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But to learn all about these recondite matters, your best way is at once to descend into the blubber-room, and have a long talk with its inmates. This place has previously been mentioned as the receptacle for the blanket-pieces, when stript and hoisted from the whale. When the proper time arrives for cutting up its contents, this apartment is a scene of terror to all tyros, especially by night. On one side, lit by a dull lantern, a space has been left clear for the workmen. They generally go in pairs,—a pike-and-gaffman and a spade-man. The whaling-pike is similar to a frigate’s boarding-weapon of the same name. The gaff is something like a boat-hook. With his gaff, the gaffman hooks on to a sheet of blubber, and strives to hold it from slipping, as the ship pitches and lurches about. Meanwhile, the spade-man stands on the sheet itself, perpendicularly chopping it into the portable horse-pieces. This spade is sharp as hone can make it; the spademan’s feet are shoeless; the thing he stands on will sometimes irresistibly slide away from him, like a sledge. If he cuts off one of his own toes, or one of his assistants’, would you be very much astonished? Toes are scarce among veteran blubber-room men.

But in his joy at the enchanted, tacit acquiescence of the mate, Ahab did not hear his foreboding invocation; nor yet the low laugh from the hold; nor yet the presaging vibrations of the winds in the cordage; nor yet the hollow flap of the sails against the masts, as for a moment their hearts sank in. For again Starbuck’s downcast eyes lighted up with the stubbornness of life; the subterranean laugh died away; the winds blew on; the sails filled out; the ship heaved and rolled as before. Ah, ye admonitions and warnings! why stay ye not when ye come? But rather are ye predictions than warnings, ye shadows! Yet not so much predictions from without, as verifications of the foregoing things within. For with little external to constrain us, the innermost necessities in our being, these still drive us on.

“On this she went back to the house. The Phoenicians stayed a whole year till they had loaded their ship with much precious merchandise, and then, when they had got freight enough, they sent to tell the woman. Their messenger, a very cunning fellow, came to my father’s house bringing a necklace of gold with amber beads strung among it; and while my mother and the servants had it in their hands admiring it and bargaining about it, he made a sign quietly to the woman and then went back to the ship, whereon she took me by the hand and led me out of the house. In the fore part of the house she saw the tables set with the cups of guests who had been feasting with my father, as being in attendance on him; these were now all gone to a meeting of the public assembly, so she snatched up three cups and carried them off in the bosom of her dress, while I followed her, for I knew no better. The sun was now set, and darkness was over all the land, so we hurried on as fast as we could till we reached the harbour, where the Phoenician ship was lying. When they had got on board they sailed their ways over the sea, taking us with them, and Jove sent then a fair wind; six days did we sail both night and day, but on the seventh day Diana struck the woman and she fell heavily down into the ship’s hold as though she were a sea gull alighting on the water; so they threw her overboard to the seals and fishes, and I was left all sorrowful and alone. Presently the winds and waves took the ship to Ithaca, where Laertes gave sundry of his chattels for me, and thus it was that ever I came to set eyes upon this country.”

“They all swore as she told them, and when they had completed their oath the woman said, ‘Hush; and if any of your men meets me in the street or at the well, do not let him speak to me, for fear some one should go and tell my master, in which case he would suspect something. He would put me in prison, and would have all of you murdered; keep your own counsel therefore; buy your merchandise as fast as you can, and send me word when you have done loading. I will bring as much gold as I can lay my hands on, and there is something else also that I can do towards paying my fare. I am nurse to the son of the good man of the house, a funny little fellow just able to run about. I will carry him off in your ship, and you will get a great deal of money for him if you take him and sell him in foreign parts.’

“No,” said Dorian Gray, “there is nothing fearful about it. It is one of the great romantic tragedies of the age. As a rule, people who act lead the most commonplace lives. They are good husbands, or faithful wives, or something tedious. You know what I mean—middle-class virtue and all that kind of thing. How different Sibyl was! She lived her finest tragedy. She was always a heroine. The last night she played—the night you saw her—she acted badly because she had known the reality of love. When she knew its unreality, she died, as Juliet might have died. She passed again into the sphere of art. There is something of the martyr about her. Her death has all the pathetic uselessness of martyrdom, all its wasted beauty. But, as I was saying, you must not think I have not suffered. If you had come in yesterday at a particular moment—about half-past five, perhaps, or a quarter to six—you would have found me in tears. Even Harry, who was here, who brought me the news, in fact, had no idea what I was going through. I suffered immensely. Then it passed away. I cannot repeat an emotion. No one can, except sentimentalists. And you are awfully unjust, Basil. You come down here to console me. That is charming of you. You find me consoled, and you are furious. How like a sympathetic person! You remind me of a story Harry told me about a certain philanthropist who spent twenty years of his life in trying to get some grievance redressed, or some unjust law altered—I forget exactly what it was. Finally he succeeded, and nothing could exceed his disappointment. He had absolutely nothing to do, almost died of ennui, and became a confirmed misanthrope. And besides, my dear old Basil, if you really want to console me, teach me rather to forget what has happened, or to see it from a proper artistic point of view. Was it not Gautier who used to write about la consolation des arts?