Showing posts with label Literary Sea Allusions. Show all posts
Showing posts with label Literary Sea Allusions. Show all posts

Monday, 17 September 2012

James Johnston Abraham The Surgeon's Log


Lowry refers to James Johnston Abraham's The Surgeon's Log in his short story 'Enter One In Sumptuous Armour'; "Closing the dictionary I jammed it back next to The Surgeon's Log."

We must assume because of Lowry's mention of The Surgeon's Log that he had read the book. The Surgeon's Log was published in 1911 and ran to 31 editions with photographs.



Ship's surgeon and his first book

For an impecunious young man this was bad news as he could not afford to take the time off. He had agreed, after graduation, that he would not be a financial burden on his father who could well have afforded to help him out. Indeed, he had offered to buy him a practice had he not pursued the surgical route. The pathologist roommate came up with the idea of a sea voyage and he enlisted for a six month spell as a ship's surgeon on a 10,000 ton cargo ship which carried no passengers, sailing from Birkenhead. 

He had such a splendid time that he became somewhat of a bore about it upon his return and his pathologist friend persuaded him to write a book about his experiences. He did, and hawked it around nine publishers; they all turned it down. One day, when having afternoon tea in the Staff Room of St Peter's Hospital, Henrietta Street, Covent Garden, he looked out of the window. Across the road he saw the offices of Chapman & Hall, Dickens' publishers. He sent them the manuscript and the Managing Director, Arthur Waugh (Evelyn's father) accepted it. He had originally called it The Voyage of the Clytemestra, the name of his ship, but Waugh changed the title to The Surgeon's Log' and it became a bestseller on both sides of the Atlantic and was still selling steadily in the late 1950s, particularly in its Penguin form. It is a beautifully written descriptive travelogue, not dissimilar in style to that of Eric Newby.

It must have been a wonderful and restful experience which was what he needed. With only the crew to look after he had little medical work to do and was able to relax on deck in the tropics and go ashore in the ports. They sailed non-stop to Port Said, traversed the Suez Canal and then crossed the Indian Ocean to Penang. They sailed down the Malacca Strait to Singapore. From Singapore they sailed to Japan and visited Nagasaki, Moji and then by the Inland Sea to Kobe and on to Yokohama (and Tokyo). From there they sailed to the Dutch East Indies and thence home via Marseilles. J S Bingham A publisher, a bobbin-boy and the Society Presidential address to the Medical Society for the Study of Venereal Diseases, 28 April, 1995 at The Royal College of Physicians of London: Genitourin Med 1995;71:314-322

The appeal of such a book to the young Lowry is not surprising given that his work is littered with references to readings of books about ships and sea voyages. The apparent 'splendid time' had by Abraham may have convinced a young Lowry that he could replicate the experience and write up his own 'log'.

Lowry's 1927 voyage to the Far East followed a very similar route to one made by Abraham. Both Lowry and Abraham sailed on Blue Funnel ships and both disguised the name of the real ship they sailed on. They both had similar mixed attitudes to race and gender apparent in both the Surgeon's Log and Ultramarine which could be argued reflect white/European attitudes of the period though both temper their racism with sympathetic views to peoples they come across.

Abraham informs  the reader that he carefully logged conversations and details for later use which may have tied into ideas Lowry was having in the mid-1920s about being a writer. One major difference is that Abraham's book is an out and out travelogue whereas Lowry's Ultramarine is a far more complex text though Lowry was accused by early reviewers of the novel of adding 'local colour' to the novel.

Lowry's eventual log details a socially different class experience to the one detailed by Abraham who concentrated on the officers as opposed to Lowry's attempts to empathasise with the crew. Though Abraham does explore details of the Chinese crew's experience and life aboard the ship.

One possible major influence of The Surgeon's Log is providing Lowry with the title of his novel Ultramarine as Abraham describes the sea as ultramarine; "gazing dreamily out over a sea of ultramarine." (Pg. 189) and the sky as ultramarine; "smiling under a sky of purest ultramarine shading gradually to a pearly-grey as it touched the horizon." (Pg. 227).

The only similarity in 'plot' between the two books is comparison can be made between Horner's desire to rescue the Japanese woman Ponta from the 'tea-shop' in Kobe and Dana's fantasy of rescuing Olga from the brothel in Tsjang Tsjang (Dairen). There is also the possibility that the references to Moji in Ultramarine stem from Lowry's recollection from The Surgeon's Log, which features a visit to the port where his ship takes on coal (Pgs. 122-144).


James Abraham was born in Coleraine, County Londonderry, and was educated there and at Trinity College Dublin where he studied medicine. He practised in County Clare and was appointed Resident Medical Officer to London Dock Hospital and Rescue Home in 1908. In 1914 he travelled to Serbia, where he administered to the Serbian army and played a major part in bolstering morale. He coped with inadequate supplies, outbreaks of typhoid, scarlet fever, recurrent fever, smallpox and a typhus epidemic. He was the first doctor on location to diagnose typhus, and he and the Serbian Army Medical Corps managed to contain it. He was then called to the Middle East and latterly became a Harley Street specialist. He was created a Knight of St John Consulting Surgeon at the Princess Beatrice Hospital in London. He was a Fellow of the Royal Society of Medicine, President of the Irish Medical Graduates' Association and in 1949 won the Arnott Medal. He was author of The Night Nurse (1913); Surgeon's Journal, Balkan Log and The Surgeon's Log, which ran to thirty-one editions. He was awarded an honorary Doctorate in 1946. The Dictionary of Ulster Biography 


Read a detailed obituary in Royal College of Surgeons of England Annals

Thursday, 23 August 2012

F. E. Chadwick et al Ocean Steamships etc


Lowry's references to literature of the sea are fairly extensive in Ultramarine and include appropriations from a book entitled Ocean steamships a popular account of their construction, development, management and appliances by F. E. Chadwick, U.S.N., J. D. J. Kelley, U.S.N., Ridgely Hunt, U.S.N., John H. Gould, William H. Rideing, A. E. Seaton (1891).

Lowry's obsession with the stokehold may have been ignited by the descriptions in Chapter "The Ship's Company written by Lieutenant J. D. Jerrold Kelley U.S. Navy in Ocean steamships etc. However, we have no record of when Lowry read the book - it may have been as a child or at school.

Lowry had an affinity with ships' firemen and references or allusions to firemen occur frequently in his work. Lowry may have even signed on the S.S. Fagervik as a fireman on his journey to the White Sea in 1931. A description of the stokehold of the Oedipus Tyrannus and the fireman Nikolai Wallae occurs early in Ultramarine. (Pg.s 24-25); "But despite their work the firemen seemed to get more fun out of life than the seamen, and it seemed somehow to be better, in some queer way to be nearer to God-" (Pg. 25).


Compare text from Ultramarine with Ocean Steamships etc:

...it was humiliating to watch the nicety with which the lever weight and fulcrum worked, opening and closing their hidden mechanisms and functioning with such an incomprehensible exactness! He thought of the whirling clanks holding horribly in their nerveless grip the penetrating shaft that turned the screws ... Ultramarine Pg. 25

....and in the end you marvel at the nicety with which lever, weight, and fulcrum work, opening and closing hidden mechanisms, and functioning with an exactness that dignifies the fraction of a second into an appreciable quantity. Cranks whirl and whirl and whirl incessantly, holding in moveless grip the long shafting turning the churning screws..... Ocean Steamships Pg. 171

An echo of the above can also be found in a description of the movement of Oedipus Tyrannus on Page 41; "The desire of the link for the pivot; of the lever weight for the fulcrum...".

"Well, those were the ancient violences, the old heroic days of holystones; and they are gone, you say." Ultramarine Pg. 47

"In the middle watches the decks are scrubbed with sand and brooms and brushes, for the old, heroic days of holy-stones are over, and a hundred pounds of effort are no longer expended for an ounce of result." Ocean Steamships Pg. 166-169.

"He gazed round the engine room. Ah, there at least no interruption entered. It was a wonderland, a laboratory of laboratories, a twilight island of mysteries.....Why was it his brain could not accept the dissonance as simply as a harmony, could not make order emerge from chaos?" Ultramarine Pg. 157

"When you come to measure the region fairly, it broadens into a wonderland ; it shapes itself into a twilight island of mysteries, into a laboratory where grimy alchemists practise black magic and white. At first all seerns confusion, but when the brain has co-ordinated certain factors, harmony is wooed from discord and order emerges from chaos." Ocean Steamships Pg. 170

Lowry used the phrase "All Lombard Street To A Tahiti Orange" in his novel Ultramarine when the crew are discussing the chances of the survival Norman's pigeon in the sea  "Yes. All Lombard Street To A Tahiti Orange on that, mate' said the boatswain, as he started to roll a cigarette. 'I'm afraid he'll make a nice little bit of supper for one of them sharks, supper eh?'" (Pg 149). Lowry must have recalled the phrase from Ocean Steamships; "Very creditable, sir ; very well done. You may secure, sir ? " Very well done it is, and when you remember this is the first drill and many of the hands are new, you may feel reasonably assured, should any ordinary fire break out, that it is all Lombard Street to a Tahiti orange it will be subdued most promptly." (Pg. 155).

Saturday, 7 July 2012

Ernest Dowson The Sea-Change


Lowry refers to Ernest Dowson's  The Sea-Change in Chapter 3 of Ultramarine during a long internal dialogue by Dana Hilliot as he muses after his drunken drift through the red light district of Dairen; "I shall bend my sail when the great day comes; thy kisses on my face— and anger and regret shall fade, and in thy salt embrace all that I knew in all my mind shall no more have a place; the weary ways of men and one woman I shall forget...." (Pg111-12).

The Sea-Change

Where river and ocean meet in a great tempestuous
          frown,
Beyond the bar, where on the dunes the white-
          capped rollers break;
Above, one windmill stands forlorn on the arid,
          grassy down:
I will set my sail on a stormy day and cross the
          bar and seek
That I have sought and never found, the ex-
          quisite one crown,
Which crowns one day with all its calm the
          passionate and the weak.

When the mad winds are unreined, wilt thou not
          storm, my sea?
(I have ever loved thee so, I have ever done thee
          wrong
In drear terrestrial ways.) When I trust myself
          to thee
With a last great hope, arise and sing thine ultimate,
          great song
Sung to so many better-men, O sing at last to me,
That which when once a man has heard, he heeds
          not over long.

I will bend my sail when the great day comes; thy
          kisses on my face
Shall seal all things that are old, outworn; and
          anger and regret
Shall fade as the dreams and days shall fade, and in
          thy salt embrace,
When thy fierce caresses blind mine eyes and my
          limbs grow stark and set,
All that I know in all my mind shall no more have
          a place;
The weary ways of men and one woman I shall
          forget.


Sea-change or seachange is a poetic or informal term meaning a gradual transformation in which the form is retained but the substance is replaced, in this case with a marvellous petrification. It was originally a song of comfort to the bereaved Ferdinand over his father's death by drowning. The expression is Shakespeare's, taken from the song in The Tempest, when Ariel sings,


"Full fathom five thy father lies,
Of his bones are coral made,
Those are pearls that were his eyes,
Nothing of him that doth fade,
But doth suffer a sea-change,
into something rich and strange,
Sea-nymphs hourly ring his knell,
Ding-dong.
Hark! now I hear them, ding-dong, bell." Read more on Wikipedia




Phlebas



Lowry refers to Phlebas in Chapter 3 of Ultramarine during a long internal dialogue by Dana Hilliot as he muses after his drunken drift through the red light district of Dairen; "Proceed, Phlebas, to the forecastle head, binoculars in hand!" (Pg. 111). The allusion is to T.S. Eliot's character in section IV of the poem The Waste Land. As a mythological character, he seems to have influenced authors across the ages, including Shakespeare in his writing of The Tempest; Phlebas as a character is comparable to Alonso.


IV. Death by Water

Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep sea swell
And the profit and loss.
         A current under sea
Picked his bones in whispers.  As he rose and fell
He passes the stages of his age and youth
Entering the whirlpool.
        Gentile or Jew
O you who turn the wheel and look windward,
Consider Phlebas, who was once handsome and tall as you.

The character Phlebas the Phoenician who dies by drowning best symbolizes the chance of renewal in The Waste Land.  Although Phlebas appears in the shortest section of the poem, “Death by Water”, his seemingly small role in death represents a greater picture of bringing life back to the Waste Land.

Throughout the poem water is a very prominent symbol. Water usually is used to symbolize baptism, rebirth, relief, and regeneration. In The Wasteland, however, it brings both life and death. It cleanses the Earth but also leaves behind the raw imperfections of humanity. 

When Phlebas drowns, he seems to forget all his worries and cares from his mortal life, “Phlebas the Phoenician, a fortnight dead, / Forgot the cry of gulls, and the deep sea swell/ And the profit and loss.” (2054) His death is simple.  It is not profound or even all that tragic. It is simply just death. It happens. It also was foretold in the first section of the poem by Madame Sosostris when reading the tarot cards, “Here, said she, Is your card, the drowned Phoenician Sailor,” (2046) It was expected to happen so really, why should it matter? Why should you, the reader, care? There obviously is a significance in Phlebas’s death because the narrator directly addresses the reader and says, “Gentile or Jew/ O you who turn the wheel and look to windward, / Consider Phlebas, who was once handsome and tall as you.” The narrator wants the reader to stop and think about what this really means. One interpretation of Madame Sosostris’s reading is that there can be hope in his death.  “(Those are pearls that were his eyes. Look!)” This line, explained in the footnotes, is an allusion to Shakespeare’s Tempest when Ariel sings of Prince Ferdinand’s father’s death as “something rich and strange.” (2046) Death comes with sorrow and despair but death can also bring the chance of gaining something good and treasured. By dying in water, it can go back to the whole baptizing thing. Sins are washed away in the moment of death and the soul is clean and pure for the afterlife in heaven. It also can be related to regeneration and rebirth in that when the soul is cleansed of impurities, it is ready for a new life after death with God.  It is almost like a second chance. It relieves the soul of mortal suffering and imperfections so that the focus is on the faith in God.  But then Madame Sosostris goes on to say, “Fear death by water.” There always has to be a catch. She is saying that although this kind of death can be looked at as positive, one should beware things that seem too good to be true. It’s like the only way to escape the Waste Land and to have a better life, you have to end it. Depending on the strength of one’s faith, there might not be a promise of another life after death. Death could be absolutely final with no chance for the soul to pass on and T.S. Eliot tries to express throughout the poem that that is what truly makes a Waste Land.

It seems like in order for things to begin to bloom again in the Waste Land, the people there, and actually just people in general, need to be strong and have faith in something, whether it’s in God or in each other. Phlebas’s death definitely draws attention to this and demands that one stops and thinks about where their life is headed and what their purpose in this world should be.American Lit

Elizabeth Gregory has this to say: 'Phlebas ... alludes to Philebus, Plato's dialogue on the nature of pleasure' [Quotation and Modern American Poetry, Texas Rice University Press 1996, p.52]. Another suggestion is that Eliot knew that phleps (the genitive is phlebos) is the Greek for a vein. It is derived, suggest Liddell and Scott, from phleo, 'to flow'; a whispery, almost onomatopoeic word ('A current under sea/Picked his bones in whispers'). "In what, in other words, is Phlebas drowned? Seawater, we think; although mightn't it be possible that he has slipped into another form of salty water, into the whirlpool of his own bloodflow? We all drown in that, in the end." Europrogovision