Did Melville invent sperm-squeezing?

Once spermaceti, the oil inside the head of a sperm whale, is extracted, it begins to congeal, and in “A Squeeze of the Hand,” the 94th chapter of Moby-Dick, Herman Melville claims that sailors used to be put to work rehomogenizing the oil by hand:

When the proper time arrived, this same sperm was carefully manipulated ere going to the try-works, of which anon.

It had cooled and crystallized to such a degree, that when, with several others, I sat down before a large Constantine’s bath of it, I found it strangely concreted into lumps, here and there rolling about in the liquid part. It was our business to squeeze these lumps back into fluid. A sweet and unctuous duty!

Melville goes on to describe an ecstatic experience that overcame his narrator while engaged in sperm squeezing; that ecstasy has attracted much commentary and speculation about its possible sexual and psychological significance. The meanings that Melville invests in the task are clearly a contribution of his own. Much of the whaling practice described in the novel, though, is non-fiction. Was sperm-squeezing?

When I reviewed Eric Jay Dolin’s Leviathan for the New Yorker in 2007, I concluded that it wasn’t, but the case is a tricky one, so here’s a presentation of the evidence.

Dolin himself was agnostic, and merely quoted Melville’s description of “the experience of squeezing the lumps out of congealed spermaceti” (Dolin, p. 267). A number of nineteenth-century whaling narratives do confirm that spermaceti looks, feels, and behaves as Melville describes, though prior to the publication of Moby-Dick, none that I know of describes hands-on delumping.

In Incidents of a Whaling Voyage (1841), for example, Francis Allyn Olmsted writes:

The case [the head of the whale] is surrounded by a thick wall of a white, gristly substance, termed by the whalers “white horse;” the cavity is lined with a yellowish fat, and is filled with oil of a very superior quality, which, when warm, is perfectly limpid, but concretes in beautiful white masses, if allowed to become cold, or as it drips upon the water. (p. 65)

Olmsted goes on to say that “The head oil and fat are immediately committed to the try-pots”—cauldrons where the fat is purified by high heat. He makes no mention of physical manipulation.

According to William Scoresby’s Account of the Arctic Regions (1820), head oil wasn’t passed through try-pots before it was stored: “The head-matter congeals when it is cold; it is put into casks in its crude state, and refined on shore at the conclusion of the voyage” (vol. 2, pp. 534-35). In Whaling and Fishing, published in 1856, Charles Nordhoff also describes storing case oil immediately, without boiling it first in try-pots:

Meantime the case was opened; a man being placed in the large opening, the pure and beautifully white spermacetti was bailed out with a bucket constructed for that purpose. It is quite fluid when first taken out, but quickly congeals on exposure to air. It is at once placed in new casks, which are duly marked “case.” (p. 127)

Since I haven’t found any accounts before Melville that refer to sperm squeezing and since the episode in the novel is overlaid with such personal psychological significance, it seems possible that Melville invented the practice, which doesn’t on the face of it make much sense. If sperm oil congeals as it cools, then presumably it melts again when heated, so the try-works would render squeezing unnecessary. On the other hand, if the spermaceti is to be stored in barrels without heat purification, squeezing would be in vain, because the lumps would inevitably form again while the oil waited inside the barrels; whalers often spent years at sea. Melville does sometimes invent. In the very next chapter, “The Cassock,” he writes that before the tougher blubber of the whale is sliced up for the try-pots, the slicer dresses himself in the skin of the whale’s penis. As Howard P. Vincent observed in In The Trying-Out of Moby-Dick, “the whaling sources give no indication, physiological or otherwise, of the facts of Melville’s chapter” and so “one must assume that it came from memory or from an imagination profoundly Rabelaisian.” Probably the latter.

But there’s at least one piece of evidence vindicating Melville. In Nimrod of the Sea (1874), in a passage that I was first directed to by Wilson Heflin’s Herman Melville’s Whaling Years, William M. Davis does describe sperm squeezing:

On being withdrawn [from the head of whale], the bucket is filled with transparent spermaceti, mixed with the soft, silky integuments, and possessing the odor of the new-drawn milk of our home dairies. With our hands blistered yesterday by the oar, and all on fire to-day by the harsh friction of the handspike, it was luxurious to wade deep in the try-pots filled with this odorous unguent, in order to squeeze and strain out the fibres, which, if allowed to remain, would char with the heat, and darken the oil. No king of earth, even Solomon in all his glory, could command such a bath. I almost fell in love with the touch of my own poor legs, as I stroked the precious ointment from the skin.

One reason to hesitate in accepting this evidence is the date. Since Nimrod began writing his book in 1872, there’s a possibility of contamination—in other words, there’s a possibility that he read Melville’s novel and later remembered Melville’s account as an experience of his own. (For a contemporary example, consider Tony Blair, whose account of meeting with the queen incorporates dialogue from Stephen Frears’s movie The Queen, which Blair claims not to have seen.) It argues against contamination that Davis’s account differs somewhat from Melville’s. The purpose of squeezing, Davis writes in the passage above, wasn’t to redissolve lumps but to remove fibers that would darken the oil—a more plausible explanation than Melville’s, though it suggests that if the task was real, Melville failed to understand the point of it and probably didn’t do a very good job. Davis’s reference to Solomon’s bath reminds me of Melville’s reference to Constantine’s, though—hinting at contamination. Maybe Davis did unconsciously turn Melville’s fictional description into a memory of his own and just as unconsciously revised it, to make it more rational. Also worrisome: Try-pots had to reach a very high temperature, and they stayed at that temperature for days while a whale was being processed, so I’m a little skeptical of Davis’s account of wading into the try-pots, which implies significant delay in heating them. Also, even a small amount of moisture in the try-pots was dangerous, because it caused the oil to sputter. Olmsted says the whalers went to great lengths to keep moisture out, making it unlikely that sailors, who perspire, would have been asked to wade into the fluid.

Despite my reservations, I’m inclined for the interim to accept Davis’s testimony and believe that sperm-squeezing was an activity that real whalers engaged in, as well as fictional ones. But I wish there were more evidence on either side. A plea for crowd-sourcing: If anyone knows of another reference to sperm squeezing—especially one published before 1851—I’d love to hear about it.

The meaning of whales

This morning, Mathieu P. left the following comment to my post on Melville's poem "Monody":

I am currently reading Melville's Moby Dick. Although I enjoy the book, I fail to understand fully the meaning of the chapter devoted to whaling, such as the one about cetology or the one about whalemen eating whale meat. There are enough comments about religion or cannibals to make me think that these chapter should be taken with a pinch of salt. I do not however understand to which degree exactly they should be taken and what their precise aim is. I would welcome any pointers or explanations. I may add that my only clue about American literature is Leo Marx's The Machine in the Garden, which I read eagerly (my English professor of my undergrad years praised that book).

I thought I'd try to answer publicly, not because I have the answer, but because by coincidence I've been thinking about this very question, among others, for a lecture that I've been invited to give at SUNY Geneseo's English department in honor of the Thoreau scholar Walter Harding. (The lecture is scheduled to take place at 4pm on September 23 on the SUNY Geneseo campus.)

What I hope to talk about at Geneseo is the problem of esoteric knowledge in Melville's work—that is, the sense that the reader has that Melville's work has a secret meaning, and that among the pleasures and duties of reading him is the pursuit of his secret. It isn't at all obvious that a work of art should have a secret meaning, and I think most successful works of art don't. It's hard enough to communicate when one is taking care to be honest and forthcoming. Jane Austen's novels don't seem to have secrets; not even a book as heavy with symbolism as the Great Gatsby does. Infinite Jest, on the other hand, seems to me to be hiding something—to be begging for exegesis—especially toward the end, when it turns compressed and the allusions to Hamlet start to accumulate. Books that provoke in the reader a sense of secret knowledge almost never, of course, make a claim to such knowledge explicitly, so deciding which books fall into the category is tricky and somewhat subjective.

There are more books in the world than anyone has time to read. Why should a reader think it worth his while to ferret out the meaning of a writer who is withholding it? Moreover, why should a reader believe that a withheld meaning is true? When people believe that someone has access to secret truths, it's generally because they think of the person as a prophet, a guru, or even an incarnated god. Why should a novelist have such access? Or to put the question another way: How does a novelist go about convincing readers that he has such access?

This is all a little far afield from Mathieu P.'s particular question, the short answer to which is that there is no consensus about what whaling signifies in Moby-Dick. Two books that suggest answers are Charles Olson's Call Me Ishmael and C. L. R. James's Mariners, Renegades & Castaways, both of which lay more emphasis on political and economic meanings than is common in academic analyses. I hope in my lecture that I will be able to articulate some of my own hunches about the secrets in Moby-Dick, which always sound half-mad even to myself when I try to put them into words. My method will be to compare them to the half-submerged ideas that appear in Mardi and Clarel, two works of Melville's that are less successful but also try to lure the reader into the pursuit of hidden meanings. A whale is an intelligent mammal that doesn't kill, doesn't have to work, and needn't have second thoughts about its sexual nature. Though apparently simple, when that definition works its way through Melville's strangely intertwined ideas about gender, incarnation, sexuality, immortality, and capitalism, the reader ends up in a strange place. I read Byron's Cain this week, and it occurred to me that Melville's whales share a great deal with the beings that existed in the world before Adam, shown to Cain by Lucifer during a visit to Hades:

Cain. What are these mighty phantoms which I see
Floating around me?—They wear not the form
Of the Intelligences I have seen
Round our regretted and unentered Eden;
Nor wear the form of man as I have viewed it
In Adam's and in Abel's, and in mine,
Nor in my sister-bride's, nor in my children's:
And yet they have an aspect, which, though not
Of men nor angels, looks like something, which,
If not the last, rose higher than the first,
Haughty, and high, and beautiful, and full
Of seeming strength, but of inexplicable
Shape; for I never saw such. They bear not
The wing of Seraph, nor the face of man,
Nor form of mightiest brute, nor aught that is
Now breathing; mighty yet and beautiful
As the most beautiful and mighty which
Live, and yet so unlike them, that I scarce
Can call them living.

In Byron's play, the pre-Adamites are not the same as whales, which do however make an appearance a few pages later, when Lucifer, on the same tour of Hades, shows Cain an ocean, a thing Cain has never seen before:

Cain. 'Tis like another world; a liquid sun—
And those inordinate creatures sporting o'er
Its shining surface?

Lucifer. Are its inhabitants,
The past Leviathans.

Crowd-sourcing a lost Melville-related index

Extracts, the Melville Society’s newsletter from 1969 to 2005, is freely available online, including an index to a few dozen of the issues (number 49 to 72). Once upon a time, there also existed online an index to all the issues of Extracts. I seem to remember that this index was hosted on the site of someone not officially associated with the Melville Society. I also remember that when cross-referenced with the page images of the newsletter itself, it was very useful for tracking down odd bits of information about Melville not readily found elsewhere. But Google can’t tell me where this index is anymore, if indeed it still exists. Does anyone know?

Notebook: “There She Blew”

Harry V. Givens, photographer, 'Whale Skeleton, Point Lobos, California,' American Environmental Photographs Collection (1891-1936), AEP-CAS206, Department of Special Collections, University of Chicago Library

“There She Blew,” my review of Eric Jay Dolin’s Leviathan: The History of Whaling in America, is in the 23 July 2007 issue of The New Yorker. Herewith a few web extras and informal footnotes.

As ever, my first thanks go to the book under review. I also consulted the conservationist and historian Richard Ellis’s Men and Whales (Knopf, 1991), which takes the story of whaling beyond America, and the economists Lance E. Davis, Robert E. Gallman, and Karin Gleiter’s In Pursuit of Leviathan: Technology, Institutions, Productivity, and Profits in American Whaling, 1816-1906 (University of Chicago, 1997), which contains empirical data and insights that will interest Ph.D.’s as well as M.B.A.’s. The best documentation of Melville’s life as a whaler is in Herman Melville’s Whaling Years (Vanderbilt, 2004), a 1952 dissertation revised by its author, Wilson Heflin, until his death in 1985, and astutely edited for publication by Mary K. Bercaw Edwards and Thomas Farel Heffernan. (It’s from a note in Heflin’s book that I found the description of sperm-squeezing in William M. Davis’s 1874 memoir.) Two nineteenth-century memoirs of whaling that I refer to—J. Ross Browne’s Etchings of a Whaling Cruise and Francis Allyn Olmsted’s Incidents of a Whaling Voyage—are available online thanks to Tom Tyler of Denver, Colorado, as part of his edition of journals kept aboard the Nantucket whaler Plough Boy between 1827 and 1834. William Scoresby Jr.’s Account of the Arctic Regions, with a History and Description of the Northern Whale-Fishery is available in Google Books. (For the record, though, I read on paper, not online. I’m not really capable of reading books online.)

Also very useful was Briton Cooper Busch’s “Whaling Will Never Do for Me”: The American Whaleman in the Nineteenth Century (Lexington: University Press of Kentucky, 1994), which told me about bored shipboard wives and the whaler who read Moby-Dick while at sea, and Pamela A. Miller’s And the Whale Is Ours: Creative Writing of American Whalemen (Godine, 1971), my source for the quatrain about sperm whales vanishing from “Japan Ground.”

Now for the wildly miscellaneous. While I was researching the review, some Eskimos killed a bowhead whale off the shores of Alaska and found in its blubber the unexploded explosive tip of a bomb lance manufactured in the 1880s; the discovery got a short paragraph in the New York Times (“This Whale’s Life . . . It Was a Long One”), and a longer explanation on the website of the New Bedford Whaling Museum (“125-year-old New Bedford Bomb Fragment Found Embedded in Alaskan Bowhead Whale”). The NBWM has some great photographs of whaling in its online archives, from an inadvertently campy tableau of a librarian showing a young sailor how to handle his harpoon in the 1950s (item 2000.100.1449), to a sublime and otherworldly image of a backlit “blanket piece” of blubber being hauled on board a whaler in 1904 (item 1974.3.1.93). The blanket piece was photographed by the whaling artist Clifford W. Ashley, as part of his research for his paintings; he also took pictures of a lookout high in a mast (item 1974.3.1.221), a sperm whale lying fin out beside a whaler (item 1974.3.1.73), the “cutting in” of a whale beside a ship (item 1974.3.1.34), and whalers giving each other haircuts (item 1974.3.1.29). Though taken in 1904, they’re the best photos of nineteenth-century-style whaling I’ve seen, and they’re also available in a book, Elton W. Hall’s Sperm Whaling from New Bedford, through the museum’s store.

The best moving images of whaling are in Elmer Clifton’s 1922 silent movie “Down to the Sea in Ships,” which features Clara Bow as a stowaway in drag and has an absurd plot, complete with a villain who is secretly Asian. It stars Marguerite Courtot and Raymond McKee (who was said to have thrown the harpoon himself during the filming), as well as real New Bedfordites and their ships, as Dolin explains, and even has a scene of Quakers sitting wordlessly in meeting, the purity of which tickled me. It has been released by Kino Video on DVD and is available via Netflix as part of a double feature with Parisian Love. The NBWM has a great many stills; try searching for “Clifton” as a keyword.

If photographs strike you as too anachronistic, you can find the occasional watercolor whaling scene in the nineteenth-century logbooks digitized by the G. W. Blunt White Library of the Mystic Seaport Museum, such as these images from the 1841-42 logbook of the Charles W. Morgan (MVHS Log 52, pages 37 and 43). There is more scrimshaw than you will know what to do with at the Nantucket Historical Association. If you want to hear whales, the National Oceanic and Atmospheric Administration has at least two websites with samples, and there are more here, courtesy of the University of Rhode Island.

The conceptual, book-based artist Alex Itin has an intriguing video collage of Moby-Dick the text and Orson Welles the actor; Welles tried a number of times to stage a version of the novel. And much further down the brow of culture, the Disney corporation did an animated book review of Moby-Dick a few years ago. (I can’t promise it won’t work your last nerve.) Last but not least, here are NOAA’s estimates of current whale populations, by species, and the homepage of the International Whaling Commission, responsible for the animals’ welfare.

Photo credit: Harry V. Givens, photographer, “Whale Skeleton, Point Lobos, California,” American Environmental Photographs Collection (1891-1936), AEP-CAS206, Department of Special Collections, University of Chicago Library (accessed through the Library of Congress’s American Memory website).