The Harbours of England

 
"So bedecked, ornate and gay
Like a stately ship
Of Tarsus, bound for the Isles
Of Javan or Gadire
With all her bravery on and tackle trim,
Sails filled and streamers waving."
 

That description could only have been written in a time of vulgar women and vulgar vessels. The utmost vanity of dress in a woman of the fourteenth century would have given no image of "sails filled or streamers waving"; nor does the look or action of a really "stately" ship ever suggest any image of the motion of a weak or vain woman. The beauties of the Court of Charles II., and the gilded galleys of the Thames, might fitly be compared; but the pomp of the Venetian fisher-boat is like neither. The sail seems dyed in its fullness by the sunshine, as the rainbow dyes a cloud; the rich stains upon it fade and reappear, as its folds swell or fall; worn with the Adrian storms, its rough woof has a kind of noble dimness upon it, and its colors seem as grave, inherent, and free from vanity as the spots of the leopard, or veins of the seashell.

Yet, in speaking of poets' love of boats, I ought to have limited the love to modern poets; Dante, in this respect, as in nearly every other, being far in advance of his age. It is not often that I congratulate myself upon the days in which I happen to live; but I do so in this respect, that, compared with every other period of the world, this nineteenth century (or rather, the period between 1750 and 1850) may not improperly be called the Age of Boats; while the classic and chivalric times, in which boats were partly dreaded, partly despised, may respectively be characterized, with regard to their means of locomotion, as the Age of Chariots, and the Age of Horses.

For, whatever perfection and costliness there may be in the present decorations, harnessing, and horsing of any English or Parisian wheel equipage, I apprehend that we can from none of them form any high ideal of wheel conveyance; and that unless we had seen an Egyptian king bending his bow with his horses at the gallop, or a Greek knight leaning with his poised lance over the shoulder of his charioteer, we have no right to consider ourselves as thoroughly knowing what the word "chariot," in its noblest acceptation, means.

So, also, though much chivalry is yet left in us, and we English still know several things about horses, I believe that if we had seen Charlemagne and Roland ride out hunting from Aix, or Cœur de Lion trot into camp on a sunny evening at Ascalon, or a Florentine lady canter down the Val d'Arno in Dante's time, with her hawk on her wrist, we should have had some other ideas even about horses than the best we can have now. But most assuredly, nothing that ever swung at the quay sides of Carthage, or glowed with crusaders' shields above the bays of Syria, could give to any contemporary human creature such an idea of the meaning of the word Boat, as may be now gained by any mortal happy enough to behold as much as a Newcastle collier beating against the wind. In the classical period, indeed, there was some importance given to shipping as the means of locking a battle-field together on the waves; but in the chivalric period, the whole mind of man is withdrawn from the sea, regarding it merely as a treacherous impediment, over which it was necessary sometimes to find conveyance, but from which the thoughts were always turned impatiently, fixing themselves in green fields, and pleasures that may be enjoyed by land—the very supremacy of the horse necessitating the scorn of the sea, which would not be trodden by hoofs.

It is very interesting to note how repugnant every oceanic idea appears to be to the whole nature of our principal English mediæval poet, Chaucer. Read first the Man of Lawe's Tale, in which the Lady Constance is continually floated up and down the Mediterranean, and the German Ocean, in a ship by herself; carried from Syria all the way to Northumberland, and there wrecked upon the coast; thence yet again driven up and down among the waves for five years, she and her child; and yet, all this while, Chaucer does not let fall a single word descriptive of the sea, or express any emotion whatever about it, or about the ship. He simply tells us the lady sailed here and was wrecked there; but neither he nor his audience appear to be capable of receiving any sensation, but one of simple aversion, from waves, ships, or sands. Compare with his absolutely apathetic recital, the description by a modern poet of the sailing of a vessel, charged with the fate of another Constance:

 
"It curled not Tweed alone, that breeze—
For far upon Northumbrian seas
It freshly blew, and strong;
Where from high Whitby's cloistered pile,
Bound to St. Cuthbert's holy isle,
It bore a bark along.
Upon the gale she stooped her side,
And bounded o'er the swelling tide
As she were dancing home.
The merry seamen laughed to see
Their gallant ship so lustily
Furrow the green sea foam."
 

Now just as Scott enjoys this sea breeze, so does Chaucer the soft air of the woods; the moment the older poet lands, he is himself again, his poverty of language in speaking of the ship is not because he despises description, but because he has nothing to describe. Hear him upon the ground in Spring:

 
"These woodes else recoveren greene,
That drie in winter ben to sene,
And the erth waxeth proud withall,
For sweet dewes that on it fall,
And the poore estate forget,
In which that winter had it set:
And then becomes the ground so proude,
That it wol have a newe shroude,
And maketh so queint his robe and faire,
That it had hewes an hundred paire,
Of grasse and floures, of Inde and Pers,
And many hewes full divers:
That is the robe I mean ywis
Through which the ground to praisen is."
 

In like manner, wherever throughout his poems we find Chaucer enthusiastic, it is on a sunny day in the "good green-wood," but the slightest approach to the sea-shore makes him shiver; and his antipathy finds at last positive expression, and becomes the principal foundation of the Frankeleine's Tale, in which a lady, waiting for her husband's return in a castle by the sea, behaves and expresses herself as follows:—

 
"Another time wold she sit and thinke,
And cast her eyen dounward fro the brinke;
But whan she saw the grisly rockes blake,
For veray fere so wold hire herte quake
That on hire feet she might hire not sustene
Than wold she sit adoun upon the grene,
And pitously into the see behold,
And say right thus, with careful sighes cold.
'Eterne God, that thurgh thy purveance
Ledest this world by certain governance,
In idel, as men sain, ye nothing make.
But, lord, thise grisly fendly rockes blake,
That semen rather a foule confusion
Of werk, than any faire creation
Of swiche a parfit wise God and stable,
Why han ye wrought this werk unresonable?'"
 

The desire to have the rocks out of her way is indeed severely punished in the sequel of the tale; but it is not the less characteristic of the age, and well worth meditating upon, in comparison with the feelings of an unsophisticated modern French or English girl among the black rocks of Dieppe or Ramsgate.

On the other hand, much might be said about that peculiar love of green fields and birds in the Middle Ages; and of all with which it is connected, purity and health in manners and heart, as opposed to the too frequent condition of the modern mind—

 
"As for the birds in the thicket,
Thrush or ousel in leafy niche,
Linnet or finch—she was far too rich
To care for a morning concert to which
She was welcome, without a ticket."¹³
 

But this would lead us far afield, and the main fact I have to point out to the reader is the transition of human grace and strength from the exercises of the land to those of the sea in the course of the last three centuries.

Down to Elizabeth's time chivalry lasted; and grace of dress and mien, and all else that was connected with chivalry. Then came the ages which, when they have taken their due place in the depths of the past, will be, by a wise and clear-sighted futurity, perhaps well comprehended under a common name, as the ages of Starch; periods of general stiffening and bluish-whitening, with a prevailing washerwoman's taste in everything; involving a change of steel armor into cambric; of natural hair into peruke; of natural walking into that which will disarrange no wristbands; of plain language into quips and embroideries; and of human life in general, from a green race-course, where to be defeated was at worst only to fall behind and recover breath, into a slippery pole, to be climbed with toil and contortion, and in clinging to which, each man's foot is on his neighbor's head.

But, meanwhile, the marine deities were incorruptible. It was not possible to starch the sea; and precisely as the stiffness fastened upon men, it vanished from ships. What had once been a mere raft, with rows of formal benches, pushed along by laborious flap of oars, and with infinite fluttering of flags and swelling of poops above, gradually began to lean more heavily into the deep water, to sustain a gloomy weight of guns, to draw back its spider-like feebleness of limb, and open its bosom to the wind, and finally darkened down from all its painted vanities into the long, low hull, familiar with the overflying foam; that has no other pride but in its daily duty and victory; while, through all these changes, it gained continually in grace, strength, audacity, and beauty, until at last it has reached such a pitch of all these, that there is not, except the very loveliest creatures of the living world, anything in nature so absolutely notable, bewitching, and, according to its means and measure, heart-occupying, as a well-handled ship under sail in a stormy day. Any ship, from lowest to proudest, has due place in that architecture of the sea; beautiful, not so much in this or that piece of it, as in the unity of all, from cottage to cathedral, into their great buoyant dynasty. Yet, among them, the fisher-boat, corresponding to the cottage on the land (only far more sublime than a cottage ever can be), is on the whole the thing most venerable. I doubt if ever academic grove were half so fit for profitable meditation as the little strip of shingle between two black, steep, overhanging sides of stranded fishing-boats. The clear, heavy water-edge of ocean rising and falling close to their bows, in that unaccountable way which the sea has always in calm weather, turning the pebbles over and over as if with a rake, to look for something, and then stopping a moment down at the bottom of the bank, and coming up again with a little run and clash, throwing a foot's depth of salt crystal in an instant between you and the round stone you were going to take in your hand; sighing, all the while, as if it would infinitely rather be doing something else. And the dark flanks of the fishing-boats all aslope above, in their shining quietness, hot in the morning sun, rusty and seamed with square patches of plank nailed over their rents; just rough enough to let the little flat-footed fisher-children haul or twist themselves up to the gunwales, and drop back again along some stray rope; just round enough to remind us, in their broad and gradual curves, of the sweep of the green surges they know so well, and of the hours when those old sides of seared timber, all ashine with the sea, plunge and dip into the deep green purity of the mounded waves more joyfully than a deer lies down among the grass of spring, the soft white cloud of foam opening momentarily at the bows, and fading or flying high into the breeze where the sea-gulls toss and shriek,—the joy and beauty of it, all the while, so mingled with the sense of unfathomable danger, and the human effort and sorrow going on perpetually from age to age, waves rolling forever, and winds moaning forever, and faithful hearts trusting and sickening forever, and brave lives dashed away about the rattling beach like weeds forever; and still at the helm of every lonely boat, through starless night and hopeless dawn, His hand, who spread the fisher's net over the dust of the Sidonian palaces, and gave into the fisher's hand the keys of the kingdom of heaven.

Next after the fishing-boat—which, as I said, in the architecture of the sea represents the cottage, more especially the pastoral or agricultural cottage, watchful over some pathless domain of moorland or arable, as the fishing-boat swims, humbly in the midst of the broad green fields and hills of ocean, out of which it has to win such fruit as they can give, and to compass with net or drag such flocks as it may find,—next to this ocean-cottage ranks in interest, it seems to me, the small, over-wrought, under-crewed, ill-caulked merchant brig or schooner; the kind of ship which first shows its couple of thin masts over the low fields or marshes as we near any third-rate sea-port; and which is sure somewhere to stud the great space of glittering water, seen from any sea-cliff, with its four or five square-set sails. Of the larger and more polite tribes of merchant vessels, three-masted, and passenger-carrying, I have nothing to say, feeling in general little sympathy with people who want to go anywhere; nor caring much about anything, which in the essence of it expresses a desire to get to other sides of the world; but only for homely and stay-at-home ships, that live their life and die their death about English rocks. Neither have I any interest in the higher branches of commerce, such as traffic with spice islands, and porterage of painted tea-chests or carved ivory; for all this seems to me to fall under the head of commerce of the drawing-room; costly, but not venerable. I respect in the merchant service only those ships that carry coals, herrings, salt, timber, iron, and such other commodities, and that have disagreeable odor, and unwashed decks. But there are few things more impressive to me than one of these ships lying up against some lonely quay in a black sea-fog, with the furrow traced under its tawny keel far in the harbor slime. The noble misery that there is in it, the might of its rent and strained unseemliness, its wave-worn melancholy, resting there for a little while in the comfortless ebb, unpitied, and claiming no pity; still less honored, least of all conscious of any claim to honor; casting and craning by due balance whatever is in its hold up to the pier, in quiet truth of time; spinning of wheel, and slackening of rope, and swinging of spade, in as accurate cadence as a waltz music; one or two of its crew, perhaps, away forward, and a hungry boy and yelping dog eagerly interested in something from which a blue dull smoke rises out of pot or pan; but dark-browed and silent, their limbs slack, like the ropes above them, entangled as they are in those inextricable meshes about the patched knots and heaps of ill-reefed sable sail. What a majestic sense of service in all that languor! the rest of human limbs and hearts, at utter need, not in sweet meadows or soft air, but in harbor slime and biting fog; so drawing their breath once more, to go out again, without lament, from between the two skeletons of pier-heads, vocal with wash of under wave, into the gray troughs of tumbling brine; there, as they can, with slacked rope, and patched sail, and leaky hull, again to roll and stagger far away amidst the wind and salt sleet, from dawn to dusk and dusk to dawn, winning day by day their daily bread; and for last reward, when their old hands, on some winter night, lose feeling along the frozen ropes, and their old eyes miss mark of the lighthouse quenched in foam, the so-long impossible Rest, that shall hunger no more, neither thirst any more,—their eyes and mouths filled with the brown sea-sand.

After these most venerable, to my mind, of all ships, properly so styled, I find nothing of comparable interest in any floating fabric until we come to the great achievement of the 19th century. For one thing this century will in after ages be considered to have done in a superb manner, and one thing, I think, only. It has not distinguished itself in political spheres; still less in artistical. It has produced no golden age by its Reason; neither does it appear eminent for the constancy of its Faith. Its telescopes and telegraphs would be creditable to it, if it had not in their pursuit forgotten in great part how to see clearly with its eyes, and to talk honestly with its tongue. Its natural history might have been creditable to it also, if it could have conquered its habit of considering natural history to be mainly the art of writing Latin names on white tickets. But, as it is, none of these things will be hereafter considered to have been got on with by us as well as might be; whereas it will always be said of us, with unabated reverence,

"they built ships of the line."

Take it all in all, a Ship of the Line is the most honorable thing that man, as a gregarious animal, has ever produced. By himself, unhelped, he can do better things than ships of the line; he can make poems and pictures, and other such concentrations of what is best in him. But as a being living in flocks, and hammering out, with alternate strokes and mutual agreement, what is necessary for him in those flocks, to get or produce, the ship of the line is his first work. Into that he has put as much of his human patience, common sense, forethought, experimental philosophy, self-control, habits of order and obedience, thoroughly wrought handwork, defiance of brute elements, careless courage, careful patriotism, and calm expectation of the judgment of God, as can well be put into a space of 300 feet long by 80 broad. And I am thankful to have lived in an age when I could see this thing so done.

Considering, then, our shipping, under the three principal types of fishing-boat, collier, and ship of the line, as the great glory of this age; and the "New Forest" of mast and yard that follows the windings of the Thames, to be, take it all in all, a more majestic scene, I don't say merely than any of our streets or palaces as they now are, but even than the best that streets and palaces can generally be; it has often been a matter of serious thought to me how far this chiefly substantial thing done by the nation ought to be represented by the art of the nation; how far our great artists ought seriously to devote themselves to such perfect painting of our ships as should reveal to later generations—lost perhaps in clouds of steam and floating troughs of ashes—the aspect of an ancient ship of battle under sail.

To which, I fear, the answer must be sternly this: That no great art ever was, or can be, employed in the careful imitation of the work of man as its principal subject. That is to say, art will not bear to be reduplicated. A ship is a noble thing, and a cathedral a noble thing, but a painted ship or a painted cathedral is not a noble thing. Art which reduplicates art is necessarily second-rate art. I know no principle more irrefragably authoritative than that which I had long ago occasion to express: "All noble art is the expression of man's delight in God's work; not in his own."

"How!" it will be asked, "Are Stanfield, Isabey, and Prout necessarily artists of the second order because they paint ships and buildings instead of trees and clouds?" Yes, necessarily of the second order; so far as they paint ships rather than sea, and so far as they paint buildings rather than the natural light, and color, and work of years upon those buildings. For, in this respect, a ruined building is a noble subject, just as far as man's work has therein been subdued by nature's; and Stanfield's chief dignity is his being a painter less of shipping than of the seal of time or decay upon shipping.¹⁴ For a wrecked ship, or shattered boat, is a noble subject, while a ship in full sail, or a perfect boat, is an ignoble one; not merely because the one is by reason of its ruin more picturesque than the other, but because it is a nobler act in man to meditate upon Fate as it conquers his work, than upon that work itself.

Shipping, therefore, in its perfection, never can become the subject of noble art; and that just because to represent it in its perfection would tax the powers of art to the utmost. If a great painter could rest in drawing a ship, as he can rest in drawing a piece of drapery, we might sometimes see vessels introduced by the noblest workmen, and treated by them with as much delight as they would show in scattering luster over an embroidered dress, or knitting the links of a coat of mail. But ships cannot be drawn at times of rest. More complicated in their anatomy than the human frame itself, so far as that frame is outwardly discernible; liable to all kinds of strange accidental variety in position and movement, yet in each position subject to imperative laws which can only be followed by unerring knowledge; and involving, in the roundings and foldings of sail and hull, delicacies of drawing greater than exist in any other inorganic object, except perhaps a snow wreath,¹⁵ —they present, irrespective of sea or sky, or anything else around them, difficulties which could only be vanquished by draughtsmanship quite accomplished enough to render even the subtlest lines of the human face and form. But the artist who has once attained such skill as this will not devote it to the drawing of ships. He who can paint the face of St. Paul will not elaborate the parting timbers of the vessel in which he is wrecked; and he who can represent the astonishment of the apostles at the miraculous draught will not be solicitous about accurately showing that their boat is overloaded.