Category Archives: literature

Melville’s Model of Madness

BEFORE SHIPPING ON the fictional Pequod, the narrator, Ishmael, was warned that Ahab “was a little out of his mind for a spell” on the passage home from his last voyage. “He’s sick, they say,” Ishmael admitted in reply, “but is getting better, and will be all right again before long”–at which the prophet who had delivered the advice snorted derisively, “All right again before long!”

Captain Ahab had a brilliant mind and was extremely brave, but was also clearly crazy. Captain Norris of the Sharon was all of these, too–he was sharp-witted, courageous in the boats, and patently deranged. On a whaleship, just as on a southern plantation, a brutal master might whip those under him, but only an insane master would whip any of his hands to death, because he was depriving himself of labor.

The character of Captain Ahab is popularly assumed to be based at least in part on the real-life commander of the Acushnet, Captain Valentine Pease. The novelist noted later that Pease ended up “in asylum at the Vineyard”–and this, it seems, was not all that uncommon. The Rev. Joseph Thaxter, minister of the Edgartown Congregational Church from 1780 to 1827, flatly declared, “Insanity prevails much.” Strangely, he attributed it to “the Purity of the air and Water.” Whatever the cause, it does indicate that mental instability was not at all unknown in the clannish communities of New England–which also infers that the shipowners might have had an inkling that some of the men they entrusted with their ships were a danger to their own crews. Perhaps, as Melville suggested, they even believed that a half-mad captain “was all the better qualified and set on edge, for a pursuit so full of rage and wildness as the bloody hunt of whales.”

However, this is hard to credit where the managing owners of the Sharon, Gibbs & Jenney, were concerned–Jenney in particular. The family featured prominently in Fairhaven whaling, the Jenney name cropping up repeatedly in whaling crew lists. While the Gibbs & Jenney-owned Sharon cruised unhappily about the western Pacific in 1842, no less than nineteen family members were at sea in whaleships. They ranged in rank from greenhand upward: six were boatsteerers, five were either first or second mates, and three were captains. Hardheaded as shipowners were reputed to be, it is scarcely likely that Jenney would knowingly appoint a potential murderer to the quarterdeck of one of his vessels.

The two other Jenney-owned ships that departed from Fairhaven in 1841–Hesper and Columbus–had men of good reputation in command. Captain Ichabod Handy of the Hesperus was well thought of by the missionaries, later on playing a crucial part in the establishment of a mission in the Caroline Islands. He had a very good relationship with the Pacific Islanders he dealt with, going down in history as one of the pioneers of the coconut oil trade. Captain Frederick Fish of the Columbus, as well as being famous for short voyages and good cargoes, was considered “free-hearted” by a whaling wife who gammed [= visited on board] with him, Mary Brewster of the Connecticut whaleship Tiger–a woman who was not known for her charitable opinions of her husband’s fellow skippers.

If the firm had known what Norris was doing, they would have wanted him stopped. However, the only man on board with the authority to restrain the captain was the first officer–Thomas Harlock Smith. In fact, it was his obligation. The brutality was bad enough, but the murder was the last straw. According to Section Three of the Seamen’s Act, it was Thomas Harlock Smith’s duty to arrest Captain Norris, confine him to his quarters, sail to the nearest port with a U.S. consul–Guam–and hand him over for commitment for trial. But he did nothing, and neither did his cousin, Nathan Smith.

SOURCE: In the Wake of Madness: The Murderous Voyage of the Whaleship Sharon, by Joan Druett (Algonquin Books of Chapel Hill, 2004), pp. 130-132

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A Melville Chronology, 1841-51

  • January 3, 1841, ships as a foremast hand on the whaleship Acushnet.
  • July 9, 1842, deserts ship at Nukuhiva in the Marquesas Islands. Spends a month with the cannibals of the Taipi valley.
  • August 9, 1842, escapes by joining the crew of the Sydney whaler Lucy Ann.
  • October 5, 1842, placed ashore at Tahiti with ten other crewmen, and tried before the Consul for mutiny. Lightly imprisoned in Tahiti. A beachcomber on Moorea.
  • November 1842, ships on whaleship Charles & Henry.
  • May 1843, discharged at Lahaina, goes to Honolulu to work for a merchant as clerk and bookkeeper.
  • August 17, 1843, enlists on U.S. Navy ship United States. Ship calls at Nukuhiva, Tahiti, and Callao.
  • October 14, 1844, discharged from the navy at Boston.
  • 1846, very successful publication of Typee: A Peep at Polynesian Life.
  • 1847, publication of a sequel, Omoo: A Narrative of Adventures in the South Seas.
  • 1849, publication of Mardi.
  • 1850, publication of White-Jacket, or The World in a Man-of-War.
  • 1851, Moby-Dick published to mixed reviews.

SOURCE: In the Wake of Madness: The Murderous Voyage of the Whaleship Sharon, by Joan Druett (Algonquin Books of Chapel Hill, 2004), pp. 233

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Naipaul Asks Welty about Rednecks

And it was of the redneck, the unlikely descendent of the frontiersman, that I talked to Eudora Welty when I went to call on her. I had arrived early, and waited on the street below the dripping trees. She was ready early, and could clearly be seen through her uncurtained front window. But I was nervous of knocking too soon….

The frontier was so much in her stories: a fact I had only just begun to appreciate. And she was willing to talk of the frontiersman character.

“He’s not a villain. But there’s a whole side of him that’s cunning. Sometimes it goes over the line and he becomes an outright scoundrel. The blacks never lived in that part of the state. They came over to work on the plantations. Most of the rednecks grew up without black people, and yet they hate them. That’s where all the bad things originate–that’s the appeal they make. Rednecks worked in sawmills and things like that. And they had small farms. They are all fiercely proud. They dictate the politics of the state. They take their excitement–in those small towns–when the politicians and evangelists come. Scare everybody, outwit everybody, beat everybody, kill everybody–that’s the frontiersman’s mentality.”

I told her the story Ellen had heard as a child about the rednecks to the south of the town where she had spent her summers: the story of traveling salesmen who had been roughed up and hitched to a plow and made to plow a field. Ellen had said that this story had come down from the past; and I had thought of it as a romantic story of the wickedness of times past, an exaggerated story about people living without law. But Eudora Welty took the story seriously. She said, “I can believe the story about the salesmen. I’ve heard about punishing people by making them plow farms.”

We talked about Mississippi and its reputation. “At the time of the troubles many people passed through and called on me. They wanted me to confirm what they thought. And all of them thought I lived in a state of terror. ‘Aren’t you scared of them all the time?’ A young man came and said that he had been told that a Mr. So-and-So, who was a terrible racist, owned all of Jackson, all the banks and hotels, and that he was doing terrible things to black people. It was a fantasy. It wasn’t true. The violence here is not nearly as frightening as the Northern–urban–brand.”

A frontier state, limited culturally–had that been hard for her as a writer, and as a woman writer? The richness of a writer depends to some extent on the society he or she writes about.

She said: “There is a lot behind it, the life of the state. There is the great variety of the peoples who came and settled the different sections. There is a great awareness of that as you get older–you see what things have stemmed from. The great thing taught me here as a writer is a sense of continuity. In a. place that hasn’t changed much you get to know the generations. You can see the whole narrative of a town’s history or a family’s history.”

SOURCE: A Turn in the South, by V.S. Naipaul (Vintage, 1989), pp. 213-214.

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