Moby Dick Herman Melville (polar express read aloud TXT) 📖

pale dread, in which that white phantom sails in all imaginations? Not Coleridge first threw that spell; but God’s great, unflattering laureate, Nature.5

Most famous in our Western annals and Indian traditions is that of the White Steed of the Prairies; a magnificent milk-white charger, large-eyed, small-headed, bluff-chested, and with the dignity of a thousand monarchs in his lofty, overscorning carriage. He was the elected Xerxes of vast herds of wild horses, whose pastures in those days were only fenced by the Rocky Mountains and the Alleghanies. At their flaming head he westward trooped it like that chosen star which every evening leads on the hosts of light. The flashing cascade of his mane, the curving comet of his tail, invested him with housings more resplendent than gold and silver-beaters could have furnished him. A most imperial and archangelical apparition of that unfallen, western world, which to the eyes of the old trappers and hunters revived the glories of those primeval times when Adam walked majestic as a god, bluff-browed and fearless as this mighty steed. Whether marching amid his aides and marshals in the van of countless cohorts that endlessly streamed it over the plains, like an Ohio; or whether with his circumambient subjects browsing all around at the horizon, the White Steed gallopingly reviewed them with warm nostrils reddening through his cool milkiness; in whatever aspect he presented himself, always to the bravest Indians he was the object of trembling reverence and awe. Nor can it be questioned from what stands on legendary record of this noble horse, that it was his spiritual whiteness chiefly, which so clothed him with divineness; and that this divineness had that in it which, though commanding worship, at the same time enforced a certain nameless terror.

But there are other instances where this whiteness loses all that accessory and strange glory which invests it in the White Steed and Albatross.

What is it that in the Albino man so peculiarly repels and often shocks the eye, as that sometimes he is loathed by his own kith and kin! It is that whiteness which invests him, a thing expressed by the name he bears. The Albino is as well made as other men⁠—has no substantive deformity⁠—and yet this mere aspect of all-pervading whiteness makes him more strangely hideous than the ugliest abortion. Why should this be so?

Nor, in quite other aspects, does Nature in her least palpable but not the less malicious agencies, fail to enlist among her forces this crowning attribute of the terrible. From its snowy aspect, the gauntleted ghost of the Southern Seas has been denominated the White Squall. Nor, in some historic instances, has the art of human malice omitted so potent an auxiliary. How wildly it heightens the effect of that passage in Froissart, when, masked in the snowy symbol of their faction, the desperate White Hoods of Ghent murder their bailiff in the marketplace!

Nor, in some things, does the common, hereditary experience of all mankind fail to bear witness to the supernaturalism of this hue. It cannot well be doubted, that the one visible quality in the aspect of the dead which most appals the gazer, is the marble pallor lingering there; as if indeed that pallor were as much like the badge of consternation in the other world, as of mortal trepidation here. And from that pallor of the dead, we borrow the expressive hue of the shroud in which we wrap them. Nor even in our superstitions do we fail to throw the same snowy mantle round our phantoms; all ghosts rising in a milk-white fog⁠—Yea, while these terrors seize us, let us add, that even the king of terrors, when personified by the evangelist, rides on his pallid horse.

Therefore, in his other moods, symbolize whatever grand or gracious thing he will by whiteness, no man can deny that in its profoundest idealized significance it calls up a peculiar apparition to the soul.

But though without dissent this point be fixed, how is mortal man to account for it? To analyse it, would seem impossible. Can we, then, by the citation of some of those instances wherein this thing of whiteness⁠—though for the time either wholly or in great part stripped of all direct associations calculated to impart to it aught fearful, but nevertheless, is found to exert over us the same sorcery, however modified;⁠—can we thus hope to light upon some chance clue to conduct us to the hidden cause we seek?

Let us try. But in a matter like this, subtlety appeals to subtlety, and without imagination no man can follow another into these halls. And though, doubtless, some at least of the imaginative impressions about to be presented may have been shared by most men, yet few perhaps were entirely conscious of them at the time, and therefore may not be able to recall them now.

Why to the man of untutored ideality, who happens to be but loosely acquainted with the peculiar character of the day, does the bare mention of Whitsuntide marshal in the fancy such long, dreary, speechless processions of slow-pacing pilgrims, downcast and hooded with new-fallen snow? Or, to the unread, unsophisticated Protestant of the Middle American States, why does the passing mention of a White Friar or a White Nun, evoke such an eyeless statue in the soul?

Or what is there apart from the traditions of dungeoned warriors and kings (which will not wholly account for it) that makes the White Tower of London tell so much more strongly on the imagination of an untravelled American, than those other storied structures, its neighbors⁠—the Byward Tower, or even the Bloody? And those sublimer towers, the White Mountains of New Hampshire, whence, in peculiar moods, comes that gigantic ghostliness over the soul at the bare mention of that name, while the thought of Virginia’s Blue Ridge is full of a soft, dewy, distant dreaminess? Or why, irrespective of all latitudes and longitudes, does the name of the White Sea exert such a