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Contents
Prefatory Note
THE PHANTOM SHIP is the most notable of the three novels constructedby Marryat on an historic basis, and like its predecessor in thesame category, Snarleyyow, depends largely for its interest on theelement of diablerie, which is very skilfully manipulated. Here,however, the supernatural appearances are never explained away, andthe ghostly agencies are introduced in the spirit of serious, ifsomewhat melodramatic, romance. Marryat's personal experience enabledhim, with little research, to produce a life-like picture of old Dutchseamanship, and his powers in racy narrative have transformed theVanderdecken legend into a stirring tale of terror. The plot cannotbe called original, but it is more carefully worked out and, from thenature of the material at hand, more effective than most of Marryat'sown. He has put life into it, moreover, by the creation of somegenuine characters, designed for nobler ends than to move themachinery.
Amine, indeed, as Mr Hannay points out, "is by far his nearestapproach to an acceptable heroine." Her romantic and curiouslysuperstitious disposition is admirably restrained by strength of willand true courage. The scenes of the Inquisition by which she meetsher death are forcibly described. Philip Vanderdecken is a veryrespectable hero; daring, impetuous, and moody, without being tooimprobably capable. The hand of destiny lends him a dignity of whichhe is by no means unworthy. Krantz, the faithful friend, belongs to afamiliar type, but the one-eyed pilot is quite sufficiently weirdfor the part he has to play. For the rest we have the usual excitingadventures by sea and land; the usual "humours," in this casecertainly not overdone. The miser Dr Poots; the bulky Kloots, hisbear, and his supercargo; Barentz and his crazy lady-love the VrowKaterina; and the little Portuguese Commandant provide the readerwith a variety of good-natured entertainment. It was an act ofdoubtful wisdom, perhaps, to introduce a second group of spirits fromthe Hartz mountains, but the story of the weir-wolves is told simply,without any straining after effect.
The general success, however, is marred by certain obvious failuresin detail. The attempt to produce an historic flavour by making thecharacters, during their calmer moments, talk in would-be old Englishis more amusing than culpable; but the author's philosophy of theunseen, as expounded by Amine or Krantz, is both weak and tiresome,and his religious discourses, coloured by prejudice against theRomanists, are conventional and unconvincing. The closing scenesavours of the Sunday-school.
But these faults are not obtrusive, and the novel as a whole must takea high p