MOBY-DICK;
or, THE WHALE. By Herman Melville
CHAPTER 8. The Pulpit.
I had not been seated very long ere a man of a certain venerable robustness entered; immediately
as the storm-pelted door flew back upon admitting him, a quick regardful eyeing of him by all the
congregation, sufficiently attested that this fine old man was the chaplain. Yes, it was the famous
Father Mapple, so called by the whalemen, among whom he was a very great favourite. He had been a
sailor and a harpooneer in his youth, but for many years past had dedicated his life to the ministry.
At the time I now write of, Father Mapple was in the hardy winter of a healthy old age;
that sort of old age which seems merging into a second flowering youth, for among all the fissures
of his wrinkles, there shone certain mild gleams of a newly developing bloom—the spring verdure
peeping forth even beneath February’s snow. No one having previously heard his history, could for the
first time behold Father Mapple without the utmost interest, because there were certain engrafted
clerical peculiarities about him, imputable to that adventurous maritime life he had led.
When he entered I observed that he carried no umbrella, and certainly had not come in
his carriage, for his tarpaulin hat ran down with melting sleet, and his great pilot cloth
jacket seemed almost to drag him to the floor with the weight of the water it had absorbed.
However, hat and coat and overshoes were one by one removed, and hung up in a little space in an
adjacent corner; when, arrayed in a decent suit, he quietly approached the pulpit.
Like most old fashioned pulpits, it was a very lofty one, and since a regular stairs to such
a height would, by its long angle with the floor, seriously contract the already small
area of the chapel, the architect, it seemed, had acted upon the hint of Father Mapple,
and finished the pulpit without a stairs, substituting a perpendicular side ladder,
like those used in mounting a ship from a boat at sea. The wife of a whaling captain
had provided the chapel with a handsome pair of red worsted man-ropes for this ladder,
which, being itself nicely headed, and stained with a mahogany colour, the whole contrivance,
considering what manner of chapel it was, seemed by no means in bad taste. Halting for an instant
at the foot of the ladder, and with both hands grasping the ornamental knobs of the man-ropes,
Father Mapple cast a look upwards, and then with a truly sailor-like but still reverential dexterity,
hand over hand, mounted the steps as if ascending the main-top of his vessel.
The perpendicular parts of this side ladder, as is usually the case with swinging ones,
were of cloth-covered rope, only the rounds were of wood, so that at every step there was a joint.
At my first glimpse of the pulpit, it had not escaped me that however convenient for a ship,
these joints in the present instance seemed unnecessary.
For I was not prepared to see Father Mapple after gaining the height,
slowly turn round, and stooping over the pulpit, deliberately drag up the ladder step by step,
till the whole was deposited within, leaving him impregnable in his little Quebec.
I pondered some time without fully comprehending the reason for this.
Father Mapple enjoyed such a wide reputation for sincerity and sanctity,
that I could not suspect him of courting notoriety by any mere tricks of the stage. No, thought I,
there must be some sober reason for this thing; furthermore, it must symbolize something unseen.
Can it be, then, that by that act of physical isolation, he signifies his spiritual withdrawal
for the time, from all outward worldly ties and connexions? Yes, for replenished with the meat
and wine of the word, to the faithful man of God, this pulpit, I see, is a self-containing
stronghold—a lofty Ehrenbreitstein, with a perennial well of water within the walls.
But the side ladder was not the only strange feature of the place, borrowed from the chaplain’s
former sea-farings. Between the marble cenotaphs on either hand of the pulpit, the wall which
formed its back was adorned with a large painting representing a gallant ship beating against a
terrible storm off a lee coast of black rocks and snowy breakers. But high above the flying scud and
dark-rolling clouds, there floated a little isle of sunlight, from which beamed forth an angel’s
face; and this bright face shed a distinct spot of radiance upon the ship’s tossed deck,
something like that silver plate now inserted into the Victory’s plank where Nelson fell. “Ah,
noble ship,” the angel seemed to say, “beat on, beat on, thou noble ship, and bear a hardy helm;
for lo! the sun is breaking through; the clouds are rolling off—serenest azure is at hand.”
Nor was the pulpit itself without a trace of the same sea-taste that had achieved the ladder
and the picture. Its panelled front was in the likeness of a ship’s bluff bows, and the Holy
Bible rested on a projecting piece of scroll work, fashioned after a ship’s fiddle-headed beak.
What could be more full of meaning?—for the pulpit is ever this earth’s foremost part;
all the rest comes in its rear; the pulpit leads the world. From thence it is the storm
of God’s quick wrath is first descried, and the bow must bear the earliest brunt.
From thence it is the God of breezes fair or foul is first invoked for favourable winds. Yes,
the world’s a ship on its passage out, and not a voyage complete; and the pulpit is its prow.