Newton Forster; Or, The Merchant Service — Story, Setting & Ideas
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Marryat had an extraordinary gift for the invention of episodes in his stories. He says somewhere that when he sat down for the day's work, he never knew what he was going to write. He certainly was a literary genius.
"Newton Forster" was published in 1832, the third book to flow from Marryat's pen. It was the first of his nautical books in which the hero is not in the Royal Navy.
This e-text was transcribed in 1998 by Nick Hodson, and was reformatted in 2003.
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NEWTON FORSTER, OR THE MERCHANT SERVICE, BY CAPTAIN FREDERICK MARRYAT.
VOLUME ONE, CHAPTER ONE.
And what is this _new_ book the whole world makes such a rout about?-- Oh! 'tis out of all plumb, my lord,--quite an irregular thing; not one of the angles at the four corners was a right angle. I had my rule and compasses, my lord, in my pocket.--Excellent critic!
Grant me patience, just Heaven! Of all the cants which are canted in this canting world--though the cant of hypocrites may be the worst, the cant of criticism is the most tormenting! STERNE.
What authors in general may feel upon the subject I know not, but I have discovered, since I so rashly took up my pen, that there are three portions of a novel which are extremely difficult to arrange to the satisfaction of a fastidious public.
The first is the beginning, the second the middle, and the third is the end.
The painter who, in times of yore, exposed his canvass to universal criticism, and found to his mortification that there was not a particle of his composition which had not been pronounced defective by one pseudo-critic or another, did not receive severer castigation than I have experienced from the _unsolicited_ remarks of "damned good-natured friends."
"I like your first and second volume," said a tall, long-chinned, short-sighted blue, dressed in yellow, peering into my face, as if her eyes were magnifying glasses, and she was obtaining the true focus of vision, "but you fall off in your last, which is all about that _nasty_ line-of-battle ship."
"I don't like your plot, sir," brawls out in a stentorian voice an elderly gentleman; "I don't like your plot, sir," repeated he with an air of authority, which he had long assumed, from supposing because people would not be at the trouble of contradicting his opinions, that they were incontrovertible--"there is nothing but death."
"Death, my dear sir," replied I, as if I was hailing the look-out man at the mast-head, and hoping to soften him with my intentional bull; "is not death, sir, a true picture of human life?"
"Ay, ay," growled he, either not hearing or not _taking_; "it's all very well, but--there's too much killing in it."
"In a novel, sir, killing's no murder, you surely will admit; and you must also allow something for professional feeling--`'Tis my occupation;' and after five-and-twenty years of constant practice, whether I wield the sword or the pen, the force of habit--"
"It won't do, sir," interrupted he; "the public don't like it. Otherwise," continued this hyper-critic, softening a little, "some of the chapters are amusing, and on the whole, it may be said to be rather--that is--not unpleasantly written."
"I like your first and third volume, but not your second," squeaked out _something_ intended to have been a woman, with shoulder-blades and collar-bones, as De Ville would say, most strongly developed.
"Well now, I don't exactly agree with you, my dear Miss Pegoo; I think the second and third volumes are by far the most _readable_," exclaimed _another thing_, perched upon a chair, with her feet dangling halfway between her seat and the carpet.
"If I might presume upon my long-standing in the service, Captain ---," said a pompous general officer,--whose back appeared to have been _fished_ with the kitchen poker--"If I might venture to offer you advice," continued he, leading me paternally by the arm a little on one side, "it would be, not again to attempt a defence of smuggling: I consider, sir, that as an officer in his Majesty's service, you have strangely committed yourself."
"It is not my defence, sir: they are the arguments of a smuggler."
"You wrote the book, sir," replied he, sharply; "I can assure you, that I should not be surprised if the Admiralty took notice of it."
"Indeed, sir," replied I, with assumed alarm.
I received no answer, except a most significant nod of the head, as he walked away.
But I have not yet arrived at the climax, which made me inclined to exclaim with the expiring Lion in the fable--
A midshipman--yes, reader, a midshipman--who had formerly belonged to my ship, and had trembled at my frown, ranged up alongside of me, and with a supercilious air, observed--
"I have read your book, and--there are _one_ or _two_ good things in it."
Hear this, admirals and captains on half-pay! hear this, port-admirals and captains afloat! I have often heard that the service was deteriorating, going to the devil, but I never became a convert to the opinion before.
Gracious Heaven! what a revengeful feeling is there in the exclamation "O that mine adversary had _written a book_!" To be snarled at, and bow-wowed at, in this manner, by those who find fault, because their intellect is not sufficient to enable them to appreciate! Authors, take my resolution; which is, never to show your face until your work has passed through the ordeal of the Reviews.--Keep your room for the month after your literary labour. Reviews are like Jesuit father confessors-- guiding the opinions of the multitude, who blindly follow the suggestions of those to whom they may have entrusted their literary consciences. If your work is denounced and damned, still you will be the gainer; for is it not better to be released at once from your sufferings, by one blow from the paw of a tiger, than to be worried piecemeal by creatures who have all the will, but not the power, to inflict the _coup de grace_?
The author of "Cloudesley," enumerating the qualifications necessary to a writer of fiction, observes, "When he introduces his ideal personage to the public, he enters upon his task with a preconception of the qualities that belong to this being, the principle of his actions, and its necessary concomitants, etcetera, etcetera." That such preparation ought to be made, I will not deny; but were I to attempt an adherence to these rules, the public would never be troubled with any production of mine. It would be too tedious a journey in prospective for my wayward intellect; and if I calculated stages before I ordered my horses, I should abandon the attempt, and remain quietly at home. Mine is not a journey of that methodical description; on the contrary, it is a ramble hand-in-hand with Fancy, with a light heart and a lighter baggage; for my whole wallet, when I set off, contains but one single idea--but ideas are hermaphrodite, and these creatures of the brain are most prolific. To speak more intelligibly, I never have made any arrangement of plot when I commenced a work of fiction, and often finish a chapter without having the slightest idea of what materials the ensuing one is to be constructed. At times I feel so tired that I throw down the pen in despair; but it is soon taken up again, and, like a pigmy Antaeus, it seems to have imbibed fresh vigour from its prostration.
I remember when the "King's Own" was finished, I was as happy as a pedestrian who had accomplished his thousand miles in a thousand hours. My voluntary slavery was over, and I was emancipated. Where was I then? I recollect; within two days' sail of the Lizard, returning home, after a six weeks' cruise to discover a rock in the Atlantic, which never existed except in the terrified or intoxicated noddle of some master of a merchant vessel. It was about half-past five in the evening, and I was alone in my after-cabin, quite alone, as the captain of a man-of-war must be, even when in presence of his ship's company. If being sent to sea has been pronounced by the officers and men to be _transportation_, being the captain of the ship may truly be designated as _solitary confinement_.
I could not send for any one to whom I could impart the intelligence-- there was no one whom I could expect to sympathise with me, or to whom I could pour out the abundance of my joy; for that the service prohibited. What could I do? Why I could dance; so I sprung from my chair, and singing the tune, commenced a Quadrille movement,--"Tal de ral la, tal de ral la, lity, lity, lity, liddle-um, tal de ral ha, tal--"
"Three bells, sir," cried the first lieutenant, who had opened my door unperceived by me, and showed evident surprise at my motions; "shall we beat to quarters?"--"Certainly, Mr B---," replied I; and he disappeared. But this interruption produced only a temporary cessation: I was in the height of "Cavalier seul," when his head popped into the cabin--
"All present, and sober, sir," reported he, with a demure smile.
"Except the captain, I presume you are thinking," replied I.
"Oh! no indeed, sir; I observed that you were very merry."
"I am, Mr B---, but not with wine; mine is a sort of intellectual intoxication not provided for in the Articles of War."
"Oh! something that you'll never get drunk upon, as you never look into a book--beat a retreat."
"Ay, ay, sir," replied the first-lieutenant; and he disappeared.
And I also beat a retreat to my sofa; and as I threw myself upon it, mentally vowed that, for two months at the least, I never would take up a pen. But we seldom make a vow which we do not eventually break; and the reason is obvious. We vow only when hurried into excesses; we are alarmed at the dominion which has been acquired over us by our feelings or by our habits. Checked for a time by an adherence to our resolutions, they gradually recover their former strength, until they again break forth, and we yield to their overpowering influence. A few days after I had made the resolution, I found myself, like the sailor, _rewarding_ it, by writing more indefatigably than ever.
So now, reader, you may understand that I continue to write, as Tony Lumpkin says--not to please my good-natured friends, "but because I can't bear to disappoint myself;" for that which I commenced as an amusement, and continued as a drudgery, has ended in becoming a _confirmed habit_.
So much for the overture. Now let us draw up the curtain, and our actors shall appear upon the stage.
VOLUME ONE, CHAPTER TWO.
Boldly I venture on a naval scene, Nor fear the critics' frown, the pedants' spleen. Sons of the ocean, we their rules disdain.
Hark!--a shock Tears her strong bottom on the marble rock. Down on the vale of death, with dismal cries, The fated victims shuddering, roll their eyes In wild despair--While yet another stroke With deep convulsion rends the solid oak, Till like the mine in whose infernal cell The lurking demons of destruction dwell, At length asunder-torn, her frame divides, And crashing, spreads in ruin o'er the tides. FALCONER.
It was in the dreary month of fog, misanthropy, and suicide--the month during which Heaven receives a scantier tribute of gratitude from discontented man--during which the sun rises, but shines not--gives forth an unwilling light, but glads us not with his cheerful rays-- during which large tallow candles assist the merchant to calculate his gains or to philosophise over his losses--in short, it was one evening in the month of November of the year 17---, that Edward Forster, who had served many years in his Majesty's navy, was seated in a snug arm-chair, in a snug parlour, in a snug cottage to which he had retired upon his half-pay, in consequence of a severe wound which had, for many years, healed but to break out again each succeeding spring.
The locality of the cottage was not exactly so snug as it has been described in itself, and its interior; for it was situated on a hill which terminated at a short distance in a precipitous clift, beetling over that portion of the Atlantic which lashes the shores of Cumberland under the sub-denomination of the Irish Sea. But Forster had been all his early life a sailor, and still felt the same pleasure in listening to the moaning and whistling of the wind, as it rattled the shutters of his cottage (like some importunate who would gain admittance), as he used to experience when, lying in his hammock, he was awakened by the howling of the blast, and shrouding himself in his blankets to resume his nap, rejoiced that he was not exposed to its fury.
His finances did not allow him to indulge in luxuries, and the distillation of the country was substituted for wine. With his feet upon the fender, and his glass of whisky-toddy at his side, he had been led into a train of thought by the book which he had been reading; some passage of which had recalled to his memory scenes that had long passed away--the scenes of youth and hope--the happy castle-building of the fresh in heart, invariably overthrown by time and disappointment. The night was tempestuous; the rain now pattered loud, then ceased as if it had fed the wind, which renewed its violence, and forced its way through every crevice. The carpet of his little room occasionally rose from the floor, swelled up by the insidious entrance of the searching blast; the solitary candle, which from neglect had not only elongated its wick to an unusual extent, but had formed a sort of mushroom top, was every moment in danger of extinction, while the chintz curtains of the window waved solemnly to and fro. But the deep reverie of Edward Forster was suddenly disturbed by the report of a gun swept to leeward by the impetuosity of the gale, which hurled it with violence against the door and front windows of his cottage, for some moments causing them to vibrate with the concussion. Forster started up, dropping his book upon the hearth, and jerking the table with his elbow, so as to dash out the larger proportion of the contents of his tumbler. The sooty coronal of the wick also fell with the shock, and the candle, relieved from its burden, poured forth a brighter gleam.
"Lord ha' mercy, Mr Forster; did you hear that noise?" cried the old housekeeper (the only inhabitant of the cottage except himself), as she bolted into the room, holding her apron in both hands. "I did, indeed, Mrs Beazeley," replied Forster; "it's the signal of a vessel in distress, and she must be on a dead lee-shore. Give me my hat!" and draining off the remainder in his tumbler, while the old lady reached his hat off a peg in the passage, he darted out from the door of his tenement.
The door, which faced to seaward, flew open with violence, as Forster disappeared in the darkness of the night.
The old housekeeper, on whom had devolved the task of securing it, found it no easy matter; and the rain, blown in by the sweeping gale, proved an effectual and unwelcome shower-bath to one who complained bitterly of the rheumatics. At last her object was accomplished, and she repaired to the parlour to re-light the candle which had been extinguished, and await the return of her master. After sundry ejaculations and sundry wonders, she took possession of his arm-chair, poked the fire, and helped herself to a glass of whisky-toddy. As soon as her clothes and her tumbler were again dry, she announced by loud snores that she was in a happy state of oblivion; in which we shall leave her, to follow the motions of Edward Forster.
It was about seven o'clock in the evening, when Forster thus exposed himself to the inclemency of the weather. But a few weeks before how beautiful were the evenings at this hour; the sun disappearing beyond the distant wave, and leaving a portion of his glory behind him until the stars, in obedience to the divine fiat, were lighted up to "shine by night;" the sea rippling on the sand, or pouring into the crevices of the rocks, changing its hue, as daylight slowly disappeared, to the more sombre colours it reflected, from azure to each deeper tint of grey, until darkness closed in, and its extent was scarcely to be defined by the horizontal line.
Now all was changed, The roaring of the wind and the hoarse beating of the waves upon the streaming rocks deafened the ears of Edward Forster. The rain and spray were hurled in his face, as, with both hands, he secured his hat upon his head; and the night was so intensely dark, that but occasionally he could distinguish the broad belt of foam with which the coast was lined. Still Forster forced his way towards the beach, which it is now requisite that we should more particularly describe.
As we before observed, the cottage was built upon a high land, which terminated in a precipitous clift about two hundred yards distant, and running in a direct line to the westward. To the northward, the coast for miles was one continual line of rocky clifts, affording no chance of life to those who might be dashed upon them; but to the southward of the clift which formed the promontory opposite to Forster's cottage, and which terminated the range, there was a deep indent in the line of coast, forming a sandy and nearly land-locked bay, small indeed, but so sheltered that any vessel which could run in might remain there in safety until the gale was spent. Its only occupant was a fisherman, who, with his family, lived in a small cottage on the beach. He was an ally of Forster, who had intrusted to his charge a skiff, in which, during the summer months, he often whiled away his time. It was to this cottage that Forster bent his way, and loudly knocked when he arrived.
"Robertson--I say, Robertson," called Forster, at the full compass of his voice.
"He is not here, Mr Forster," answered Jane, the wife of the fisherman; "he is out, looking for the vessel."
"Which way did he go?"
Before an answer could be returned, Robertson himself appeared. "I'm here, Mr Forster," said he, taking off his fur cap, and squeezing out with both hands the water with which it was loaded; "but I can't see the vessel."
"Still, by the report of the gun, she must be close to the shore.--Get some fagots out from the shed, and light as large a fire as you can; don't spare them, my good fellow; I will pay you."
"That I'll do, sir, and without pay; I only hope that they'll understand the signal, and lay her on shore in the cove. There's another gun!"
This second report, so much louder than the former, indicated that the vessel had rapidly neared the land; and the direction from which the report came, proved that she must be close to the promontory of rocks.
"Be smart, my dear fellow; be smart," cried Forster.
"I will go up to the clift, and try if I can make her out;" and the parties separated upon their mutual work of sympathy and good will.
The novel opens not with a ship but with a defensive preface in which Marryat parodies his own critics, quoting Sterne and staging a mock trial of his manuscript by a series of caricatured readers. This framing device establishes a self-conscious, ironic tone that recurs throughout the narrative. The first chapter immediately introduces a structural pattern: movement between enclosed spaces—a lawyer's chambers, a country inn, a ship's cabin—each with its own rules and tensions. The prose shifts between brisk dialogue and reflective passages, often punctuated by physical comedy, such as Nicholas Forster's repeated collisions with passersby in crowded streets.
Watches, Spectacles, and the Mechanics of Attention
A recurring image cluster involves timepieces and eyeglasses, objects that regulate perception and social interaction. In the opening chapter, Nicholas Forster picks up his brother John's watch, pronouncing it dirty and offering to clean it—an unsolicited intervention that John rebuffs. Later, Nicholas polishes John's spectacles with an old handkerchief before being handed them back. These small, almost ritualistic exchanges highlight a tension between the brothers: one who tinkers with mechanisms, the other who insists they function as they are. The watch and spectacles become emblems of competing worldviews—the practical versus the legalistic, the hands-on versus the hands-off. Marryat returns to such objects at key moments, using them to mark shifts in power or understanding. The reader is invited to notice how characters handle, examine, or refuse these items, as each gesture carries implications about trust, competence, and control.
The Collision Course of City and Ship
Marryat structures scenes around physical collisions that mirror social friction. In the excerpt from Volume Two, Nicholas Forster is repeatedly shoved and elbowed in crowded London streets, each jolt prompting an expostulation that goes unheeded. These jostles are not mere comic relief; they establish a rhythm of interruption and recovery that carries into the lawyer's chambers, where Nicholas's wandering attention—examining the watch, taking up the spectacles—disrupts the orderly inventory. The city itself becomes a space of involuntary contact, contrasting with the regulated hierarchies of a merchant vessel. When the narrative moves to sea, similar collisions occur between characters of different ranks or temperaments, but the ship's confined spaces impose a different resolution. The novel's structure thus alternates between open, chaotic urban settings and the bounded, rule-bound world of the ship, each shaping how characters interact and how conflicts are resolved.
Dialogue as Duel: The Lawyer's Chambers Scene
The encounter between Nicholas, Newton, and the lawyer John Forster in Volume Two, Chapter Twelve, is a masterclass in Marryat's use of dialogue to reveal character and power dynamics. John Forster speaks in clipped, legalistic phrases—'Your servant, young man,' 'I am John Forster,' 'You're ten minutes fast your time'—while Nicholas rambles, interrupts, and offers unsolicited repairs. The scene is structured around a series of small confrontations over objects: the watch, the spectacles, the inventory. Each object is passed, examined, and reclaimed, with John's repeated 'will you oblige me by giving me my spectacles?' underscoring his need to control the interaction. Newton, caught between them, speaks only to redirect the conversation. The dialogue moves in short, staccato exchanges, punctuated by pauses and physical actions. This technique creates a sense of contained tension, where every gesture—a hand extended, a watch shut, a handkerchief produced—carries weight. Marryat uses such scenes to advance the plot while deepening character through what is said and what is withheld.
Movement Between Interior and Exterior Spaces
The novel's structure relies on a pattern of movement between interior and exterior settings, each with distinct sensory qualities. The preface and early chapters move from the abstract space of critical reception (the 'damned good-natured friends') to the concrete interiors of inns, chambers, and ships. Marryat often describes these spaces in terms of light and confinement: the lawyer's parlour with its table and spectacles, the crowded street under fine weather, the ship's cabin with its 'nasty line-of-battle ship' associations. Characters enter and exit these spaces with varying degrees of agency—Nicholas is dragged by Newton, John remains seated, Newton stands at the threshold. The transitions between interior and exterior are marked by changes in tone and pace: the rapid, jostling street gives way to the static, tense chamber; the ship's deck opens to the horizon. This alternation creates a rhythm that propels the narrative forward while allowing Marryat to contrast the constraints of society with the relative freedom (and danger) of the sea. The reader is constantly aware of where characters are placed and how that placement affects their actions.
Readers attentive to Marryat's use of objects—watches, spectacles, inventories—will find a consistent thread linking seemingly disparate scenes. The novel rewards those who notice how characters handle, refuse, or manipulate these items, as each interaction reveals something about authority, trust, or the limits of control. The movement between crowded streets and confined cabins is not merely scenic but structural, shaping the pace and tension of the narrative. Approach the text with an eye for these recurring details and the ways they accumulate meaning across chapters.
Years at this desk teach you which books breathe together. Newton Forster’s watchful, colliding rhythms—that sailor’s shuffle between decks and drawing rooms—always put me in mind of another journey, quieter but no less restless. The old ticking of a sea-clock, and then Seven Miles to Arden — Text and Context, a road walked in the same patient, turning light.
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