The Project Gutenberg EBook of There is Sorrow On The Sea, by Gilbert Parker

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net

Title: There is Sorrow On The Sea

Author: Gilbert Parker

Release Date: October 18, 2006 [EBook #6255]
Last Updated: November 5, 2012

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK THERE IS SORROW ON THE SEA ***

Produced by David Widger

"THERE IS SORROW ON THE SEA"

By Gilbert Parker

Contents

I

II

I

               "YORK FACTORY, HUDSON'S BAY,
                  "23rd September, 1747.

"MY DEAR COUSIN FANNY,—It was a year last April Fool's Day, I left you on the sands there at Mablethorpe, no more than a stone's throw from the Book-in-Hand Inn, swearing that you should never see me or hear from me again. You remember how we saw the coast-guards flash their lights here and there, as they searched the sands for me? how one came bundling down the bank, calling, 'Who goes there?' You remember that when I said, 'A friend,' he stumbled, and his light fell to the sands and went out, and in the darkness you and I stole away: you to your home, with a whispering, 'God-bless-you, Cousin Dick,' over your shoulder, and I with a bit of a laugh that, maybe, cut to the heart, and that split in a sob in my own throat—though you didn't hear that.

"'Twas a bad night's work that, Cousin Fanny, and maybe I wish it undone, and maybe I don't; but a devil gets into the heart of a man when he has to fly from the lass he loves, while the friends of his youth go hunting him with muskets, and he has to steal out of the backdoor of his own country and shelter himself, like a cold sparrow, up in the eaves of the world.

"Ay, lass, that's how I left the fens of Lincolnshire a year last April Fool's Day. There wasn't a dyke from, Lincoln town to Mablethorpe that I hadn't crossed with a running jump; and there wasn't a break in the shore, or a sink-hole in the sand, or a clump of rushes, or a samphire bed, from Skegness to Theddlethorpe, that I didn't know like every line of your face. And when I was a slip of a lad-ay, and later too—how you and I used to snuggle into little nooks of the sand-hills, maybe just beneath the coast-guard's hut, and watch the tide come swilling in-water-daisies you used to call the breaking surf, Cousin Fanny. And that was like you, always with a fancy about everything you saw. And when the ships, the fishing-smacks with their red sails, and the tall-masted brigs went by, taking the white foam on their canvas, you used to wish that you might sail away to the lands you'd heard tell of from old skippers that gathered round my uncle's fire in the Book-in-Hand. Ay, a grand thing I thought it would be, too, to go riding round the world on a well-washed deck, with plenty of food and grog, and maybe, by-and-by, to be first mate, and lord it from fo'castle bunk to stern-rail.

"You did not know, did you, who was the coast-guardsman that stumbled as he came on us that night? It looked a stupid thing to do that, and let the lantern fall. But, lass, 'twas done o' purpose. That was the one man in all the parish that would ha' risked his neck to let me free. 'Twas Lancy Doane, who's give me as many beatings in his time as I him. We were always getting foul one o' t'other since I was big enough to shy a bit of turf at him across a dyke, and there isn't a spot on's body that I haven't hit, nor one on mine that he hasn't mauled. I've sat on his head, and he's had his knee in my stomach till I squealed, and we never could meet without back-talking and rasping 'gainst the grain. The night before he joined the coast-guardsmen, he was down at the Book-in-Hand, and 'twas little like that I'd let the good chance pass—I might never have another; for Gover'ment folk will not easy work a quarrel on their own account. I mind him sittin' there on the settle, his shins against the fire, a long pipe going, and Casey of the Lazy Beetle, and Jobbin the mate of the Dodger, and Little Faddo, who had the fat Dutch wife down by the Ship Inn, and Whiggle the preaching blacksmith. And you were standin' with your back to the shinin' pewters, and the great jug of ale with the white napkin behind you; the light o' the fire wavin' on your face, and your look lost in the deep hollow o' the chimney. I think of you most as you were that minute, Cousin Fanny, when I come in. I tell you straight and fair, that was the prettiest picture I ever saw; and I've seen some rare fine things in my travels. 'Twas as if the thing had been set by some one, just to show you off to your best. Here you were, a slip of a lass, straight as a bulrush, and your head hangin' proud on your shoulders; yet modest too, as you can see off here in the North the top of the golden-rod flower swing on its stem. You were slim as slim, and yet there wasn't a corner on you; so soft and full and firm you were, like the breast of a quail; and I mind me how the shine of your cheeks was like the glimmer of an apple after you've rubbed it with a bit of cloth. Well, there you stood in some sort of smooth, plain, clingin' gown, a little bit loose and tumblin' at the throat, and your pretty foot with a brown slipper pushed out, just savin' you from bein' prim. That's why the men liked you—you didn't carry a sermon in your waist-ribbon, and the Lord's Day in the lift o' your chin; but you had a smile to give when 'twas the right time for it, and men never said things with you there that they'd have said before many another maid.

"'Twas a thing I've thought on off here, where I've little to do but think, how a lass like you could put a finger on the lip of such rough tykes as Faddo, Jobbin, and the rest, keepin' their rude words under flap and button. Do you mind how, when I passed you comin' in, I laid my hand on yours as it rested on the dresser? That hand of yours wasn't a tiny bit of a thing, and the fingers weren't all taperin' like a simperin' miss from town, worked down in the mill of quality and got from graftin' and graftin', like one of them roses from the flower-house at Mablethorpe Hall—not fit to stand by one o' them that grew strong and sweet with no fancy colour, in the garden o' the Book-in-Hand. Yours was a hand that talked as much as your lips or face, as honest and white; and the palm all pink, and strong as strong could be, and warmin' every thread in a man's body when he touched it. Well, I touched your hand then, and you looked at me and nodded, and went musin' into the fire again, not seemin' to hear our gabble.

"But, you remember—don't you?—how Jobbin took to chaffin' of Lancy Doane, and how Faddo's tongue got sharper as the time got on, and many a nasty word was said of coast-guards and excisemen, and all that had to do with law and gover'ment. Cuts there were at some of Laney's wild doings in the past, and now and then they'd turn to me, saying what they thought would set me girdin' Lancy too. But I had my own quarrel, and I wasn't to be baited by such numskulls. And Lancy—that was a thing I couldn't understand—he did no more than shrug his shoulder and call for more ale, and wish them all good health and a hundred a year. I never thought he could ha' been so patient-like. But there was a kind of little smile, too, on his face, showin' he did some thinkin'; and I guessed he was bidin' his time.

"I wasn't as sharp as I might ha' been, or I'd ha' seen what he was waitin' for, with that quiet provokin' smile on his face, and his eyes smoulderin' like. I don't know to this day whether you wanted to leave the room when you did, though 'twas about half after ten o'clock, later than I ever saw you there before. But when my uncle come in from Louth, and give you a touch on the shoulder, and said: 'To bed wi' you, my lass,' you waited for a minute longer, glancin' round on all of us, at last lookin' steady at Lancy; and he got up from his chair, and took off his hat to you with a way he had. You didn't stay a second after that, but went away straight, sayin' good-night to all of us, but Lancy was the only one on his feet.

"Just as soon as the door was shut behind you, Lancy turned round to the fire, and pushed the log with his feet in a way a man does when he's think-in' a bit. And Faddo give a nasty laugh, and said:

"' Theer's a dainty sitovation. Theer's Mr. Thomas Doane, outlaw and smuggler, and theer's Mr. Lancy Doane his brother, coast-guardsman. Now, if them two should 'appen to meet on Lincolnshire coast, Lord, theer's a sitovation for ye—Lord, theer's a cud to chew! 'Ere's one gentleman wants to try 'is 'and at 'elpin' Prince Charlie, and when 'is Up doesn't amount to anythink, what does the King on 'is throne say? He says, "As for Thomas Doane, Esquire, aw've doone wi' 'im." And theer's another gentleman, Mr. Lancy Doane, Esquire. He turns pious, and says, "Aw'm goin' for a coast-guardsman." What does the King on his throne say? 'E says, "Theer's the man for me."'"

But aw says, "Aw've doone, aw've doone wi' Mr. Lancy Doane, Esquire, and be damned to 'im!" He! he! Theer's a fancy sitovation for ye. Mr. Thomas Doane, Esquire, smuggler and outlaw, an' Mr. Lancy Doane, Esquire, coast-guardsman. Aw've doone. Ho! ho! That gits into my crop.'

"I tell you these things, Cousin Fanny, because I'm doubtin' if you ever heard them, or knew exactly how things stood that night. I never was a friend of Lancy Doane, you understand, but it's only fair that the truth be told about that quarrel, for like as not he wouldn't speak himself, and your father was moving in and out; and, I take my oath, I wouldn't believe Faddo and the others if they was to swear on the Bible. Not that they didn't know the truth when they saw it, but they did love just to let their fancy run. I'm livin' over all the things that happened that night—livin' them over to-day, when everything's so quiet about me here, so lonesome. I wanted to go over it all, bit by bit, and work it out in my head, just as you and I used to do the puzzle games we played in the sands. And maybe, when you're a long way off from things you once lived, you can see them and understand them better. Out here, where it's so lonely, and yet so good a place to live in, I seem to get the hang o' the world better, and why some things are, and other things aren't; and I thought it would pull at my heart to sit down and write you a long letter, goin' over the whole business again; but it doesn't. I suppose I feel as a judge does when he goes over a lot of evidence, and sums it all up for the jury. I don't seem prejudiced one way or another. But I'm not sure that I've got all the evidence to make me ken everything; and that's what made me bitter wild the last time that I saw you. Maybe you hadn't anything to tell me, and maybe you had, and maybe, if you ever write to me out here, you'll tell me if there's anything I don't know about them days.

"Well, I'll go back now to what happened when Faddo was speakin' at my uncle's bar. Lancy Doane was standin' behind the settle, leanin' his arms on it, and smokin' his pipe quiet. He waited patient till Faddo had done, then he comes round the settle, puts his pipe up in the rack between the rafters, and steps in front of Faddo. If ever the devil was in a man's face, it looked out of Lancy Doane's that minute. Faddo had touched him on the raw when he fetched out that about Tom Doane. All of a sudden Lancy swings, and looks at the clock.

"'It's half-past ten, Jim Faddo,' said he, 'and aw've got an hour an' a half to deal wi' you as a Lincolnshire lad. At twelve o'clock aw'm the Gover'ment's, but till then aw'm Lancy Doane, free to strike or free to let alone; to swallow dirt or throw it; to take a lie or give it. And now list to me; aw'm not goin' to eat dirt, and aw'm goin' to give you the lie, and aw'm goin' to break your neck, if I swing for it to-morrow, Jim Faddo. And here's another thing aw'll tell you. When the clock strikes twelve, on the best horse in the country aw'll ride to Theddlethorpe, straight for the well that's dug you know where, to find your smuggled stuff, and to run the irons round your wrists. Aw'm dealin' fair wi' you that never dealt fair by no man. You never had an open hand nor soft heart; and because you've made money, not out o' smugglin' alone, but out o' poor devils of smugglers that didn't know rightly to be rogues, you think to fling your dirt where you choose. But aw'll have ye to-night as a man, and aw'll have ye to-night as a King's officer, or aw'll go damned to hell.'

"Then he steps back a bit very shiny in the face, and his eyes like torchlights, but cool and steady. 'Come on now,' he says, 'Jim Faddo, away from the Book-in-Hand, and down to the beach under the sand-hills, and we'll see man for man—though, come to think of it, y 'are no man,' he said—'if ye'll have the right to say when aw'm a King's officer that you could fling foul words in the face of Lancy Doane. And a word more,' he says; 'aw wouldn't trust ye if an Angel o' Heaven swore for ye. Take the knife from the belt behind your back there, and throw it on the table, for you wouldn't bide by no fair rules o' fightin'. Throw the knife on the table,' he says, comin' a step forward.

"Faddo got on to his feet. He was bigger built than Lancy, and a bit taller, and we all knew he was devilish strong in his arms. There was a look in his face I couldn't understand. One minute I thought it was fear, and another I thought it was daze; and maybe it was both. But all on a sudden something horrible cunnin' come into it, and ugly too.

"'Go to the well, then, since ye've found out all about it,' he says, 'but aw've an hour and a half start o' ye, Lancy Doane.'

"'Ye've less than that,' says Lancy back to him, 'if ye go with me to the sands first.'

"At that my uncle stepped in to say a word for peacemakin', but Lancy would have none of it. 'Take the knife and throw it on the table,' he said to Faddo once more, and Faddo took it out and threw it down.

"'Come on, then,' Faddo says, with a sneerin' laugh; 'we'll see by daybreak who has the best o' this night's work,' and he steps towards the door.

"'Wait a minute,' says Lancy, gettin' in front of him. 'Now take the knife from your boot. Take it,' he says again, 'or aw will. That's like a man, to go to a fist fight wi' knives. Take it,' he said. 'Aw'll gi' ye till aw count four, and if ye doan't take it, aw'll take it meself. One!' he says steady and soft. 'Two!' Faddo never moved. 'Three!' The silence made me sick, and the clock ticked like hammers. 'Four!' he said, and then he sprang for the boot, but Faddo's hand went down like lightnin' too. I couldn't tell exactly how they clinched but once or twice I saw the light flash on the steel. Then they came down together, Faddo under, and when I looked again Faddo was lying eyes starin' wide, and mouth all white with fear, for Lancy was holding the knife-point at his throat. 'Stir an inch,' says Lancy, 'and aw'll pin ye to the lid o' hell.'

"Three minutes by the clock he knelt there on Faddo's chest, the knife-point touching the bone in's throat. Not one of us stirred, but just stood lookin', and my own heart beat so hard it hurt me, and my uncle steadyin' himself against the dresser. At last Lancy threw the knife away into the fire.

"'Coward!' he said. 'A man would ha' taken the knife. Did you think aw was goin' to gie my neck to the noose just to put your knife to proper use? But don't stir till aw gie you the word, or aw'll choke the breath o' life out o' ye.'

"At that Faddo sprung to clinch Laney's arms, but Laney's fingers caught him in the throat, and I thought surely Faddo was gone, for his tongue stood out a finger-length, and he was black in the face.

"'For God's sake, Lancy,' said my uncle, steppin' forward, 'let him go.'

"At that Lancy said: 'He's right enough. It's not the first time aw've choked a coward. Throw cold water on him and gi' 'im brandy.'

"Sure enough, he wasn't dead. Lancy stood there watchin' us while we fetched Faddo back, and I tell you, that was a narrow squeak for him. When he got his senses again, and was sittin' there lookin' as if he'd been hung and brought back to life, Lancy says to him: 'There, Jim Faddo, aw've done wi' you as a man, and at twelve o'clock aw'll begin wi' you as King's officer.' And at that, with a good-night to my uncle and all of us, he turns on his heels and leaves the Book-in-Hand.

"I tell you, Cousin Fanny, though I'd been ripe for quarrel wi' Lancy Doane myself that night, I could ha' took his hand like a brother, for I never saw a man deal fairer wi' a scoundrel than he did wi' Jim Faddo. You see, it wasn't what Faddo said about himself that made Laney wild, but that about his brother Tom; and a man doesn't like his brother spoken ill of by dirt like Faddo, be it true or false. And of Laney's brother I'm goin' to write further on in this letter, for I doubt that you know all I know about him, and the rest of what happened that night and afterwards."

"DEAR COUSIN FANNY, I canna write all I set out to, for word come to me, just as I wrote the last sentence above, that the ship was to leave port three days sooner than was fixed for when I began. I have been rare and busy since then, and I have no time to write more. And so 'twill be another year before you get a word from me; but I hope that when this letter comes you'll write one back to me by the ship that sails next summer from London. The summer's short and the winter's long here, Cousin Fanny, and there's more snow than grass; and there's more flowers in a week in Mablethorpe than in a whole year here. But, lass, the sun shines always, and my heart keeps warm in thinkin' of you, and I ask you to forgive me for any harsh word I ever spoke, not forgettin' that last night when I left you on the sands, and stole away like a thief across the sea. I'm going to tell you the whole truth in my next letter, but I'd like you to forgive me before you know it all, for 'tis a right lonely and distant land, this, and who can tell what may come to pass in twice a twelve month! Maybe a prayer on lips like mine doesn't seem in place, for I've not lived as parson says man ought to live, but I think the Lord will have no worse thought o' me when I say, God bless thee, lass, and keep thee safe as any flower in His garden that He watereth with His own hand. Write to me, lass: I love thee still, I do love thee.

                         "DICK ORRY."

II

                    THE BOOK-IN-HAND INN,
                   MABLETHORPE, LINCOLNSHIRE.
                      May-Day, 1749.

"DEAR COUSIN DICK,—I think I have not been so glad in many years as when I got your letter last Guy Fawkes Day. I was coming from the church where the parson preached on plots and treasons, and obedience to the King, when I saw the old postman coming down the road. I made quickly to him, I know not why, for I had not thought to hear from you, and before I reached him he held up his hand, showing me the stout packet which brought me news of you. I hurried with it to the inn, and went straight to my room and sat down by the window, where I used to watch for your coming with the fishing fleet, down the sea from the Dogger Bank. I was only a girl, a young girl, then, and the Dogger Bank was, to my mind, as far off as that place you call York Factory, in Hudson's Bay, is to me now. And yet I did not know how very far it was until our schoolmaster showed me on a globe how few days' sail it is to the Dogger Bank, and how many to York Factory.

"But I will tell you of my reading of your letter, and of what I thought. But first I must go back a little. When you went away that wild, dark night, with bitter words on your lips to me, Cousin Dick, I thought I should never feel the same again. You did not know it, but I was bearing the misery of your trouble and of another's also, and of my own as well; and so I said over and over again, Oh, why will men be hard on women? Why do they look for them to be iron like themselves, bearing double burdens as most women do? But afterwards I settled to a quietness which I would not have you think was happiness, for I have given up thought of that. Nor would I have you think me bearing trouble sweetly, for sometimes I was most hard and stubborn. But I lived on in a sort of stillness till that morning when, sitting by my window, I read all you had written to me. And first of all I must tell you how my heart was touched at your words about our childhood together. I had not thought it lay so deep in your mind, Cousin Dick. It always stays in mine; but then, women have more memories than men. The story of that night I knew; but never fully as you have told it to me in your letter. Of what happened after Lancy Doane left the inn, of which you have not written, but promised the writing in your next letter, I think I know as well as yourself. Nay, more, Cousin Dick. There are some matters concerning what followed that night and after, which I know, and you do not know. But you have guessed there was something which I did not tell you, and so there was. And I will tell you of them now. But I will take up the thread of the story where you dropped it, and reel it out.

"You left the inn soon after Lancy Doane, and James Faddo went then too, riding hard for Theddlethorpe, for he knew that in less than an hour the coast-guards would be rifling the hiding places of his smuggled stuff. You did not take a horse, but, getting a musket, you walked the sands hard to Theddlethorpe.

"I know it all, though you did not tell me, Cousin Dick. You had no purpose in going, save to see the end of a wretched quarrel and a smuggler's ill scheme. You carried a musket for your own safety, not with any purpose. It was a day of weight in your own life, for on one side you had an offer from the Earl Fitzwilliam to serve on his estate; and on the other to take a share in a little fleet of fishing smacks, of which my father was part owner. I think you know to which side I inclined, but that now is neither here nor there; and, though you did not tell me, as you went along the shore you were more intent on handing backwards and forwards in your mind your own affairs, than of what should happen at Theddlethorpe. And so you did not hurry as you went, and, as things happened, you came to Faddo's house almost at the same moment with Lancy Doane and two other mounted coast-guards.

"You stood in the shadow while they knocked at Faddo's door. You were so near, you could see the hateful look in his face. You were surprised he did not try to stand the coast-guards off. You saw him, at their bidding, take a lantern, and march with them to a shed standing off a little from the house, nearer to the shore. Going a roundabout swiftly, you came to the shed first, and posted yourself at the little window on the sea-side. You saw them enter with the lantern, saw them shift a cider press, uncover the floor, and there beneath, in a dry well, were barrels upon barrels of spirits, and crouched among them was a man whom you all knew at once—Laney's brother, Tom. That, Cousin Dick, was Jim Faddo's revenge. Tom Doane had got refuge with him till he should reach his brother, not knowing Lancy was to be coast-guard. Faddo, coming back from Mablethorpe, told Tom the coast-guards were to raid him that night; and he made him hide in this safe place, as he called it, knowing that Lancy would make for it.

"For a minute after Tom was found no man stirred. Tom was quick of brain and wit—would it had always been put, to good purposes!—and saw at once Faddo's treachery. Like winking he fired at the traitor, who was almost as quick to return the fire. What made you do it I know not, unless it was you hated treachery; but, sliding in at the open door behind the coast-guards, you snatched the lantern from the hands of one, threw it out of the open door, and, thrusting them aside, called for Tom to follow you. He sprang towards you over Faddo's body, even as you threw the lantern, and, catching his arm, you ran with him towards the dyke.

"'Ready for a great jump!' you said. 'Your life hangs on it.' He was even longer of leg than you. 'Is it a dyke?' he whispered, as the shots from three muskets rang after you. 'A dyke. When I count three, jump,' you answered. I have read somewhere of the great leap that one Don Alvarado, a Spaniard, made in Mexico, but surely never was a greater leap than you two made that night, landing safely on the other side, and making for the sea-shore. None of the coast guardsmen, not even Lancy, could make the leap, for he was sick and trembling, though he had fired upon his own brother. And so they made for the bridge some distance above, just as the faint moon slipped behind a cloud and hid you from their sight.

"That is no country to hide in, as you know well, no caves, or hills, or mazy coombes, just a wide, flat, reedy place, broken by open woods. The only refuge for both now was the sea. 'Twas a wild run you two made, side by side, down that shore, keeping close within the gloom of the sand-hills, the coast-guards coming after, pressing you closer than they thought at the time, for Tom Doane had been wounded in the leg. But Lancy sent one back for the horses, he and the other coming on; and so, there you were, two and two. 'Twas a cruel task for Lancy that night, enough to turn a man's hair grey. But duty was duty, though those two lads were more to each other than most men ever are. You know how it ended. But I want to go all over it just to show you that I understand. You were within a mile of Mablethorpe, when you saw a little fishing smack come riding in, and you made straight for it. Who should be in the smack but Solby, the canting Baptist, who was no friend to you or my uncle, or any of us. You had no time for bargaining or coaxing, and so, at the musket's mouth, you drove him from the boat, and pushed it out just as Lancy and his men came riding up. Your sail was up, and you turned the lugger to the wind in as little time as could be, but the coast-guardsmen rode after you, calling you to give in. No man will ever know the bitter trouble in Laney's heart when he gave the order to fire on you, though he did not fire himself. And you—do I not know, Cousin Dick, what you did? Tom Doane was not the man to fire at the three dark figures riding you down, not knowing which was his brother. But you, you understood that; and you were in, you said to yourself, and you'd play the game out, come what would. You raised your musket and drew upon a figure. At that moment a coast-guard's musket blazed, and you saw the man you had drawn on was Lancy Doane. You lowered your musket, and as you did a ball struck you on the wrist.

"Oh, I have thanked God a hundred times, dear Cousin Dick, that you fired no shot that night, but only helped a hunted, miserable man away, for you did get free. Just in the nick of time your sail caught the wind, and you steered for the open sea. Three days from that, Tom Doane was safe in the Low Country, and you were on your way back to Lincolnshire. You came by a fishing boat to Saltfleet Haven, and made your way down the coast towards Mablethorpe. Passing Theddlethorpe, you went up to Faddo's house, and, looking through the window, you saw Faddo, not dead, but being cared for by his wife. Then you came on to Mablethorpe, and standing under my window, at the very moment when I was on my knees praying for the safety of those who travelled by sea, you whistled like a quail from the garden below—the old signal. Oh, how my heart stood still a moment and then leaped, for I knew it was you! I went down to the garden, and there you were. Oh, but I was glad to see you, Cousin Dick!

"You remember how I let you take me in your arms for an instant, and then I asked if he was safe. And when you told me that he was, I burst into tears, and I asked you many questions about him. And you answered them quickly, and then would have taken me in your arms again. But I would not let you, for then I knew—I knew that you loved me, and, oh, a dreadful feeling came into my heart, and I drew back, and could have sunk upon the ground in misery, but that there came a thought of your safety! He was safe, but you—you were here, where reward was posted for you. I begged you to come into the house, that I might hide you there, but you would not. You had come for one thing, you said, and only one. An hour or two, and then you must be gone for London. And so you urged me to the beach. I was afraid we might be seen, but you led me away from the cottages near to the little bridge which crosses the dyke. By that way we came to the sands, as we thought unnoted. But no, who should it be to see us but that canting Baptist, Solby! And so the alarm was given. You had come, dear Cousin Dick, to ask me one thing—if I loved you? and if, should you ever be free to come back, I would be your wife? I did not answer you; I could not answer you; and, when you pressed me, I begged you to have pity on me and not to speak of it. You thought I was not brave enough to love a man open to the law. As if—as if I knew not that what you did came out of a generous, reckless heart. And on my knees—oh, on my knees—I ought to have thanked you for it! But I knew not what to say; my lips were closed. And just then shots were fired, and we saw the coast-guards' lights. Then came Lancy Doane stumbling down the banks, and our parting—our parting. Your bitter laugh as you left me has rung in my ears ever since.

"Do not think we have been idle here in your cause, for I myself went to Earl Fitzwilliam and told him the whole story, and how you had come to help Tom Doane that night. How do I know of it all? Because I have seen a letter from Tom Doane. Well, the Earl promised to lay your case before the King himself, and to speak for you with good eager entreaty. And so, it may be, by next time I write, there will go good news to you, and—will you then come back, dear Cousin Dick?

"And now I want to tell you what I know, and what you do not know. Tom Doane had a wife in Mablethorpe. He married her when she was but sixteen—a child. But she was afraid of her father's anger, and her husband soon after went abroad, became one of Prince Charlie's men, and she's never seen him since. She never really loved him, but she never forgot that she was his wife; and she always dreaded his coming back; as well she might, for you see what happened when he did come. I pitied her, dear Cousin Dick, with all my heart; and when Tom Doane died on the field of battle in Holland last year, I wept with her and prayed for her. And you would have wept too, man though you are, if you had seen how grateful she was that he died in honourable fighting and not in a smuggler's cave at Theddlethorpe. She blessed you for that, and she never ceases to work with me for the King's pardon for you.

"There is no more to say now, dear Cousin Dick, save that I would have you know I think of you with great desire of heart for your well-being, and I pray God for your safe return some day to the good country which, pardoning you, will cast you out no more.

          "I am, dear Cousin Dick,

             "Thy most affectionate Cousin,

                  "FANNY."

"Afterword—Dear Dick, my heart bursts for joy. Enclosed here is thy pardon, sent by the good Earl Fitzwilliam last night. I could serve him on my knees for ever. Dick, she that was Tom Doane's wife, she loves thee. Wilt thou not come back to her?

"In truth, she always loved thee. She was thy cousin; she is thy Fanny. Now thou knowest all."

End of Project Gutenberg's There is Sorrow On The Sea, by Gilbert Parker

*** END OF THIS PROJECT GUTENBERG EBOOK THERE IS SORROW ON THE SEA ***

***** This file should be named 6255-h.htm or 6255-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.net/6/2/5/6255/

Produced by David Widger

Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.

*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.net/license).

Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.

Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.

Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations.  To donate, please visit: http://pglaf.org/donate

Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

     http://www.gutenberg.net

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.