That smelt of pitch and sawdust and of hemp rope newly tarred,
Where they changed their ways but little as the centuries rolled along,
And they built a trifle slowly, but they built uncommon strong.
I think her little model used to grace some homely shelf,
Where a brace of pop-eyed poodles flanked the gaily-painted delf,
And the harbour's pleasant bustle through the open window came
With the mewing of the seagulls and the scent of gorse in flame.
I think her name was Good Intent, or Peggy, New Revived,
Or John and Sarah's Venture &mdash well, I trust, their venture thrived —
Or Gipsy Bride or Farmer's Lass, or something sweet and dainty
To match her little figurehead that looks so prim and painty.
I think she never loaded things like gold mohurs and spice
And China tea and narwhals' teeth and monkey-nuts and rice,
And ivory, apes and peacocks out of Africa that come,
And Eastern frails and cotton bales and right Jamaica rum.
But she got her honest living out of homelier kinds of freights,
Such as salt and malt and china clay and blue Bethesda slates,
With perhaps a voyage foreign once in every good long while
For a fragrant load of oranges from far St. Michael's Isle.
I think she knew no distant lands, all sun and glare and smells,
And illy-ollying coolie gangs and chiming temple bells;
No lumber, grain or nitrate ports from Yukon to Peru,
No lone palm-girdled atolls in the false Pacific blue.
But the saltings and the maltings round from Lymington to Lynn,
And a hundred creeks and harbours from the Solent to the Swin,
From Eddystone to Lizard Head and round the Land to Wales
Knew her dipping in from seaward with the sunlight on her sails.
I think her little figurehead, all weathered, worn and bare,
With its valiant faded simper and its sad forsaken stare,
Gazes out across the water where the long tides break in snow
On the cruel hidden ledges where a ship sank long ago.
And the sand has choked the slipways where they built stout ships of old,
And the painted delf is broken and the pop-eyed dogs are sold;
And the little model — Lord knows how she found at last her way
To the dingy Thames-side junk-shop where I bought her yesterday.
Notes
From SHIP MODELS by Cicely Fox Smith, published by Conway Maritime Press, London, UK, © 1972, p. 77, from an original Country Life publication of 1951. The title is that of the Chapter it opens. First published in PUNCH magazine, Volume 184, February 1, 1933, p. 120.
The "mohur" was an Indian coin some of which were made of gold and were of considerable size and value.
There has been some discussion about the true author of this poem. James Lister Cuthbertson is also credited with authorship. A study of the styles of the two poets and the internal references to Cicely Fox Smith's home area in the 1940s leaves little doubt of the true origins.
The work of J. C. Cuthbertson can also be seen on this site:
oldpoetry.com/authors/James%20Lister%20Cuthbertson
Jim Saville
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Comments
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Con-
Very mysterious! C. Fox Smith does not directly claim this poem as her own in SHIP MODELS, as printed on pages 77-78. However, she does make acknowledgment to the proprietors of PUNCH for permission to reprint this poem as well as the five others in the book and one would assume that the poems were her own. Smith was generally scrupulous in crediting poets and authors whose work she made use of. Are you sure that we are refering to the same poem?
Charley Noble -
I taught this poem,COASTING BRIGANTINE, to children in my first year of teaching in 1961. The poem was in the children's Year Seven English text for Queensland State Schools. I remember the poet's name as JAMES LISTER CUTHBERTSON. Over the next five or six years, I taught the poem to several groups of kids. They always enjoyed it, probably because it has a lovely rhythm, and its words and phrases are evocative of the sights and smells of a trading ship.


