The Mirror of the Sea. Джозеф Конрад

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IV.

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      Before an anchor can ever be raised, it must be let go; and this perfectly obvious truism brings me at once to the subject of the degradation of the sea language in the daily press of this country.

      Your journalist, whether he takes charge of a ship or a fleet, almost invariably “casts” his anchor. Now, an anchor is never cast, and to take a liberty with technical language is a crime against the clearness, precision, and beauty of perfected speech.

      An anchor is a forged piece of iron, admirably adapted to its end, and technical language is an instrument wrought into perfection by ages of experience, a flawless thing for its purpose. An anchor of yesterday (because nowadays there are contrivances like mushrooms and things like claws, of no particular expression or shape—just hooks)—an anchor of yesterday is in its way a most efficient instrument. To its perfection its size bears witness, for there is no other appliance so small for the great work it has to do. Look at the anchors hanging from the cat-heads of a big ship! How tiny they are in proportion to the great size of the hull! Were they made of gold they would look like trinkets, like ornamental toys, no bigger in proportion than a jewelled drop in a woman’s ear. And yet upon them will depend, more than once, the very life of the ship.

      An anchor is forged and fashioned for faithfulness; give it ground that it can bite, and it will hold till the cable parts, and then, whatever may afterwards befall its ship, that anchor is “lost.” The honest, rough piece of iron, so simple in appearance, has more parts than the human body has limbs: the ring, the stock, the crown, the flukes, the palms, the shank. All this, according to the journalist, is “cast” when a ship arriving at an anchorage is brought up.

      This insistence in using the odious word arises from the fact that a particularly benighted landsman must imagine the act of anchoring as a process of throwing something overboard, whereas the anchor ready for its work is already overboard, and is not thrown over, but simply allowed to fall. It hangs from the ship’s side at the end of a heavy, projecting timber called the cat-head, in the bight of a short, thick chain whose end link is suddenly released by a blow from a top-maul or the pull of a lever when the order is given. And the order is not “Heave over!” as the paragraphist seems to imagine, but “Let go!”

      As a matter of fact, nothing is ever cast in that sense on board ship but the lead, of which a cast is taken to search the depth of water on which she floats. A lashed boat, a spare spar, a cask or what not secured about the decks, is “cast adrift” when it is untied. Also the ship herself is “cast to port or starboard” when getting under way. She, however, never “casts” her anchor.

      To speak with severe technicality, a ship or a fleet is “brought up”—the complementary words unpronounced and unwritten being, of course, “to an anchor.” Less technically, but not less correctly, the word “anchored,” with its characteristic appearance and resolute sound, ought to be good enough for the newspapers of the greatest maritime country in the world. “The fleet anchored at Spithead”: can anyone want a better sentence for brevity and seamanlike ring? But the “cast-anchor” trick, with its affectation of being a sea-phrase—for why not write just as well “threw anchor,” “flung anchor,” or “shied anchor”?—is intolerably odious to a sailor’s ear. I remember a coasting pilot of my early acquaintance (he used to read the papers assiduously) who, to define the utmost degree of lubberliness in a landsman, used to say, “He’s one of them poor, miserable ‘cast-anchor’ devils.”

V.

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      From first to last the seaman’s thoughts are very much concerned with his anchors. It is not so much that the anchor is a symbol of hope as that it is the heaviest object that he has to handle on board his ship at sea in the usual routine of his duties. The beginning and the end of every passage are marked distinctly by work about the ship’s anchors. A vessel in the Channel has her anchors always ready, her cables shackled on, and the land almost always in sight. The anchor and the land are indissolubly connected in a sailor’s thoughts. But directly she is clear of the narrow seas, heading out into the world with nothing solid to speak of between her and the South Pole, the anchors are got in and the cables disappear from the deck. But the anchors do not disappear. Technically speaking, they are “secured in-board”; and, on the forecastle head, lashed down to ring-bolts with ropes and chains, under the straining sheets of the head-sails, they look very idle and as if asleep. Thus bound, but carefully looked after, inert and powerful, those emblems of hope make company for the look-out man in the night watches; and so the days glide by, with a long rest for those characteristically shaped pieces of iron, reposing forward, visible from almost every part of the ship’s deck, waiting for their work on the other side of the world somewhere, while the ship carries them on with a great rush and splutter of foam underneath, and the sprays of the open sea rust their heavy limbs.

      The first approach to the land, as yet invisible to the crew’s eyes, is announced by the brisk order of the chief mate to the boatswain: “We will get the anchors over this afternoon” or “first thing to-morrow morning,” as the case may be. For the chief mate is the keeper of the ship’s anchors and the guardian of her cable. There are good ships and bad ships, comfortable ships and ships where, from first day to last of the voyage, there is no rest for a chief mate’s body and soul. And ships are what men make them: this is a pronouncement of sailor wisdom, and, no doubt, in the main it is true.

      However, there are ships where, as an old grizzled mate once told me, “nothing ever seems to go right!” And, looking from the poop where we both stood (I had paid him a neighbourly call in dock), he added: “She’s one of them.” He glanced up at my face, which expressed a proper professional sympathy, and set me right in my natural surmise: “Oh no; the old man’s right enough. He never interferes. Anything that’s done in a seamanlike way is good enough for him. And yet, somehow, nothing ever seems to go right in this ship. I tell you what: she is naturally unhandy.”

      The “old man,” of course, was his captain, who just then came on deck in a silk hat and brown overcoat, and, with a civil nod to us, went ashore. He was certainly not more than thirty, and the elderly mate, with a murmur to me of “That’s my old man,” proceeded to give instances of the natural unhandiness of the ship in a sort of deprecatory tone, as if to say, “You mustn’t think I bear a grudge against her for that.”

      The instances do not matter. The point is that there are ships where things do go wrong; but whatever the ship—good or bad, lucky or unlucky—it is in the forepart of her that her chief mate feels most at home. It is emphatically his end of the ship, though, of course, he is the executive supervisor of the whole. There are his anchors, his headgear, his foremast, his station for manoeuvring when the captain is in charge. And there, too, live the men, the ship’s hands, whom it is his duty to keep employed, fair weather or foul, for the ship’s welfare. It is the chief mate, the only figure of the ship’s afterguard, who comes bustling forward at the cry of “All hands on deck!” He is the satrap of that province in the autocratic realm of the ship, and more personally responsible for anything that may happen there.

      There, too, on the approach to the land, assisted by the boatswain and the carpenter, he “gets the anchors over” with the men of his own watch, whom he knows better than the others. There he sees the cable ranged, the windlass disconnected, the compressors opened; and there, after giving his own last order, “Stand clear of the cable!” he waits attentive, in a silent ship that forges slowly СКАЧАТЬ