swinging sign over the door with a white painting upon it, faintly
representing a tall straight jet of misty spray, and these words
underneath--"The Spouter Inn:--Peter Coffin."

Coffin?--Spouter?--Rather ominous in that particular connexion,
thought I. But it is a common name in Nantucket, they say, and I
suppose this Peter here is an emigrant from there. As the light
looked so dim, and the place, for the time, looked quiet enough, and
the dilapidated little wooden house itself looked as if it might have
been carted here from the ruins of some burnt district, and as the
swinging sign had a poverty-stricken sort of creak to it, I thought
that here was the very spot for cheap lodgings, and the best of pea
coffee.

It was a queer sort of place--a gable-ended old house, one side
palsied as it were, and leaning over sadly. It stood on a sharp
bleak corner, where that tempestuous wind Euroclydon kept up a worse
howling than ever it did about poor Paul's tossed craft. Euroclydon,
nevertheless, is a mighty pleasant zephyr to any one in-doors, with
his feet on the hob quietly toasting for bed. "In judging of that
tempestuous wind called Euroclydon," says an old writer--of whose
works I possess the only copy extant--"it maketh a marvellous
difference, whether thou lookest out at it from a glass window where
the frost is all on the outside, or whether thou observest it from
that sashless window, where the frost is on both sides, and of which
the wight Death is the only glazier." True enough, thought I, as
this passage occurred to my mind--old black-letter, thou reasonest
well. Yes, these eyes are windows, and this body of mine is the
house. What a pity they didn't stop up the chinks and the crannies
though, and thrust in a little lint here and there. But it's too
late to make any improvements now. The universe is finished; the
copestone is on, and the chips were carted off a million years ago.
Poor Lazarus there, chattering his teeth against the curbstone for
his pillow, and shaking off his tatters with his shiverings, he might
plug up both ears with rags, and put a corn-cob into his mouth, and
yet that would not keep out the tempestuous Euroclydon. Euroclydon!
says old Dives, in his red silken wrapper--(he had a redder one
afterwards) pooh, pooh! What a fine frosty night; how Orion
glitters; what northern lights! Let them talk of their oriental
summer climes of everlasting conservatories; give me the privilege of
making my own summer with my own coals.

But what thinks Lazarus? Can he warm his blue hands by holding them
up to the grand northern lights? Would not Lazarus rather be in
Sumatra than here? Would he not far rather lay him down lengthwise
along the line of the equator; yea, ye gods! go down to the fiery pit
itself, in order to keep out this frost?

Now, that Lazarus should lie stranded there on the curbstone before
the door of Dives, this is more wonderful than that an iceberg should
be moored to one of the Moluccas. Yet Dives himself, he too lives
like a Czar in an ice palace made of frozen sighs, and being a
president of a temperance society, he only drinks the tepid tears of
orphans.

But no more of this blubbering now, we are going a-whaling, and there
is plenty of that yet to come. Let us scrape the ice from our
frosted feet, and see what sort of a place this "Spouter" may be.



CHAPTER 3

The Spouter-Inn.


Entering that gable-ended Spouter-Inn, you found yourself in a wide,
low, straggling entry with old-fashioned wainscots, reminding one of
the bulwarks of some condemned old craft. On one side hung a very
large oilpainting so thoroughly besmoked, and every way defaced,
that in the unequal crosslights by which you viewed it, it was only
by diligent study and a series of systematic visits to it, and
careful inquiry of the neighbors, that you could any way arrive at an
understanding of its purpose. Such unaccountable masses of shades
and shadows, that at first you almost thought some ambitious young
artist, in the time of the New England hags, had endeavored to
delineate chaos bewitched. But by dint of much and earnest
contemplation, and oft repeated ponderings, and especially by
throwing open the little window towards the back of the entry, you at
last come to the conclusion that such an idea, however wild, might
not be altogether unwarranted.

But what most puzzled and confounded you was a long, limber,
portentous, black mass of something hovering in the centre of the
picture over three blue, dim, perpendicular lines floating in a
nameless yeast. A boggy, soggy, squitchy picture truly, enough to
drive a nervous man distracted. Yet was there a sort of indefinite,
half-attained, unimaginable sublimity about it that fairly froze you
to it, till you involuntarily took an oath with yourself to find out
what that marvellous painting meant. Ever and anon a bright, but,
alas, deceptive idea would dart you through.--It's the Black Sea in a
midnight gale.--It's the unnatural combat of the four primal
elements.--It's a blasted heath.--It's a Hyperborean winter
scene.--It's the breaking-up of the icebound stream of Time. But at
last all these fancies yielded to that one portentous something in
the picture's midst. THAT once found out, and all the rest were
plain. But stop; does it not bear a faint resemblance to a gigantic
fish? even the great leviathan himself?

In fact, the artist's design seemed this: a final theory of my own,


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