The Carpenter Does as He Does
May 23, 2010 § Leave a comment
Now reading (yes, still): Moby-Dick.
Reading next: A Whaler’s Dictionary by Dan Beachy-Quick and Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace by David Lipsky.
So, yes, all right, I’ve been grossly lax in posting about one of my favorite books. There’s never any lack of fodder with Melville, only lack of time and effort. I’ve been the victim/perpetrator of both, I’m afraid. And so here I sit, nearly done with the novel after having taken a ridiculous amount of time to get through a book I’ve previously read, with a few measly posts to my name.
I do have plans to write two longer posts after I’ve finished — one Ishmael-centric, one Ahab- — but for now, I’ll ease back in with a little mash note to one of my favorite tertiary characters, and another feature of the book I’d forgotten about: the carpenter, who appears on the scene only in the frantic final quarter of the novel, in chapter 106.
Melville contrives to introduce the carpenter by explaining that Ahab’s ivory leg “received a half-splintering shock” in a previous incident, and Ahab was cautious about his leg since some mysterious accident shortly before the Pequod sailed had “displaced” his former peg so badly that it had “all but pierced his groin” (kibble for academics, that). And so the carpenter’s set to work making him a new one.
Here’s the gist of Melville’s lengthy introduction to the carpenter:
For nothing was this man more remarkable, than for a certain impersonal stolidity as it were; impersonal, I say; for it so shaded off into the surrounding infinite of things, that it seemed one with the general stolidity discernible in the whole visible world…. Yet was this half-horrible stolidity in him, involving, too, as it appeared, an all-ramifying heartlessness;— yet was it oddly dashed at times, with an old, crutch-like, antediluvian, wheezing humorousness…. He was a stript abstract; an unfractioned integral; uncompromised as a new-born babe; living without premeditated reference to this world or the next…. he did not seem to work so much by reason or by instinct, or simply because he had been tutored to it… but merely by a kind of deaf and dumb, spontaneous literal process. He was a pure manipulator; his brain, if he had ever had one, must have early oozed along into the muscles of his fingers….
Yet… [he] was, after all, no mere machine of an automaton. If he did not have a common soul in him, he had a subtle something that somehow anomalously did its duty…. And this it was, this same unaccountable, cunning life-principle in him; this it was, that kept him a great part of the time soliloquizing; but only like an unreasoning wheel, which also hummingly soliloquizes…
This complicated, ambiguous introduction (which, trust me, is even more complicated and ambiguous in full, as much is when Melville hurries to his conclusion) leads to three major tasks for the carpenter: crafting Ahab’s leg, building Queequeg’s coffin, and converting that coffin into a waterproof life-preserver. Much as he does in his introduction, through these tasks he partakes, by degrees, of association with God the ultimate builder and shaper; with death and the darker side of eternity; and with Christ, the carpenter who converts death into life. But there are also hints of the carpenter (and his partner-in-creation, the blacksmith) as a demiurge, automaton, or industrialized worker. In this, he’s a sort of Bartleby — except that he would always prefer to do whatever’s asked of him. (Interesting to think what might’ve happened to Bartleby had he shipped on a whaler, preferring not to do any of the thousand odd jobs asked of him.)
The demiurge and automaton aspects are interesting, indeed, and also potentially related. Because the carpenter is constantly muttering to himself, he can become a kind of mouthpiece for whatever Melville would like to point out through his work: the relationship between dead matter and living beings, the mysteriousness of the workings of the universe. (When the carpenter’s asked by Ahab why he’s sealing Queequeg’s coffin — accused of being “unprincipled as the gods, and as much of a jack-of-all-trades” — he responds, “But I do not mean anything, sir. I do as I do.”) Through this muttering, he becomes something like one of the Egyptian statues (or, to unbelievers, hoax-automata) through which the immaterial gods speak — the immaterial god in this case being Melville. And he also bears some relation to the malevolent demiurge of Gnosticism — a mad god, muttering to himself about his power, but able only to shape, of limited power but convinced of his omnipotence.
But this partakes a little of what I want to talk about in connection to both Ishmael and Ahab, so I’ll stop there. To be continued…