The Mirror of the Sea | Page 8

between us was the ship; and therein a ship, though she has female attributes and is loved very unreasonably, is different from a woman. That I should have been tremendously smitten with my first command is nothing to wonder at, but I suppose I must admit that Mr. B-'s sentiment was of a higher order. Each of us, of course, was extremely anxious about the good appearance of the beloved object; and, though I was the one to glean compliments ashore, B- had the more intimate pride of feeling, resembling that of a devoted handmaiden. And that sort of faithful and proud devotion went so far as to make him go about flicking the dust off the varnished teak-wood rail of the little craft with a silk pocket-handkerchief--a present from Mrs. B-, I believe.
That was the effect of his love for the barque. The effect of his admirable lack of the sense of security once went so far as to make him remark to me: "Well, sir, you ARE a lucky man!"
It was said in a tone full of significance, but not exactly offensive, and it was, I suppose, my innate tact that prevented my asking, "What on earth do you mean by that?"
Later on his meaning was illustrated more fully on a dark night in a tight corner during a dead on-shore gale. I had called him up on deck to help me consider our extremely unpleasant situation. There was not much time for deep thinking, and his summing-up was: "It looks pretty bad, whichever we try; but, then, sir, you always do get out of a mess somehow."

VI.

It is difficult to disconnect the idea of ships' anchors from the idea of the ship's chief mate--the man who sees them go down clear and come up sometimes foul; because not even the most unremitting care can always prevent a ship, swinging to winds and tide, from taking an awkward turn of the cable round stock or fluke. Then the business of "getting the anchor" and securing it afterwards is unduly prolonged, and made a weariness to the chief mate. He is the man who watches the growth of the cable--a sailor's phrase which has all the force, precision, and imagery of technical language that, created by simple men with keen eyes for the real aspect of the things they see in their trade, achieves the just expression seizing upon the essential, which is the ambition of the artist in words. Therefore the sailor will never say, "cast anchor," and the ship-master aft will hail his chief mate on the forecastle in impressionistic phrase: "How does the cable grow?" Because "grow" is the right word for the long drift of a cable emerging aslant under the strain, taut as a bow-string above the water. And it is the voice of the keeper of the ship's anchors that will answer: "Grows right ahead, sir," or "Broad on the bow," or whatever concise and deferential shout will fit the case.
There is no order more noisily given or taken up with lustier shouts on board a homeward-bound merchant ship than the command, "Man the windlass!" The rush of expectant men out of the forecastle, the snatching of hand-spikes, the tramp of feet, the clink of the pawls, make a stirring accompaniment to a plaintive up-anchor song with a roaring chorus; and this burst of noisy activity from a whole ship's crew seems like a voiceful awakening of the ship herself, till then, in the picturesque phrase of Dutch seamen, "lying asleep upon her iron."
For a ship with her sails furled on her squared yards, and reflected from truck to water-line in the smooth gleaming sheet of a landlocked harbour, seems, indeed, to a seaman's eye the most perfect picture of slumbering repose. The getting of your anchor was a noisy operation on board a merchant ship of yesterday--an inspiring, joyous noise, as if, with the emblem of hope, the ship's company expected to drag up out of the depths, each man all his personal hopes into the reach of a securing hand--the hope of home, the hope of rest, of liberty, of dissipation, of hard pleasure, following the hard endurance of many days between sky and water. And this noisiness, this exultation at the moment of the ship's departure, make a tremendous contrast to the silent moments of her arrival in a foreign roadstead--the silent moments when, stripped of her sails, she forges ahead to her chosen berth, the loose canvas fluttering softly in the gear above the heads of the men standing still upon her decks, the master gazing intently forward from the break of the poop. Gradually she loses her way, hardly moving, with the three figures on her forecastle waiting attentively about the cat-head for the last order of, perhaps,