
the noble South Sea war-wood, are frequently met with in the
forecastles of American whalers. Some of them are done with much
accuracy.
At some old gable-roofed country houses you will see brass whales hung
by the tail for knockers to the road-side door. When the porter is
sleepy, the anvil-headed whale would be best. But these knocking whales
are seldom remarkable as faithful essays. On the spires of some
old-fashioned churches you will see sheet-iron whales placed there for
weather-cocks; but they are so elevated, and besides that are to all
intents and purposes so labelled with “_Hands off!_” you cannot examine
them closely enough to decide upon their merit.
In bony, ribby regions of the earth, where at the base of high broken
cliffs masses of rock lie strewn in fantastic groupings upon the plain,
you will often discover images as of the petrified forms of the
Leviathan partly merged in grass, which of a windy day breaks against
them in a surf of green surges.
Then, again, in mountainous countries where the traveller is
continually girdled by amphitheatrical heights; here and there from
some lucky point of view you will catch passing glimpses of the
profiles of whales defined along the undulating ridges.