When my grandmother died, there was in her foyer a large oil
painting of a square rigged ship. Family
legend has it that the ship is one of her father’s. The ship’s rigging is post-clipper: around
1875. In the painting, she is roaring
toward the viewer, all canvas pressed into service, including her
stuns’ls. Her voyage has been hard: rust
mars her topsides, and her dolphin striker is askew to starboard. But a fine sight she must have been as she
schooned into Boston
Harbor , bringing my
great-grandfather a nice return on investment.
Now, the
painting dominates my living room in Phippsburg. Maine. I like to imagine my ancestor who, as a Danish
sea captain, finally settled in Boston
because, as I was told, it was the harbor of all the world into which he best enjoyed
to sail.
That ancestor:
the same burly, muscular build we all carried down the years, a white whisker
running full round the face; stern visage, bright eye. In a photograph on the wall of my
grandmother’s dining room he sat and staring at the facing photograph of his
wife, who herself had a formidable profile, an aggressive bosom, and a mouth which
seemed to me as a boy more apt for command than for comfort. His settlement in America underscored his
forward view of things: in America, here was a land of opportunity and of virtue,
where his children might blossom, and where the future looked bright.
For all the
many years I knew my grandmother—she died just short of her 102nd
birthday—she searched for her father’s sextant, which she wanted to present to
me, her first grandson, who spent a lot of time on the sea. She never found it. It was somewhere in her house, she was
certain, just out of reach, at the back of some drawer or other, or in the
bottom of some trunk.
In addition to the picture of his
ship, my grandmother did bequeath to me his definition of a gentleman. A gentleman, my grandmother instructed me, is
a man who knows how, and when, to shake another man by the hand. But he also knows how, and when, to punch him
in the nose.
Further, I have
one more thing my grandmother passed down to me. I have the idea that there is a sextant to be
found, at the back of some drawer or other.
Somewhere there is an instrument
that will show us where we are. I’d like
to know where we are. I’ve read thousands
of books and written for many years, all of it to discover where we are. As Americans: whither go we, and why?
Today, in Bath, Maine, in the
birthplace of ships, a ghostly reminder has been built that should help us to think
about this. Visit the site, those of you
who come here sea-borne, or those who merely enjoy the metaphor. The Maine Maritime Museum has constructing a
full-sized replica-in-silhouette of Wyoming,
the largest fore-and-aft rigged wooden vessel ever built. Today, she is back on the very spot where, in
1909, her keel was laid down, at the Percy & Small shipyard.
Go to Wyoming and beside her stand. She represents some of us—we are a mercantile
people, ably building bigger vessels, ably sailing them. We found the routes
that brought back finished goods and raw materials. We made our trading partners and ourselves
wealthy. Scarcely was there a port on earth that did not know a Downeaster and
did not love the sight of her hull rising offshore. Here came goods, news, ideas, and here—especially—here
came hope of a better life.
Might I go where to she came from,
wondered some yet-to-be ancestor of ours?
Might I go there, too, and prosper?
Any sea-girt ancestor of ours must surely
be musing upon us now. He may be the
captain, or the bosun, or the master’s mate.
He may be a young able seaman, who can hand, reef, and steer. All of them are out there on the sea right
now, our ancestors, cradling their sextants, wishing us strength of purpose and
character, and shooting the dark star of our soul.
Have we done them proud? Will we continue to do them proud?
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