Venice In The East End

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Title:     Venice In The East End
Author: Richard Jefferies [More Titles by Jefferies]

The great red bowsprit of an Australian clipper projects aslant the quay. Stem to the shore, the vessel thrusts an outstretched arm high over the land, as an oak in a glade pushes a bare branch athwart the opening. This beam is larger than an entire tree divested of its foliage, such trees, that is, as are seen in English woods. The great oaks might be bigger at the base where they swell and rest themselves on a secure pedestal. Five hundred years old an oak might measure more at six feet, at eight, or ten feet from the ground; after five hundred years, that is, of steady growth. But if even such a monarch were taken, and by some enormous mechanic power drawn out, and its substance elongated into a tapering spar, it would not be massive enough to form this single beam. Where it starts from the stem of the vessel it is already placed as high above the level of the quay as it is from the sward to the first branch of an oak. At its root it starts high overhead, high enough for a trapeze to be slung to it upon which grown persons could practise athletic exercises. From its roots, from the forward end of the deck, the red beam rises at a regular angle, diminishing in size with altitude till its end in comparison with the commencement may be called pointed, though in reality blunt. To the pointed end it would be a long climb; it would need a ladder. The dull red of the vast beam is obscured by the neutral tint of the ropes which are attached to it; colour generally gives a sense of lightness by defining shape, but this red is worn and weatherbeaten, rubbed and battered, so that its uncertain surface adds to the weight of the boom.

It hangs, an immense arm thrust across the sky; it is so high it is scarcely noticed in walking under it; it is so great and ponderous, and ultra in size, that the eye and mind alike fail to estimate it. For it is a common effect of great things to be overlooked. A moderately large rock, a moderately large house, is understood and mentally put down, as it were, at a certain figure, but the immense--which is beyond the human--cannot enter the organs of the senses. The portals of the senses are not wide enough to receive it; you must turn your back on it and reflect, and add a little piece of it to another little piece, and so build up your understanding. Human things are small; you live in a large house, but the space you actually occupy is very inconsiderable; the earth itself, great as it is, is overlooked, it is too large to be seen. The eye is accustomed to the little, and cannot in a moment receive the immense. Only by slow comparison with the bulk of oak trees, by the height of a trapeze, by the climbing of a ladder, can I convey to my mind a true estimate and idea of this gigantic bowsprit. It would be quite possible to walk by and never see it because of its size, as one walks by bridges or travels over a viaduct without a thought.

The vessel lies with her bowsprit projecting over the quay, moored as a boat run ashore on the quiet sandy beach of a lake, not as a ship is generally placed with her broadside to the quay wall or to the pier. Her stern is yonder--far out in the waters of the dock, too far to concern us much as we look from the verge of the wall. Access to the ship is obtained by a wooden staging running out at the side; instead of the ship lying beside the pier, a pier has been built out to fit to the ship. This plan, contrary to preconceived ideas, is evidently founded on good reason, for if such a vessel were moored broadside to the quay how much space would she take up? There would be, first, the hull itself say eighty yards, and then the immense bowsprit. Two or three such ships would, as it were, fill a whole field of water; they would fill a whole dock; it would not require many to cover a mile. By placing each stem to the quay they only occupy a space equal to their breadth instead of to their length. This arrangement, again, tends to deceive the eye; you might pass by, and, seeing only the bow, casually think there was nothing particular in it. Everything here is on so grand a scale that the largest component part is diminished; the quay, broad enough to build several streets abreast; the square, open stretches of gloomy water; and beyond these the wide river. The wind blows across these open spaces in a broad way--not as it comes in sudden gusts around a street corner, but in a broad open way, each puff a quarter of a mile wide. The view of the sky is open overhead, masts do not obstruct the upward look; the sunshine illumines or the cloud-shadows darken hundreds of acres at once. It is a great plain; a plain of enclosed waters, built in and restrained by the labour of man, and holding upon its surface fleet upon fleet, argosy upon argosy. Masts to the right, masts to the left, masts in front, masts yonder above the warehouses; masts in among the streets as steeples appear amid roofs; masts across the river hung with drooping half-furled sails; masts afar down thin and attenuated, mere dark straight lines in the distance. They await in stillness the rising of the tide.

It comes, and at the exact moment--foreknown to a second--the gates are opened, and the world of ships moves outwards to the stream. Downwards they drift to the east, some slowly that have as yet but barely felt the pull of the hawser, others swiftly, and the swifter because their masts cross and pass the masts of inward-bound ships ascending. Two lines of masts, one raking one way, the other the other, cross and puzzle the eye to separate their weaving motion and to assign the rigging to the right vessel. White funnels aslant, dark funnels, red funnels rush between them; white steam curls upwards; there is a hum, a haste, almost a whirl, for the commerce of the world is crowded into the hour of the full tide. These great hulls, these crossing masts a-rake, the intertangled rigging, the background of black barges drifting downwards, the lines and ripple of the water as the sun comes out, if you look too steadily, daze the eyes and cause a sense of giddiness. It is so difficult to realise so much mass--so much bulk--moving so swiftly, and in so intertangled a manner; a mighty dance of thousands of tons--gliding, slipping, drifting onwards, yet without apparent effort. Thousands upon thousands of tons go by like shadows, silently, as if the ponderous hulls had no stability or weight; like a dream they float past, solid and yet without reality. It is a giddiness to watch them.

This happens, not on one day only, not one tide, but at every tide and every day the year through, year after year. The bright summer sun glows upon it; the red sun of the frosty hours of winter looks at it from under the deepening canopy of vapour the blasts of the autumnal equinox howl over the vast city and whistle shrilly in the rigging; still at every tide the world of ships moves out into the river. Why does not a painter come here and place the real romance of these things upon canvas, as Venice has been placed? Never twice alike, the changing atmosphere is reflected in the hue of the varnished masts, now gleaming, now dull, now dark. Till it has been painted, and sung by poet, and described by writers, nothing is human. Venice has been made human by poet, painter, and dramatist, yet what was Venice to this--this the Fact of our own day? Two of the caravels of the Doge's fleet, two of Othello's strongest war-ships, could scarcely carry the mast of my Australian clipper. At a guess it is four feet through; it is of iron, tubular; there is room for a winding spiral staircase within it; as for its height, I will not risk a guess at it. Could Othello's war-ships carry it they would consider it a feat, as the bringing of the Egyptian obelisk to London was thought a feat. The petty ripples of the Adriatic, what were they? This red bowsprit at its roots is high enough to suspend a trapeze; at its head a ladder would be required to mount it from the quay; yet by-and-by, when the tide at last comes, and its time arrives to move outwards in the dance of a million tons, this mighty bowsprit, meeting the Atlantic rollers in the Bay of Biscay, will dip and bury itself in foam under the stress of the vast sails aloft. The forty-feet billows of the Pacific will swing these three or four thousand or more tons, this giant hull which must be moored even stem to shore, up and down and side to side as a handful in the grasp of the sea. Now, each night as the clouds part, the north star looks down upon the deck; then, the Southern Cross will be visible in the sky, words quickly written, but half a globe apart. What was there in Venice to arouse thoughts such as spring from the sight of this red bowsprit? In two voyages my Australian clipper shall carry as much merchandise as shall equal the entire commerce of Venice for a year.

Yet it is not the volume, not the bulk only; cannot you see the white sails swelling, and the proud vessel rising to the Pacific billows, the north star sinking, and the advent of the Southern Cross; the thousand miles of ocean without land around, the voyage through space made visible as sea, the far, far south, the transit around a world? If Italian painters had had such things as these to paint, if poets of old time had had such things as these to sing, do you imagine they would have been contented with crank caravels and tales thrice told already? They had eyes to see that which was around them. Open your eyes and see those things which are around us at this hour.

[The end]
Richard Jefferies's essay: Venice In The East End

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