Moby-Dick; or, The Whale

by Herman Melville


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Chapter 4 - The Counterpane


Chapter 4 - The Counterpane from Moby-Dick; or, The Whale

Upon waking next morning about daylight, I found Queequeg's arm thrown over me in the most loving and affectionate manner. You had almost thought I had been his wife. The counterpane was of patchwork, full of odd little parti-colored squares and triangles; and this arm of his tattooed all over with an interminable Cretan labyrinth of a figure, no two parts of which were of one precise shade- owing I suppose to his keeping his arm at sea unmethodically in sun and shade, his shirt sleeves irregularly rolled up at various times- this same arm of his, I say, looked for all the world like a strip of that same patchwork quilt. Indeed, partly lying on it as the arm did when I first awoke, I could hardly tell it from the quilt, they so blended their hues together; and it was only by the sense of weight and pressure that I could tell that Queequeg was hugging me.

My sensations were strange. Let me try to explain them. When I was a child, I well remember a somewhat similar circumstance that befell me; whether it was a reality or a dream, I never could entirely settle. The circumstance was this. I had been cutting up some caper or other- I think it was trying to crawl up the chimney, as I had seen a little sweep do a few days previous; and my stepmother who, somehow or other, was all the time whipping me, or sending me to bed supperless,- my mother dragged me by the legs out of the chimney and packed me off to bed, though it was only two o'clock in the afternoon of the 21st June, the longest day in year in our hemisphere. I felt dreadfully. But there was no help for it, so up stairs I went to my little room in the third floor, undressed myself as slowly as possible so as to kill time, and with a bitter sigh got between the sheets.

I lay there dismally calculating that sixteen entire hours must elapse before I could hope for a resurrection. Sixteen hours in bed! the small of my back ached to think of it. And it was so light too; the sun shining in at the window, and a great rattling of coaches in the streets, and the sound of gay voices all over the house. I felt worse and worse- at last I got up, dressed, and softly going down in my stockinged feet, sought out my stepmother, and suddenly threw myself at her feet, beseeching her as a particular favor to give me a good slippering for my misbehaviour: anything indeed but condemning me to lie abed such an unendurable length of time. But she was the best and most conscientious of stepmothers, and back I had to go to my room. For several hours I lay there broad awake, feeling a great deal worse than I have ever done since, even from the greatest subsequent misfortunes. At last I must have fallen into a troubled nightmare of a doze; and slowly waking from it- half steeped in dreams- I opened my eyes, and the before sunlit room was now wrapped in outer darkness. Instantly I felt a shock running through all my frame; nothing was to be seen, and nothing was to be heard; but a supernatural hand seemed placed in mine. My arm hung over the counterpane, and the nameless, unimaginable, silent form or phantom, to which the hand belonged, seemed closely seated by my bed-side. For what seemed ages piled on ages, I lay there, frozen with the most awful fears, not daring to drag away my hand; yet ever thinking that if I could but stir it one single inch, the horrid spell would be broken. I knew not how this consciousness at last glided away from me; but waking in the morning, I shudderingly remembered it all, and for days and weeks and months afterwards I lost myself in confounding attempts to explain the mystery. Nay, to this very hour, I often puzzle myself with it.

Now, take away the awful fear, and my sensations at feeling the supernatural hand in mine were very similar, in the strangeness, to those which I experienced on waking up and seeing Queequeg's pagan arm thrown round me. But at length all the past night's events soberly recurred, one by one, in fixed reality, and then I lay only alive to the comical predicament. For though I tried to move his arm- unlock his bridegroom clasp- yet, sleeping as he was, he still hugged me tightly, as though naught but death should part us twain. I now strove to rouse him- "Queequeg!"- but his only answer was a snore. I then rolled over, my neck feeling as if it were in a horse-collar; and suddenly felt a slight scratch. Throwing aside the counterpane, there lay the tomahawk sleeping by the savage's side, as if it were a hatchet-faced baby. A pretty pickle, truly, thought I; abed here in a strange house in the broad day, with a cannibal and a tomahawk! "Queequeg!- in the name of goodness, Queequeg, wake!" At length, by dint of much wriggling, and loud and incessant expostulations upon the unbecomingness of his hugging a fellow male in that matrimonial sort of style, I succeeded in extracting a grunt; and presently, he drew back his arm, shook himself all over like a Newfoundland dog just from the water, and sat up in bed, stiff as a pike-staff, looking at me, and rubbing his eyes as if he did not altogether remember how I came to be there, though a dim consciousness of knowing something about me seemed slowly dawning over him. Meanwhile, I lay quietly eyeing him, having no serious misgivings now, and bent upon narrowly observing so curious a creature. When, at last, his mind seemed made up touching the character of his bedfellow, and he became, as it were, reconciled to the fact; he jumped out upon the floor, and by certain signs and sounds gave me to understand that, if it pleased me, he would dress first and then leave me to dress afterwards, leaving the whole apartment to myself. Thinks I, Queequeg, under the circumstances, this is a very civilized overture; but, the truth is, these savages have an innate sense of delicacy, say what you will; it is marvellous how essentially polite they are. I pay this particular compliment to Queequeg, because he treated me with so much civility and consideration, while I was guilty of great rudeness; staring at him from the bed, and watching all his toilette motions; for the time my curiosity getting the better of my breeding. Nevertheless, a man like Queequeg you don't see every day, he and his ways were well worth unusual regarding.

He commenced dressing at top by donning his beaver hat, a very tall one, by the by, and then- still minus his trowsers- he hunted up his boots. What under the heavens he did it for, I cannot tell, but his next movement was to crush himself- boots in hand, and hat on- under the bed; when, from sundry violent gaspings and strainings, I inferred he was hard at work booting himself; though by no law of propriety that I ever heard of, is any man required to be private when putting on his boots. But Queequeg, do you see, was a creature in the transition stage- neither caterpillar nor butterfly. He was just enough civilized to show off his outlandishness in the strangest possible manners. His education was not yet completed. He was an undergraduate. If he had not been a small degree civilized, he very probably would not have troubled himself with boots at all; but then, if he had not been still a savage, he never would have dreamt of getting under the bed to put them on. At last, he emerged with his hat very much dented and crushed down over his eyes, and began creaking and limping about the room, as if, not being much accustomed to boots, his pair of damp, wrinkled cowhide ones- probably not made to order either- rather pinched and tormented him at the first go off of a bitter cold morning.

Seeing, now, that there were no curtains to the window, and that the street being very narrow, the house opposite commanded a plain view into the room, and observing more and more the indecorous figure that Queequeg made, staving about with little else but his hat and boots on; I begged him as well as I could, to accelerate his toilet somewhat, and particularly to get into his pantaloons as soon as possible. He complied, and then proceeded to wash himself. At that time in the morning any Christian would have washed his face; but Queequeg, to my amazement, contented himself with restricting his ablutions to his chest, arms, and hands. He then donned his waistcoat, and taking up a piece of hard soap on the wash-stand centre table, dipped it into water and commenced lathering his face. I was watching to see where he kept his razor, when lo and behold, he takes the harpoon from the bed corner, slips out the long wooden stock, unsheathes the head, whets it a little on his boot, and striding up to the bit of mirror against the wall, begins a vigorous scraping, or rather harpooning of his cheeks. Thinks I, Queequeg, this is using Rogers's best cutlery with a vengeance. Afterwards I wondered the less at this operation when I came to know of what fine steel the head of a harpoon is made, and how exceedingly sharp the long straight edges are always kept.

The rest of his toilet was soon achieved, and he proudly marched out of the room, wrapped up in his great pilot monkey jacket, and sporting his harpoon like a marshal's baton.

Frequently Asked Questions about Chapter 4 - The Counterpane from Moby-Dick; or, The Whale

What happens in Chapter 4 (The Counterpane) of Moby-Dick?

In Chapter 4 of Moby-Dick, Ishmael wakes at daylight to find Queequeg’s tattooed arm thrown over him in an intimate embrace. The sight triggers a childhood memory of a mysterious phantom hand that clasped his own while he lay in bed as punishment from his stepmother. After waking Queequeg, Ishmael watches his new companion go through an entertaining and unconventional dressing routine—putting on his beaver hat first, crawling under the bed to pull on boots, and shaving with the sharpened head of his harpoon. The chapter ends with Queequeg marching out of the room sporting his harpoon like a marshal’s baton.

What does the counterpane (patchwork quilt) symbolize in Chapter 4 of Moby-Dick?

The counterpane is one of the most important symbols in this chapter. Its patchwork of “odd little parti-colored squares and triangles” visually blends with Queequeg’s multi-hued tattooed arm so completely that Ishmael can barely distinguish one from the other. This blending symbolizes the merging of different cultures and identities—the way two very different people can become intertwined and harmonious. Melville uses the quilt as a metaphor for the patchwork friendship forming between the American narrator and the Polynesian harpooner, suggesting that human connection transcends racial and cultural boundaries.

What is the significance of Ishmael's childhood flashback about the phantom hand?

The childhood flashback serves multiple purposes in the chapter. Young Ishmael, punished by his stepmother and sent to bed on the longest day of the year, eventually feels a “supernatural hand” placed in his while half-asleep. This eerie experience parallels waking to find Queequeg’s arm around him. The flashback reveals Ishmael’s lonely, somewhat troubled childhood and establishes his deep need for human connection. It also introduces Melville’s theme of the supernatural and the unknowable—experiences that resist rational explanation—which foreshadows the novel’s broader engagement with mystery, fate, and the limits of human understanding.

How does Chapter 4 of Moby-Dick challenge ideas about civilization and savagery?

Melville uses irony throughout the chapter to subvert Victorian assumptions about “civilized” and “savage” behavior. Queequeg, whom Ishmael initially calls a “cannibal,” demonstrates genuine courtesy by offering to dress first and leave the room for Ishmael’s privacy. Ishmael openly admits that “these savages have an innate sense of delicacy” and confesses his own rudeness in staring. Melville describes Queequeg as “neither caterpillar nor butterfly”—a man in transition between cultures—and the humor of his dressing scene ultimately affirms his dignity rather than mocking him.

What is the role of humor in Chapter 4 of Moby-Dick?

Humor plays a central role in Chapter 4, helping to dissolve the tension and fear established in the previous chapters. Ishmael’s alarm at waking in Queequeg’s arms quickly shifts to amusement at the “comical predicament.” The extended comic sequence of Queequeg’s dressing routine—donning his hat before his trousers, crushing himself under the bed to put on boots, and shaving with a harpoon head—is narrated with affectionate wit. Melville uses similes like Queequeg shaking “like a Newfoundland dog just from the water” to create warmth and relatability, transforming the “savage” into a charming companion and signaling the deepening friendship between the two men.

 

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