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Oh, that supper table! The vision of it used sometimes to rise before Lewis Raycie’s eyes in outlandish foreign places; for though not a large or fastidious eater when he was at home, he was afterward, in lands of chestnut-flour and garlic and queer bearded sea-things, to suffer many pangs of hunger at the thought of that opulent board. In the centre stood the Raycie epergne of pierced silver, holding aloft a bunch of June roses surrounded by dangling baskets of sugared almonds and striped peppermints; and grouped about this decorative “motif” were Lowestoft platters heavy with piles of raspberries, strawberries and the first Delaware peaches. An outer flanking of heaped-up cookies, crullers, strawberry short-cake, piping hot corn-bread and deep golden butter in moist blocks still bedewed from the muslin swathings of the dairy, led the eye to the Virginia ham in front of Mr. Raycie, and the twin dishes of scrambled eggs on toast and broiled blue-fish over which his wife presided. Lewis could never afterward fit into this intricate pattern the “side-dishes” of devilled turkey-legs and creamed chicken hash, the sliced cucumbers and tomatoes, the heavy silver jugs of butter-coloured cream, the floating-island, “slips” and lemon jellies that were somehow interwoven with the solider elements of the design; but they were all there, either together or successively, and so were the towering piles of waffles reeling on their foundations, and the slender silver jugs of maple syrup perpetually escorting them about the table as black Dinah replenished the supply.
My feeling — Heaven help me! — was not thankfulness for God’s mercy and my escape, but a bitter mad regret. I rushed frantically to the edge, and when I saw only the blackness of darkness I wept weak tears. All the time the storm was tearing at my body, and I had to grip hard by hand and foot to keep my place.
2.“Sergeant Drooce!” cries Tom, in a kind of an agony. “I have passed my word that I would never save you from Death, if I could, but would leave you to die. Tell me you have driven me too hard and are sorry for it, and that shall go for nothing.”>
Not all his theme, however; there remains the third element in it, the soul of the ship. It is, perhaps, after all, with the life of the ship that The Mirror of The Sea, ultimately, has most to do. 33As other men write of the woman they have loved, so does Conrad write of his ships. He sees them, in this book that is so especially dedicated to their pride and beauty, coloured with a fine glow of romance, but nevertheless he realises them with all the accurate detail of a technician who describes his craft. You may learn of the raising and letting go of an anchor, and he will tell the journalists of their crime in speaking of "casting" an anchor when the true technicality is "brought up"—"to an anchor" understood. In the chapter on "Yachts" he provides as much technical detail as any book of instruction need demand and then suddenly there come these sentences—"the art of handling slips is finer, perhaps, than the art of handling men."... "A ship is a creature which we have brought into the world, as it were on purpose to keep us up to mark."