Complete Works of Rudyard Kipling (Illustrated) (68 page)

CHAPTER IV

Harvey waked to find the “first half” at breakfast, the foc’sle door drawn to a crack, and every square inch of the schooner singing its own tune. The black bulk of the cook balanced behind the tiny galley over the glare of the stove, and the pots and pans in the pierced wooden board before it jarred and racketed to each plunge. Up and up the foc’sle climbed, yearning and surging and quivering, and then, with a clear, sickle-like swoop, came down into the seas. He could hear the flaring bows cut and squelch, and there was a pause ere the divided waters came down on the deck above, like a volley of buckshot. Followed the woolly sound of the cable in the hawse-hole; and a grunt and squeal of the windlass; a yaw, a punt, and a kick, and the
We’re Here
gathered herself together to repeat the motions.

“Now, ashore,” he heard Long Jack saying, “ye’ve chores, an’ ye must do thim in any weather. Here we’re well clear of the fleet, an’ we’ve no chores — an’ that’s a blessin’. Good night, all.” He passed like a big snake from the table to his bunk, and began to smoke. Tom Platt followed his example; Uncle Salters, with Penn, fought his way up the ladder to stand his watch, and the cook set for the “second half.”

It came out of its bunks as the others had entered theirs, with a shake and a yawn. It ate till it could eat no more; and then Manuel filled his pipe with some terrible tobacco, crotched himself between the pawl-post and a forward bunk, cocked his feet up on the table, and smiled tender and indolent smiles at the smoke. Dan lay at length in his bunk, wrestling with a gaudy, gilt-stopped accordion, whose tunes went up and down with the pitching of the
We’re Here
. The cook, his shoulders against the locker where he kept the fried pies (Dan was fond of fried pies), peeled potatoes, with one eye on the stove in event of too much water finding its way down the pipe; and the general smell and smother were past all description.

Harvey considered affairs, wondered that he was not deathly sick, and crawled into his bunk again, as the softest and safest place, while Dan struck up, “I don’t want to play in your yard,” as accurately as the wild jerks allowed.

“How long is this for?” Harvey asked of Manuel.

“Till she get a little quiet, and we can row to trawl. Perhaps to-night. Perhaps two days more. You do not like? Eh, wha-at?”

“I should have been crazy sick a week ago, but it doesn’t seem to upset me now — much.”

“That is because we make you fisherman, these days. If I was you, when I come to Gloucester I would give two, three big candles for my good luck.”

“Give who?”

“To be sure — the Virgin of our Church on the Hill. She is very good to fishermen all the time. That is why so few of us Portugee men ever are drowned.”

“You’re a Roman Catholic, then?”

“I am a Madeira man. I am not a Porto Pico boy. Shall I be Baptist, then? Eh, wha-at? I always give candles — two, three more when I come to Gloucester. The good Virgin she never forgets me, Manuel.”

“I don’t sense it that way,” Tom Platt put in from his bunk, his scarred face lit up by the glare of a match as he sucked at his pipe. “It stands to reason the sea’s the sea; and you’ll get jest about what’s goin’, candles or kerosene, fer that matter.”

“‘Tis a mighty good thing,” said Long Jack, “to have a frind at coort, though. I’m o’ Manuel’s way o’ thinkin’. About tin years back I was crew to a Sou’ Boston market-boat. We was off Minot’s Ledge wid a northeaster, butt first, atop of us, thicker’n burgoo. The ould man was dhrunk, his chin waggin’ on the tiller, an’ I sez to myself, ‘If iver I stick my boat-huk into T-wharf again, I’ll show the saints fwhat manner o’ craft they saved me out av.’ Now, I’m here, as ye can well see, an’ the model of the dhirty ould Kathleen, that took me a month to make, I gave ut to the priest, an’ he hung ut up forninst the altar. There’s more sense in givin’ a model that’s by way o’ bein’ a work av art than any candle. Ye can buy candles at store, but a model shows the good saints ye’ve tuk trouble an’ are grateful.”

“D’you believe that, Irish?” said Tom Platt, turning on his elbow.

“Would I do ut if I did not, Ohio?”

“Wa-al, Enoch Fuller he made a model o’ the old Ohio, and she’s to Calem museum now. Mighty pretty model, too, but I guess Enoch he never done it fer no sacrifice; an’ the way I take it is — ”

There were the makings of an hour-long discussion of the kind that fishermen love, where the talk runs in shouting circles and no one proves anything at the end, had not Dan struck up this cheerful rhyme:

“Up jumped the mackerel with his stripe’d back.
Reef in the mainsail, and haul on the tack;
For
it’s windy weather — ”

Here Long Jack joined in:

“
And
it’s blowy weather;
When
the winds begin to blow, pipe all hands together!”

Dan went on, with a cautious look at Tom Platt, holding the accordion low in the bunk:

“Up jumped the cod with his chuckle-head,
Went to the main-chains to heave at the lead;
For
it’s windy weather,” etc.

Tom Platt seemed to be hunting for something. Dan crouched lower, but sang louder:

“Up jumped the flounder that swims to the ground.
Chuckle-head! Chuckle-head! Mind where ye sound!”

Tom Platt’s huge rubber boot whirled across the foc’sle and caught Dan’s uplifted arm. There was war between the man and the boy ever since Dan had discovered that the mere whistling of that tune would make him angry as he heaved the lead.

“Thought I’d fetch yer,” said Dan, returning the gift with precision. “Ef you don’t like my music, git out your fiddle. I ain’t goin’ to lie here all day an’ listen to you an’ Long Jack arguin’ ‘baout candles. Fiddle, Tom Platt; or I’ll learn Harve here the tune!”

Tom Platt leaned down to a locker and brought up an old white fiddle. Manuel’s eye glistened, and from somewhere behind the pawl-post he drew out a tiny, guitar-like thing with wire strings, which he called a machette.

“‘Tis a concert,” said Long Jack, beaming through the smoke. “A reg’lar Boston concert.”

There was a burst of spray as the hatch opened, and Disko, in yellow oilskins, descended.

“Ye’re just in time, Disko. Fwhat’s she doin’ outside?”

“Jest this!” He dropped on to the lockers with the push and heave of the
We’re Here
.

“We’re singin’ to kape our breakfasts down. Ye’ll lead, av course, Disko,” said Long Jack.

“Guess there ain’t more’n ‘baout two old songs I know, an’ ye’ve heerd them both.”

His excuses were cut short by Tom Platt launching into a most dolorous tune, like unto the moaning of winds and the creaking of masts. With his eyes fixed on the beams above, Disko began this ancient, ancient ditty, Tom Platt flourishing all round him to make the tune and words fit a little:

“There is a crack packet — crack packet o’ fame,
She hails from Noo York, an’ the
Dreadnought’s
her name.
You may talk o’ your fliers — Swallowtail and Black Ball —
But the
Dreadnought’s
the packet that can beat them all.
“Now the
Dreadnought
she lies in the River Mersey,
Because of the tug-boat to take her to sea;
But when she’s off soundings you shortly will know

(Chorus.)

She’s the Liverpool packet — O Lord, let her go!

“Now the
Dreadnought
she’s howlin’ crost the Banks o’ Newfoundland,
Where the water’s all shallow and the bottom’s all sand.
Sez all the little fishes that swim to and fro:

(Chorus.)

‘She’s the Liverpool packet — O Lord, let her go!’”,

There were scores of verses, for he worked the
Dreadnought
every mile of the way between Liverpool and New York as conscientiously as though he were on her deck, and the accordion pumped and the fiddle squeaked beside him. Tom Platt followed with something about “the rough and tough McGinn, who would pilot the vessel in.” Then they called on Harvey, who felt very flattered, to contribute to the entertainment; but all that he could remember were some pieces of “Skipper Ireson’s Ride” that he had been taught at the camp-school in the Adirondacks. It seemed that they might be appropriate to the time and place, but he had no more than mentioned the title when Disko brought down one foot with a bang, and cried, “Don’t go on, young feller. That’s a mistaken jedgment — one o’ the worst kind, too, becaze it’s catchin’ to the ear.”

“I orter ha’ warned you,” said Dan. “Thet allus fetches Dad.”

“What’s wrong?” said Harvey, surprised and a little angry.

“All you’re goin’ to say,” said Disko. “All dead wrong from start to finish, an’ Whittier he’s to blame. I have no special call to right any Marblehead man, but ‘tweren’t no fault o’ Ireson’s. My father he told me the tale time an’ again, an’ this is the way ‘twuz.”

“For the wan hundredth time,” put in Long Jack under his breath

“Ben Ireson he was skipper o’ the Betty, young feller, comin’ home frum the Banks — that was before the war of 1812, but jestice is jestice at all times. They fund the Active o’ Portland, an’ Gibbons o’ that town he was her skipper; they fund her leakin’ off Cape Cod Light. There was a terr’ble gale on, an’ they was gettin’ the Betty home ‘s fast as they could craowd her. Well, Ireson he said there warn’t any sense to reskin’ a boat in that sea; the men they wouldn’t hev it; and he laid it before them to stay by the Active till the sea run daown a piece. They wouldn’t hev that either, hangin’ araound the Cape in any sech weather, leak or no leak. They jest up stays’l an’ quit, nat’rally takin’ Ireson with ‘em. Folks to Marblehead was mad at him not runnin’ the risk, and becaze nex’ day, when the sea was ca’am (they never stopped to think o’ that), some of the Active’s folks was took off by a Truro man. They come into Marblehead with their own tale to tell, sayin’ how Ireson had shamed his town, an’ so forth an’ so on, an’ Ireson’s men they was scared, seein’ public feelin’ agin’ ‘em, an’ they went back on Ireson, an’ swore he was respons’ble for the hull act. ‘Tweren’t the women neither that tarred and feathered him — Marblehead women don’t act that way — ’twas a passel o’ men an’ boys, an’ they carted him araound town in an old dory till the bottom fell aout, and Ireson he told ‘em they’d be sorry for it some day. Well, the facts come aout later, same’s they usually do, too late to be any ways useful to an honest man; an’ Whittier he come along an’ picked up the slack eend of a lyin’ tale, an’ tarred and feathered Ben Ireson all over onct more after he was dead. ‘Twas the only tune Whittier ever slipped up, an’ ‘tweren’t fair. I whaled Dan good when he brought that piece back from school. You don’t know no better, o’ course; but I’ve give you the facts, hereafter an’ evermore to be remembered. Ben Ireson weren’t no sech kind o’ man as Whittier makes aout; my father he knew him well, before an’ after that business, an’ you beware o’ hasty jedgments, young feller. Next!”

Harvey had never heard Disko talk so long, and collapsed with burning cheeks; but, as Dan said promptly, a boy could only learn what he was taught at school, and life was too short to keep track of every lie along the coast.

Then Manuel touched the jangling, jarring little machette to a queer tune, and sang something in Portuguese about “Nina, innocente!” ending with a full-handed sweep that brought the song up with a jerk. Then Disko obliged with his second song, to an old-fashioned creaky tune, and all joined in the chorus. This is one stanza:

“Now Aprile is over and melted the snow,
And outer Noo Bedford we shortly must tow;
Yes, out o’ Noo Bedford we shortly must clear,
We’re the whalers that never see wheat in the ear.”

Here the fiddle went very softly for a while by itself, and then:

“Wheat-in-the-ear, my true-love’s posy blowin,
Wheat-in-the-ear, we’re goin’ off to sea;
Wheat-in-the-ear, I left you fit for sowin,
When I come back a loaf o’ bread you’ll be!”

That made Harvey almost weep, though he could not tell why. But it was much worse when the cook dropped the potatoes and held out his hands for the fiddle. Still leaning against the locker door, he struck into a tune that was like something very bad but sure to happen whatever you did. After a little he sang, in an unknown tongue, his big chin down on the fiddle-tail, his white eyeballs glaring in the lamplight. Harvey swung out of his bunk to hear better; and amid the straining of the timbers and the wash of the waters the tune crooned and moaned on, like lee surf in a blind fog, till it ended with a wail.

“Jimmy Christmas! Thet gives me the blue creevles,” said Dan. “What in thunder is it?”

“The song of Fin McCoul,” said the cook, “when he wass going to Norway.” His English was not thick, but all clear-cut, as though it came from a phonograph.

“Faith, I’ve been to Norway, but I didn’t make that unwholesim noise. ‘Tis like some of the old songs, though,” said Long Jack, sighing.

“Don’t let’s hev another ‘thout somethin’ between,” said Dan; and the accordion struck up a rattling, catchy tune that ended:

“It’s six an’ twenty Sundays sence las’ we saw the land,
With fifteen hunder quintal,
An’ fifteen hunder quintal,
‘Teen hunder toppin’ quintal,
‘Twix’ old ‘Queereau an’ Grand!”

“Hold on!” roared Tom Platt. “D’ye want to nail the trip, Dan? That’s Jonah sure, ‘less you sing it after all our salt’s wet.”

“No, ‘tain’t, is it, Dad? Not unless you sing the very las’ verse. You can’t learn me anything on Jonahs!”

“What’s that?” said Harvey. “What’s a Jonah?”

“A Jonah’s anything that spoils the luck. Sometimes it’s a man — sometimes it’s a boy — or a bucket. I’ve known a splittin’-knife Jonah two trips till we was on to her,” said Tom Platt. “There’s all sorts o’ Jonahs. Jim Bourke was one till he was drowned on Georges. I’d never ship with Jim Bourke, not if I was starvin’. There wuz a green dory on the Ezra Flood. Thet was a Jonah, too, the worst sort o’ Jonah. Drowned four men, she did, an’ used to shine fiery O, nights in the nest.”

“And you believe that?” said Harvey, remembering what Tom Platt had said about candles and models. “Haven’t we all got to take what’s served?”